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La Torre de la Carrova és una antiga torre de vigilància del trànsit pel riu Ebre, de planta rectangular, datada del segle XII i que es troba a 4 km aigües amunt d'Amposta, al costat de les restes de l'assentament d'una antiga vil·la romana.
L'edificació es troba sobre un sortint rocós i a uns 550 metres de la riba dreta actual del riu, per servir de resistència i vigilància de l'entrada del riu. A l'altra banda del seu curs s'hi localitza una altra torre, coneguda com a Torre de Font de Quinto o torre de Campredó sobre el vessant fluvial de la serra de les Veles al terme municipal de Tortosa. La tradició oral diu que antigament totes dues es trobaven unides per unes cadenes que impedien el pas de barques pel riu.
La Torre agafa el nom de la font d'origen àrab que brolla al seu peu, la Alcharrova i que el 1149 Ramon Berenguer IV donà als hospitalers.
Hi ha un document del 1313 referit a la venda per part de la família dels Fenollar a Arnaldo de Pont. Des del segle XV fins a la desamortització del segle XIX va pertànyer al monestir de Santa Maria de Benifassà (veure La Pobla de Benifassà). Finalment, el 1837 és adquirida pel Marquès de Santamaria.
L'Ajuntament d'Amposta la comprà l'abril del 1993, procedint a la seva restauració, segons el projecte de J.L. Millán Bel, davant el perill d'enrunament a causa del badall produït per un llamp.
Sobre una base de 15 per 11'5 metres i amb una alçada de 18'5 metres s'hi troben tres nivells i una terrassa superposada, amb barbacanes. L'exterior és de pedra calcària i les cantonades de pedra dolça i tova. Destaquen unes finestres geminades, dividides per unes columnetes amb capitell. Antigament no tenia accés a nivell de terra, s'hi entrava per la finestra del primer pis; posteriorment s'hi va practicar una porta.
Modernament, s'ha constituït al voltant un veïnat d'Amposta que rep el mateix nom de la Carrova.
Melbourne's premier rectangular stadium is situated within the Melbourne Sports Precinct, and operated by Melbourne Olympic Parks Trust.
Opened in May 2010, the stadium can seat 30,050 patrons. Homeground for Melbourne Victory FC and Melbourne Heart FC (soccer)(A-League),Melbourne Storm Rugby League (NRL) and the new Melbourne Rebels (Super 15 Rugby Union). Hosts Rugby League Internationals.
Originally known as "Melbourne Rectangular Stadium" until an 8 year naming rights sponsorship was struck with AAMI.
Església romànica d'una nau, de planta rectangular amb la volta de canó de perfil apuntat i reforçada per dos arcs torals. Està orientada a llevant per la capçalera amb un absis semicircular, obert per un arc presbiteral. La coberta és de teules àrabs a dues aigües.
La façana principal orientada a ponent té un portal d'entrada d grans dimensions amb dues arquivoltes amb imposta, d'arc de mig punt amb pedres adovellades i tota la volta orlada amb estries. El campanar és d'espadanya i s'alça sobre el mur de la façana. Té dues obertures d'arc de mig punt, coronat per una cornisa a dues aigües. S'hi accedeix per una escalinata de pedra ubicada a la façana de migdia. L'aparell és de carreus regulars ben tallats i disposats uniformement, però força erosionats. A la façana nord s'hi ha afegit una capella i la sagristia. A l'interior es conserva una pica baptismal de secció troncocònica assentada damunt un peu afegit posteriorment. La part superior està decorada amb dos grossos bordons. A sota mateix hi ha una sanefa en relleu de motius triangulars invertits. A la part inferior hi ha una altre bordó i, en sentit ascendent, una altra sanefa en relleu formada per una mena de punta de llances o bé, triangles acabats amb petits rombes. Tota la superfície està coberta d'una pintura de color terrós. El diàmetre exterior de la boca és de 90 cm, l'interior és de 68 cm; l'alçada és de 89 cm i la profunditat del vas és de 45 cm.
Observacions: L'any 1975 es trasllada el cementiri. Gràcies a la donació de Rosa Ollé Càlix es poden realitzar les obres de la restauració, que s'inaugura el 30 de desembre de 2001.
El territori de la parròquia estava format per la Beguda Alta, la Beguda Baixa, ca l'Almirall, Can Bosc, Can Carafí, Can Raimundet, la Casa gran i Can Casanoves. Juntament amb la parròquia de sant Llorenç d'Hortons, pertanyien a la baronia de Gelida fins el segle XIX. L'any 1304 era sufragània de la parròquia de Gelida, però a partir de 1453 ja figura integrada a la parròquia de Sant Llorenç d'Hortons.
El primer document on surt referenciada aquesta església data de l'any 1080, en una donació que fa el clergue anomenat Ramon Seniofred, a l'abat Andreu del monestir de Sant Cugat. A canvi, aquest, concedeix a Seniofred l'administració de l'església de Sant Joan Samora amb totes les seves terres. L'any 1163 la capella és anomenada com a sant Joan Moragrega en una donació de Bernat de Puigalt a la Canonja de la Catedral de Barcelona, de tres masos que són "apud sanctum Johanem de Mora Greca" (libri Antiquitatum núm. IV, foli 81-81, núm. 217). L'any 1182 es renova aquesta donació afegint la càrrega de celebrar un ofici solemne al cor de la Seu el dia de la consagració de l'altar de Sant Andreu. La documentació posterior sobre Sant Joan és escassa fins el segle XIV on un document de la Pia Almoina datat el 17 de novembre de 1316, cita un Bernat de Fonollar que pren possessió de la quadra de Sant Joan Samora, del terme del castell de Gelida, que els comtes de Pallars i senyors de Cervelló, Hug de Mataplana i Sibil·la, li han atorgat mentre no li facin lliurament total de 15.000 sous de Barcelona, pel dot de Blanca, filla de Ferrer d'Abella, amb qui ell es casa. Per aquesta ocasió reten homenatge i fan jurament de fidelitat a Bernat de Fonollar els habitants de dita quadra de Sant Joan.
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Descripció
La capella romànica de Sant Joan Samora es troba situada prop de la carretera B-224, damunt un petit turó. És un edifici d'una sola nau amb una capella afegida a la façana nord. L'absis, semicircular, té una finestra de doble esqueixada. La coberta interior és de volta apuntada sobre arcs torals. La porta d'accés, d'arc de mig punt amb arquivolta i impostes, es troba situada al mur de migdia. La construcció es completa amb un campanar d'espadanya de dues arcades de mig punt i coberta exterior de teula a dues vessants. El material emprat en l'obra és la pedra, tallada en carreus regulars a l'absis i irregulars a la resta. Al mur de ponent hi ha restes d'Opus spicatum. Pica baptismal. Té forma troncocònica amb les parets rectes. S'assenta damunt d'un peu afegit posteriorment. La seva decoració consisteix en dos gruixuts bordons immediats a la boca i un altre junt a la base que emmarquen un espai decorat amb motius geomètrics. Sota dels bordons superiors hi ha una sanefa repussada en dent de serra, amb les puntes dirigides a terra. Sortint del bordó inferior hi ha una altra sanefa formada per un seguit de triangles molt allargats amb un rombe a cada una de les seves puntes.
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Centenary Square is a public square in Birmingham, named in 1989 in celebration of Birmingham's centenary as a city.
It is the last of many schemes for this area. As far back as 1918 there were plans for civic buildings to be built on this site facing an open square. A 1926 plan laid down a idea for a rectangular open area, aligned east-west along Broad Street, with buildings on three sides of it, and the open area facing the road. This plan was abandoned as being to expensive. Another plan was adopted in 1944, this one included Baskerville House in the squares north east corner, but these to were abandoned in 1948. Another plan was from 1958, but it never started.
A fourth plan was adopted in 1991 and this is the square we see today.
Directly ahead is the International Convention Centre and Symphony Hall. They were opened in 1991.
The Symphony Hall is home to the Birmingham Symphony Orchestra who moved here from the Town Hall. The ICC was an attempt to make Birmingham and international business city.
The Repertory Theatre (aka the REP) opened in 1990 to replace the old theatre on Station Street (now known as The Old REP)
Rare and desirable Patek 1593 from the 50' took at Christie's :http://www.watchonista.com/2914/watchonista-blog/watchographer/patek-1593-rectangular-platinium-case
Después de los Tanzanite no me pude resistir a hacerlos en este color!!
Muchas gracias por pasaros y comentar!!
From the history (short version)
The municipality of Sankt Veit im Pongau extends both north and south of the (river) Salzach. On a low mountain terrace above the Salzach Valley lies the market town 763 meters above sea level. The picture of this small town still is characterized by the rectangular market square which was laid out in the 13th century with the parish church Saint Vitus standing elevated above its western end.
Already in the Early Bronze Age (2000-1500 BC) existed in connection with the in the area operated copper ore mining a settlement at Klinglberg. It is thought that the camp only in winter was inhabited and the coarse copper in spring was transported down the Salzach to the vicinity of Salzburg. Numerous findings also document settlements north of the market and at Brandstattbühel (1200-900 BC.). In the early Iron Age (ca. 450-15 BC.) also St. Veit was Celtic settlement area. From Roman times has been preserved a grave relief, thas has been walled in there in the church tower, on that a Celtic pair is represented.
Some time between 800 and 1100 arose on the sunny ideal logistical terrace a church settlement. The first written mention of the town as well as of the parish ("Parrochia sancti Viti") is handed down with the deed of gift of the Archbishop of Salzburg Gebhard from the year 1074. 1244 the Archbishop Eberhard transferred the parish to the cathedral chapter. St. Veit was for centuries the mother parish and thus a center of southern Pongau. Subsequently St. Veit in the late Middle Ages (13th century) was extended to a periodic market place, already in 1284 can be found the designation as "forum" (market place), in 1425 the market right was set out in writing. Since the secularization of the cathedral chapter in 1807 St. Veit is an independent parish again.
The first church was single naved and was probably built 850-950 in the Romanesque style. After the fire of 1334, which the church and half of the market fell victim to, this one was rebuilt and at the same time enlarged. In subsequent time yet several alterations and enlargements were carried out. The still today existing building is a four-naved Gothic basilica (around 1400), the only one in the province of Salzburg.
At the time of the great emigration under Archbishop Firmian in 1731 - the Pongau was the center of Salzburg Protestants - alone from the local jurisdiction Goldegg/St. Veit 3100 evangelical Christians had to leave their homes. According to tradition, they held their last worhip service at the today still existing chapel Pfarriachsteinkapelle. Most of the immigrants in East Prussia (Lithuania) found a new home. There they were friendly welcomed, but their desire to get settled united, could not be met. Only very few of them had managed to sell their goods before the emigration. In the directory of the goods of the emigrants being available in open sale, for Goldegg and St. Veit 268 farms were offered for sale. This list was sent to the Tyrol, Bavaria and to the Rhineland to gain good Catholic settlers.
To prevent a resurgence of Protestantism in Pongau, archbishop Firmian 1736-1741 for "better indoctrination" and monitoring of the people in the district of St. Veit Schwarzach a mission station had built (later Hospital). During this period, the mission house, farm buildings and the church in Schwarzach had built. The mission area extended to the judicial districts of St. Johann, Großarl, Goldegg, St. Veit, Gastein and Wagrain.
During the French Wars 1800-1805, St. Veit was repeatedly occupied by French troops and the population had to provide space for billetings of troops (Truppeneinquartierungen) and high payments to the French occupation power.
At the time of the freedom struggle of 1809 by the jurisdiction Goldegg (with St. Veit) 25 riflemen and 180 militiamen (Landstürmer) in defense of the Pass Lueg and Pongauer valley accesses were provided.
From a table can be seen that in the guardianship court Goldegg from May 1809 to March 1810 416 officers, 11,328 soldiers (Austrians, Frenchmen and Bavarians) with 126 horses marched through and, at times, also encamped here. Due to the chaos of war and the high cost of food, the country was sucked out and the people were impoverished.
After the capitulation of Austria in 1810 followed in Salzburg the Bavarian rule before it finally on May 1, 1816 came to Austria.
The Revolutionary year of 1848 for the municipality brought a major change. St. Veit like all other communities became a "free community with the right to self-rule" and on July 9, 1850, took place the first election to local council were Johann Rest (Neuwirt) became first mayor. This was based on the "Provisional Imperial Municipalities Act of 1848". The motto was "The foundation of a free state is the free community." Thus the tutelage by the sovereign's Pflegegerichte (administrative or judicial bodies) ended and it could develop a local self-government.
From 1873 to 1875 the railway line "Giselabahn" (Wörgl-Zell- Salzburg) was built and St. Veit after intervention before the Emperor on 5 November 1877 got a stop in Schwarzach. Great importance obtained the station as a starting point for the Tauern railway which was built as a direct connection to Trieste.
As a result of railway construction it came in the district Schwarzach to a strong influx. So this district was separated from St. Veit and in conformity with Imperial decision on 2nd June 1906 appointed to independent community of Schwarzach.
The First World War also on St. Veit brought much poverty and suffering. Thus St. Veit 1914-1918 was suffering many wounded, and 40 fallen and 5 missing men.
The severe agricultural crisis of the late twenties and the subsequent economic crisis leads to high unemployment, indebtedness of the agriculture and this is the breeding ground for the Nazi ideas. After the Annexation of Austria by Germany, many hoped in future an economic betterment. After initial economic successes, the Nazi terror and the Second World War also on St. Veit population brought immeasurable suffering.
There were many men coming back as disabled veterans. 63 St. Veiter have fallen and 13 are missing. Many men are in captivity as prisoners of war. The last returnee only on June 4, 1955 came back from Russian captivity.
After 1945 St. Veit was American occupation zone. There were many "bombed-out" people accommodated in St. Veit and there was a great famine. Austria at that time was among the countries most threatened by hunger in the world.
With help from abroad (especially America and Switzerland), the situation improved in the following years and by optimism, a strong will and hard work a better future could be created.
www.stveitpongau.at/geschichte-der-gemeinde/kurzchronik.html
Descripció:
Gran edificació rectangular sobre un sòcol rocós, renovat en part el segle XVII i adaptat per a masia. El castell dibuixa la silueta dalt de la carena. Té, per tant, una situació dominadora. El castell, transformat avui en una sòlida construcció de campanya, mostra ésser dedicat amb carruatge força regular; tanmateix, no hi manca algun carreu cantoner de format superior al pam. En general, el casalici presenta una faç severa, baldament no hi manquen obertures, destacant les finestres.
Notícies històriques:
Castell termenat. Documentat el 983 i el 1029. El topònim "in Castelar" s'afigura ací l'any 983, documentalment. El 1022 hom al·ludia el "castro de Castellar", concedit per "Segui" a "Companis filio meo"; el 1063 el "termino de Castelar" tocava el del castell de Grevalosa (=Gravalosa), puix que així apareix en la venda que del castell que tractem féu aleshores Bernat Otger de Castellet al comte de Barcelona. El fogatjament del 1358 anomena "Petrus de Gravalosa, civis Minorise, pro XIIII focis quos habet in castro suo de Castellar". L'esmentat ciutadà de Manresa posseïa, així mateix, el lloc de Seguer, i prosseguí en el domini, ell i la seva família. El 1565 senyor de Castellar ho era "mossen janot de Gravalosa". El rei Carles (l'arxiduc pretendent) concedí, el 1707, el comtat de Castellar a Francesc d'Amat-Grevalosa i de Planella, baró de Castellar (comtat de Sant Miquel de Castellar, des del 1923).
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Descripció:
El Castell de Castellar està ubicat en el terme municipal d'Aguilar de Segarra, en l'extrem sud oriental, a tocar del terme de Rajadell. Durant el mes de juliol de 2007 es va dur a terme una intervenció arqueològica preventiva en el castell de Castellar (Aguilar de Segarra, Bages). La intervenció arqueològica s'emmarca en el projecte d'estudi, rehabilitació i restauració del Castell i el seu entorn, dut a terme per l'Ajuntament d'Aguilar de Segarra. Aquesta intervenció en el castell constava de dues parts; la excavació arqueològica i l'estudi de paraments. L'estudi de paraments es realitzà en tots els murs conservats del castell, tot i que en alguns casos no va poder ser complet per la dificultat d'accedir sobretot, al pis superior i, d'altra banda, per la presència de vegetació. Actualment el castell presenta una planta quadrangular amb els angles arrodonits, és format per uns potents murs perimetrals no exempts de reformes. En els punts on ambdues estructures entren en contacte s'observa com un d'ells recolza en l'altre. Per general els murs perimetrals són amples, entre 1 i 1'20m d'amplada. Semblen estructures de doble paredat, realitzades amb blocs de pedra de mida gran i mitjana, disposats en filades bastant regulars i lligats amb un morter de calç blanquinós. Se suposa que l'espai entre els dos paredats era reomplert de pedruscall amb morter de calç, fet que atorga una gran consistència a l'estructura. Les cantonades presenten blocs escairats, adoptant formes geomètriques quadrades o rectangulars, que acoblen les dues línies dels murs que uneixen. Un cop realitzades les dues intervencions, l'excavació arqueològica i l'estudi de tots els paraments del castell, s'observa la existència d'una clara homogeneïtat en la composició formal de les estructures, i se'n proposen tres fases principals. Els murs que actualment es conserven del castell (més d'una trentena), són d'un gruix entre els 60 i 90cm. Les parets estan fetes a doble paredat, amb carreus de mida mitjana i petita, lleugerament escairada, col·locats a trencajunt i disposats en filades regulars. És en els lligams on s'han trobat diferenciacions; els murs perimetrals i alguns interiors presenten molt poc morter, murs en què els carreus són més petits i la pedra millor treballada (que s'associen als primers segles de funcionament del castell). Altres murs presenten abundant morter de color rosat i molt sorrenc: aquest tipus s'ha de relacionar amb la transformació del castell en mas. El castell en el seu aspecte actual no conserva cobertes, però cal pensar que serien de doble vessant i de teules. S'han documentat a l'interior del castell, elements de coberta o forjat, embigat en sentit est-oest i nord-sud, marcats per bigues de grans dimensions. Les obertures constructives és el punt amb més varietat formal de tots els estudiats (se'n trobaren en total 101 obertures). D'entre totes aquestes, destaquen les portes, 26 en total, força similars entre elles i majoritàriament fetes amb arc de mig punt. Altres elements són, per exemple, escales i estructures relacionades amb activitats agrícoles del mas. Totes les escales són de pedra. Les fases cronològiques del castell van ser determinades en funció de dos elements fonamentals; els materials arqueològics recuperats i les relacions físiques entre estructures. Fase 1 (segles X - XIII). Fundació del castell. Segurament el castell fou fundat entorn el segle X. La ocupació primigènia s'ha vist confirmada per l'excavació arqueològica, s'hi recuperà un fragment de ceràmica espatulada de cocció oxidant, d'aquesta cronologia. Tot i així, es fa difícil detectar estructures d'aquests primers moments degut a les múltiples reformes posteriors. Cal pensar, de totes maneres, que els murs perimetrals formarien part de l'estructura inicial del castell i murs més antics de l'edifici. Fase 2 (segles XVIII - XVII). Primeres modificacions importants. En aquesta segona fase s'inclouen tots aquells elements que no formen part de l'estructura original del castell, ni tampoc de les reformes vinculades a la transformació del conjunt en masia, per exemple, tres forats de pal o una sitja. Fase 3 (segles XVII - XIX). Modificació general del conjunt, transformació del castell en un mas. L'evidència que al llarg del segle XVIII l'edifici patí transformacions importants queda palesa en dues llindes, on es llegeixen les dates de 1774 i 1777. També es produeix un reforç important dels murs i la construcció dels forjats de sostre, així com la presència del trull, que constata l'última activitat duta a terme en el mas, abandonat cap als anys 40 del segle passat.
Context:
S'alça sobre un turó que per part del darrera fa carena, i sobre un banc de roca gairebé circular, damunt d'un grup de cases que porten aquest nom.
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February 2007 Scavenger Hunt
"nevermore"
Upon entering one of the first things you see is a rectangular block of black marble, topped by an eternal flame
The black marble block is evocative of a coffin, which contains dirt from 38 of the concentration camps in Europe. The dirt was brought to America in urns, like those used by the Nazis for the ashes of the victims who were cremated, and in a touching ceremony, the dirt was deposited inside the block by Jewish survivors of the Holocaust. Dirt from a cemetery in Europe where American soldiers are buried was also included, in honor of the liberators of the camps.
The black marble panel on the wall behind the eternal flame has the inscription: "Only guard yourself and guard your soul carefully, lest you forget the things your eyes saw, and lest these things depart your heart all the days of your life. And you shall make them known to your children and to your children's children."
Getting ready for a lesson that combines elements of math and art, I found the geometry of the cut paper amusing.
[6 images make up this set] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
Thomas Chapel United Methodist Church is near Cartersville, Cumberland County, Virginia. I was unable to locate anything at all on this building. It is brick and in common bond, obviously having undergone repairs as shown by the “scars” on the front façade. The stone plaque in the center of the front gable gives the name as Thomas Chapel Church and the date as 1847. It’s a basic front gable rectangular structure with a pedimented gable. Two small chimneys jut above the roof, suggesting they may have been later additions. There are two entrances (I assume one for men and one for women), each double-leaf wood—and they do not look especially old or aged. Three large 12/12 windows are visible on the left façade. There were no visible stained glass windows. An ornamented metal crucifix adorns the center between the two entrances. To the left rear is a modern addition. Though historically old, the church’s architectural integrity has probably been compromised and is thus probably ineligible for listing on the National Register.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
The then-unnamed Melbourne Rectangular Stadium from the Eureka Tower (it is now known as AAMI Park). Taken in January 2012, a couple of weeks before Rod Laver Arena hosted the Australian Open next door
The rectangular slabs are the oil pastels I made by melting together various Caran D'Ache Neopastels in a silicone mold. I did this because I got tired of waiting for them or one of the few other makers of artist-grade oil pastels to make some new colors.
further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am...
An important Limoges champlevé enamel gilt copper tabernacle, late 12th / early 13th century.
The rectangular form with pyramidal top and palmette finial, the body with turquoise and dark blue enamel ground interspersed with rosettes, circles and cross-forms and with horizontal bands.
The front panel with a figure of Christ in relief flanked by the Virgin and St. John with relief heads.
The side panel with door depicting full length images of St. Peter and Paul within an arched niche, their heads in relief.
The back panel with the enthroned Virgin in relief and within an aureole.
The final side panel depicting the Myhr-Bearing Women and Angel, their heads in relief.
Each triangular panel of the pyramidal top depicting a symbol of one of the Four Evangelists, with the faces in relief.
Zitan wood
Qing dynasty [1644-1911]
Gallery of Ancient Chinese Furniture: Ming and Qing Dynasties
Shanghai Museum
4436
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Huge stone with strange rectangular carving, probably dating from about 10th century. Probably some sort of shrine was on the top of that enormous stone, now leaning. This is between the Sanctuary (Main Shrine) and Crocodile Rock.
Wat Phu Champasak (Laos)
Wat Phu Champasak is an amazing Khmer Hindu temple complex ruin in southern Laos, near Pakse.
For more information about this place, check the Wat Phu Champasak set page.
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Gene and his son Bob were harvesting hay in large rectangular bales along SR 39 in LaPorte County Indiana. The bales weigh 1700 pounds, which is what caught my attention. I am used to seeing small bales that can be manhandled and thrown onto a trailer or large round bales. Gene said that his son loads these onto a semi using a tractor with forks. The hay had been cured for two days and raked into rows by Gene. Bob operated the John Deer baler. During the winter Bob sells the hay to people for their cattle and horses.
Measurements:
Approx 8 1/2" (21cm) wide at base, 1 3/4" (4.5cm) across at the base, 7" (18cm) wide at top, 4.5" (11cm) tall
Detail of the Ross School of Business at the University of Michigan on a partly cloudy Day in December.
Photographed with a MInolta Autocord TLR using Ilford Pan F 50 film. The exposure was EI 50 and it was developed in Diafine. Exposure was estimated using the Suny 16 rule.
Download full size texture at www.tilingtextures.com/rectangular-warm-wall-tiles/
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Claudius. AD 41-54. Æ Sestertius (34mm, 27.51 g, 7h). Imitating a Rome mint issue of circa AD 41-50. Laureate head right; two c/ms: both TI (AV) within rectangular incuse / Spes advancing left, holding flower and raising hem of skirt. Cf. RIC I 99; for c/m: Pangerl -.
D.W. MacDowell and A.V.M. Hubrecht discuss the countermarked bronzes from the Rhineland in “Countermarks on the Aes of Claudius from Nijmegen”, Proceedings of the XIth International Numismatic Congress, vol. 2, pp. 265-7. There appear to be three distinct variations of the TI AV countermark. One appears solely on asses of Agrippa, and is probably contemporary with the reign of Tiberius. The other two are found on aes of Caligula and Claudius, and are localized in Upper Germany and the lower Rhine. MacDowell and Hubrecht conclude that the countermarks at Nijmegen were applied to lightweight products of a local mint, and indicated the coins were to be accepted at the full weight standard of the Rome mint issues struck under Tiberius (hence the countermark, TI[berius] AV[gustus]). cngcoins.com
Shot with a Minox 35 GT-E
Minox Color-Minotar 35mm f/2.8 lens
Kodak Tri-X 400 film
Shot at EI 400
Developed in the Ego Lab using Rodinal (1:25, 2:50min at 88F, agitating first and each minute)
Scanned with a Coolscan 9000ED
rough sketch of my mixed media mini album here on a piece of 12x12 chipboard - u know the kind that comes with your papers in the post to prevent the papers from bending.
This rectangular vase is from Stig Lindberg's Karneval line, produced by Gustavsberg starting in 1957. The surrealistic scene is hand-painted and the bottom is hand-signed with Stig Lindberg's signature mark, Sweden and 230 J. The original Stig Lindberg design sticker is also present.
I surrounded rectangular and circular wood rings with rounds of brick stitched metal and glass seed beads to create this asymmetrical necklace. I designed it to have a gentle curve to each side and used gradual changes in ring size and number of beaded rounds to achieve a smooth transition in width along the piece.
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Església de nau rectangular, amb tres absis semicirculars formant una capçalera trevolada i un cimbori vuitavat al centre del creuer. Els tres absis semicirculars tenen les mateixes dimensions, estan oberts amb arcs presbiterials i ornats exteriorment amb arcuacions cegues i dues lesenes cadascun. Les lesenes van fins a un petit sòcol que envolta els absis i hi ha tres arcuacions cegues entre lesena i lesena, en total nou a cada absis. El central té tres finestres de doble esqueixada i els laterals una cadascun, també de doble esqueixada. A la façana de ponent, refeta en la restauració de 1957-73, hi ha el portal d'entrada, de mig punt amb una imposta. Una orla sobresortida volta l'arc, i les dovelles estan molt ben polides i encaixades; damunt seu hi ha una finestra allargada de volta de mig punt amb una orla semicircular i imposta. A l'aresta de la façana de migdia hi ha un contrafort. La nau és coberta amb una volta de canó lleugerament apuntada, reforçada per dos arcs torals, el del creuer de mig punt i el del mig de la nau apuntat, i recolza sobre unes columnes de factura molt sòlida, amb impostes en les de l'arc apuntat. Els absis són coberts amb volta de quart d'esfera. La cúpula del cimbori és semiesfèrica, de base quadrada i de grans dimensions, aguantada pels arcs dels absis (el central i els laterals) i el de la nau. Té quatre trompes a partir de les quals els carreus estan disposats uniformement fins al punt final de la semiesfera. El cimbori té tots els costats d'idèntiques dimensions. A la paret de migdia hi ha una finestra rodona. La coberta de la nau té dues vessants, la del cimbori en té vuit i en els absis és cònica, totes amb teula àrab.
Les dues façanes laterals, sud i nord, presenten decoració d'arcuacions cegues llombardes de les mateixes dimensions que les de l'absis; aquestes arcuacions presenten una lesena central al mur nord, mentre que en el mur sud apareixen seguides i tenen una tipologia molt especial, ja que són formades per plafons semicirculars refets del pla de façana. A la paret de migdia hi ha dues finestres de doble esqueixada i una porta més petita que la del mur de ponent, i a la paret nord hi ha una finestra de doble esqueixada on també es troba un portal de mig punt, de petites dimensions. L'aparell constructiu de l'edifici és de carreus de pedra tallats amb uniformitat en tot el conjunt, excepte a la base, que és de pedra basta. L'edifici presenta alguns elements que el singularitzen, atorgant-li un interès especial: en primer lloc, la presència de les dues portes secundàries situades a les façanes nord i sud, que es corresponen força bé amb les portes accessòries que apareixen a les esglésies monàstiques medievals i que plantegen, per a alguns estudiosos, un possible caràcter monàstic de l'església de Terrassola. Així, i seguint aquesta hipòtesi, seria l'únic element conservat d'un conjunt monàstic desaparegut, si és que s'arribà a completar el projecte en el qual es concebí l'església. Tanmateix, a la façana sud cal destacar la singularitat formal del seu fris d'arcuacions, molt diferent del que és més habitual en aquest tipus decoratiu. També és un element singular en la composició del mateix edifici, en la qual la situació dels absis i de la façana nord segueix les fórmules habituals del seu tipus. És difícil donar una motivació a aquesta singularitat, potser justificada per la presència d'edificis annexos.
L'indret que ocupa l'església de Sant Marçal de Terrassola ja estava habitat, com a mínim, des del segle IV aC. Després de ser abandonada durant el Baix Imperi, l'emplaçament es tornà a poblar al segle X. Damunt d'una església anterior, entre els anys i 1043 i 1053, Guislabert, bisbe de Barcelona, consagrà l'actual església de Sant Marçal a petició del matrimoni format per Silveri Borrell i Ermessenda. Deuen ser d'aquesta època o de la capella anterior les tombes antropomorfes actualment tapades que hi ha dintre del recinte del temple i que aparegueren durant les obres de restauració dels anys 1985-86. Al començament del segle XIII, l'església de Sant Marçal depenia del monestir italià de Sant Martino dell'Isola Gallinaria, a l'igual que el proper priorat de Sant Pere de Riudebitlles. El 1209, Nicolau, abat de l'esmentat monestir, nomenà síndic Bernat de Blancafort, monjo i diaca d'aquell cenobi. L'any següent hi hagué una concòrdia entre Pere, bisbe de Barcelona, i Bernat de Blancafort, perquè aquest darrer no volia observar sobre la institució de l'església de Sant Marçal la cura d'ànimes i l'entredit. La dependència del cenobi italià durà fins que es va fer una permuta de propietats amb el monestir de Montserrat l'any 1428, que canviava Sant Marçal per terres italianes.
Es creu que aquesta església tingué una funció monacal, com ho corrobora l'existència de les portes laterals, i cal suposar que la façana meridional connectava amb el possible claustre, la de tramuntana amb el fossar i la de ponent estava reservada als fidels. Amb tot, fins al segle XV no hi ha cap document que parli de la seva funció com a cenobi. L'església s'utilitzà també com a magatzem de gra, com ho demostra la troballa, en les últimes excavacions, de set sitges tallades al terreny natural. Aquestes es trobaren distribuïdes per la nau sense cap ordre. Possiblement aquest factor indica una diacronia en la construcció, fent-se a mesura que calia augmentar la capacitat d'emmagatzematge. Les sitges eren de forma ovoïdal, força irregulars, amb el diàmetre més gran prop de la base, que presentava una lleugera concavitat. El brocal estava fet amb pedres treballades en arc de cercle, i la tapadora era monolítica, amb una perforació central. Aquests dipòsits van estar en ús fins l'any 1780, ja que se sap per la documentació que el bisbe, amb motiu d'una visita pastoral, va sol·licitar al rector que proporcionés un altre lloc per guardar el blat, ja que no era decent que el tingués dins l'església. Al segle XIV es va substituir la volta de canó per una altra lleugerament apuntada. Al segle XVIII es van fer algunes actuacions a l'església, a fi de com sanejar la volta, posar nova teulada, construir un campanar rectangular damunt de la nau i fer el contrafort de la façana sud. Al començament del segle XX s'adossà la sagristia a sota del campanar. En la restauració que es va fer a partir de l'any 1957, a càrrec de la Diputació de Barcelona, es van treure el campanar i la sagristia i es va refer la façana actual d'entrada entre d'altres millores. Però no és fins a la intervenció de 1985-86 que el temple queda en perfecte estat de conservació. Es pot considerar un dels millors exemplars del romànic català que ha arribat fins als nostres dies.
Durant els anys 1985-86 l'església de Sant Marçal de Terrassola fou objecte d'una restauració total i una reorganització de l'entorn dutes a terme pel Servei de Patrimoni Arquitectònic de la Diputació de Barcelona, segons el projecte de l'arquitecte Rafael Vila Rodríguez. Aquesta actuació va ser precedida d'una recerca documental, portada a terme per les senyores Anna Castellano i Maria José Sureda. L'excavació arqueològica prèvia abastà la totalitat de la superfície interior del temple i els rebliments que hi havia sota les teulades; a més es van fer dos sondeigs extramurs de l'absis major. Les recerques dutes a terme permeteren identificar deu fases diferents d'ocupació. Així, les restes més antigues conegudes al solar de Sant Marçal corresponen a una habitació d'època ibèrica, situada al bell mig de l'àrea ocupada pel temple actual, amb una cronologia que abasta des de mitjan segle IV a la darreria del segle II aC. L'ocupació del capcer de Terrassola a l'època de l'Alt Imperi Romà també és documentada per la presència d'alguns materials ceràmics. Si bé no coneixem cap estructura arquitectònica d'aquell moment, es pot suposar que hi havia una vil·la romana als voltants del lloc on avui hi ha l'església. Després de l'abandó de l'explotació agrícola romana, de la qual tan sols podem intuir que funcionava durant els segles II i III dC, no tenim més dades sobre l'ocupació del promontori fins al segle X, la qual cosa no vol dir que deixés d'utilitzar-se en aquesta darrera data. És d'aquell moment una necròpoli d'inhumació, amb vuit sepultures antropomorfes d'adults i dues d'el·líptiques d'infants, coetànies a les anteriors, retallades en part als rebliments de l'època ibèrica i en part al terreny natural. Les tombes es trobaven concentrades a la meitat sud de la nau i, en més quantitat, a ponent. La presència d'aquesta sagrera pot indicar l'existència d'un edifici religiós anterior a l'actual, desconegut fins ara, que caldria situar fora de l'àrea afectada per l'excavació arqueològica, segurament cap al sud-oest. Els rebaixos de nivell realitzats anteriorment al voltant del temple fan que sigui impossible confirmar aquesta hipòtesi. Només es coneixen íntegrament tres tombes d'adults, ja que dues estaven tallades pels fonaments del temple i la resta estaven parcialment arrasades per remocions posteriors.
L'absència d'aixovar i d'elements de cultura material als rebliments de les tombes fa difícil la datació absoluta de la necròpoli, però la tipologia i la datació "ante quem" proporcionada pel fet que algunes sepultures van ser tallades per la cimentació del temple permeten establir-ne la datació prop del final del segle IX i sobretot al llarg del segle X. Finalment, a les acaballes del segle XI o començament del XII es va construir l'edifici que sense grans canvia ha arribat fins avui.
The Grade I Listed Carew Castle, a Norman Rectangular castle with Elizabethan Ranges alongside the Carew River in Pembrokeshire, South Wales.
The Carew family take their name from the place, and still own the castle, although it is leased to the Pembrokeshire Coast National Park, which administers the site.
The use of the site for military purposes extends back at least 2000 years. The castle stands on a limestone bluff overlooking the Carew inlet — a part of the tidal estuary that makes up Milford Haven. The site must have been recognised as strategically useful from the earliest times, and recent excavations in the outer ward have discovered multiple defensive walls of an Iron Age fort.
The Norman castle has its origins in a stone keep built by Gerald de Windsor around the year 1100. Gerald was made castellan of Pembroke Castle by Arnulf of Montgomery in the first Norman invasion of Pembrokeshire.
Gerald's son William took the name "de Carew", and in the middle of the 12th century created an enclosure with stone walls incorporating the original keep, and a "Great Hall" inside it.
The de Carews fell on hard times in the post-Black Death period and mortgaged the castle. It fell into the hands of Rhys ap Thomas, who made his fortune by strategically changing sides and backing Henry Tudor just before the battle of Bosworth.
Rhys's grandson Rhys ap Gruffudd fell out of favour and was executed by Henry VIII for treason in 1531. The castle thus reverted to the crown and was leased to various tenants. In 1558 it was acquired by Sir John Perrot, a Lord Deputy of Ireland, who completed the final substantial modifications the castle.
Perrot subsequently fell out of favour and died imprisoned in the Tower of London in 1592. The castle reverted to the crown and was finally re-purchased by the de Carew family in 1607. In the Civil War, the castle was refortified by Royalists although south Pembrokeshire was strongly Parliamentarian. At the Restoration the castle was returned to the de Carews, who continued to occupy the eastern wing until 1686. The castle was then abandoned and allowed to decay.
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