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Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"
Ulisse fuori rotta.
Murale unico, non fa parte di una serie, su una parete di una villetta a Bastia di Rovolon (PD). L'avevo visto per caso un giorno che avevo sbagliato strada, ci son tornato dopo.
Dialogo tra me ed un abitante della casa (tradotto in italiano):
- Posso fare un paio di foto?
#Prego, anche dieci.
- Chi l'ha dipinto?
# Vania e Loriana Grendene, due sorelle di Montemerlo
- Montemerlo? Conosco una famiglia di quel paese: i *lan
# I *lan? Ah, la Bruna! E' cugina di mia madre
- La Bruna è anche cugina di mia moglie. Come si chiama Sua madre?
# ...dina.
- Allora siamo parenti. Mia moglie e la ...dina sono cugine!
Alle volte succede.
Inevitabilmente:
"Southwell Minster (/ˈsʌðəl, ˈsaʊθwɛl/) is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
In 1884 Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed. The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus. Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12. The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations. The large west window dates from the C15. The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.
Southwell (/ˈsaʊθwɛl, ˈsʌðəl/) is a town in Nottinghamshire, England, the site of Southwell Minster, the cathedral of the Anglican Diocese of Southwell and Nottingham. A population of under 7,000 rose to 7,297 at the 2011 Census. The origin of the name is unclear. It lies on the River Greet, about 14 miles (22 km) north-east of Nottingham. Other historic buildings include prebendal houses in Church Street and Westgate and the Methodist church, which has a right of way beneath it, so that the upper floor seats more than the lower. The workhouse (1824) was a prototype for many others. Owned by the National Trust, it shows its appearance in the 19th century. Behind the Minster is a partly ruined palace, once a residence of the Archbishop of York. It includes the recently restored State Chamber, Cardinal Wolsey's former dining room, and gardens among the ruins." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
la banderole accroché au balcon de l'hôtel de ville de REIMS la ville-arrivée du Tour de France 2014 .
Le Tour de France sur le front de 14-18
hommage aux glorieux anciens qui roulaient plus souvent sur des chemins de boue que sur des routes asphaltées.
En 2014, la Grande Boucle rend hommage au centenaire de la Première Guerre mondiale. L'étape du 10 juillet Arras-Reims comprend 90 km dans l'Aisne, dont le Chemin des Dames.
Coucy-le-Château, Anizy, Brancourt-en-Laonnois et Pinon, le peloton entrera sur le fameux Chemin des Dames.
À Pinon Le Tour fera son entrée dans une côte. dans la rue du 52e-RI .
Reims_Un parfum de Paris-Roubaix.
C’est dans la ville des rois de France qu’est jugée l’arrivée de la 6e étape, partie d’Arras pour 194kilomètres. Du Nord-Pas-de-Calais à la Champagne-Ardennes,
il n’y a que du plat et le sprint paraît inévitable.
D’ailleurs, les trois derniers vainqueurs à Reims s’appellent Alessandro Petacchi (2010), Robbie McEwen (2002) et Djamolidine Abdoujaparov (1991) : trois fusées.
Tout le monde sur le pont à Reims pour le Tour de France ...
Le Tour de France est une manifestation qui demande l’implication de tous les services de la Ville
La pose de barrières reste la mission la plus prenante pour les agents municipaux.
le Tour de France est une très grosse « machine » qui demande une logistique considérable.
Si la société ASO (Amaury sport organisation) a ses propres équipes qui suivent tout le parcours pendant les 22 jours de la compétition,
les villes étapes doivent elles aussi accompagner le mouvement.
la ligne d’arrivée.
Dans la zone d’arrivée, sous la houlette du directeur de site, des barrières hautes sont posées autour de la "zone technique",
d’où émettent les camions radio et les télévisions. Doublet travaille depuis un an à la conception de barrières "repousse public" dotées d’arches,
qui empêcheront toute main de percuter malencontreusement un coureur. Suite à la chute de Laurent Jalabert à Armentières d’ailleurs,
les barrières ne laissent plus dépasser aucun panneau publicitaire. La réclame est directement intégrée à la clôture.
La caravane publicitaire
La caravane publicitaire, créée en 1930, s’est développée considérablement au fil des années, pour accueillir plus de 180 véhicules en 2012.
Le défilé d’ouverture, festif et créatif, a su conquérir les marques et le public, jusqu’à devenir une composante essentielle au spectacle du Tour
LCL, qui sera toujours parrain du maillot jaune du leader du classement général du Tour de France, comme c'est le cas depuis 1987.
La caravane publicitaire du Tour Alsace part une heure avant les coureurs. Elle est composée d'une quinzaine de véhicules publicitaires
et suit le parcours officiel du Tour. Elle distribue une multitude de goodies aux spectateurs au bord des routes.
47 % des spectateurs viennent en priorité pour la caravane
Le succès de la formule, avec un défilé de véhicules originaux qui « font de la réclame », en distribuant des cadeaux, est immédiat.
Les premiers annonceurs, comme la Vache qui rit, y gagnent la sympathie du public, qui se prête volontiers au jeu. Quatre-vingts ans plus tard,
la caravane publicitaire est devenue une composante à part entière du spectacle du Tour. Indissociable de la course qu’elle précède, la procession multiforme et multicolore
offre une animation de plus de 45 minutes. Jeunes et moins jeunes commentent sur le bord des routes la taille et l’inventivité des chars ; on s’y presse pour demander des cadeaux…
Au total, une étude réalisée auprès du public du Tour révèle que 47 % des spectateurs sont venus en priorité pour voir la caravane publicitaire.
lancer de saucissons Cochonou à la foule en délire.
Cochonou, la marque de saucissons distribuera bien sûr encore bobs et saucissons au bord de la route depuis ses fameuses 2CV, mais sera également présent sur internet,
avec son blog Cochonou et Vous tenu depuis quelques années par Thibault (qui avait repris le flambeau d'Adeline).
Le garage virtuel CochonouOriginalité cette année, la possibilité de créer sa propre 2CV dans le garage virtuel Cochonou et peut-être même la gagner et la tester pour
la première fois sur la célèbre Avenue des Champs-Elysées lors de l'arrivée de la dernière étape du Tour à Paris !
Le jeu-concours est ouvert jusqu'au 31 juillet mais le grand gagnant de la 2CV sera désigné le 15 juillet prochain sachant que par la suite on peut gagner l'un des autres
lots du jeu (2CV Cochonou miniatures, bobs, porte-clés et sacs cabas).
Vittel, l'eau officiel du Tour de France innove cette année en permettant à d'ordinaires spectateurs du Tour d'en devenir acteur !
ŠKODA qui reste parrain du maillot blanc de meilleur jeune et qui est toujours à la recherche des meilleures animations pour vous permettre, vous en tant que fan du Tour,
de remporter des prix avec le ŠKODA Fan Tour.
Il y a quelques mois, &ScaronKODA a d'ailleurs prolongé son contrat de partenariat avec A.S.O. et donc entre autres avec le Tour de France, jusqu'en 2018.
Banette a reconduit son partenariat pour 4 ans, jusqu'en 2017, et distribuera toujours des milliers de tartines préparées par les artisans boulangers Banette de la région alors
que la caravane continue à distribuer différents goodies et des bons de réduction. Banette communiquera sur son Tour de France sur sa page Facebook.
McCain, le producteur de frites surgelées, a rejoint le Tour en tant que fournisseur officiel pendant 3 ans et sera présent dans la caravane publicitaire du Tour avec un char-tracteur et 3 véhicules légers.
Belin fournira toujours l'apéro, mais ne valorise pas vraiment son partenariat. La seule chose qu'on peut donc vous dire, c'est que "les super z'héros" rejoignent la caravane de Belin :
Du samedi 5 juillet au dimanche 27 juillet 2014, le 101e Tour de France comprendra 21 étapes pour une distance de 3 664 kilomètres.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Le Tour de France sur le front de 14-18
hommage aux glorieux anciens qui roulaient plus souvent sur des chemins de boue que sur des routes asphaltées.
En 2014, la Grande Boucle rend hommage au centenaire de la Première Guerre mondiale. L'étape du 10 juillet Arras-Reims comprend 90 km dans l'Aisne, dont le Chemin des Dames.
Coucy-le-Château, Anizy, Brancourt-en-Laonnois et Pinon, le peloton entrera sur le fameux Chemin des Dames.
À Pinon Le Tour fera son entrée dans une côte. dans la rue du 52e-RI .
Reims_Un parfum de Paris-Roubaix.
C’est dans la ville des rois de France qu’est jugée l’arrivée de la 6e étape, partie d’Arras pour 194kilomètres. Du Nord-Pas-de-Calais à la Champagne-Ardennes,
il n’y a que du plat et le sprint paraît inévitable.
D’ailleurs, les trois derniers vainqueurs à Reims s’appellent Alessandro Petacchi (2010), Robbie McEwen (2002) et Djamolidine Abdoujaparov (1991) : trois fusées.
Tout le monde sur le pont à Reims pour le Tour de France ...
Le Tour de France est une manifestation qui demande l’implication de tous les services de la Ville
La pose de barrières reste la mission la plus prenante pour les agents municipaux.
le Tour de France est une très grosse « machine » qui demande une logistique considérable.
Si la société ASO (Amaury sport organisation) a ses propres équipes qui suivent tout le parcours pendant les 22 jours de la compétition,
les villes étapes doivent elles aussi accompagner le mouvement.
la ligne d’arrivée.
Dans la zone d’arrivée, sous la houlette du directeur de site, des barrières hautes sont posées autour de la "zone technique",
d’où émettent les camions radio et les télévisions. Doublet travaille depuis un an à la conception de barrières "repousse public" dotées d’arches,
qui empêcheront toute main de percuter malencontreusement un coureur. Suite à la chute de Laurent Jalabert à Armentières d’ailleurs,
les barrières ne laissent plus dépasser aucun panneau publicitaire. La réclame est directement intégrée à la clôture.
La caravane publicitaire
La caravane publicitaire, créée en 1930, s’est développée considérablement au fil des années, pour accueillir plus de 180 véhicules en 2012.
Le défilé d’ouverture, festif et créatif, a su conquérir les marques et le public, jusqu’à devenir une composante essentielle au spectacle du Tour
LCL, qui sera toujours parrain du maillot jaune du leader du classement général du Tour de France, comme c'est le cas depuis 1987.
La caravane publicitaire du Tour Alsace part une heure avant les coureurs. Elle est composée d'une quinzaine de véhicules publicitaires
et suit le parcours officiel du Tour. Elle distribue une multitude de goodies aux spectateurs au bord des routes.
47 % des spectateurs viennent en priorité pour la caravane
Le succès de la formule, avec un défilé de véhicules originaux qui « font de la réclame », en distribuant des cadeaux, est immédiat.
Les premiers annonceurs, comme la Vache qui rit, y gagnent la sympathie du public, qui se prête volontiers au jeu. Quatre-vingts ans plus tard,
la caravane publicitaire est devenue une composante à part entière du spectacle du Tour. Indissociable de la course qu’elle précède, la procession multiforme et multicolore
offre une animation de plus de 45 minutes. Jeunes et moins jeunes commentent sur le bord des routes la taille et l’inventivité des chars ; on s’y presse pour demander des cadeaux…
Au total, une étude réalisée auprès du public du Tour révèle que 47 % des spectateurs sont venus en priorité pour voir la caravane publicitaire.
lancer de saucissons Cochonou à la foule en délire.
Cochonou, la marque de saucissons distribuera bien sûr encore bobs et saucissons au bord de la route depuis ses fameuses 2CV, mais sera également présent sur internet,
avec son blog Cochonou et Vous tenu depuis quelques années par Thibault (qui avait repris le flambeau d'Adeline).
Le garage virtuel CochonouOriginalité cette année, la possibilité de créer sa propre 2CV dans le garage virtuel Cochonou et peut-être même la gagner et la tester pour
la première fois sur la célèbre Avenue des Champs-Elysées lors de l'arrivée de la dernière étape du Tour à Paris !
Le jeu-concours est ouvert jusqu'au 31 juillet mais le grand gagnant de la 2CV sera désigné le 15 juillet prochain sachant que par la suite on peut gagner l'un des autres
lots du jeu (2CV Cochonou miniatures, bobs, porte-clés et sacs cabas).
Vittel, l'eau officiel du Tour de France innove cette année en permettant à d'ordinaires spectateurs du Tour d'en devenir acteur !
ŠKODA qui reste parrain du maillot blanc de meilleur jeune et qui est toujours à la recherche des meilleures animations pour vous permettre, vous en tant que fan du Tour,
de remporter des prix avec le ŠKODA Fan Tour.
Il y a quelques mois, &ScaronKODA a d'ailleurs prolongé son contrat de partenariat avec A.S.O. et donc entre autres avec le Tour de France, jusqu'en 2018.
Banette a reconduit son partenariat pour 4 ans, jusqu'en 2017, et distribuera toujours des milliers de tartines préparées par les artisans boulangers Banette de la région alors
que la caravane continue à distribuer différents goodies et des bons de réduction. Banette communiquera sur son Tour de France sur sa page Facebook.
McCain, le producteur de frites surgelées, a rejoint le Tour en tant que fournisseur officiel pendant 3 ans et sera présent dans la caravane publicitaire du Tour avec un char-tracteur et 3 véhicules légers.
Belin fournira toujours l'apéro, mais ne valorise pas vraiment son partenariat. La seule chose qu'on peut donc vous dire, c'est que "les super z'héros" rejoignent la caravane de Belin :
Du samedi 5 juillet au dimanche 27 juillet 2014, le 101e Tour de France comprendra 21 étapes pour une distance de 3 664 kilomètres.
Marco Mengoni
Teatro Arcimboldi - Milano
26 Settembre 2013
ph © Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Marco Mengoni , vincitore incontrastato della terza edizione di 'X Factor'. Presenza scenica da professionista consumato, lunatico, "permaloso quasi antipatico", ha conquistato la stima del pubblico (non è mai finito in ballottaggio per l'eliminazione) grazie a interpretazioni di grande spessore.
Il 4 dicembre 2009 esce “DOVE SI VOLA”, il suo primo Ep, che in poche settimane scala le classifiche di vendita con oltre 70 mila copie.
“Dove si vola”, brano che da il titolo all’Ep, è difficile da interpretare per un uomo, sia per la tonalità molto alta che per l’articolazione della melodia sull’armonia. La forza vocale di Marco regala al pezzo una magia unica che, durante le esibizioni fa letteralmente volare il pubblico, pubblico che l’ha votato e proclamato, quasi fin da subito, il vero talento della terza edizione di X Factor. All’interno dell’EP un altro brano inedito, “Lontanissimo da te”, firmato Massimo e Piero Calabrese e cinque tra le più emozionanti cover cantate da Marco durante il programma.
Marco nasce a Ronciglione (VT) il 25 dicembre 1988 (Capricorno), proprio nel giorno di Natale. Fin da bambino ama tutti i generi musicali: “Alla tenera 'altezza' di 70 cm. comincio ad ascoltare di tutto, dal pop all’r&b, soul, rock ed inizio ad approfondire la mia cultura musicale: scopro il karaoke e comincio a cantare di nascosto, per timidezza. Poi una volta i miei per caso mi ascoltano e si convincono di mandarmi ad una scuola di canto. Da quel momento capisco che la musica non è poi così semplice come pensavo: c'era da imparare molto…. tecniche di respirazione, maschera facciale, scale, vocalizzi di qualsiasi genere, per affinare la voce”.
Marco inizia a cantare all’età di 14 anni. Mentre studia all'Istituto per il Design, segue anche una scuola di canto dove impara le prime tecniche per la gestione e l'utilizzo dei propri mezzi vocali. Visto il talento di Marco, l’insegnante di canto lo inserisce in un piccolo quintetto vocale con cui si esibisce in serate di piazza e per le festività, facendo cover.
Dopo 2 anni ha inizio il suo percorso solista con un gruppo di musicisti con il quale suona nei club un po’ del suo repertorio originale e un po’ di cover, continuando quindi la sua gavetta. Iniziano tre anni di duro lavoro e provinaggio, per affinare lo stile e la personalità, ed anche per questo, Marco, figlio unico, lascia la famiglia per trasferirsi a Roma. Contemporaneamente si iscrive all’Università nella Facoltà di Lingue, e fa esperienza come fonico e programmatore, prendendo familiarità con gli studi di registrazione.
Il suo genere preferito resta il Brit Pop e la sua massima, e amatissima, influenza musicale sono i Beatles: tra le sue canzoni preferite dei Fab 4 ci sono 'Michelle' e 'The Fool on te hill'. Anche se il brano che gli ha cambiato la vita è 'La luce dell’est' di Lucio Battisti.
Vincendo X Factor Marco partecipa di diritto alla Sessantesima Edizione del Festival di Sanremo, nella categoria 'Artisti', interpretando “Credimi ancora”, brano che fa parte dell’EP “Re Matto” uscito il 19 febbraio 2010 su etichetta Rca/Sony Music.
Il 2010 è un anno davvero unico per quest’artista giovane ma pieno di talento. Mentre la sua paginaFacebook continua a crescere (superando ad oggi i 300 mila iscritti), Il 3 e 4 maggio parte dall’Alcatraz di Milano Il “Re Matto Tour, un viaggio nella “Mattità”, un’avventura vertiginosa nella mente colorata e multiforme di MARCO MENGONI. Lo spettacolo nasce da un’ idea di Marco, Luca Tommassini e Stella Fabiani. La regia è affidata a LUCA TOMMASSINI, la direzione artistica è di PIERO CALABRESE, la produzione è di F&P Group e dei “CANTIERI MUSICALI” che da sempre lavorano con MENGONI. Nel team creativo di Marco e del “RE MATTO TOUR” sono state coinvolte figure importanti a livello mondiale come lo stilista Neil Barrett, che finora ha solo disegnato abiti per artisti come Madonna, Justin Timberlake, Brad Pitt e Johnny Depp, e lo scultore Davide Orlandi Dormino, creatore di “Opera Scacchi”, la scultura che invade il palco. “IL RE MATTO TOUR” è ideato, sviluppato e strutturato all’insegna della totale libertà, della poesia, della sregolatezza e dell’improvvisazione rendendo ogni concerto un vero evento, con ospiti a sorpresa cheMARCO scopre insieme al pubblico…una sfida che solo un Re Matto poteva accettare.
Intanto l’8 maggio Marco partecipa ai Trl Awards e vince nella categoria “Man of the Year”.
Il “Re Matto tour” è un’esperienza straordinaria per Marco, che vive e si ciba dell’entusiasmo del pubblico. È un tour trionfale che colleziona un sold out dopo l’altro.
Il 2 giugno viene premiato ai Wind Music Awards e si aggiudica il doppio disco di platino per il suo primo Ep “Dove si vola”, che raccoglie l’omonima canzone e alcune delle cover cantate durante il programma di X Factor, e l’album “Re Matto”, superando le 160 mila copie vendute.
Il "Re Matto" del pop italiano non si fa mancare proprio nulla. Supera gli altri colleghi in gara agli Ema 2010 nella categoria dedicata agli artisti italiani: Malika Ayane, dARi, Sonohra e Nina Zilli.
Questo è un riconoscimento fondamentale per Marco Mengoni, artista italiano rivelazione del 2010, che ad MTV si è già aggiudicato il premio come "Man Of The Year" ai TRL Awards 2010 ed è arrivato secondo in una gara all'ultima edizione del Coca Cola Live @ MTV: The Summer Song. Grazie alla vittoria come Best Italian Act, Marco è entrato in nomination per il "Best European Act" in concorrenza con gli altri vincitori dei regional act. Marco partecipa inoltre all'ottava edizione di "O'Scia'", insieme ad altre star del pop italiano ed internazionale, organizzata da Claudio Baglioni a Lampedusa in cui si intende sensibilizzare fan, politici e cittadini sul problema della immigrazione clandestina.
Il 19 ottobre esce su etichetta Rca/Sony Music il Cd+Dvd “Re Matto live”. L’album debutta al 1° posto della classifica dei dischi più venduti (Gfk/Fimi) e al 1° posto della classifica di iTunes.
A novembre Marco Mengoni, dopo aver trionfato nella categoria Best Italian Act, si aggiudica anche il prestigioso titolo di Best European Act: un premio importante per lui e per l'Italia, considerando che in 17 edizioni nessun italiano era mai riuscito a raggiungere tale riconoscimento.
Il 2 settembre 2011 arriva in radio il singolo “Solo” che, anticipando l’uscita del nuovo disco, schizza alprimo posto della classica di iTunes. Il 27 settembre esce “Solo 2.0”, un vero e proprio concept album, che oltre alle tracce del disco e a un contenuto virtuale speciale (Il Comic 2.0), contamina anche la prima parte del Tour.
Dopo un’anteprima trionfante del “Solo Tour” con due date evento al Forum di Assago e al Palalottomatica di Roma, Marco Mengoni decide di cambiare veste allo spettacolo e di svelare al pubblico un’altra porzione d’anima, il suo lato più intimista, quasi introspettivo, non tralasciando mai la sua voglia di stupire e di emozionare. È un TOUR TEATRALE che fa della suggestione visiva e sonora il suo punto di forza.
Uno spettacolo in cui musica, movimento scenico, luci e scenografie compenetrano tra loro, per toccare ancor più da vicino l’anima di chi ascolta. L’essenza intimista dello spettacolo è rappresentata soprattutto dal suono. Una chiave di lettura inedita, con cui verranno reinterpretati molti tra i brani più noti del repertorio di Marco, insieme ad alcune cover, mai eseguite prima.
Il tour teatrale, ideato da Elisa, Marco Mengoni e Andrea Rigonat, parte dall’Arcimboldi di Milano il 19 aprile, passando dal Filarmonico di Verona, il Politeama di Palermo, il Gran Teatro di Roma e molti dei teatri più importanti d’Italia.
In radio intanto suona il nuovo singolo “Dall’inferno”, estratto dall’album Solo 2.0
Esce il 24 aprile, in esclusiva su iTunes, “Dall’Inferno EP”, l’EP digitale di Marco Mengoni contenente la title track, il videoclip e il backstage inedito di “Dall’inferno” e il video live di “Come ti senti”, girato durante lo showcase di presentazione dell’album “Solo 2.0”.
Marco è ospite dell’evento "Premio Leggio d'Oro", dove gli viene consegnato il Premio Speciale Voce Rivelazione Cartoon per il doppiaggio del personaggio Onceler nel cartone animato "Lorax il guardiano della foresta".
Marco prende parte al progetto "...Io Ci Sono", l'album tributo a Giorgio Gaber che celebra il grande artista a dieci anni dalla sua scomparsa, interpretando il brano "Destra-Sinistra".
Il 2013 si apre con la partecipazione di Marco alla 63^ Edizione del Festival di Sanremo con i brani “Bellissimo” e “L’Essenziale”, ed è proprio con quest’ultimo che Marco si classifica primo vincendo il Festival.
Entrambi i brani sono contenuti nel nuovo album di inediti (Sony Music) uscito il 19 marzo 2013:#PRONTOACORRERE ha superato di gran lunga il traguardo del disco di platino e "L’Essenziale" è addirittura multiplatino.
Marco ha rappresentato l’Italia all’Eurovision Song Contest a Malmö (Svezia) nel mese di maggio, dove ha ottenuto il settimo posto con "L’Essenziale".
L’8 maggio è partito "l’Essenziale Anteprima Tour" dal Teatro degli Arcimboldi di Milano: un’anteprima di 10 date, ideata per i più importanti teatri italiani che hanno registrato il sold out non appena aperte la prevendite.
Il 4 luglio è partito invece da Trento "L’Essenziale Tour", con un clamoroso successo di richieste, che continua ad imporre l’apertura di nuove date.
Marco Mengoni
Teatro Arcimboldi - Milano
26 Settembre 2013
ph © Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Marco Mengoni , vincitore incontrastato della terza edizione di 'X Factor'. Presenza scenica da professionista consumato, lunatico, "permaloso quasi antipatico", ha conquistato la stima del pubblico (non è mai finito in ballottaggio per l'eliminazione) grazie a interpretazioni di grande spessore.
Il 4 dicembre 2009 esce “DOVE SI VOLA”, il suo primo Ep, che in poche settimane scala le classifiche di vendita con oltre 70 mila copie.
“Dove si vola”, brano che da il titolo all’Ep, è difficile da interpretare per un uomo, sia per la tonalità molto alta che per l’articolazione della melodia sull’armonia. La forza vocale di Marco regala al pezzo una magia unica che, durante le esibizioni fa letteralmente volare il pubblico, pubblico che l’ha votato e proclamato, quasi fin da subito, il vero talento della terza edizione di X Factor. All’interno dell’EP un altro brano inedito, “Lontanissimo da te”, firmato Massimo e Piero Calabrese e cinque tra le più emozionanti cover cantate da Marco durante il programma.
Marco nasce a Ronciglione (VT) il 25 dicembre 1988 (Capricorno), proprio nel giorno di Natale. Fin da bambino ama tutti i generi musicali: “Alla tenera 'altezza' di 70 cm. comincio ad ascoltare di tutto, dal pop all’r&b, soul, rock ed inizio ad approfondire la mia cultura musicale: scopro il karaoke e comincio a cantare di nascosto, per timidezza. Poi una volta i miei per caso mi ascoltano e si convincono di mandarmi ad una scuola di canto. Da quel momento capisco che la musica non è poi così semplice come pensavo: c'era da imparare molto…. tecniche di respirazione, maschera facciale, scale, vocalizzi di qualsiasi genere, per affinare la voce”.
Marco inizia a cantare all’età di 14 anni. Mentre studia all'Istituto per il Design, segue anche una scuola di canto dove impara le prime tecniche per la gestione e l'utilizzo dei propri mezzi vocali. Visto il talento di Marco, l’insegnante di canto lo inserisce in un piccolo quintetto vocale con cui si esibisce in serate di piazza e per le festività, facendo cover.
Dopo 2 anni ha inizio il suo percorso solista con un gruppo di musicisti con il quale suona nei club un po’ del suo repertorio originale e un po’ di cover, continuando quindi la sua gavetta. Iniziano tre anni di duro lavoro e provinaggio, per affinare lo stile e la personalità, ed anche per questo, Marco, figlio unico, lascia la famiglia per trasferirsi a Roma. Contemporaneamente si iscrive all’Università nella Facoltà di Lingue, e fa esperienza come fonico e programmatore, prendendo familiarità con gli studi di registrazione.
Il suo genere preferito resta il Brit Pop e la sua massima, e amatissima, influenza musicale sono i Beatles: tra le sue canzoni preferite dei Fab 4 ci sono 'Michelle' e 'The Fool on te hill'. Anche se il brano che gli ha cambiato la vita è 'La luce dell’est' di Lucio Battisti.
Vincendo X Factor Marco partecipa di diritto alla Sessantesima Edizione del Festival di Sanremo, nella categoria 'Artisti', interpretando “Credimi ancora”, brano che fa parte dell’EP “Re Matto” uscito il 19 febbraio 2010 su etichetta Rca/Sony Music.
Il 2010 è un anno davvero unico per quest’artista giovane ma pieno di talento. Mentre la sua paginaFacebook continua a crescere (superando ad oggi i 300 mila iscritti), Il 3 e 4 maggio parte dall’Alcatraz di Milano Il “Re Matto Tour, un viaggio nella “Mattità”, un’avventura vertiginosa nella mente colorata e multiforme di MARCO MENGONI. Lo spettacolo nasce da un’ idea di Marco, Luca Tommassini e Stella Fabiani. La regia è affidata a LUCA TOMMASSINI, la direzione artistica è di PIERO CALABRESE, la produzione è di F&P Group e dei “CANTIERI MUSICALI” che da sempre lavorano con MENGONI. Nel team creativo di Marco e del “RE MATTO TOUR” sono state coinvolte figure importanti a livello mondiale come lo stilista Neil Barrett, che finora ha solo disegnato abiti per artisti come Madonna, Justin Timberlake, Brad Pitt e Johnny Depp, e lo scultore Davide Orlandi Dormino, creatore di “Opera Scacchi”, la scultura che invade il palco. “IL RE MATTO TOUR” è ideato, sviluppato e strutturato all’insegna della totale libertà, della poesia, della sregolatezza e dell’improvvisazione rendendo ogni concerto un vero evento, con ospiti a sorpresa cheMARCO scopre insieme al pubblico…una sfida che solo un Re Matto poteva accettare.
Intanto l’8 maggio Marco partecipa ai Trl Awards e vince nella categoria “Man of the Year”.
Il “Re Matto tour” è un’esperienza straordinaria per Marco, che vive e si ciba dell’entusiasmo del pubblico. È un tour trionfale che colleziona un sold out dopo l’altro.
Il 2 giugno viene premiato ai Wind Music Awards e si aggiudica il doppio disco di platino per il suo primo Ep “Dove si vola”, che raccoglie l’omonima canzone e alcune delle cover cantate durante il programma di X Factor, e l’album “Re Matto”, superando le 160 mila copie vendute.
Il "Re Matto" del pop italiano non si fa mancare proprio nulla. Supera gli altri colleghi in gara agli Ema 2010 nella categoria dedicata agli artisti italiani: Malika Ayane, dARi, Sonohra e Nina Zilli.
Questo è un riconoscimento fondamentale per Marco Mengoni, artista italiano rivelazione del 2010, che ad MTV si è già aggiudicato il premio come "Man Of The Year" ai TRL Awards 2010 ed è arrivato secondo in una gara all'ultima edizione del Coca Cola Live @ MTV: The Summer Song. Grazie alla vittoria come Best Italian Act, Marco è entrato in nomination per il "Best European Act" in concorrenza con gli altri vincitori dei regional act. Marco partecipa inoltre all'ottava edizione di "O'Scia'", insieme ad altre star del pop italiano ed internazionale, organizzata da Claudio Baglioni a Lampedusa in cui si intende sensibilizzare fan, politici e cittadini sul problema della immigrazione clandestina.
Il 19 ottobre esce su etichetta Rca/Sony Music il Cd+Dvd “Re Matto live”. L’album debutta al 1° posto della classifica dei dischi più venduti (Gfk/Fimi) e al 1° posto della classifica di iTunes.
A novembre Marco Mengoni, dopo aver trionfato nella categoria Best Italian Act, si aggiudica anche il prestigioso titolo di Best European Act: un premio importante per lui e per l'Italia, considerando che in 17 edizioni nessun italiano era mai riuscito a raggiungere tale riconoscimento.
Il 2 settembre 2011 arriva in radio il singolo “Solo” che, anticipando l’uscita del nuovo disco, schizza alprimo posto della classica di iTunes. Il 27 settembre esce “Solo 2.0”, un vero e proprio concept album, che oltre alle tracce del disco e a un contenuto virtuale speciale (Il Comic 2.0), contamina anche la prima parte del Tour.
Dopo un’anteprima trionfante del “Solo Tour” con due date evento al Forum di Assago e al Palalottomatica di Roma, Marco Mengoni decide di cambiare veste allo spettacolo e di svelare al pubblico un’altra porzione d’anima, il suo lato più intimista, quasi introspettivo, non tralasciando mai la sua voglia di stupire e di emozionare. È un TOUR TEATRALE che fa della suggestione visiva e sonora il suo punto di forza.
Uno spettacolo in cui musica, movimento scenico, luci e scenografie compenetrano tra loro, per toccare ancor più da vicino l’anima di chi ascolta. L’essenza intimista dello spettacolo è rappresentata soprattutto dal suono. Una chiave di lettura inedita, con cui verranno reinterpretati molti tra i brani più noti del repertorio di Marco, insieme ad alcune cover, mai eseguite prima.
Il tour teatrale, ideato da Elisa, Marco Mengoni e Andrea Rigonat, parte dall’Arcimboldi di Milano il 19 aprile, passando dal Filarmonico di Verona, il Politeama di Palermo, il Gran Teatro di Roma e molti dei teatri più importanti d’Italia.
In radio intanto suona il nuovo singolo “Dall’inferno”, estratto dall’album Solo 2.0
Esce il 24 aprile, in esclusiva su iTunes, “Dall’Inferno EP”, l’EP digitale di Marco Mengoni contenente la title track, il videoclip e il backstage inedito di “Dall’inferno” e il video live di “Come ti senti”, girato durante lo showcase di presentazione dell’album “Solo 2.0”.
Marco è ospite dell’evento "Premio Leggio d'Oro", dove gli viene consegnato il Premio Speciale Voce Rivelazione Cartoon per il doppiaggio del personaggio Onceler nel cartone animato "Lorax il guardiano della foresta".
Marco prende parte al progetto "...Io Ci Sono", l'album tributo a Giorgio Gaber che celebra il grande artista a dieci anni dalla sua scomparsa, interpretando il brano "Destra-Sinistra".
Il 2013 si apre con la partecipazione di Marco alla 63^ Edizione del Festival di Sanremo con i brani “Bellissimo” e “L’Essenziale”, ed è proprio con quest’ultimo che Marco si classifica primo vincendo il Festival.
Entrambi i brani sono contenuti nel nuovo album di inediti (Sony Music) uscito il 19 marzo 2013:#PRONTOACORRERE ha superato di gran lunga il traguardo del disco di platino e "L’Essenziale" è addirittura multiplatino.
Marco ha rappresentato l’Italia all’Eurovision Song Contest a Malmö (Svezia) nel mese di maggio, dove ha ottenuto il settimo posto con "L’Essenziale".
L’8 maggio è partito "l’Essenziale Anteprima Tour" dal Teatro degli Arcimboldi di Milano: un’anteprima di 10 date, ideata per i più importanti teatri italiani che hanno registrato il sold out non appena aperte la prevendite.
Il 4 luglio è partito invece da Trento "L’Essenziale Tour", con un clamoroso successo di richieste, che continua ad imporre l’apertura di nuove date.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
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Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"
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Il 24 ottobre al Teatro Sociale di Como, Mika rivisiterà il suo repertorio di successi e proporrà nuove canzoni in chiave sinfonica con l’orchestra “Affinis Consort”, diretta da Simon Leclerc, creata appositamente per l’occasione da 81 professionisti internazionali: 65 strumentisti e 16 coristi.
Lo spettacolo nasce dal desiderio di Mika di replicare in Italia l’incredibile esperienza dei tre concerti sinfonici tenutisi a Montréal lo scorso febbraio, in cui ha confermato la sua versatilità e la qualità del suo repertorio pop, anche in chiave classica.
Il concerto arriva dopo i grandi successi estivi al Fabrique di Milano, al Teatro Antico di Taormina e all’Arena della Regina di Cattolica e le prossime tre date nei palasport di Milano (27 settembre), Roma (29 settembre) e Firenze (30 settembre). Le prevendite per la serata speciale partiranno da giovedì 1 ottobre.
Simon Leclerc è un affermato compositore di colonne sonore per la Paramount e direttore d’orchestra canadese a cui Mika ha affidato l’arrangiamento in chiave classica del suo repertorio. Dopo i concerti di Montreal, Mika ha entusiasticamente dichiarato: “Provenendo io stesso da una formazione professionale classica, per me è straordinario sentire le mie canzoni nelle veste classica che Simon ha dato loro, perché nella mia mente, le ho sempre immaginate così!”
Dal piccolo ensemble alla grande orchestra sinfonica. Dalle fondamenta classiche alle contaminazioni contemporanee e pop.
Affinis Consort racchiude nel suo dna la multiformità del suo essere.
L'unione di mondi, il Canada e l'Italia. Il superamento dei confini geografici e culturali. Il connubio e la condivisione delle esperienze che ogni singolo musicista porta sul palco, elevando le affinità.
Le Tour de France sur le front de 14-18
hommage aux glorieux anciens qui roulaient plus souvent sur des chemins de boue que sur des routes asphaltées.
En 2014, la Grande Boucle rend hommage au centenaire de la Première Guerre mondiale. L'étape du 10 juillet Arras-Reims comprend 90 km dans l'Aisne, dont le Chemin des Dames.
Coucy-le-Château, Anizy, Brancourt-en-Laonnois et Pinon, le peloton entrera sur le fameux Chemin des Dames.
À Pinon Le Tour fera son entrée dans une côte. dans la rue du 52e-RI .
Reims_Un parfum de Paris-Roubaix.
C’est dans la ville des rois de France qu’est jugée l’arrivée de la 6e étape, partie d’Arras pour 194kilomètres. Du Nord-Pas-de-Calais à la Champagne-Ardennes,
il n’y a que du plat et le sprint paraît inévitable.
D’ailleurs, les trois derniers vainqueurs à Reims s’appellent Alessandro Petacchi (2010), Robbie McEwen (2002) et Djamolidine Abdoujaparov (1991) : trois fusées.
Tout le monde sur le pont à Reims pour le Tour de France ...
Le Tour de France est une manifestation qui demande l’implication de tous les services de la Ville
La pose de barrières reste la mission la plus prenante pour les agents municipaux.
le Tour de France est une très grosse « machine » qui demande une logistique considérable.
Si la société ASO (Amaury sport organisation) a ses propres équipes qui suivent tout le parcours pendant les 22 jours de la compétition,
les villes étapes doivent elles aussi accompagner le mouvement.
la ligne d’arrivée.
Dans la zone d’arrivée, sous la houlette du directeur de site, des barrières hautes sont posées autour de la "zone technique",
d’où émettent les camions radio et les télévisions. Doublet travaille depuis un an à la conception de barrières "repousse public" dotées d’arches,
qui empêcheront toute main de percuter malencontreusement un coureur. Suite à la chute de Laurent Jalabert à Armentières d’ailleurs,
les barrières ne laissent plus dépasser aucun panneau publicitaire. La réclame est directement intégrée à la clôture.
La caravane publicitaire
La caravane publicitaire, créée en 1930, s’est développée considérablement au fil des années, pour accueillir plus de 180 véhicules en 2012.
Le défilé d’ouverture, festif et créatif, a su conquérir les marques et le public, jusqu’à devenir une composante essentielle au spectacle du Tour
LCL, qui sera toujours parrain du maillot jaune du leader du classement général du Tour de France, comme c'est le cas depuis 1987.
La caravane publicitaire du Tour Alsace part une heure avant les coureurs. Elle est composée d'une quinzaine de véhicules publicitaires
et suit le parcours officiel du Tour. Elle distribue une multitude de goodies aux spectateurs au bord des routes.
47 % des spectateurs viennent en priorité pour la caravane
Le succès de la formule, avec un défilé de véhicules originaux qui « font de la réclame », en distribuant des cadeaux, est immédiat.
Les premiers annonceurs, comme la Vache qui rit, y gagnent la sympathie du public, qui se prête volontiers au jeu. Quatre-vingts ans plus tard,
la caravane publicitaire est devenue une composante à part entière du spectacle du Tour. Indissociable de la course qu’elle précède, la procession multiforme et multicolore
offre une animation de plus de 45 minutes. Jeunes et moins jeunes commentent sur le bord des routes la taille et l’inventivité des chars ; on s’y presse pour demander des cadeaux…
Au total, une étude réalisée auprès du public du Tour révèle que 47 % des spectateurs sont venus en priorité pour voir la caravane publicitaire.
lancer de saucissons Cochonou à la foule en délire.
Cochonou, la marque de saucissons distribuera bien sûr encore bobs et saucissons au bord de la route depuis ses fameuses 2CV, mais sera également présent sur internet,
avec son blog Cochonou et Vous tenu depuis quelques années par Thibault (qui avait repris le flambeau d'Adeline).
Le garage virtuel CochonouOriginalité cette année, la possibilité de créer sa propre 2CV dans le garage virtuel Cochonou et peut-être même la gagner et la tester pour
la première fois sur la célèbre Avenue des Champs-Elysées lors de l'arrivée de la dernière étape du Tour à Paris !
Le jeu-concours est ouvert jusqu'au 31 juillet mais le grand gagnant de la 2CV sera désigné le 15 juillet prochain sachant que par la suite on peut gagner l'un des autres
lots du jeu (2CV Cochonou miniatures, bobs, porte-clés et sacs cabas).
Vittel, l'eau officiel du Tour de France innove cette année en permettant à d'ordinaires spectateurs du Tour d'en devenir acteur !
ŠKODA qui reste parrain du maillot blanc de meilleur jeune et qui est toujours à la recherche des meilleures animations pour vous permettre, vous en tant que fan du Tour,
de remporter des prix avec le ŠKODA Fan Tour.
Il y a quelques mois, &ScaronKODA a d'ailleurs prolongé son contrat de partenariat avec A.S.O. et donc entre autres avec le Tour de France, jusqu'en 2018.
Banette a reconduit son partenariat pour 4 ans, jusqu'en 2017, et distribuera toujours des milliers de tartines préparées par les artisans boulangers Banette de la région alors
que la caravane continue à distribuer différents goodies et des bons de réduction. Banette communiquera sur son Tour de France sur sa page Facebook.
McCain, le producteur de frites surgelées, a rejoint le Tour en tant que fournisseur officiel pendant 3 ans et sera présent dans la caravane publicitaire du Tour avec un char-tracteur et 3 véhicules légers.
Belin fournira toujours l'apéro, mais ne valorise pas vraiment son partenariat. La seule chose qu'on peut donc vous dire, c'est que "les super z'héros" rejoignent la caravane de Belin :
Du samedi 5 juillet au dimanche 27 juillet 2014, le 101e Tour de France comprendra 21 étapes pour une distance de 3 664 kilomètres.
Le Tour de France sur le front de 14-18
hommage aux glorieux anciens qui roulaient plus souvent sur des chemins de boue que sur des routes asphaltées.
En 2014, la Grande Boucle rend hommage au centenaire de la Première Guerre mondiale. L'étape du 10 juillet Arras-Reims comprend 90 km dans l'Aisne, dont le Chemin des Dames.
Coucy-le-Château, Anizy, Brancourt-en-Laonnois et Pinon, le peloton entrera sur le fameux Chemin des Dames.
À Pinon Le Tour fera son entrée dans une côte. dans la rue du 52e-RI .
Reims_Un parfum de Paris-Roubaix.
C’est dans la ville des rois de France qu’est jugée l’arrivée de la 6e étape, partie d’Arras pour 194kilomètres. Du Nord-Pas-de-Calais à la Champagne-Ardennes,
il n’y a que du plat et le sprint paraît inévitable.
D’ailleurs, les trois derniers vainqueurs à Reims s’appellent Alessandro Petacchi (2010), Robbie McEwen (2002) et Djamolidine Abdoujaparov (1991) : trois fusées.
Tout le monde sur le pont à Reims pour le Tour de France ...
Le Tour de France est une manifestation qui demande l’implication de tous les services de la Ville
La pose de barrières reste la mission la plus prenante pour les agents municipaux.
le Tour de France est une très grosse « machine » qui demande une logistique considérable.
Si la société ASO (Amaury sport organisation) a ses propres équipes qui suivent tout le parcours pendant les 22 jours de la compétition,
les villes étapes doivent elles aussi accompagner le mouvement.
la ligne d’arrivée.
Dans la zone d’arrivée, sous la houlette du directeur de site, des barrières hautes sont posées autour de la "zone technique",
d’où émettent les camions radio et les télévisions. Doublet travaille depuis un an à la conception de barrières "repousse public" dotées d’arches,
qui empêcheront toute main de percuter malencontreusement un coureur. Suite à la chute de Laurent Jalabert à Armentières d’ailleurs,
les barrières ne laissent plus dépasser aucun panneau publicitaire. La réclame est directement intégrée à la clôture.
La caravane publicitaire
La caravane publicitaire, créée en 1930, s’est développée considérablement au fil des années, pour accueillir plus de 180 véhicules en 2012.
Le défilé d’ouverture, festif et créatif, a su conquérir les marques et le public, jusqu’à devenir une composante essentielle au spectacle du Tour
LCL, qui sera toujours parrain du maillot jaune du leader du classement général du Tour de France, comme c'est le cas depuis 1987.
La caravane publicitaire du Tour Alsace part une heure avant les coureurs. Elle est composée d'une quinzaine de véhicules publicitaires
et suit le parcours officiel du Tour. Elle distribue une multitude de goodies aux spectateurs au bord des routes.
47 % des spectateurs viennent en priorité pour la caravane
Le succès de la formule, avec un défilé de véhicules originaux qui « font de la réclame », en distribuant des cadeaux, est immédiat.
Les premiers annonceurs, comme la Vache qui rit, y gagnent la sympathie du public, qui se prête volontiers au jeu. Quatre-vingts ans plus tard,
la caravane publicitaire est devenue une composante à part entière du spectacle du Tour. Indissociable de la course qu’elle précède, la procession multiforme et multicolore
offre une animation de plus de 45 minutes. Jeunes et moins jeunes commentent sur le bord des routes la taille et l’inventivité des chars ; on s’y presse pour demander des cadeaux…
Au total, une étude réalisée auprès du public du Tour révèle que 47 % des spectateurs sont venus en priorité pour voir la caravane publicitaire.
lancer de saucissons Cochonou à la foule en délire.
Cochonou, la marque de saucissons distribuera bien sûr encore bobs et saucissons au bord de la route depuis ses fameuses 2CV, mais sera également présent sur internet,
avec son blog Cochonou et Vous tenu depuis quelques années par Thibault (qui avait repris le flambeau d'Adeline).
Le garage virtuel CochonouOriginalité cette année, la possibilité de créer sa propre 2CV dans le garage virtuel Cochonou et peut-être même la gagner et la tester pour
la première fois sur la célèbre Avenue des Champs-Elysées lors de l'arrivée de la dernière étape du Tour à Paris !
Le jeu-concours est ouvert jusqu'au 31 juillet mais le grand gagnant de la 2CV sera désigné le 15 juillet prochain sachant que par la suite on peut gagner l'un des autres
lots du jeu (2CV Cochonou miniatures, bobs, porte-clés et sacs cabas).
Vittel, l'eau officiel du Tour de France innove cette année en permettant à d'ordinaires spectateurs du Tour d'en devenir acteur !
ŠKODA qui reste parrain du maillot blanc de meilleur jeune et qui est toujours à la recherche des meilleures animations pour vous permettre, vous en tant que fan du Tour,
de remporter des prix avec le ŠKODA Fan Tour.
Il y a quelques mois, &ScaronKODA a d'ailleurs prolongé son contrat de partenariat avec A.S.O. et donc entre autres avec le Tour de France, jusqu'en 2018.
Banette a reconduit son partenariat pour 4 ans, jusqu'en 2017, et distribuera toujours des milliers de tartines préparées par les artisans boulangers Banette de la région alors
que la caravane continue à distribuer différents goodies et des bons de réduction. Banette communiquera sur son Tour de France sur sa page Facebook.
McCain, le producteur de frites surgelées, a rejoint le Tour en tant que fournisseur officiel pendant 3 ans et sera présent dans la caravane publicitaire du Tour avec un char-tracteur et 3 véhicules légers.
Belin fournira toujours l'apéro, mais ne valorise pas vraiment son partenariat. La seule chose qu'on peut donc vous dire, c'est que "les super z'héros" rejoignent la caravane de Belin :
Du samedi 5 juillet au dimanche 27 juillet 2014, le 101e Tour de France comprendra 21 étapes pour une distance de 3 664 kilomètres.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Le Tour de France sur le front de 14-18
hommage aux glorieux anciens qui roulaient plus souvent sur des chemins de boue que sur des routes asphaltées.
En 2014, la Grande Boucle rend hommage au centenaire de la Première Guerre mondiale. L'étape du 10 juillet Arras-Reims comprend 90 km dans l'Aisne, dont le Chemin des Dames.
Coucy-le-Château, Anizy, Brancourt-en-Laonnois et Pinon, le peloton entrera sur le fameux Chemin des Dames.
À Pinon Le Tour fera son entrée dans une côte. dans la rue du 52e-RI .
Reims_Un parfum de Paris-Roubaix.
C’est dans la ville des rois de France qu’est jugée l’arrivée de la 6e étape, partie d’Arras pour 194kilomètres. Du Nord-Pas-de-Calais à la Champagne-Ardennes,
il n’y a que du plat et le sprint paraît inévitable.
D’ailleurs, les trois derniers vainqueurs à Reims s’appellent Alessandro Petacchi (2010), Robbie McEwen (2002) et Djamolidine Abdoujaparov (1991) : trois fusées.
Tout le monde sur le pont à Reims pour le Tour de France ...
Le Tour de France est une manifestation qui demande l’implication de tous les services de la Ville
La pose de barrières reste la mission la plus prenante pour les agents municipaux.
le Tour de France est une très grosse « machine » qui demande une logistique considérable.
Si la société ASO (Amaury sport organisation) a ses propres équipes qui suivent tout le parcours pendant les 22 jours de la compétition,
les villes étapes doivent elles aussi accompagner le mouvement.
la ligne d’arrivée.
Dans la zone d’arrivée, sous la houlette du directeur de site, des barrières hautes sont posées autour de la "zone technique",
d’où émettent les camions radio et les télévisions. Doublet travaille depuis un an à la conception de barrières "repousse public" dotées d’arches,
qui empêcheront toute main de percuter malencontreusement un coureur. Suite à la chute de Laurent Jalabert à Armentières d’ailleurs,
les barrières ne laissent plus dépasser aucun panneau publicitaire. La réclame est directement intégrée à la clôture.
La caravane publicitaire
La caravane publicitaire, créée en 1930, s’est développée considérablement au fil des années, pour accueillir plus de 180 véhicules en 2012.
Le défilé d’ouverture, festif et créatif, a su conquérir les marques et le public, jusqu’à devenir une composante essentielle au spectacle du Tour
LCL, qui sera toujours parrain du maillot jaune du leader du classement général du Tour de France, comme c'est le cas depuis 1987.
La caravane publicitaire du Tour Alsace part une heure avant les coureurs. Elle est composée d'une quinzaine de véhicules publicitaires
et suit le parcours officiel du Tour. Elle distribue une multitude de goodies aux spectateurs au bord des routes.
47 % des spectateurs viennent en priorité pour la caravane
Le succès de la formule, avec un défilé de véhicules originaux qui « font de la réclame », en distribuant des cadeaux, est immédiat.
Les premiers annonceurs, comme la Vache qui rit, y gagnent la sympathie du public, qui se prête volontiers au jeu. Quatre-vingts ans plus tard,
la caravane publicitaire est devenue une composante à part entière du spectacle du Tour. Indissociable de la course qu’elle précède, la procession multiforme et multicolore
offre une animation de plus de 45 minutes. Jeunes et moins jeunes commentent sur le bord des routes la taille et l’inventivité des chars ; on s’y presse pour demander des cadeaux…
Au total, une étude réalisée auprès du public du Tour révèle que 47 % des spectateurs sont venus en priorité pour voir la caravane publicitaire.
lancer de saucissons Cochonou à la foule en délire.
Cochonou, la marque de saucissons distribuera bien sûr encore bobs et saucissons au bord de la route depuis ses fameuses 2CV, mais sera également présent sur internet,
avec son blog Cochonou et Vous tenu depuis quelques années par Thibault (qui avait repris le flambeau d'Adeline).
Le garage virtuel CochonouOriginalité cette année, la possibilité de créer sa propre 2CV dans le garage virtuel Cochonou et peut-être même la gagner et la tester pour
la première fois sur la célèbre Avenue des Champs-Elysées lors de l'arrivée de la dernière étape du Tour à Paris !
Le jeu-concours est ouvert jusqu'au 31 juillet mais le grand gagnant de la 2CV sera désigné le 15 juillet prochain sachant que par la suite on peut gagner l'un des autres
lots du jeu (2CV Cochonou miniatures, bobs, porte-clés et sacs cabas).
Vittel, l'eau officiel du Tour de France innove cette année en permettant à d'ordinaires spectateurs du Tour d'en devenir acteur !
ŠKODA qui reste parrain du maillot blanc de meilleur jeune et qui est toujours à la recherche des meilleures animations pour vous permettre, vous en tant que fan du Tour,
de remporter des prix avec le ŠKODA Fan Tour.
Il y a quelques mois, &ScaronKODA a d'ailleurs prolongé son contrat de partenariat avec A.S.O. et donc entre autres avec le Tour de France, jusqu'en 2018.
Banette a reconduit son partenariat pour 4 ans, jusqu'en 2017, et distribuera toujours des milliers de tartines préparées par les artisans boulangers Banette de la région alors
que la caravane continue à distribuer différents goodies et des bons de réduction. Banette communiquera sur son Tour de France sur sa page Facebook.
McCain, le producteur de frites surgelées, a rejoint le Tour en tant que fournisseur officiel pendant 3 ans et sera présent dans la caravane publicitaire du Tour avec un char-tracteur et 3 véhicules légers.
Belin fournira toujours l'apéro, mais ne valorise pas vraiment son partenariat. La seule chose qu'on peut donc vous dire, c'est que "les super z'héros" rejoignent la caravane de Belin :
Du samedi 5 juillet au dimanche 27 juillet 2014, le 101e Tour de France comprendra 21 étapes pour une distance de 3 664 kilomètres.
Sem Benelli
Sem Benelli (Prato, 10 agosto 1877 – Zoagli, 18 dicembre 1949) è stato un poeta, scrittore e drammaturgo italiano, autore di testi per il teatro e di sceneggiature per il cinema. Fu anche autore di libretti d'opera.
È stato spesso considerato dalla critica un D'Annunzio in minore ("ciabatta smessa del dannunzianesimo" lo definì addirittura in maniera un po' ingenerosa Giovanni Papini), ma recentemente il suo talento letterario è stato rivalutato fino a considerarlo come una fra le maggiori espressioni della tragedia moderna.
Il drammaturgo pratese fu autore del testo teatrale La cena delle beffe, tragedia ambientata nella Firenze medicea di Lorenzo il Magnifico, che ebbe un successo clamoroso e tale comunque da consegnare il suo nome alla storia della letteratura. Da questa tragedia fu tratto nel 1941 dal regista Alessandro Blasetti l'omonimo celebre film con Amedeo Nazzari e Clara Calamai.
Dalla riduzione del testo a libretto, venne ricavata da Umberto Giordano l'opera omonima andata in scena in prima rappresentazione al Teatro alla Scala di Milano il 20 dicembre 1924. La sola bibliografia teatrale di Benelli comprende una trentina di titoli, sviluppati nell'arco di una quarantina di anni e articolati tanto su drammi sociali quanto su commedie di ambientazione di tipo borghese.
Biografia
Benelli, padre del giornalista Sennuccio Benelli e nonno della regista Gioia Benelli, nacque in una famiglia di artigiani di umili condizioni e dovette interrompere gli studi a causa della morte prematura del padre. Dopo una breve esperienza come giornalista, si avvicinò alla letteratura da autodidatta e solo poco più che trentenne, nel 1908, scrisse la sua prima commedia, Tìgnola. Il successo non tardò però ad arrivare: l'anno successivo, infatti, veniva messo in scena al Teatro Argentina di Roma il dramma La cena delle beffe.
Il lavoro di Benelli fu accolto con estremo favore dalla critica, spiazzata dal tentativo (evidentemente riuscito) dell'autore di rompere gli schemi classici dell'epoca, centrati sulla foga e la crudezza del verismo o altrimenti sull'ars declamatoria di stampo dannunziano. La fortuna di questo titolo non si limitò al territorio italiano (la tragedia entrerà stabilmente nel repertorio teatrale per essere rappresentata anche sotto chiavi diverse, come nella versione di Gigi Proietti) ma fu replicata anche all'estero, tanto da essere portato in scena negli anni successivi in numerose repliche sia a Parigi, da Sarah Bernhardt, sia a Broadway, dalla compagnia di John Barrymore.
Nel 1945 è cofondatore, insieme a Ugo Betti, Diego Fabbri, Massimo Bontempelli ed altri autori teatrali, del Sindacato Nazionale Autori Drammatici (SNAD), con l'intento di salvaguardare il lavoro dei drammaturghi e degli scrittori teatrali.
Tragedie ed altri lavori
Benelli ebbe il pregio di saper coltivare la sua vena artistica, senza adagiarsi sugli allori del successo ottenuto con la Cena; negli anni immediatamente successivi riuscì a scrivere altri importanti lavori teatrali di impronta storica che ebbero un particolare successo anche in virtù dei multiformi apparati scenografici con i quali venivano rappresentati in scena. Si segnalano qui, in particolare, le tragedie L'amore dei tre re (1910), servita anche da libretto per un melodramma di Italo Montemezzi andato in scena nel 1913; Il mantellaccio e Rosmunda (scritte nel 1911); La Gorgona (1913), da cui furono tratti due film omonimi La Gorgona nel 1915 e nel 1942, La Gorgona; ed infine Le nozze dei centauri (lavoro pubblicato nel 1915). Nel 1913 compose un poema sinfonico in onore di Giuseppe Verdi musicato da Francesco Cilea ed eseguito al Teatro Carlo Felice di Genova, città alla quale il cigno di Busseto era molto legato.
Il simbolismo
A detta dei critici l'arte letteraria di Benelli - specie per quanto riguarda la produzione principale che va dal 1908 al 1915 - è contraddistinta da una raffinata ricchezza di simbolismi, solo in parte intaccata da un cupo erotismo e da forti connotazioni di carattere psicologico. La successiva produzione poco aggiungerà al suo valore di scrittore dalle molte sfaccettature. Meritano di essere comunque segnalate le commedie: Adamo ed Eva (del 1933), Madre Regina ed Eroi (messe in scena nel 1934) e Caterina Sforza, ispirato all'omonimo personaggio storico (1938).
Il castello
A quasi voler concretizzare il suo simbolismo nel 1914 fece costruire sulla scogliera di Zoagli a strapiombo sul mare, un castello denominato tuttora "Il castello di Sem Benelli", progettato da Gian Giuseppe Mancini: nel suo complesso, ma soprattutto in ogni particolare architettonico, traspare la personalità del drammaturgo, la stessa scelta dei materiali tra i più diversi ed eterogenei, come marmi, maioliche, mattoni, pietra... rispecchiano le sfaccettature dello scrittore. Nel suo insieme, maestoso e compatto, addolcito dalle linee curve delle ripetute rotondità, contornato da uno sfondo naturale unico, ne fanno quasi una scenografia teatrale ad integrazione delle sue opere.
Autore simbolista, sostenitore del futurismo
Fortemente condizionato dai fermenti operai di fine Ottocento e primo Novecento, su sostenuto da una forte tensione verso i valori della giustizia sociale. Assieme a Filippo Tommaso Marinetti (con il quale fondò nel 1905 a Milano la rivista letteraria Poesia) fu fra coloro che propugnarono il movimento del Futurismo. Venne eletto deputato nel 1921, ma all'indomani dell'uccisione di Giacomo Matteotti entrò in rotta di collisione con il regime fascista. Nel 1922 Sem Benelli, con la collaborazione di Mario Broglio, coordinò la realizzazione dell'esposizione d'arte La Fiorentina Primaverile di Belle Arti, a cura della "Società delle Belle Arti di Firenze"[1].
Nel 1925 fu tra i firmatari del Manifesto degli intellettuali antifascisti, redatto da Benedetto Croce. Trascorse gli ultimi anni di vita sul golfo del Tigullio, nella amatissima città di Zoagli, nella quale è tutt'oggi visibile l'elegante castello sul mare che fece costruire e che ne ricorda la figura e l'attività letteraria. A Firenze una targa in una trattoria del centro storico lo ricorda con un suo motto celebre:
« Fate che tutto sia preparato per bene ... »
I rapporti con il fascismo
« È difficile guardarmi con occhi limpidi »
(Sem Benelli)
Benelli fu amico di Marinetti, che aveva avuto parole di lode per le sue opere[2][3] fino a dopo la fine Prima guerra mondiale, che Benelli aveva propugnato come convinto interventista. In seguito i rapporti tra i due mutarono radicalmente, arrivando al «disprezzo reciproco»[4]
Allo stesso modo mutò in Benelli l'ammirazione per il regime fascista, che pure aveva condiviso con Gabriele D'Annunzio partecipando con lui all'impresa fiumana come legionario. Dopo l'omicidio di Giacomo Matteotti ad opera di fascisti nel 1924 nasce in Benelli, che fu tra i firmatari del Manifesto degli intellettuali antifascisti del maggio del 1925, un'accesa ostilità per il regime fino al punto di fondare un'organizzazione antifascista, la Lega Italica, che il governo chiuse quasi immediatamente.
La censura fascista
Da quel periodo la censura fascista si accanì sulle rappresentazioni teatrali di Benelli. Il Ministero della Cultura Popolare nel maggio del 1933 ordinava all'Opera Nazionale Dopolavoro di proibire «a tutte le compagnie filodrammatiche di rappresentare lavori di Roberto Bracco e di Sem Benelli», sospetto antifascista e comunque «contrarie ai criteri educativi e morali» del fascismo. Sorvegliato dall'OVRA, impossibilitato a pagare i suoi debiti, Benelli, a cui è stato espressamente vietato di comporre altre opere, attraversa un difficile momento anche se l'ambiguo atteggiamento del regime nei confronti dell'arte gli permette a sprazzi di continuare il suo lavoro non senza clamorosi incidenti.
Significativo quanto accadde con il dramma l'Orchidea, rappresentato all'"Eliseo" di Roma il 20 maggio del 1938. Scriveva Arturo Bocchini, il capo della polizia, a Francesco Peruzzi, ispettore responsabile dell'OVRA: «Com'è noto la sera del 20 maggio u.s., al teatro Eliseo di Roma, la commedia Orchidea di Sem Benelli ebbe un'accoglienza talmente ostile da parte degli spettatori che se ne dovette sospendere la rappresentazione. Il lavoro è stato poi definitivamente tolto dal cartellone.»
In realtà l'Orchidea al suo debutto aveva avuto una buona accoglienza dal pubblico e se ora invece ne subiva i fischi e le urla di dissenso questo era dovuto alla gazzarra organizzata da una cinquantina di squadristi fascisti mandati appositamente da Starace, segretario nazionale del Partito nazionale fascista e da Andrea Ippolito, federale di Roma.
Precedentemente a questi fatti la censura fascista si era maldestramente esercitata anche su un altro dramma di Benelli L'elefante, rappresentato nel 1937. Per un qualche equivoco i tagli imposti al copione non erano stati riportati nel testo che era stato pubblicato e distribuito in teatro, per cui il pubblico poté constatare, seguendo la recitazione degli attori, l'insensatezza delle frasi censurate come quella che diceva «il matrimonio è diventato la fissazione della civiltà moderna».
Le opere di Benelli, per la sua fama nazionale e internazionale di cui il regime fascista era costretto a tener conto, continuarono però ad essere rappresentate regolarmente riscuotendo un grande successo di pubblico e di critica ma da quel momento Benelli era ormai caduto in disgrazia presso il Duce che pure egli aveva apostrofato come genio in cima a una piramide, Dio in terra.
Il rapporto con Mussolini
Nonostante le pressioni di alcuni intellettuali, Mussolini non desistette dal suo atteggiamento ostile nei confronti di Benelli e si rifiutò di annoverarlo tra gli accademici d'Italia poiché «...neanche il suo essersi arruolato volontario per l'Africa Orientale mi ha convinto della sua improvvisa fedeltà al fascismo.»[5] È forse nel Diario di Galeazzo Ciano che si può rintracciare il motivo di tanta avversità del Duce nei confronti dell'artista che pure il regime sovvenzionava con il pretesto di aiuti finanziari per l'edificazione, ad opera di Benelli, del castello di Zoagli.
Scrive Ciano il 21 maggio del 1938: «[Mussolini] critica l'arte di Sem Benelli che consiste nel mettere in pubblico la parte deteriore dell'umanità. In ogni casa c'è un cesso e tutti lo sanno: ma non per questo lo si mostra all'ospite, quando viene a far visita»[6] La proibizione di stampare le sue opere, il divieto ai giornali di accogliere sue collaborazioni, e il fatto di non essere visto di buon occhio né dai fascisti, né dai tedeschi, convincono Benelli a lasciare l'Italia (lo avrebbe probabilmente fatto prima se il regime non glielo avesse impedito bloccandogli il passaporto e facendolo pedinare per lunghi periodi della sua vita) e a riparare nel 1944 in Svizzera dopo aver collaborato con la Resistenza milanese.
Nel 1948 Sem Benelli si iscrive all' "Alleanza per la difesa della cultura", un'emanazione del Fronte popolare, l'unione elettorale delle sinistre: il «Fronte incandescente», come lo definisce Benelli, dove «...il fuoco purifica e fluidifica ». «Vi aderisco» scriveva Benelli «essendo e volendo essere sempre italianissimo, non balcanico, ma nato sulle rive della Toscana, dove l'aria è in perenne vibrazione». Non tutti appoggiarono questa adesione "libertaria" di Benelli come Carlo Levi che ritirò la sua partecipazione al Fronte rifiutandosi di stare accanto a Benelli «trombone fascista».
La vera natura politica del drammaturgo è stata forse colta da Giuseppe Bottai nel suo Diario 1944-48[7] definendo non fascista ma mussoliniano Benelli che, insieme a altri come lui «davano ragione a Mussolini contro il fascismo».[8] Un mussolinismo ideale il suo, pericoloso e dannoso per il reale regime fascista. Ma forse chi era veramente Sem Benelli lo si può cogliere in quanto egli scrisse di se stesso:
« L'artista è l'eroe che i tiranni invidiano e che gli Stati vogliono assoggettare e deformare poiché egli vive per l'uomo ed è spesso contro lo Stato. Se mi direte anarchico, non importa: sono anarchico perché credo l'uomo più importante dello Stato
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Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Le Tour de France sur le front de 14-18
hommage aux glorieux anciens qui roulaient plus souvent sur des chemins de boue que sur des routes asphaltées.
En 2014, la Grande Boucle rend hommage au centenaire de la Première Guerre mondiale. L'étape du 10 juillet Arras-Reims comprend 90 km dans l'Aisne, dont le Chemin des Dames.
Coucy-le-Château, Anizy, Brancourt-en-Laonnois et Pinon, le peloton entrera sur le fameux Chemin des Dames.
À Pinon Le Tour fera son entrée dans une côte. dans la rue du 52e-RI .
Reims_Un parfum de Paris-Roubaix.
C’est dans la ville des rois de France qu’est jugée l’arrivée de la 6e étape, partie d’Arras pour 194kilomètres. Du Nord-Pas-de-Calais à la Champagne-Ardennes,
il n’y a que du plat et le sprint paraît inévitable.
D’ailleurs, les trois derniers vainqueurs à Reims s’appellent Alessandro Petacchi (2010), Robbie McEwen (2002) et Djamolidine Abdoujaparov (1991) : trois fusées.
Tout le monde sur le pont à Reims pour le Tour de France ...
Le Tour de France est une manifestation qui demande l’implication de tous les services de la Ville
La pose de barrières reste la mission la plus prenante pour les agents municipaux.
le Tour de France est une très grosse « machine » qui demande une logistique considérable.
Si la société ASO (Amaury sport organisation) a ses propres équipes qui suivent tout le parcours pendant les 22 jours de la compétition,
les villes étapes doivent elles aussi accompagner le mouvement.
la ligne d’arrivée.
Dans la zone d’arrivée, sous la houlette du directeur de site, des barrières hautes sont posées autour de la "zone technique",
d’où émettent les camions radio et les télévisions. Doublet travaille depuis un an à la conception de barrières "repousse public" dotées d’arches,
qui empêcheront toute main de percuter malencontreusement un coureur. Suite à la chute de Laurent Jalabert à Armentières d’ailleurs,
les barrières ne laissent plus dépasser aucun panneau publicitaire. La réclame est directement intégrée à la clôture.
La caravane publicitaire
La caravane publicitaire, créée en 1930, s’est développée considérablement au fil des années, pour accueillir plus de 180 véhicules en 2012.
Le défilé d’ouverture, festif et créatif, a su conquérir les marques et le public, jusqu’à devenir une composante essentielle au spectacle du Tour
LCL, qui sera toujours parrain du maillot jaune du leader du classement général du Tour de France, comme c'est le cas depuis 1987.
La caravane publicitaire du Tour Alsace part une heure avant les coureurs. Elle est composée d'une quinzaine de véhicules publicitaires
et suit le parcours officiel du Tour. Elle distribue une multitude de goodies aux spectateurs au bord des routes.
47 % des spectateurs viennent en priorité pour la caravane
Le succès de la formule, avec un défilé de véhicules originaux qui « font de la réclame », en distribuant des cadeaux, est immédiat.
Les premiers annonceurs, comme la Vache qui rit, y gagnent la sympathie du public, qui se prête volontiers au jeu. Quatre-vingts ans plus tard,
la caravane publicitaire est devenue une composante à part entière du spectacle du Tour. Indissociable de la course qu’elle précède, la procession multiforme et multicolore
offre une animation de plus de 45 minutes. Jeunes et moins jeunes commentent sur le bord des routes la taille et l’inventivité des chars ; on s’y presse pour demander des cadeaux…
Au total, une étude réalisée auprès du public du Tour révèle que 47 % des spectateurs sont venus en priorité pour voir la caravane publicitaire.
lancer de saucissons Cochonou à la foule en délire.
Cochonou, la marque de saucissons distribuera bien sûr encore bobs et saucissons au bord de la route depuis ses fameuses 2CV, mais sera également présent sur internet,
avec son blog Cochonou et Vous tenu depuis quelques années par Thibault (qui avait repris le flambeau d'Adeline).
Le garage virtuel CochonouOriginalité cette année, la possibilité de créer sa propre 2CV dans le garage virtuel Cochonou et peut-être même la gagner et la tester pour
la première fois sur la célèbre Avenue des Champs-Elysées lors de l'arrivée de la dernière étape du Tour à Paris !
Le jeu-concours est ouvert jusqu'au 31 juillet mais le grand gagnant de la 2CV sera désigné le 15 juillet prochain sachant que par la suite on peut gagner l'un des autres
lots du jeu (2CV Cochonou miniatures, bobs, porte-clés et sacs cabas).
Vittel, l'eau officiel du Tour de France innove cette année en permettant à d'ordinaires spectateurs du Tour d'en devenir acteur !
ŠKODA qui reste parrain du maillot blanc de meilleur jeune et qui est toujours à la recherche des meilleures animations pour vous permettre, vous en tant que fan du Tour,
de remporter des prix avec le ŠKODA Fan Tour.
Il y a quelques mois, &ScaronKODA a d'ailleurs prolongé son contrat de partenariat avec A.S.O. et donc entre autres avec le Tour de France, jusqu'en 2018.
Banette a reconduit son partenariat pour 4 ans, jusqu'en 2017, et distribuera toujours des milliers de tartines préparées par les artisans boulangers Banette de la région alors
que la caravane continue à distribuer différents goodies et des bons de réduction. Banette communiquera sur son Tour de France sur sa page Facebook.
McCain, le producteur de frites surgelées, a rejoint le Tour en tant que fournisseur officiel pendant 3 ans et sera présent dans la caravane publicitaire du Tour avec un char-tracteur et 3 véhicules légers.
Belin fournira toujours l'apéro, mais ne valorise pas vraiment son partenariat. La seule chose qu'on peut donc vous dire, c'est que "les super z'héros" rejoignent la caravane de Belin :
Du samedi 5 juillet au dimanche 27 juillet 2014, le 101e Tour de France comprendra 21 étapes pour une distance de 3 664 kilomètres.
Marco Mengoni
Teatro Arcimboldi - Milano
26 Settembre 2013
ph © Mairo Cinquetti
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Marco Mengoni , vincitore incontrastato della terza edizione di 'X Factor'. Presenza scenica da professionista consumato, lunatico, "permaloso quasi antipatico", ha conquistato la stima del pubblico (non è mai finito in ballottaggio per l'eliminazione) grazie a interpretazioni di grande spessore.
Il 4 dicembre 2009 esce “DOVE SI VOLA”, il suo primo Ep, che in poche settimane scala le classifiche di vendita con oltre 70 mila copie.
“Dove si vola”, brano che da il titolo all’Ep, è difficile da interpretare per un uomo, sia per la tonalità molto alta che per l’articolazione della melodia sull’armonia. La forza vocale di Marco regala al pezzo una magia unica che, durante le esibizioni fa letteralmente volare il pubblico, pubblico che l’ha votato e proclamato, quasi fin da subito, il vero talento della terza edizione di X Factor. All’interno dell’EP un altro brano inedito, “Lontanissimo da te”, firmato Massimo e Piero Calabrese e cinque tra le più emozionanti cover cantate da Marco durante il programma.
Marco nasce a Ronciglione (VT) il 25 dicembre 1988 (Capricorno), proprio nel giorno di Natale. Fin da bambino ama tutti i generi musicali: “Alla tenera 'altezza' di 70 cm. comincio ad ascoltare di tutto, dal pop all’r&b, soul, rock ed inizio ad approfondire la mia cultura musicale: scopro il karaoke e comincio a cantare di nascosto, per timidezza. Poi una volta i miei per caso mi ascoltano e si convincono di mandarmi ad una scuola di canto. Da quel momento capisco che la musica non è poi così semplice come pensavo: c'era da imparare molto…. tecniche di respirazione, maschera facciale, scale, vocalizzi di qualsiasi genere, per affinare la voce”.
Marco inizia a cantare all’età di 14 anni. Mentre studia all'Istituto per il Design, segue anche una scuola di canto dove impara le prime tecniche per la gestione e l'utilizzo dei propri mezzi vocali. Visto il talento di Marco, l’insegnante di canto lo inserisce in un piccolo quintetto vocale con cui si esibisce in serate di piazza e per le festività, facendo cover.
Dopo 2 anni ha inizio il suo percorso solista con un gruppo di musicisti con il quale suona nei club un po’ del suo repertorio originale e un po’ di cover, continuando quindi la sua gavetta. Iniziano tre anni di duro lavoro e provinaggio, per affinare lo stile e la personalità, ed anche per questo, Marco, figlio unico, lascia la famiglia per trasferirsi a Roma. Contemporaneamente si iscrive all’Università nella Facoltà di Lingue, e fa esperienza come fonico e programmatore, prendendo familiarità con gli studi di registrazione.
Il suo genere preferito resta il Brit Pop e la sua massima, e amatissima, influenza musicale sono i Beatles: tra le sue canzoni preferite dei Fab 4 ci sono 'Michelle' e 'The Fool on te hill'. Anche se il brano che gli ha cambiato la vita è 'La luce dell’est' di Lucio Battisti.
Vincendo X Factor Marco partecipa di diritto alla Sessantesima Edizione del Festival di Sanremo, nella categoria 'Artisti', interpretando “Credimi ancora”, brano che fa parte dell’EP “Re Matto” uscito il 19 febbraio 2010 su etichetta Rca/Sony Music.
Il 2010 è un anno davvero unico per quest’artista giovane ma pieno di talento. Mentre la sua paginaFacebook continua a crescere (superando ad oggi i 300 mila iscritti), Il 3 e 4 maggio parte dall’Alcatraz di Milano Il “Re Matto Tour, un viaggio nella “Mattità”, un’avventura vertiginosa nella mente colorata e multiforme di MARCO MENGONI. Lo spettacolo nasce da un’ idea di Marco, Luca Tommassini e Stella Fabiani. La regia è affidata a LUCA TOMMASSINI, la direzione artistica è di PIERO CALABRESE, la produzione è di F&P Group e dei “CANTIERI MUSICALI” che da sempre lavorano con MENGONI. Nel team creativo di Marco e del “RE MATTO TOUR” sono state coinvolte figure importanti a livello mondiale come lo stilista Neil Barrett, che finora ha solo disegnato abiti per artisti come Madonna, Justin Timberlake, Brad Pitt e Johnny Depp, e lo scultore Davide Orlandi Dormino, creatore di “Opera Scacchi”, la scultura che invade il palco. “IL RE MATTO TOUR” è ideato, sviluppato e strutturato all’insegna della totale libertà, della poesia, della sregolatezza e dell’improvvisazione rendendo ogni concerto un vero evento, con ospiti a sorpresa cheMARCO scopre insieme al pubblico…una sfida che solo un Re Matto poteva accettare.
Intanto l’8 maggio Marco partecipa ai Trl Awards e vince nella categoria “Man of the Year”.
Il “Re Matto tour” è un’esperienza straordinaria per Marco, che vive e si ciba dell’entusiasmo del pubblico. È un tour trionfale che colleziona un sold out dopo l’altro.
Il 2 giugno viene premiato ai Wind Music Awards e si aggiudica il doppio disco di platino per il suo primo Ep “Dove si vola”, che raccoglie l’omonima canzone e alcune delle cover cantate durante il programma di X Factor, e l’album “Re Matto”, superando le 160 mila copie vendute.
Il "Re Matto" del pop italiano non si fa mancare proprio nulla. Supera gli altri colleghi in gara agli Ema 2010 nella categoria dedicata agli artisti italiani: Malika Ayane, dARi, Sonohra e Nina Zilli.
Questo è un riconoscimento fondamentale per Marco Mengoni, artista italiano rivelazione del 2010, che ad MTV si è già aggiudicato il premio come "Man Of The Year" ai TRL Awards 2010 ed è arrivato secondo in una gara all'ultima edizione del Coca Cola Live @ MTV: The Summer Song. Grazie alla vittoria come Best Italian Act, Marco è entrato in nomination per il "Best European Act" in concorrenza con gli altri vincitori dei regional act. Marco partecipa inoltre all'ottava edizione di "O'Scia'", insieme ad altre star del pop italiano ed internazionale, organizzata da Claudio Baglioni a Lampedusa in cui si intende sensibilizzare fan, politici e cittadini sul problema della immigrazione clandestina.
Il 19 ottobre esce su etichetta Rca/Sony Music il Cd+Dvd “Re Matto live”. L’album debutta al 1° posto della classifica dei dischi più venduti (Gfk/Fimi) e al 1° posto della classifica di iTunes.
A novembre Marco Mengoni, dopo aver trionfato nella categoria Best Italian Act, si aggiudica anche il prestigioso titolo di Best European Act: un premio importante per lui e per l'Italia, considerando che in 17 edizioni nessun italiano era mai riuscito a raggiungere tale riconoscimento.
Il 2 settembre 2011 arriva in radio il singolo “Solo” che, anticipando l’uscita del nuovo disco, schizza alprimo posto della classica di iTunes. Il 27 settembre esce “Solo 2.0”, un vero e proprio concept album, che oltre alle tracce del disco e a un contenuto virtuale speciale (Il Comic 2.0), contamina anche la prima parte del Tour.
Dopo un’anteprima trionfante del “Solo Tour” con due date evento al Forum di Assago e al Palalottomatica di Roma, Marco Mengoni decide di cambiare veste allo spettacolo e di svelare al pubblico un’altra porzione d’anima, il suo lato più intimista, quasi introspettivo, non tralasciando mai la sua voglia di stupire e di emozionare. È un TOUR TEATRALE che fa della suggestione visiva e sonora il suo punto di forza.
Uno spettacolo in cui musica, movimento scenico, luci e scenografie compenetrano tra loro, per toccare ancor più da vicino l’anima di chi ascolta. L’essenza intimista dello spettacolo è rappresentata soprattutto dal suono. Una chiave di lettura inedita, con cui verranno reinterpretati molti tra i brani più noti del repertorio di Marco, insieme ad alcune cover, mai eseguite prima.
Il tour teatrale, ideato da Elisa, Marco Mengoni e Andrea Rigonat, parte dall’Arcimboldi di Milano il 19 aprile, passando dal Filarmonico di Verona, il Politeama di Palermo, il Gran Teatro di Roma e molti dei teatri più importanti d’Italia.
In radio intanto suona il nuovo singolo “Dall’inferno”, estratto dall’album Solo 2.0
Esce il 24 aprile, in esclusiva su iTunes, “Dall’Inferno EP”, l’EP digitale di Marco Mengoni contenente la title track, il videoclip e il backstage inedito di “Dall’inferno” e il video live di “Come ti senti”, girato durante lo showcase di presentazione dell’album “Solo 2.0”.
Marco è ospite dell’evento "Premio Leggio d'Oro", dove gli viene consegnato il Premio Speciale Voce Rivelazione Cartoon per il doppiaggio del personaggio Onceler nel cartone animato "Lorax il guardiano della foresta".
Marco prende parte al progetto "...Io Ci Sono", l'album tributo a Giorgio Gaber che celebra il grande artista a dieci anni dalla sua scomparsa, interpretando il brano "Destra-Sinistra".
Il 2013 si apre con la partecipazione di Marco alla 63^ Edizione del Festival di Sanremo con i brani “Bellissimo” e “L’Essenziale”, ed è proprio con quest’ultimo che Marco si classifica primo vincendo il Festival.
Entrambi i brani sono contenuti nel nuovo album di inediti (Sony Music) uscito il 19 marzo 2013:#PRONTOACORRERE ha superato di gran lunga il traguardo del disco di platino e "L’Essenziale" è addirittura multiplatino.
Marco ha rappresentato l’Italia all’Eurovision Song Contest a Malmö (Svezia) nel mese di maggio, dove ha ottenuto il settimo posto con "L’Essenziale".
L’8 maggio è partito "l’Essenziale Anteprima Tour" dal Teatro degli Arcimboldi di Milano: un’anteprima di 10 date, ideata per i più importanti teatri italiani che hanno registrato il sold out non appena aperte la prevendite.
Il 4 luglio è partito invece da Trento "L’Essenziale Tour", con un clamoroso successo di richieste, che continua ad imporre l’apertura di nuove date.
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
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Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"
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Il 24 ottobre al Teatro Sociale di Como, Mika rivisiterà il suo repertorio di successi e proporrà nuove canzoni in chiave sinfonica con l’orchestra “Affinis Consort”, diretta da Simon Leclerc, creata appositamente per l’occasione da 81 professionisti internazionali: 65 strumentisti e 16 coristi.
Lo spettacolo nasce dal desiderio di Mika di replicare in Italia l’incredibile esperienza dei tre concerti sinfonici tenutisi a Montréal lo scorso febbraio, in cui ha confermato la sua versatilità e la qualità del suo repertorio pop, anche in chiave classica.
Il concerto arriva dopo i grandi successi estivi al Fabrique di Milano, al Teatro Antico di Taormina e all’Arena della Regina di Cattolica e le prossime tre date nei palasport di Milano (27 settembre), Roma (29 settembre) e Firenze (30 settembre). Le prevendite per la serata speciale partiranno da giovedì 1 ottobre.
Simon Leclerc è un affermato compositore di colonne sonore per la Paramount e direttore d’orchestra canadese a cui Mika ha affidato l’arrangiamento in chiave classica del suo repertorio. Dopo i concerti di Montreal, Mika ha entusiasticamente dichiarato: “Provenendo io stesso da una formazione professionale classica, per me è straordinario sentire le mie canzoni nelle veste classica che Simon ha dato loro, perché nella mia mente, le ho sempre immaginate così!”
Dal piccolo ensemble alla grande orchestra sinfonica. Dalle fondamenta classiche alle contaminazioni contemporanee e pop.
Affinis Consort racchiude nel suo dna la multiformità del suo essere.
L'unione di mondi, il Canada e l'Italia. Il superamento dei confini geografici e culturali. Il connubio e la condivisione delle esperienze che ogni singolo musicista porta sul palco, elevando le affinità.
Le Tour de France sur le front de 14-18
hommage aux glorieux anciens qui roulaient plus souvent sur des chemins de boue que sur des routes asphaltées.
En 2014, la Grande Boucle rend hommage au centenaire de la Première Guerre mondiale. L'étape du 10 juillet Arras-Reims comprend 90 km dans l'Aisne, dont le Chemin des Dames.
Coucy-le-Château, Anizy, Brancourt-en-Laonnois et Pinon, le peloton entrera sur le fameux Chemin des Dames.
À Pinon Le Tour fera son entrée dans une côte. dans la rue du 52e-RI .
Reims_Un parfum de Paris-Roubaix.
C’est dans la ville des rois de France qu’est jugée l’arrivée de la 6e étape, partie d’Arras pour 194kilomètres. Du Nord-Pas-de-Calais à la Champagne-Ardennes,
il n’y a que du plat et le sprint paraît inévitable.
D’ailleurs, les trois derniers vainqueurs à Reims s’appellent Alessandro Petacchi (2010), Robbie McEwen (2002) et Djamolidine Abdoujaparov (1991) : trois fusées.
Tout le monde sur le pont à Reims pour le Tour de France ...
Le Tour de France est une manifestation qui demande l’implication de tous les services de la Ville
La pose de barrières reste la mission la plus prenante pour les agents municipaux.
le Tour de France est une très grosse « machine » qui demande une logistique considérable.
Si la société ASO (Amaury sport organisation) a ses propres équipes qui suivent tout le parcours pendant les 22 jours de la compétition,
les villes étapes doivent elles aussi accompagner le mouvement.
la ligne d’arrivée.
Dans la zone d’arrivée, sous la houlette du directeur de site, des barrières hautes sont posées autour de la "zone technique",
d’où émettent les camions radio et les télévisions. Doublet travaille depuis un an à la conception de barrières "repousse public" dotées d’arches,
qui empêcheront toute main de percuter malencontreusement un coureur. Suite à la chute de Laurent Jalabert à Armentières d’ailleurs,
les barrières ne laissent plus dépasser aucun panneau publicitaire. La réclame est directement intégrée à la clôture.
La caravane publicitaire
La caravane publicitaire, créée en 1930, s’est développée considérablement au fil des années, pour accueillir plus de 180 véhicules en 2012.
Le défilé d’ouverture, festif et créatif, a su conquérir les marques et le public, jusqu’à devenir une composante essentielle au spectacle du Tour
LCL, qui sera toujours parrain du maillot jaune du leader du classement général du Tour de France, comme c'est le cas depuis 1987.
La caravane publicitaire du Tour Alsace part une heure avant les coureurs. Elle est composée d'une quinzaine de véhicules publicitaires
et suit le parcours officiel du Tour. Elle distribue une multitude de goodies aux spectateurs au bord des routes.
47 % des spectateurs viennent en priorité pour la caravane
Le succès de la formule, avec un défilé de véhicules originaux qui « font de la réclame », en distribuant des cadeaux, est immédiat.
Les premiers annonceurs, comme la Vache qui rit, y gagnent la sympathie du public, qui se prête volontiers au jeu. Quatre-vingts ans plus tard,
la caravane publicitaire est devenue une composante à part entière du spectacle du Tour. Indissociable de la course qu’elle précède, la procession multiforme et multicolore
offre une animation de plus de 45 minutes. Jeunes et moins jeunes commentent sur le bord des routes la taille et l’inventivité des chars ; on s’y presse pour demander des cadeaux…
Au total, une étude réalisée auprès du public du Tour révèle que 47 % des spectateurs sont venus en priorité pour voir la caravane publicitaire.
lancer de saucissons Cochonou à la foule en délire.
Cochonou, la marque de saucissons distribuera bien sûr encore bobs et saucissons au bord de la route depuis ses fameuses 2CV, mais sera également présent sur internet,
avec son blog Cochonou et Vous tenu depuis quelques années par Thibault (qui avait repris le flambeau d'Adeline).
Le garage virtuel CochonouOriginalité cette année, la possibilité de créer sa propre 2CV dans le garage virtuel Cochonou et peut-être même la gagner et la tester pour
la première fois sur la célèbre Avenue des Champs-Elysées lors de l'arrivée de la dernière étape du Tour à Paris !
Le jeu-concours est ouvert jusqu'au 31 juillet mais le grand gagnant de la 2CV sera désigné le 15 juillet prochain sachant que par la suite on peut gagner l'un des autres
lots du jeu (2CV Cochonou miniatures, bobs, porte-clés et sacs cabas).
Vittel, l'eau officiel du Tour de France innove cette année en permettant à d'ordinaires spectateurs du Tour d'en devenir acteur !
ŠKODA qui reste parrain du maillot blanc de meilleur jeune et qui est toujours à la recherche des meilleures animations pour vous permettre, vous en tant que fan du Tour,
de remporter des prix avec le ŠKODA Fan Tour.
Il y a quelques mois, &ScaronKODA a d'ailleurs prolongé son contrat de partenariat avec A.S.O. et donc entre autres avec le Tour de France, jusqu'en 2018.
Banette a reconduit son partenariat pour 4 ans, jusqu'en 2017, et distribuera toujours des milliers de tartines préparées par les artisans boulangers Banette de la région alors
que la caravane continue à distribuer différents goodies et des bons de réduction. Banette communiquera sur son Tour de France sur sa page Facebook.
McCain, le producteur de frites surgelées, a rejoint le Tour en tant que fournisseur officiel pendant 3 ans et sera présent dans la caravane publicitaire du Tour avec un char-tracteur et 3 véhicules légers.
Belin fournira toujours l'apéro, mais ne valorise pas vraiment son partenariat. La seule chose qu'on peut donc vous dire, c'est que "les super z'héros" rejoignent la caravane de Belin :
Du samedi 5 juillet au dimanche 27 juillet 2014, le 101e Tour de France comprendra 21 étapes pour une distance de 3 664 kilomètres.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"
L'ensemble de la basilique Saint-Vincent et du baptistère Saint-Jean à Galliano s'élève à peu de distance de Cantù, sur un des nombreux coteaux que cette partie vallonnée de la Lombardie offre aux regards du touriste. Il s'agit de l'un des monuments les plus célèbres de l'art roman, tant en ce qui concerne ses formes architecturales que les précieux cycles de fresques qu'il renferme. Il n'appartient pas à l'apogée de la période romane, mais prend une très grande importance dans le contexte de l'histoire de l'art de cette époque, parce qu'il est daté de façon sûre de 1007, ce qui en fait l'un des premiers témoignages fondamentaux sur la formation du nouveau style. ... Si l'on peut faire remonter à 1007 la construction de l'abside, les murs des nefs sont certainement antérieurs; au cours de la restauration d'Aribert, on remploya en effet les fenêtres latérales en usant d'un matériau identique à celui employé dans la construction des absides. Toutefois ces murs n'appartiennent pas au Ve siècle : la réédification de la basilique commença, à notre avis, peu après l'an mille et l'élection d'Aribert à l'épiscopat incita ce dernier à faire aboutir rapidement le projet. L'église, telle qu'elle se présente à nous, porte les cicatrices dues à la capacité destructrice des hommes; en 1801, en effet, après avoir été abandonnée depuis des siècles par les chanoines, l'église fut déconsacrée et, sur l'avis de trois lumières du temps, vendue à des particuliers. Réduite à l'état de ferme, on la vida et l'organisa intérieurement en lui adjoignant des galeries et des cloisons. En 1835 le bas-côté droit s'écroula; on ne jugea pas opportun de le reconstruire lors des restaurations de 1932; on préféra fermer par un vitrage la colonnade de droite, laissant ainsi apparaître la blessure qui avait atteint l'église. La façade se présente assez simple, privée d'éléments de décor, avec un appareillage de gros cailloux apparents. Au centre s'ouvre un étroit portail à linteau et tympan en tiers-point, tandis que, sur la façade du bas-côté Nord, on peut discerner des traces d'un portail plus petit. Rares sont les fenêtres, placées sans symétrie dans la partie centrale; plus haut, une ouverture cruciforme sous laquelle, à gauche, se trouvent deux fenêtres simples. L'appareillage des côtés est fait de cailloux et de pierres brutes, pris dans un mortier abondant. Sur le côté Nord de la nef centrale s'ouvrent huit fenêtres, dont quatre sont alternativement obturées. Dans les intervalles entre les fenêtres apparaît un motif semblable à celui que nous trouverons au baptistère de Lomello et qui est constitué ici par un losange creusé, entouré de briques dans ses côtés supérieurs. Les fenêtres montrent également des similitudes avec celles du baptistère de Lomello ; elles en reprennent la forme sans ébrasement, avec montants verticaux et arc en plein cintre. Sur le mur méridional, à l'inverse, il n'y avait que quatre fenêtres, ébrasées vers l'intérieur; la première et la troisième ont été murées. La raison de ces obturations vient du besoin que l'on éprouva d'accroître les surfaces destinées à abriter le riche ensemble de fresques qui couvre les murs internes ... L'abside centrale se détache nettement du corps de l'église et présente dans sa construction des particularités qui la différencient de celui-ci de façon fort nette. Extérieurement elle est parcourue par une série d'arcatures aveugles plutôt larges qui rappellent, par leurs proportions et leur dessin, des modèles archaïques, tels ceux de Lomello (les côtés de la basilique) ou de Domo Valtravaglia. Le motif de l'arc aveugle n'a pas encore assumé la valeur linéaire et décorative qui caractérisera, avec le complément des séries de petites arcatures de couronnement, presque toutes les églises romanes, au moins de l'Italie du Nord ; ici le motif est davantage utilisé dans un sens de volume, d'allégement vertical et d'élan imprimé aux surfaces; les arcs sont en effet isolés les uns des autres et s'appuient chacun sur des lésènes qui descendent jusqu'à terre. On trouve ici trois fenêtres d'un type différent de celles de la nef : elles présentent en effet un léger ébrasement vers l'intérieur; à peu de distance du sol on voit encore les ouvertures, un peu plus étroites et à double ébrasement prononcé, qui donnent le jour à la crypte. L'abside latérale de gauche, dont on ne voit extérieurement que la moitié de la courbe, est caractéristique : le mur se poursuit perpendiculairement à la paroi longitudinale jusqu'à ce qu'il se greffe sur l'abside centrale. Celle-ci, pour n'être pas de dimensions excessives par rapport au reste de l'édifice, en vient à prendre un relief inaccoutumé, parce que, dans le volume de la partie orientale, manquent les deux saillies des absidioles qui remplissent le rôle d'éléments d'équilibre par rapport à la vaste abside centrale. Ce motif de l'absidiole « semi-cachée » s'accorde bien avec l'hypothèse d'une construction postérieure de l'abside centrale, à partir d'un corps préexistant de l'église.
A côté de cette basilique complexe et par certains aspects étrange, dans ses tentatives de raffinement de volume mêlées à des éléments plus rudes, et cela au sein d'une synthèse tout à fait particulière, se dresse le baptistère, autre édifice qui revêt un intérêt extrême pour l'histoire de l'art lombard. Son érection est contemporaine de celle de l'abside de la basilique, c'est-à-dire qu'elle doit être située dans les toutes premières années de l'an mille, et son plan manifeste de façon évidente sa relation avec celui de l'oratoire de Saint-Satire de Milan, chapelle d'une rare beauté remontant au IXe siècle, élevée sous l'archevêque Anspert, celui à qui est attribué le premier atrium de Saint-Ambroise. Le plan en est cruciforme : autour d'une partie centrale carrée, délimitée par quatre colonnes d'angle isolées et les quatre arcs perpendiculaires qui s'appuient sur ces colonnes, sont adossées, sur les côtés, quatre amples niches semi-circulaires. La niche occidentale est ouverte pour abriter l'entrée et est constituée par un local couvert de voûtes d'arêtes, que suit un espace plus petit, rectangulaire, qui met en communication avec l'intérieur proprement dit et d'où partent les escaliers d'accès aux tribunes. Cette forme d'entrée « ad anticamera » ne se retrouve pas souvent; on peut la rapprocher du baptistère voisin de Mariano Comense, dans lequel cependant l'espace est beaucoup plus léger et prend appui sur quatre colonnettes aériennes, tandis que celui de Galliano est un local à proprement parler avec murs et fenêtres. La basilique de Saint-Pierre du Mont à Civate est également précédée d'une entrée de ce genre; toutefois le local d'accès est inséré dans un système complexe de constructions et non isolé comme ici. Pour en revenir à l'intérieur de notre baptistère, notons que, par rapport à Saint-Satire, son plan apparaît nettement simplifié : il renonce à développer complètement le jeu complexe des volumes mis en œuvre dans l'oratoire carolingien. A Galliano on trouve toutefois des tribunes qui faisaient défaut à Saint-Satire. Ces tribunes entourent l'espace central avec lequel elles communiquent par des ouvertures creusées dans l'épaisseur massive du mur : elles n'ont rien à voir avec la galerie aérienne que l'on trouve dans beaucoup d'édifices romans à plan centré, du baptistère d'Arsago à l'église de San Tomé à Almenno; les proportions mêmes des galeries de la tribune sont assez trapues et irrégulières. Le baptistère s'achève intérieurement sur une coupole à huit pans à laquelle correspond à l'extérieur une tour-lanterne octogonale, dans laquelle s'ouvrent quatre petites fenêtres de formes diverses et qui est couronnée par une série d'arcatures aveugles. Si, à l'intérieur, il est facile de reconnaître un plan précis et harmonieux, l'impression que l'extérieur donne au visiteur est celle d'un édifice presque privé de forme, comme s'il avait été revêtu d'une maçonnerie massive dans l'intention d'émousser volontairement les angles et le jeu des avancées et des retraits. Le rythme des quatre niches circulaires disparaît presque et les murs suivent une ligne sinueuse continue. Le toit lui-même ne met pas en évidence les quatre courbes latérales, mais s'étend presque uniformément pour couvrir la galerie des tribunes. En ce contexte, la tour-lanterne se détâche davantage encore avec sa forme octogonale accusée, qui semble surgir, telle une tour, au-dessus de cette « forteresse ».
Revenons maintenant à l'intérieur de la basilique : s'agissant d'un édifice privé d'un élément important, il est difficile de formuler un jugement sur sa qualité; toutefois, il s'y trouve encore certains éléments capitaux qui valent la peine d'être soulignés. En premier lieu la hauteur de la crypte et par suite la surélévation du sanctuaire qui dépasse les proportions habituelles aux édifices romans. En second lieu la hauteur limitée des arcades qui séparent les nefs et en conséquence la vaste surface de murs qui les surmonte et se trouve toute disposée à recevoir des fresques. Les piliers sont rectangulaires et l'imposte des arcs s'appuie sur des coussinets trapus. Une surélévation marquée place en évidence la zone du sanctuaire à laquelle on accède par un large escalier central à neuf marches. Sur les côtés de celui-ci se trouvent les entrées de la crypte, qui consiste en deux édicules voûtés d'arêtes au-dessus desquels se trouvaient à l'origine deux ambons. Il ne reste aujourd'hui que l'ambon de gauche, reconstruit durant les restaurations de 1932 : il s'agit de l'aigle de marbre qui constituait probablement le lutrin. On peut encore voir certains fragments du pavement originel du sanctuaire, à morceaux losanges blancs et noirs. La crypte est du type « à oratoire », avec des petites travées irrégulières couvertes de voûtes d'arêtes posées sur des arcs transversaux. Aux murs sont adossés des pilastres qui portent les arcs et ce détail la différencie de celle d'Agliate qui présente des demi-colonnes contre les parois; le principe reste toutefois le même : il est dû à des dispositions liturgiques qui imposaient des célébrations propres aux églises baptismales. Mais ce qui capte aussitôt l'attention quand on entre dans la basilique, ce sont les extraordinaires suites de fresques qui s'étendent soit sur les parois de la nef, soit sur la zone absidale entière. Les différences indéniables entre les fresques de l'abside et celles de la nef ont induit une grande partie des archéologues à leur supposer un étalement dans le temps ; les fresques de la nef seraient, selon eux, antérieures à celles de l'abside. Mais la découverte que le matériau employé pour remplir les fenêtres latérales est identique à celui avec lequel est construite l'abside, a démontré de façon irréfutable que les peintures de la nef sont contemporaines de celles de l'abside, bien qu'il s'agisse, évidemment, d'œuvres d'artistes différents. Il est inutile d'insister ici sur la beauté des fresques et l'importance qu'elles revêtent dans l'histoire de l'art. ... La fresque du cul-de-four absidal est encadrée de deux bandes de panneaux à figurations animales et végétales ; elle présente en son centre une mandorle dans laquelle est campée la figure du Christ, dans une attitude d'enseignement, un livre ouvert à sa gauche. Détail rare dans l'iconographie du haut Moyen Age : les sandales que porte le Christ. A côté de la mandorle, en bas, se trouvent deux figures de vieillards, inclinés, Jérémie et Ézéchiel, derrière lesquels se tiennent respectivement les archanges Michel et Gabriel. Derrière eux, deux groupes de foule. Il s'agit donc d'une représentation de la Majestas Domini selon la tradition d'Ézéchiel, mais dans laquelle cependant s'insèrent des éléments néo-testamentaires, représentés par les deux archanges qui portent chacun un écriteau avec les paroles peticio et postvlatio, destinées à rappeler leur rôle d'intermédiaires entre l'homme et Dieu. La zone inférieure de l'abside abrite, dans les cadres délimités par trois fenêtres, un cycle bref consacré à l'histoire de saint Vincent auquel la basilique est dédiée. De gauche à droite sont représentés : le saint devant l'empereur Dacien de Saragosse, son martyre, la légende de sa sépulture. Dans le quatrième cadre, divisé en deux par la niche où était conservée l'Eucharistie, on voit, à gauche, la figure d'Adéodat, le saint dont le corps fut transféré dans la basilique restaurée sur l'ordre d'Aribert, le jour de sa consécration, et, à droite, la figure d'Aribert offrant l'église à Dieu. Toutefois la partie supérieure de cette dernière scène se trouve aujourd'hui à la Pinacothèque Ambrosienne de Milan, où elle a été transportée. Sur les murs de la nef centrale, disposées sur trois registres, sont représentées les histoires de Samson et de saint Christophe (mur gauche), d'Adam et Eve et de sainte Marguerite (mur droit). Ces fresques présentent une construction riche en détails iconographiques particuliers : par exemple, dans le registre supérieur de la paroi de droite, l'histoire d'Adam et Eve se déroule de droite à gauche, tandis que dans tous les autres registres se voit suivi l'ordre contraire; en outre l'iconographie de saint Christophe est de style oriental : le saint y figure sans l'Enfant. Du reste la note dominante de tout le cycle semble être, si l'on peut dire, un certain intellectualisme, discernable soit dans la complexité de la composition absidale, soit dans la présence de tournures de style particulièrement recherchées dans l'histoire de saint Vincent, soit encore dans l'adoption de plans de composition et d'iconographie particuliers dans les scènes de la nef. Le cycle de Galliano apparaît comme l'expression la plus riche de la culture imagée du haut Moyen Age dans l'Italie septentrionale et certainement la plus ouverte aux nouveautés thématiques artistiques; sa complexité stylistique et iconographique confirme, dans le milieu lombard, presque un siècle avant l'autre important cycle décoratif de Civate, l'existence d'une culture multiforme, prête à recevoir les apports les plus divers, mais aussi à fournir des éléments personnels au monde ambiant et à proposer des synthèses culturelles neuves et originales.
(extrait de : Emilie romane ; Sergio Stocchi, Ed. Zodiaque, Coll. La nuit des Temps, 1984, pp. 269-294)
Coordonnées GPS : N45°44'29" ; E9°08'19"