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Praha - Prague_Kostel sv. Mikuláše_Praha 1 - Malá Strana_Czechia
St. Nicholas Church (Malá Strana)
St Nicholas Church
The Church of Saint Nicholas
Kostel svatého Mikuláše
Prague 07-2016 view from Lesser Town Tower of Charles Bridge img1.jpg
50°05′17″N 14°24′12″ECoordinates: 50°05′17″N 14°24′12″E
LocationPrague
CountryCzech Republic
DenominationRoman Catholic
WebsiteWebsite of the Church
History
StatusActive
Founded1704
Architecture
Functional statusParish Church
Architect(s)Christoph Dientzenhofer
Architectural typeBasilica
StyleBaroque
Completed1755
Specifications
Height49 meters
Dome height (outer)79 meters
Dome diameter (outer)20 meters
Spire height79 meters
Administration
ParishLesser Town of Prague
ArchdiocesePrague
The Church of Saint Nicholas (Czech: Kostel svatého Mikuláše) is a Baroque church in the Lesser Town of Prague. It was built between 1704-1755 on the site where formerly a Gothic church from the 13th century stood, which was also dedicated to Saint Nicholas.
Decoration
It has been described as "the most impressive example of Prague Baroque"[1] and "without doubt the greatest Baroque church in Prague and the Dientzenhofers' supreme achievement".[2]
Interior of the dome
On the shield is a sign of the alleged patron of the building Frantisek Karel Count of Kolowrat-Liebsteinsky. The mark of the actual patron Václav Count of Kolowrat-Liebsteinsky on the facade of the temple is not found. He was so humble that he did not want his name to be associated with the building, and after the completion of the building he was used on the front of the coat of arms of his uncle.
The church excels not only in the architecture, but also in the decoration, mainly with the frescos by Jan Lukas Kracker and a fresco inside the 70 m high dome by František Xaver Palko. The interior is further decorated with sculptures by František Ignác Platzer. The Baroque organ has over 4,000 pipes up to six metres in length and was played by Mozart in 1787. Mozart's spectacular masterpiece, Mass in C, was first performed in the Church of Saint Nicholas shortly after his visit.[3][4]
The 79 m tall belfry is directly connected with the church’s massive dome. The belfry with great panoramic view, was unlike the church completed in Rococo forms in 1751-1756 by Anselmo Lurago.
Les Invalides), formally the Hôtel national des Invalides (The National Residence of the Invalids), or also as Hôtel des Invalides, is a complex of buildings in the 7th arrondissement of Paris, France, containing museums and monuments, all relating to the military history of France, as well as a hospital and a retirement home for war veterans, the building's original purpose. The buildings house the Musée de l'Armée, the military museum of the Army of France, the Musée des Plans-Reliefs, and the Musée d'Histoire Contemporaine, as well as the Dôme des Invalides, a large church, the tallest in Paris at a height of 107 meters[1], with the tombs of some of France's war heroes, most notably Napoleon.
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Deur van de St.-Carolus Borromeuskerk in Antwerpen
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Door of the St. Carolus Borromeus church in Antwerp
Le Kronentor ou "Porte de la couronne" du Zwinger à Dresde (Dresden), Land de Saxe, Allemagne. Une vue à partir de la cour intérieure du Zwinger.
Il s’agit de l’entrée la plus spectaculaire du Zwinger. En termes d'architecture, elle adopte le style du haut baroque italien. A son sommet, quatre aigles polonaises portent la réplique de la couronne royale polonaise. Ils nous rappellent qu'Auguste le Fort fut non seulement électeur de Saxe mais aussi roi de Pologne. L’entrée est encadrée de galeries fermées dont le toit forme une sorte d’élégant chemin de ronde fermant la cour du Zwinger du côté du parc et des anciennes douves. Le tout relie le pavillon de la Porzellansammlung "Porcelain Collection", à gauche, et celui du Mathematisch-Physikalischer Salon qui, offre une riche collection d'instruments scientifiques, à droite.
Le palais Zwinger, chef-d’œuvre baroque commandé par le duc Auguste le Fort, porte un nom signifiant "entre les murs" car il fut construit entre 1709 et 1732 dans un espace libre entre les anciennes enceintes. Il a été conçu pour illustrer la richesse et le pouvoir politique du duc.
Joyau baroque blotti le long des berges du fleuve d’Elbe, Dresde (Dresden), capitale de la Saxe, également nommée la « Florence de l’Elbe » pour sa riche collection d'oeuvres d'art et classée en 2004 (mais retirée en 2009 à cause de la construction d'un pont) au Patrimoine mondial de l'Unesco, est une cité monumentale où s’ordonnent avec grâce escaliers d’apparats, terrasses panoramiques et vastes places décorées de statues de saints et de monarques aux allures solennelles.
La ville doit au duc Albert et à ses descendants qui en firent leur lieu de résidence à partir de 1485, d’être devenue l’une des plus belles villes d’Allemagne. Elle connut sa principale période de croissance au début du 18e siècle sous le règne d’Auguste le Fort, et nombre de ses monuments historiques datent de cette époque. Presque entièrement rasée à la veille de la chute du Reich en 1945, Dresde vit une véritable renaissance : restaurations exemplaires des principaux monuments, réhabilitations réussies des édifices hérités de l’ex-RDA, centre historique rendu aux piétons…
Basilique de la Macarena – Séville (Espagne)
Dédiée au culte de Notre père Jésus de la Sentence (Nuestro Padre Jesús de la Sentencia), une statue habillée réalisée par Felipe de Morales en 1654.
L'icône se situe dans un autel réalisé en 1951 par l'atelier de Pérez Calvo, offert par les fonctionnaires du ministère de la Justice. Il est de style baroque et est composé de trois panneaux, le panneau central abritant le camarín du Christ et les panneaux latéraux des images de San Gonzalo et de Santa Genoveva. Les décors sculptés sont de Luis Ortega Bru.
L'ensemble est couronné par un relief de la Vierge du Pilier, sainte patronne de l'Hispanité.
La Fountain Court (3e cour) du château de Hampton Court, Hampton Court Way, East Molessey, l'arrondissement londonien de Richmond upon Thames, Angleterre.
Cette cour de style baroque anglais fut conçue en 1689 par Christopher Wren, lors de la seconde campagne d’agrandissement lancée par Guillaume III et Marie II.
Situé au sud-ouest du Grand Londres, proche de la frontière avec le comté de Surrey en Angleterre, Hampton Court fut la résidence favorite du roi Henri VIII. Pendant près de 200 ans, ce château a été au centre de la cour royale, de la politique, ainsi que l'histoire de la nation. En 1518, le cardinal Thomas Wolsey (v. 1475-1530) devient archevêque d'York et choisit Hampton Court comme sa résidence principale. En 1523, Wolsey finit la construction des appartements d'Henri VIII (1509-1547) mais trois ans plus tard, tombé en disgrâce, il est forcé d'abandonner sa propriété au roi.
Le fils unique du roi, Édouard, le futur Édouard VI d'Angleterre, naît à Hampton Court en 1537, et est baptisé dans la chapelle église royale. Sa mère, Jeanne Seymour, meurt au palais quelques jours plus tard. En 1649, le roi Charles Ier, fait prisonnier par l'armée d'Oliver Cromwell, est amené à Hampton Court. En 1657, Oliver Cromwell est proclamé Lord Protecteur de la république d'Angleterre, d'Irlande et d'Écosse et vient habiter à Hampton Court.
En 1689, le roi Guillaume III, et sa reine Marie II (le seul couple à avoir régné sur l’Angleterre de 1689 à 1702), ordonnent à Sir Christopher Wren de construire un nouveau palais aux façades palladiennes décorées de style baroque. En 1717, le prince et la princesse de Galles (futurs roi George II et reine Caroline) viennent s'installer à Hampton Court et ordonnent des travaux pour aménager leurs appartements. Ils sont les derniers souverains à y habiter.
En 1838, la reine Victoria ouvre au public le château de Hampton Court, aujourd’hui palais d'État, rempli de nombreuses merveilles (tableaux, sculptures, etc.) mais aussi extrêmement riche en culture.
La cathédrale de la Vierge Marie de l'Immaculée Conception (catedral de la Virgen María de la Concepción Inmaculada ou catedral San Cristobal de La Habana) est une cathédrale de style baroque du XVIIIe siècle consacrée à la Vierge Marie, située place de la Cathédrale dans un des quartiers les plus anciens de la vieille ville de La Havane à Cuba. C'est une des plus anciennes cathédrales d'Amérique.
Architecte : Francesco Borromini
Francesco Borromini, né Francesco Castelli à Bissone le 25 ou 27 septembre 1599 décédé à Rome le 3 août 1667, est un architecte suisse considéré comme une figure majeure de l'architecture baroque. Il fut le contemporain de Gian Lorenzo Bernini dont il devint le rival, et de Pierre de Cortone.
La cathédrale est construite à partir de 1748 sur les plans de l'architecte italien Francesco Borromini, au milieu d'un quartier colon, à deux pas du centre-ville de La Havane, sous les ordres de l'évêque de Salamanque. Les Jésuites se chargent des plans et travaux de l'édifice. De 1802 à 1832, elle est agrandie et ornementée par Juan José Díaz de Espada.
La nef centrale de la cathédrale abrite un monument funéraire dédié à Christophe Colomb jusqu'en 1898 (date de l'indépendance de Cuba) — le monument funéraire est depuis rapatrié dans la cathédrale Notre-Dame-du-Siège de Séville.
Les sculptures et le travail d'orfèvrerie de l'autel (en marbre de Carrare incrusté d’or, d’argent et d’onyx) et du tabernacle sont l'œuvre du sculpteur italien Fedele Bianchini.
En 1982 la cathédrale de La Havane est classée au patrimoine mondial de l'Humanité.
L'église Sant Bartolomeu i Santa Tecla est de style gothique, édifiée au XVIIe siècle tout à côté des plages de Sitges. Elle est formée de trois nefs à voûte en plein cintre.
La construction de cette église a débuté au XVIIe siècle, mais certains documents montrent l'existence de deux églises antérieures sur ce même emplacement.
Il s'agit d'une église à trois nefs. La nef centrale est plus élevée et comporte des chapelles latérales ainsi que des tribunes supérieures. L'abside est polygonale et accueille le chœur à ses pieds. La voûte est soutenue par des arcs en plein cintre. La façade principale comporte trois portes d'accès, avec une ouverture circulaire supérieure et un couronnement avec une corniche et des sphères. Le clocher qui se trouve sur la droite de la façade est octogonal et présente trois corps superposés. Il a été consacré en 1672 et restauré en 1863. Le second clocher date de 1674 et est dénommé « del Comunidor ». Il accueille depuis 1868 l'horloge et les cloches de la ville. L'ensemble est complété par la chapelle du Santísimo, située sur la partie de droite de l'église, qui abrite des chapiteaux corinthiens et des figures d'anges.
Parmi ses éléments remarquables, un orgue baroque de 1697 fabriqué par Fray Bartomeu Triall et Joan Roig ; le retable baroque des Dolores de 1702, œuvre de Joan Roig ; les dorures de Joan Moixí, ou encore les vestiges d'un retable gothique dédié à San Bartolomé et Santa Tecla, du peintre napolitain Nicolás de Cerdença. De plus, la chapelle du baptistère dédiée à la vierge de Montserrat abrite des peintures de Pere Pruna et deux autres retables. Sous le chœur reposent deux sépulcres de 1317 et 1322, et les ossuaires de Bernat de Fonollar, Galceran de Ribes et Galceran de Pacs.
L'église Sant Bartolomeu i Santa Tecla est de style gothique, édifiée au XVIIe siècle tout à côté des plages de Sitges. Elle est formée de trois nefs à voûte en plein cintre.
La construction de cette église a débuté au XVIIe siècle, mais certains documents montrent l'existence de deux églises antérieures sur ce même emplacement.
Il s'agit d'une église à trois nefs. La nef centrale est plus élevée et comporte des chapelles latérales ainsi que des tribunes supérieures. L'abside est polygonale et accueille le chœur à ses pieds. La voûte est soutenue par des arcs en plein cintre. La façade principale comporte trois portes d'accès, avec une ouverture circulaire supérieure et un couronnement avec une corniche et des sphères. Le clocher qui se trouve sur la droite de la façade est octogonal et présente trois corps superposés. Il a été consacré en 1672 et restauré en 1863. Le second clocher date de 1674 et est dénommé « del Comunidor ». Il accueille depuis 1868 l'horloge et les cloches de la ville. L'ensemble est complété par la chapelle du Santísimo, située sur la partie de droite de l'église, qui abrite des chapiteaux corinthiens et des figures d'anges.
Parmi ses éléments remarquables, un orgue baroque de 1697 fabriqué par Fray Bartomeu Triall et Joan Roig ; le retable baroque des Dolores de 1702, œuvre de Joan Roig ; les dorures de Joan Moixí, ou encore les vestiges d'un retable gothique dédié à San Bartolomé et Santa Tecla, du peintre napolitain Nicolás de Cerdença. De plus, la chapelle du baptistère dédiée à la vierge de Montserrat abrite des peintures de Pere Pruna et deux autres retables. Sous le chœur reposent deux sépulcres de 1317 et 1322, et les ossuaires de Bernat de Fonollar, Galceran de Ribes et Galceran de Pacs.
Détail de la façade de l'église de la Merced (Notre-Dame de la Merci)
L'église de la Merced ou de la Merci a été construite par l'ordre des Mercédaires (Notre-Dame de la Merci) à partir de 1548.
L'ordre a été créé à l'origine comme ordre militaire par Pierre Nolasque pour racheter les chrétiens captifs des pirates maures et réduits en esclavage. L'ordre a perdu son caractère militaire en 1317 et a joué un rôle missionnaire et caritatif dans le Nouveau Monde.
fr.wikipedia.org/wiki/Ordre_de_Notre-Dame-de-la-Merci
L'église a été plusieurs fois détruite et reconstruite avec les précautions antisismiques de chaque époque (tremblements de terre de 1717, 1773,...1976). Sa façade jaune est ornée de feuilles de vigne en stuc peintes en blanc. A gauche de l'église, se trouve l'ancien couvent
L'église de la Merced sur Wikipedia (en)
en.wikipedia.org/wiki/Iglesia_de_La_Merced,_Antigua_Guate...
Site de l'auteur sur le Guatemala (2002)
jdalbera.free.fr/guatemala_web/antigua/la merced/index.htm
Antigua Guatemala sur Wikipedia
Antigua est une petite ville entourée de volcans au sud du Guatemala. Elle est classée au patrimoine mondial de l'UNESCO
whc.unesco.org/fr/list/65fr.wikipedia.org/wiki/Antigua_Guatemala
Ces bâtiments illustrent une variation stylistique régionale connue sous le nom de Barroco antigüeño. Parmi les caractéristiques propres à ce style architectural, on remarque l’usage de stuc décoratif pour la décoration tant à l’intérieur qu’à l’extérieur, des façades principales avec un fenêtre centrale dans une niche et souvent un tympan sculpté en creux, des bâtiments imposants et des campaniles assez bas conçus pour résister aux fréquents tremblements de terre courants dans la région... Extrait de la base de données de l'UNESCO sur le patrimoine mondial
Le château a été commandé par la reine Sophie-Charlotte , épouse du roi Frédéric 1er de Prusse à la fin du XVIIème siècle.
Pendant la seconde guerre mondiale le palais fut gravement endommagé. Après 1945 il fut reconstruit.
View of the large Square (Piața Mare) in Sibiu in Romania. That was the old colorful color scheme for the facades of the buildings on the square before 2007!
Sibiu/Hermannstadt, Transylvania, Romania. 07 June 2006. (159-20060607)
Blick auf den großen Ring (Piața Mare) in Hermannstadt in Rumänien. Das war noch die alte farbenfrohe Farbgebung bei den Gebäuden am Platz vor dem Jahr 2007!
Sibiu/Hermannstadt, Siebenbürgen, Rumänien. 07. Juni 2006. (159-20060607)
Infos zum Brukenthal Palais:
Vedere la Piața Mare din Sibiu în România. Aceasta a fost vechea schemă de culori colorate pentru fațadele clădirilor din piață înainte de 2007!
Sibiu/Hermannstadt, Transilvania, România. 07 iunie 2006.
Vue sur la grande place (Piața Mare) à Sibiu en Roumanie. C'était l'ancienne palette de couleurs colorées pour les façades des bâtiments de la place avant 2007 !
Sibiu/Hermannstadt, Transylvanie, Roumanie. 07 juin 2006.
Les Invalides), formally the Hôtel national des Invalides (The National Residence of the Invalids), or also as Hôtel des Invalides, is a complex of buildings in the 7th arrondissement of Paris, France, containing museums and monuments, all relating to the military history of France, as well as a hospital and a retirement home for war veterans, the building's original purpose. The buildings house the Musée de l'Armée, the military museum of the Army of France, the Musée des Plans-Reliefs, and the Musée d'Histoire Contemporaine,
La Porte des Bombes ( en maltais : Bieb il-Bombi , en italien : Porta delle Bombe , signifiant « Porte des Bombes »), appelée à l'origine Porta dei Cannoni (signifiant « Porte des Canons »), est une porte en arc ornementalesituée à Floriana , à Malte . Elle a été construite à l'origine en 1721 comme une porte avancée dans la faussebraye des lignes de Floriana , et elle a été agrandie avec la construction d'une deuxième arche en 1868. Les remparts de chaque côté de la porte ont depuis été démolis, laissant la porte ressembler à un arc de triomphe .
La Porte des Bombes, de style baroque, fut construite en 1720-1721 dans la faussebraye, selon les plans de l'architecte français Charles François de Mondion.
La porte a une corniche au-dessus d'une rangée de croix de Malte sculptées . Au-dessus de la corniche se trouvent des écussons portant les armoiries de l' Ordre de Saint-Jean , du Grand Maître Perellos et du Royaume-Uni, ainsi que deux plaques de marbre avec des inscriptions latines.
Détails baroques du décor intérieur de l’église du Sanctuario della Madonna del Sasso, commune Madonna del Sasso (Locarno), canton du Tessin, Suisse.
L’église actuelle qui date de 1596, est installée à l’emplacement de la chapelle initiale construite en 1487. Elle est ornée de fresques et de peintures à l’huile, dont un retable représentant la Fuite en Égypte peint en 1522. Le complexe actuel a été commandé en 1706 et inauguré en 1771.
Ce site de pèlerinage qui domine Locarno depuis son éperon rocheux est l'un des sites religieux et historiques les plus importants dans le canton du Tessin. La tradition dit que Fra` Bartolomeo, un moine franciscain du couvent de Locarno, a voulu construire un lieu de culte sur le "Rocher" de Locarno à la suite d'une apparition de la Vierge Marie.
he buildings house the Musée de l'Armée, the military museum of the Army of France, the Musée des Plans-Reliefs, and the Musée d'Histoire Contemporaine, as well as the Dôme des Invalides, a large church, the tallest in Paris at a height of 107 meters[1], with the tombs of some of France's war heroes, most notably Napoleon.
Church of San Stae (Saint Eustachius) Iglesia de San Stae (San Eustaquio)
Roman Catholic
Venice
Architect(s)Domenico Rossi
Architectural styleBaroque
Completed17th century
San Stae, an abbreviation for Saint Eustachius, was founded at the beginning of the 11th century and reconstructed in the 17th century, and has a main facade (1709) on the Grand Canal of Venice, constructed by Domenico Rossi, and richly decorated with statuary by Giuseppe Torretto, Antonio Tarsia, Pietro Baratta, and Antonio Corradini.
San Stae, abreviatura de San Eustaquio, fue fundada a principios del siglo XI y reconstruida en el siglo XVII, y tiene una fachada principal (1709) en el Gran Canal de Venecia, construida por Domenico Rossi, y ricamente decorada con estatuas por Giuseppe Torretto, Antonio Tarsia, Pietro Baratta y Antonio Corradini.
Maison des Sept Œuvres de Miséricorde (à gauche)
et Maison du Cerf Volant (à droite) à Gand en Belgique
Les pavillons Zwinger Xperience et Mathematisch-Physikalischer Salon du Zwinger à Dresde (Dresden), Land de Saxe, Allemagne.
Une vue à partir de la partie ouest du toit des galeries fermées qui forment une sorte d’élégant chemin de ronde et relie les différents pavillons.
Le palais Zwinger, chef-d’œuvre baroque commandé par le duc Auguste le Fort, porte un nom signifiant "entre les murs" car il fut construit entre 1709 et 1732 dans un espace libre entre les anciennes enceintes. Il a été conçu pour illustrer la richesse et le pouvoir politique du duc.
Joyau baroque blotti le long des berges du fleuve d’Elbe, Dresde (Dresden), capitale de la Saxe, également nommée la « Florence de l’Elbe » pour sa riche collection d'oeuvres d'art et classée en 2004 (mais retirée en 2009 à cause de la construction d'un pont) au Patrimoine mondial de l'Unesco, est une cité monumentale où s’ordonnent avec grâce escaliers d’apparats, terrasses panoramiques et vastes places décorées de statues de saints et de monarques aux allures solennelles.
La ville doit au duc Albert et à ses descendants qui en firent leur lieu de résidence à partir de 1485, d’être devenue l’une des plus belles villes d’Allemagne. Elle connut sa principale période de croissance au début du 18e siècle sous le règne d’Auguste le Fort, et nombre de ses monuments historiques datent de cette époque. Presque entièrement rasée à la veille de la chute du Reich en 1945, Dresde vit une véritable renaissance : restaurations exemplaires des principaux monuments, réhabilitations réussies des édifices hérités de l’ex-RDA, centre historique rendu aux piétons…
Santa Maria della Salute
LocationVenice, Italy
Geographic coordinates45°25′51″N 12°20′04″ECoordinates: 45°25′51″N 12°20′04″E
AffiliationRoman Catholic
ProvinceArchdiocese of Venice
Year consecrated1681
StatusActive
Architectural description
Architect(s)Baldassare Longhena
Architectural typeChurch
Architectural styleBaroque
Groundbreaking1631
Completed1687
Specifications
Length70 metres (230 ft)
Width47 metres (154 ft)
MaterialsIstrian stone, marmorino
Santa Maria della Salute (English: Saint Mary of Health), commonly known simply as the Salute, is a Roman Catholic church and minor basilica located in the Dorsoduro sestiere of the Italian city of Venice. It stands on a narrow finger of land between the Grand Canal and the Bacino di San Marco making the church visible when entering the Piazza San Marco from the water. The Salute is part of the parish of the Gesuati and is the most recent of the so-called plague-churches.
In 1630, Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable baroque style by Baldassare Longhena, who studied under the architect Vincenzo Scamozzi. Construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.
The dome of the Salute was an important addition to the Venice skyline and soon became emblematic of the city, inspiring artists like Canaletto, J. M. W. Turner, John Singer Sargent and Francesco Guardi.
History
Beginning in the summer of 1630, a wave of the plague assaulted Venice, and until 1631 killed nearly a third of the population. In the city, 46,000 people died whilst in the lagoons the number was far higher, some 94,000. Repeated displays of the sacrament, as well as prayers and processions to churches dedicated to San Rocco and San Lorenzo Giustiniani had failed to stem the epidemic. Echoing the architectural response to a prior assault of the plague (1575–76), when Palladio was asked to design the Redentore church, the Venetian Senate on October 22, 1630, decreed that a new church would be built. It was not to be dedicated to a mere "plague" or patron saint, but to the Virgin Mary, who for many reasons was thought to be a protector of the Republic.
Santa Maria della Salute on the Grand Canal
It was also decided that the Senate would visit the church each year. On November 21 the Feast of the Presentation of the Virgin, known as the Festa della Madonna della Salute, the city's officials parade from San Marco to the Salute for a service in gratitude for deliverance from the plague is celebrated. This involved crossing the Grand Canal on a specially constructed pontoon bridge and is still a major event in Venice.
The desire to create a suitable monument at a place that allows for easy processional access from Piazza San Marco led senators to select the present site from among eight potential locations. The location was chosen partially due to its relationship to San Giorgio, San Marco, and Il Redentore, with which it forms an arc. The Salute, emblematic of the city's piety, stands adjacent to the rusticated single story customs house or Dogana da Mar, the emblem of its maritime commerce, and near the civic center of the city. A dispute with the patriarch, owner of the church and seminary at the site, was resolved, and razing of some of the buildings began by 1631. Likely, the diplomat Paolo Sarpi and Doge Nicolo Contarini shared the intent to link the church to an order less closely associated with the patriarchate, and ultimately the Somascan Fathers, an order founded near Bergamo by a Venetian nobleman Jerome Emiliani, were invited to administer the church.
High Altar with the holy icon of Panagia Mesopantitisa
A competition was held to design the building. Of the eleven submissions (including designs by Alessandro Varotari, Matteo Ignoli, and Berteo Belli), only two were chosen for the final round. The architect Baldassare Longhena was selected to design the new church. It was finally completed in 1681, the year before Longhena's death. The other design to make it to the final round was by Antonio Smeraldi (il Fracao) and Zambattista Rubertini. Of the proposals still extant, Belli's and Smeraldi's original plans were conventional counter-reformation linear churches, resembling Palladio's Redentore and San Giorgio Maggiore, while Varotari's was a sketchy geometrical abstraction. Longhena's proposal was a concrete architectural plan, detailing the structure and costs. He wrote:
I have created a church in the form of a rotunda, a work of new invention, not built in Venice, a work very worthy and desired by many. This church, having the mystery of its dedication, being dedicated to the Blessed Virgin, made me think, with what little talent God has bestowed upon me of building the church in the ... shape of a crown.
Later in a memorandum, he wrote: "Firstly, it is a virgin work, never before seen, curious, worthy and beautiful, made in the form of a round monument that has never been seen, nor ever before invented, neither altogether, nor in part, in other churches in this most serene city, just as my competitor (il Fracao) has done for his own advantage, being poor in invention."
The Salute, while novel in many ways, still shows the influence of Palladian classicism and the domes of Venice. The Venetian Senate voted 66 in favor, 29 against with 2 abstentions to authorize the designs of the 26 year old Longhena. While Longhena saw the structure as crown-like, the decorative circular building makes it seem more like a reliquary, a ciborium, and embroidered inverted chalice that shelters the city's piety.
Exterior
The Salute is a vast, octagonal building with two domes and a pair of picturesque bell-towers at the back. Built on a platform made of 1,000,000 wooden piles, it is constructed of Istrian stone and marmorino (brick covered with marble dust). At the apex of the pediment stands a statue of the Virgin Mary who presides over the church which was erected in her honour. The façade is decorated with figures of Saint George, Saint Theodore, the Evangelists, the Prophets, Judith with the head of Holofernes
Maison des Sept Œuvres de Miséricorde (à gauche)
et Maison du Cerf Volant (à droite) à Gand en Belgique
Korčula est une ville et une municipalité située sur l'île de Korčula, dans le comitat de Dubrovnik-Neretva, en Croatie. Au recensement de 2001, la municipalité comptait 5 889 habitants, dont 94,80 % de Croates et la ville seule comptait 3 126 habitants.
La ville a été proposée en 2007 pour une inscription au patrimoine mondial et figure sur la « liste indicative » de l’UNESCO dans la catégorie patrimoine culturel.
fr.wikipedia.org/wiki/Kor%C4%8Dula_(ville)
Labin (en italien Albona) est une ville et une municipalité située en Istrie, dans le Comitat d'Istrie, en Croatie. Au recensement de 2001, la municipalité comptait 12 426 habitants, dont 67,89 % de Croates (16,21 % ne déclarant pas de nationalité) et la ville seule comptait 7 904 habitants.
Mljet est une municipalité située sur l'île de Mljet, dans le comitat de Dubrovnik-Neretva, en Croatie. Au recensement de 2001, la municipalité comptait 1 111 habitants, dont 97,93 % de Croates et le village de Babino Polje, siège de la municipalité, comptait 336 habitants.
fr.wikipedia.org/wiki/Mljet_(Dubrovnik-Neretva)
Omiš est une ville et une municipalité située en Dalmatie, dans le comitat de Split-Dalmatie, en Croatie. Au recensement de 2001, la municipalité comptait 15 472 habitants, dont 97,93 % de Croates2 et la ville seule comptait 6 565 habitants3.
Cette petite ville du Moyen Âge a toujours été un lieu stratégique de défense pour ceux, qui au cours des années voulurent contrôler cette partie de la côte croate. Il existe de nombreux écrits qui parlent des combats des pirates d'Omis contre d'autres conquérants de cette région.
Du XIIIe s. au XVe s. le contrôle sur la ville d'Omis se répartit entre la Croatie, la Bosnie et Venise. En 1498, la première invasion turque se solda par une défaite mais en 1537, Omis tomba entre leurs mains. Ils occupèrent la ville jusqu'en 1684.
Omis, comme ses environs, fut le lieu d'incessants combats entre Turcs, Vénitiens, Hongrois, Croates et autres peuples chrétiens. À cette époque, Venise conquit Omis et la plaça sous son administration jusqu'en 1797, date à laquelle la République vénitienne disparaît. Omis passa ensuite entre les mains des Autrichiens, puis sous le contrôle de la France napoléonienne puis de nouveau aux Autrichiens jusqu'en 1918.
Aujourd'hui encore, nous pouvons voir les deux tours qui dominent la ville. L'une d'elles, Mirabela, fut construite au XIIIe s. et atteint une hauteur de 245 m, l'autre porte le nom de Starigrad. La ville est aussi une station balnéaire, avec quelques plages proches.
From Wikipedia, the free encyclopedia
Berlin Palace is located in Berlin
Berlin Palace
Location within Berlin
General information
StatusRebuilt
Architectural styleBaroque
LocationBerlin (Mitte), Germany
Construction started1443 (original)
2013 (reconstruction)
Completed1894 (original)
2020 (reconstruction)
Destroyeddamaged by Allied bombing in 1945, demolished by East German authorities in 1950
ClientElectors of Brandenburg
Kings of Prussia
German Emperors
Design and construction
ArchitectAndreas Schlüter (original)
Franco Stella (reconstruction)
The Berlin Palace (German: Berliner Schloss), formally the Royal Palace (German: Königliches Schloss),[1] on the Museum Island in Berlin was the main residence of the House of Hohenzollern from 1443 to 1918. Expanded by order of King Frederick I of Prussia according to plans by Andreas Schlüter from 1689 to 1713, it was thereafter considered a major work of Prussian Baroque architecture.[2] The former royal palace was one of Berlin’s largest buildings and shaped the cityscape with its 60-meter (200 ft)-high dome. Damaged during the Allied bombing in World War II, it was demolished by the East German authorities in 1950, and later became the location of the modernist East German Palace of the Republic. After German reunification and several years of debate and discussion, the Palace of the Republic was itself demolished and the Berlin Palace was reconstructed to house the Humboldt Forum museum, a process completed in 2020.
Overview
The Berlin Palace, also incorrectly known as the City Palace (German: Stadtschloss),[3] is a building in the centre of Berlin, located on the Museum Island at Schlossplatz opposite the Lustgarten park. From the 15th century to the early 20th century, the Berliner Schloss was a royal and imperial palace that mostly served as the main residence of the Electors of Brandenburg, the Kings of Prussia, and the German Emperors.[4] Damaged during World War II and later demolished by the East German government in the 1950s, the palace has been partially rebuilt and was completed in 2020. The reconstructed palace is the seat of the Humboldt Forum, a museum for world culture which is a successor museum of the Ancient Prussian Art Chamber, which was also located in the Berlin Palace during the 19th Century. The Humboldt Forum has been described as the German equivalent of the British Museum.[5]
The palace was originally built in the 15th century, but had changed in form throughout the next few centuries. It bore features of the Baroque style; its shape, which had been finalized by the mid-18th century, is for the most part attributed to German architect Andreas Schlüter, whose first design is likely to date from 1702, even though the palace incorporated earlier parts as seen in 1688 by Nicodemus Tessin. It served as a residence to various Electors of Brandenburg. It was the principal residence and winter residence of the Hohenzollern Kings of Prussia from 1701 to 1918. After the unification of Germany in 1871, it also became the central residence for the German Emperors, who also served as the Kings of Prussia. After the proclamation of the Weimar Republic in 1918, the palace became a museum. In World War II, the building was heavily damaged by Allied bombings. Although it is thought to have been repairable, the palace was demolished in 1950 by the German Democratic Republic authorities following much criticism. In the 1970s, the Palace of the Republic was constructed on its site, but was controversially demolished in 2008 in order for a reconstruction of the baroque palace.
Following the reunification of Germany, it was decided to reconstruct the entire exterior of the palace in the original style with the exception of the east side facing the Spree. The authentically reconstructed facades include various remnant sculptures and stones of the original palace. The inner courtyard facades are also modern, except the facade of one of the courtyards which is constructed in the original style (Schlüterhof). The floorplan has been designed to allow future reconstruction of notable historical rooms. The building houses the Humboldtforum museum and congress complex, and was finished in 2020.[6][7]
History up to 1871
The palace replaced an earlier fort or castle guarding the crossing of the Spree river at Cölln, a neighbouring town which merged with Berlin in 1710. The castle stood on Fishers' Island, as the southern end of the Museum Island in the Spree is known. In 1443 Frederick II "Irontooth", Margrave and Prince Elector of Brandenburg, laid the foundations of Berlin's first fortification in a section of swampy wasteland north of Cölln. At the completion of the castle in 1451, Frederick moved there from the town of Brandenburg. The main role of the castle and its garrison in this period was to establish the authority of the Margraves over the unruly citizens of Berlin, who were reluctant to give up their medieval privileges to a monarchy. In 1415 King Sigismund had enfeoffed the Hohenzollern princes with Brandenburg, and they were now establishing their power and withdrawing electoral privileges which the cities had attained in the Brandenburg interregnum of 1319–1415.
The castle also included a chapel. In 1454 Frederick II, after having returned via Rome from his pilgrimage to Jerusalem, made the castle chapel a parish church, richly endowing it with relics and altars.[8] Pope Nicholas V ordered Stephan Bodecker, then Prince-Bishop of Brandenburg, to consecrate the Chapel to Erasmus of Formiae.[9]
On 7 April 1465, at Frederick's request, Pope Paul II attributed to St Erasmus Chapel a canon-law College named Stift zu Ehren Unserer Lieben Frauen, des heiligen Kreuzes, St. Petri und Pauli, St. Erasmi und St. Nicolai. This collegiate church became the nucleus of today's Evangelical Supreme Parish and Collegiate Church, adjoining the site of the castle.
In 1538, the Margrave Joachim II demolished the palace and engaged the master builder Caspar Theiss to build a new and grander building in the Italian Renaissance style. After the Thirty Years War (1618–1648), Frederick William (1620–1688), the "Great Elector", embellished the palace further. In 1688, Nicodemus Tessin designed courtyard arcades with massive columns in front. Not much is known about the alterations of 1690–1695, when Johann Nering was the court architect. Martin Grünberg continued the alterations in 1695–1699.
In 1699, the Elector Frederick III of Brandenburg (who took the title King in Prussia in 1701, becoming Frederick I), appointed the architect Andreas Schlüter to execute a "second plan" in the Italian manner. Schlüter's first design probably dates from 1702; he planned to rebuild the palace in the Protestant Baroque style. His overall concept in the shape of a regular cube enclosing a magnificently ornamented courtyard was retained by all the building directors who succeeded him. In 1706, Schlüter was replaced by Johann Friedrich Eosander von Göthe, who designed the western extension of the palace, doubling its size. In all essentials, Schlüter's balanced, rhythmic composition of the façades was retained, but Göthe moved the main entrance to the new west wing.
Berliner Schloss was the original location for the Amber Room, but Peter the Great of Russia admired it during a visit and in 1716 Frederick William I presented the room to Peter as a gift.[10]
Frederick William I, who became king in 1713, was interested mainly in building up Prussia as a military power, and dismissed most of the craftsmen working on the Stadtschloss. As a result, Göthe's plan was only partly carried out. Nevertheless, the exterior of the palace had come close to its final form by the mid-18th century. The final stage was the erection of the dome in 1845, during the reign of Frederick William IV. The dome was built by Friedrich August Stüler after a design by Karl Friedrich Schinkel. Subsequent major works were limited to the interior, engaging the talents of Georg Wenzeslaus von Knobelsdorff, Carl von Gontard and many others.
The Stadtschloss was itself the epicenter of the Revolution of 1848 in Prussia. Huge crowds gathered outside the palace to present an "address to the king" containing their demands for a constitution, liberal reform and German unification. Frederick William emerged from the palace to accept their demands. On 18 March, a large demonstration outside the Stadtschloss led to bloodshed and the outbreak of street fighting. Frederick William later reneged on his promises and reimposed an autocratic regime. From that time onwards, many Berliners and other Germans came to see the Stadtschloss as a symbol of oppression and "Prussian militarism".
Later history (1871-1989)
In 1871, King William I was elevated to the status of Emperor (Kaiser) of a united Germany, and the Stadtschloss became the symbolic heart of the German Empire. The Empire was (in theory) a constitutional state, and from 1894 onwards, the new Reichstag building, the seat of the German parliament came to not only rival but overshadow the Stadtschloss as the Empire's center of power. In conjunction with Germany's defeat in World War I, William II was forced to abdicate both as German Emperor and as King of Prussia. In November 1918, the Spartacist leader, Karl Liebknecht, declared the German Socialist Republic from a balcony of the Stadtschloss, ending more than 400 years of royal occupation of the building.
During the Weimar Republic, parts of the Stadtschloss were turned into a museum, while other parts continued to be used for receptions and other state functions. Under Adolf Hitler's National Socialist (Nazi) Party, which laid to rest monarchist hopes of a Hohenzollern restoration, the building was mostly ignored. During World War II, the Stadtschloss was twice struck by Allied bombs: on 3 February and 24 February 1945. On the latter occasion, when both the air defences and fire-fighting systems of Berlin had been destroyed, the building was struck by incendiaries, lost its roof, and was largely burnt out.
The end of the war saw the Stadtschloss a burned-out shell of its former glory, although the building had remained structurally sound and much of its interior decoration was still preserved. It could have been restored, as many other bombed-out buildings in central Berlin later were. The area in which it was located was within the Soviet Union zone, which became the German Democratic Republic. The building was used for a Soviet war movie ("the Battle of Berlin") in which the Stadtschloss served as a backdrop, with live artillery shells fired at it for the realistic cinematic impact.[11]
The new socialist government declared the Stadtschloss a symbol of Prussian militarism, although at that time there appeared to be no plans to destroy the building. Some parts of it were in fact repaired and used from 1945 to 1950 as an exhibition space. A secret 1950 GDR Ministry of Construction report, only rediscovered in 2016, calculated that reconstruction of the damaged Palace could be achieved for 32 million GDR marks.[12] But in July 1950 Walter Ulbricht, the new General Secretary of the Central Committee of the Socialist Unity Party of Germany, announced the demolition of the palace. Despite objections, its removal commenced in September 1950, the process taking four months and consuming 19 tons of dynamite.[13] So solid was its construction that the dome and its entire mount remained intact even after the rest of the building fell to the ground.[14] Only one section was preserved, a portal from the balcony from which Karl Liebknecht had declared the German Socialist Republic. It was later added to the Council of State building (Staatsratsgebäude), with an altered cartouche, where it forms the main entrance. The empty space where the Stadtschloss had stood was named Marx-Engels-Platz and used as a parade ground.
Management and Technology)
In 1964, the GDR built a new Staatsrat or Council of State building on part of the site, incorporating Liebknecht's balcony in its facade. From 1973 to 1976, during the government of Erich Honecker, a large modernist building was built, the Palast der Republik (Palace of the Republic), which occupied most of the site of the former Stadtschloss. Shortly before German reunification in October 1990, the Palast der Republik was found to be contaminated with asbestos and was closed to the public. After reunification, the Berlin city government ordered the removal of the asbestos, a process which was completed by 2003. In November 2003, the German federal government decided to demolish the building and leave the area as parkland pending a decision as to its ultimate future. Demolition started in February 2006 and was completed in 2009.
The demolition was lengthy because of the presence of additional asbestos, and because the Palace acted as a counterbalance to the Berliner Dom, across the street, on the unstable grounds of the Museum Island.[15] East Germans resented the demolition, especially those for whom the Palace of the Republic had been a place of fond memories, or who felt a sense of dislocation in a post-communist world.[16] Part of the Palace formed a Stasi surveillance centre that recorded the visitors and staff.[17]
From 2008 until the commencement of construction in 2013, the large area of the original Schlossplatz became a grassed field, laid out on minimal lines with wooden platforms. At the same time, the Berlin Monument Authority (Landesdenkmalamt) undertook extensive archaeological excavations. Parts of cellars that had been situated in the south-west corner of the former Palace were discovered and it was decided these would be preserved and made accessible to visitors as an "archaeological window".[18]
Reconstruction
Following reunification a 20-year-long debate commenced as to whether the palace should be reconstructed, and whether this should be in part or whole. Pro-reconstruction lobby groups argued that the rebuilding of the Stadtschloss would restore the unity and integrity of the historic centre of Berlin, which includes the Berliner Dom, the Lustgarten and the museums of Museum Island. Opponents of the project included those who advocated the retention of the Palast der Republik on the grounds that it was itself of historical significance; those who argued that the area should become a public park; and those who believed that a new building would be a pastiche of former architectural styles; would be an unwelcome symbol of Germany's imperial past; and would be unacceptably expensive for no definite economic benefit. They also argued that it would be impossible to accurately reconstruct the exterior or interiors of the building, since neither detailed plans nor the necessary craft skills are available. Others disputed this, claiming that sufficient photographic documentation of both existed when it was converted to a museum following 1918.[citation needed]
The ideological divide was epitomized by the two following groups. The Association for the Preservation of the Palace of the Republic (Verein zur Erhaltung des Palastes der Republik) championed a renovation of the GDR building that would incorporate a re-creation of the principal western facade the City Place, for a multipurpose "people's center" similar to the Pompidou Center in Paris. The Berlin City Palace Sponsoring Association (Förderverein Berliner Stadtschloß) argued for complete external reconstruction of the City Palace, as they considered it the only option that would restore the esthetic and historic ensemble of Berlin's heart.[19] It also rejected suggestions that the proposed meticulous reconstruction would be an unauthentic 'Disney' replica, drawing attention to the fact that most centuries-old stone buildings are, by dint of aging and repair, at least partial reconstructions; and that the argument that the present time can only represent itself in its own architectural language, is simply ideology. It also drew attention to the Venice Charter observation that "historic edifices have a material age and an immaterial significance" – an importance that transcends time, and justifies their reconstruction to preserve a vital part of urban identity and historical memory, provided that sufficient documentation for a truly authentic copy exists.[19]
Towards construction
An important driving force behind the reconstruction was businessman Wilhelm von Boddien.[20][21] In 1992, he and Kathleen King von Alvensleben[22] founded, what evolved to be the Berlin City Palace Sponsoring Association – which became the most influential lobby group. The Association accumulated plans that had been believed lost, and funded a research project at the Technical University of Berlin to measure surviving photos and drawings of the Palace to create precise architectural plans. In 1993, on the world's largest scaffolding assembly, it audaciously erected a trompe-l'oeil mockup of two frontages of the Stadtschloss facade on a 1:1 scale on plastic sheeting. Privately funded by donations and sponsorship, this coup de théâtre stood for a year and half. Showing a vision of central Berlin lost for fifty years, and how the palace could provide the missing link to the historical ensemble of the Zeughaus, the Altes Museum, and the Berlin Cathedral, the spectacle brought the debate to a temporary climax in 1993/4.[23][24] While opinion continued to remain divided, the association succeeded in winning over many politicians and other key figures to its efforts.[25]
Construction work, November 2018
In view of the previous opposition, including high cost, and most importantly, the psychological and political objections, successive German governments had declined to commit themselves to the project. However, by 2002 and 2003 cross-party resolutions of the Bundestag (German parliament) reached a compromise to support at least a partial rebuilding of the Stadtschloss. In 2007, the Bundestag made a definitive decision about the reconstruction. According to this compromise, which had been drawn up by a commission, three façades of the palace would be rebuilt, but the interior would be a modern structure to serve as a cultural museum and forum. An architectural competition was held, and in 2008 the jury chose the submission by Italian architect Franco Stella.[26] Some of the internal spaces in Stella's design follow the exact proportions of the original state rooms of the palace; this would allow for their reconstruction at a later date should this be desired. The reconstruction also reproduces the original metre-thick width of the outer walls. These have been rebuilt as a sandwiched construction as follows: an inner retaining wall of concrete, followed by a layer of insulation, and an outer wall of brick, sandstone and stucco which replicates the original. Reconstruction of the Renaissance-gabled Pharmacy Wing, which connected to the Stadtschloss on the north side, would be another possible future project.
Panorama of how the finished reconstruction was intended to look, 2008.
Due to German government budget cuts, construction of the "Humboldtforum", as the new palace was titled, was delayed. The foundation stone was finally laid by President Joachim Gauck in a ceremony on 12th of June 2013 which heralded the launch of a €590M reconstruction project.[27]
In 2017, there was a debate whether to feature a cross on the dome of the palace, in relation to adhering historical accuracy or secularism.[28] Afterwards, a statue of Antinous was installed on the palace facade in the Schlüterhof courtyard.[29] However, the cross was installed on the top of the dome on May 29, 2020.[30]
On completion in 2020, the building housed a museum containing collections of African and other non-European art, as well as two restaurants, a theatre, a cinema, and an auditorium.[31]
L'église de la Merced ou de la Merci et le couvent ont été construits par l'ordre des Mercédaires (Notre-Dame de la Merci) à partir de 1548.
L'ordre a été créé à l'origine comme ordre militaire par Pierre Nolasque pour racheter les chrétiens captifs des pirates maures et réduits en esclavage. L'ordre a perdu son caractère militaire en 1317 et a joué un rôle missionnaire et caritatif dans le Nouveau Monde.
fr.wikipedia.org/wiki/Ordre_de_Notre-Dame-de-la-Merci
L'église a été plusieurs fois détruite et reconstruite avec les précautions antisismiques de chaque époque (tremblements de terre de 1717, 1773,...1976). Sa façade jaune est ornée de feuilles de vigne en stuc peintes en blanc. A gauche de l'église, se trouve l'ancien couvent plusieurs fois endommagé et restauré.
L'église de la Merced sur Wikipedia (en)
en.wikipedia.org/wiki/Iglesia_de_La_Merced,_Antigua_Guate...
Site de l'auteur sur le Guatemala (2002)
jdalbera.free.fr/guatemala_web/antigua/la merced/index.htm
Antigua sur Wikipedia
Antigua est une petite ville entourée de volcans au sud du Guatemala. Elle est classée au patrimoine mondial de l'UNESCO
whc.unesco.org/fr/list/65fr.wikipedia.org/wiki/Antigua_Guatemala
Ces bâtiments illustrent une variation stylistique régionale connue sous le nom de Barroco antigüeño. Parmi les caractéristiques propres à ce style architectural, on remarque l’usage de stuc décoratif pour la décoration tant à l’intérieur qu’à l’extérieur, des façades principales avec un fenêtre centrale dans une niche et souvent un tympan sculpté en creux, des bâtiments imposants et des campaniles assez bas conçus pour résister aux fréquents tremblements de terre courants dans la région... Extrait de la base de données de l'UNESCO sur le patrimoine mondial
L'église Sant Bartolomeu i Santa Tecla est de style gothique, édifiée au XVIIe siècle tout à côté des plages de Sitges. Elle est formée de trois nefs à voûte en plein cintre.
La construction de cette église a débuté au XVIIe siècle, mais certains documents montrent l'existence de deux églises antérieures sur ce même emplacement.
Il s'agit d'une église à trois nefs. La nef centrale est plus élevée et comporte des chapelles latérales ainsi que des tribunes supérieures. L'abside est polygonale et accueille le chœur à ses pieds. La voûte est soutenue par des arcs en plein cintre. La façade principale comporte trois portes d'accès, avec une ouverture circulaire supérieure et un couronnement avec une corniche et des sphères. Le clocher qui se trouve sur la droite de la façade est octogonal et présente trois corps superposés. Il a été consacré en 1672 et restauré en 1863. Le second clocher date de 1674 et est dénommé « del Comunidor ». Il accueille depuis 1868 l'horloge et les cloches de la ville. L'ensemble est complété par la chapelle du Santísimo, située sur la partie de droite de l'église, qui abrite des chapiteaux corinthiens et des figures d'anges.
Parmi ses éléments remarquables, un orgue baroque de 1697 fabriqué par Fray Bartomeu Triall et Joan Roig ; le retable baroque des Dolores de 1702, œuvre de Joan Roig ; les dorures de Joan Moixí, ou encore les vestiges d'un retable gothique dédié à San Bartolomé et Santa Tecla, du peintre napolitain Nicolás de Cerdença. De plus, la chapelle du baptistère dédiée à la vierge de Montserrat abrite des peintures de Pere Pruna et deux autres retables. Sous le chœur reposent deux sépulcres de 1317 et 1322, et les ossuaires de Bernat de Fonollar, Galceran de Ribes et Galceran de Pacs.
province du Guipuscoa.
Place Los Fueros
Projeté à la fin du XIXe siècle. Il présente trois fronts arcades et le quart latéral ouvert à la montagne, limité uniquement par le fronton.
Imaginé au XIXe siècle par l’architecte José de Lascurain, avec la collaboration d’Antonio de Cortázar, l’auteur de l’élargissement de Saint Sébastien.
Entre les bâtiments mentionnés, se trouve la Mairie du style baroque rococo, construit en 1778 par el architecte Martín de Carrera, dans lequel se fait remarquer le bouclier de la ville.
Berlin /bɛʁ.lɛ̃/(en allemand : /bɛɐ̯ˈliːn/ Écouter) est la capitale et la plus grande ville d'Allemagne. Institutionnellement, c’est une ville-État nommée Land de Berlin.
Située dans le nord-est du pays, Berlin compte environ 3,7 millions d'habitants. Ses habitants s'appellent les Berlinois et les Berlinoises (die Berliner et die Berlinerinnen en allemand). Elle est la deuxième ville et la huitième agglomération la plus peuplée de l'Union européenne. L'agglomération de Berlin s'étend sur 892 km2 et compte 4,4 millions d'habitants. La région métropolitaine de Berlin-Brandebourg qui cumule les Länder de Berlin et de Brandebourg regroupe au total près de 6 millions d'habitants.
Fondée au XIIIe siècle, Berlin a été successivement capitale de l'électorat du Brandebourg (1247-1701), du royaume de Prusse (1701-1871), de l'Empire allemand (1871-1918), de la République de Weimar (1919-1933) et du Troisième Reich (1933-1945). Après 1945 et jusqu'à la chute du mur de Berlin en 1989, la ville est partagée en quatre secteurs d'occupation. Pendant la Guerre froide, le secteur soviétique de la ville, nommé Berlin-Est, est devenu la capitale de la République démocratique allemande, tandis que Berlin-Ouest était politiquement rattachée à la République fédérale d'Allemagne, devenant ainsi un bastion avancé du « Monde libre » à l'intérieur du Bloc communiste. Après la chute du mur, Berlin redevint, en 1990, la capitale de l'Allemagne alors réunifiée, et les principales institutions fédérales y emménagèrent en 1999.
Berlin est une ville mondiale culturelle et artistique de premier plan. La ville abrite 166 musées, 142 bibliothèques et 60 théâtres. En 2014, Berlin a accueilli 11,87 millions de visiteurs (+4,8 % par rapport à 2013)5, dont 4,52 millions de visiteurs étrangers (+5,2 %).
La basilique pontificale Saint-Michel est une église catholique de style baroque et une basilique mineure au centre de Madrid en Espagne. Elle se situe dans la rue San Justo. Elle est administrée maintenant par les prêtres de l’Opus Dei.
Elle abrite les tombeaux de Louis d'Orléans, comte de Charny et de son fils Manuel d'Orléans.
La basilique pontificale Saint-Michel est une église catholique de style baroque et une basilique mineure au centre de Madrid en Espagne. Elle se situe dans la rue San Justo. Elle est administrée maintenant par les prêtres de l’Opus Dei.
Elle abrite les tombeaux de Louis d'Orléans, comte de Charny et de son fils Manuel d'Orléans.
La cathédrale de style baroque a été inaugurée en 1680.
Elle a été construite sur une partie de l'ancienne cathédrale détruite par le tremblement de terre de 1773, date à laquelle la capitale du Guatemala a été déplacée dans une région plus sure.
La cathédrale d'Antigua sur Wikipedia (es)
es.wikipedia.org/wiki/Catedral_de_San_Jos%C3%A9_(Antigua_Guatemala)
Antigua sur Wikipedia
Antigua est une petite ville entourée de volcans au sud du Guatemala. Elle est classée au patrimoine mondial de l'UNESCO
whc.unesco.org/fr/list/65fr.wikipedia.org/wiki/Antigua_Guatemala
Ces bâtiments illustrent une variation stylistique régionale connue sous le nom de Barroco antigüeño. Parmi les caractéristiques propres à ce style architectural, on remarque l’usage de stuc décoratif pour la décoration tant à l’intérieur qu’à l’extérieur, des façades principales avec un fenêtre centrale dans une niche et souvent un tympan sculpté en creux, des bâtiments imposants et des campaniles assez bas conçus pour résister aux fréquents tremblements de terre courants dans la région... Extrait de la base de données de l'UNESCO sur le patrimoine mondial
From Wikipedia, the free encyclopedia
Berlin Palace is located in Berlin
Berlin Palace
Location within Berlin
General information
StatusRebuilt
Architectural styleBaroque
LocationBerlin (Mitte), Germany
Construction started1443 (original)
2013 (reconstruction)
Completed1894 (original)
2020 (reconstruction)
Destroyeddamaged by Allied bombing in 1945, demolished by East German authorities in 1950
ClientElectors of Brandenburg
Kings of Prussia
German Emperors
Design and construction
ArchitectAndreas Schlüter (original)
Franco Stella (reconstruction)
The Berlin Palace (German: Berliner Schloss), formally the Royal Palace (German: Königliches Schloss),[1] on the Museum Island in Berlin was the main residence of the House of Hohenzollern from 1443 to 1918. Expanded by order of King Frederick I of Prussia according to plans by Andreas Schlüter from 1689 to 1713, it was thereafter considered a major work of Prussian Baroque architecture.[2] The former royal palace was one of Berlin’s largest buildings and shaped the cityscape with its 60-meter (200 ft)-high dome. Damaged during the Allied bombing in World War II, it was demolished by the East German authorities in 1950, and later became the location of the modernist East German Palace of the Republic. After German reunification and several years of debate and discussion, the Palace of the Republic was itself demolished and the Berlin Palace was reconstructed to house the Humboldt Forum museum, a process completed in 2020.
Overview
The Berlin Palace, also incorrectly known as the City Palace (German: Stadtschloss),[3] is a building in the centre of Berlin, located on the Museum Island at Schlossplatz opposite the Lustgarten park. From the 15th century to the early 20th century, the Berliner Schloss was a royal and imperial palace that mostly served as the main residence of the Electors of Brandenburg, the Kings of Prussia, and the German Emperors.[4] Damaged during World War II and later demolished by the East German government in the 1950s, the palace has been partially rebuilt and was completed in 2020. The reconstructed palace is the seat of the Humboldt Forum, a museum for world culture which is a successor museum of the Ancient Prussian Art Chamber, which was also located in the Berlin Palace during the 19th Century. The Humboldt Forum has been described as the German equivalent of the British Museum.[5]
The palace was originally built in the 15th century, but had changed in form throughout the next few centuries. It bore features of the Baroque style; its shape, which had been finalized by the mid-18th century, is for the most part attributed to German architect Andreas Schlüter, whose first design is likely to date from 1702, even though the palace incorporated earlier parts as seen in 1688 by Nicodemus Tessin. It served as a residence to various Electors of Brandenburg. It was the principal residence and winter residence of the Hohenzollern Kings of Prussia from 1701 to 1918. After the unification of Germany in 1871, it also became the central residence for the German Emperors, who also served as the Kings of Prussia. After the proclamation of the Weimar Republic in 1918, the palace became a museum. In World War II, the building was heavily damaged by Allied bombings. Although it is thought to have been repairable, the palace was demolished in 1950 by the German Democratic Republic authorities following much criticism. In the 1970s, the Palace of the Republic was constructed on its site, but was controversially demolished in 2008 in order for a reconstruction of the baroque palace.
Following the reunification of Germany, it was decided to reconstruct the entire exterior of the palace in the original style with the exception of the east side facing the Spree. The authentically reconstructed facades include various remnant sculptures and stones of the original palace. The inner courtyard facades are also modern, except the facade of one of the courtyards which is constructed in the original style (Schlüterhof). The floorplan has been designed to allow future reconstruction of notable historical rooms. The building houses the Humboldtforum museum and congress complex, and was finished in 2020.[6][7]
History up to 1871
The palace replaced an earlier fort or castle guarding the crossing of the Spree river at Cölln, a neighbouring town which merged with Berlin in 1710. The castle stood on Fishers' Island, as the southern end of the Museum Island in the Spree is known. In 1443 Frederick II "Irontooth", Margrave and Prince Elector of Brandenburg, laid the foundations of Berlin's first fortification in a section of swampy wasteland north of Cölln. At the completion of the castle in 1451, Frederick moved there from the town of Brandenburg. The main role of the castle and its garrison in this period was to establish the authority of the Margraves over the unruly citizens of Berlin, who were reluctant to give up their medieval privileges to a monarchy. In 1415 King Sigismund had enfeoffed the Hohenzollern princes with Brandenburg, and they were now establishing their power and withdrawing electoral privileges which the cities had attained in the Brandenburg interregnum of 1319–1415.
The castle also included a chapel. In 1454 Frederick II, after having returned via Rome from his pilgrimage to Jerusalem, made the castle chapel a parish church, richly endowing it with relics and altars.[8] Pope Nicholas V ordered Stephan Bodecker, then Prince-Bishop of Brandenburg, to consecrate the Chapel to Erasmus of Formiae.[9]
On 7 April 1465, at Frederick's request, Pope Paul II attributed to St Erasmus Chapel a canon-law College named Stift zu Ehren Unserer Lieben Frauen, des heiligen Kreuzes, St. Petri und Pauli, St. Erasmi und St. Nicolai. This collegiate church became the nucleus of today's Evangelical Supreme Parish and Collegiate Church, adjoining the site of the castle.
In 1538, the Margrave Joachim II demolished the palace and engaged the master builder Caspar Theiss to build a new and grander building in the Italian Renaissance style. After the Thirty Years War (1618–1648), Frederick William (1620–1688), the "Great Elector", embellished the palace further. In 1688, Nicodemus Tessin designed courtyard arcades with massive columns in front. Not much is known about the alterations of 1690–1695, when Johann Nering was the court architect. Martin Grünberg continued the alterations in 1695–1699.
In 1699, the Elector Frederick III of Brandenburg (who took the title King in Prussia in 1701, becoming Frederick I), appointed the architect Andreas Schlüter to execute a "second plan" in the Italian manner. Schlüter's first design probably dates from 1702; he planned to rebuild the palace in the Protestant Baroque style. His overall concept in the shape of a regular cube enclosing a magnificently ornamented courtyard was retained by all the building directors who succeeded him. In 1706, Schlüter was replaced by Johann Friedrich Eosander von Göthe, who designed the western extension of the palace, doubling its size. In all essentials, Schlüter's balanced, rhythmic composition of the façades was retained, but Göthe moved the main entrance to the new west wing.
Berliner Schloss was the original location for the Amber Room, but Peter the Great of Russia admired it during a visit and in 1716 Frederick William I presented the room to Peter as a gift.[10]
Frederick William I, who became king in 1713, was interested mainly in building up Prussia as a military power, and dismissed most of the craftsmen working on the Stadtschloss. As a result, Göthe's plan was only partly carried out. Nevertheless, the exterior of the palace had come close to its final form by the mid-18th century. The final stage was the erection of the dome in 1845, during the reign of Frederick William IV. The dome was built by Friedrich August Stüler after a design by Karl Friedrich Schinkel. Subsequent major works were limited to the interior, engaging the talents of Georg Wenzeslaus von Knobelsdorff, Carl von Gontard and many others.
The Stadtschloss was itself the epicenter of the Revolution of 1848 in Prussia. Huge crowds gathered outside the palace to present an "address to the king" containing their demands for a constitution, liberal reform and German unification. Frederick William emerged from the palace to accept their demands. On 18 March, a large demonstration outside the Stadtschloss led to bloodshed and the outbreak of street fighting. Frederick William later reneged on his promises and reimposed an autocratic regime. From that time onwards, many Berliners and other Germans came to see the Stadtschloss as a symbol of oppression and "Prussian militarism".
Later history (1871-1989)
In 1871, King William I was elevated to the status of Emperor (Kaiser) of a united Germany, and the Stadtschloss became the symbolic heart of the German Empire. The Empire was (in theory) a constitutional state, and from 1894 onwards, the new Reichstag building, the seat of the German parliament came to not only rival but overshadow the Stadtschloss as the Empire's center of power. In conjunction with Germany's defeat in World War I, William II was forced to abdicate both as German Emperor and as King of Prussia. In November 1918, the Spartacist leader, Karl Liebknecht, declared the German Socialist Republic from a balcony of the Stadtschloss, ending more than 400 years of royal occupation of the building.
During the Weimar Republic, parts of the Stadtschloss were turned into a museum, while other parts continued to be used for receptions and other state functions. Under Adolf Hitler's National Socialist (Nazi) Party, which laid to rest monarchist hopes of a Hohenzollern restoration, the building was mostly ignored. During World War II, the Stadtschloss was twice struck by Allied bombs: on 3 February and 24 February 1945. On the latter occasion, when both the air defences and fire-fighting systems of Berlin had been destroyed, the building was struck by incendiaries, lost its roof, and was largely burnt out.
The end of the war saw the Stadtschloss a burned-out shell of its former glory, although the building had remained structurally sound and much of its interior decoration was still preserved. It could have been restored, as many other bombed-out buildings in central Berlin later were. The area in which it was located was within the Soviet Union zone, which became the German Democratic Republic. The building was used for a Soviet war movie ("the Battle of Berlin") in which the Stadtschloss served as a backdrop, with live artillery shells fired at it for the realistic cinematic impact.[11]
The new socialist government declared the Stadtschloss a symbol of Prussian militarism, although at that time there appeared to be no plans to destroy the building. Some parts of it were in fact repaired and used from 1945 to 1950 as an exhibition space. A secret 1950 GDR Ministry of Construction report, only rediscovered in 2016, calculated that reconstruction of the damaged Palace could be achieved for 32 million GDR marks.[12] But in July 1950 Walter Ulbricht, the new General Secretary of the Central Committee of the Socialist Unity Party of Germany, announced the demolition of the palace. Despite objections, its removal commenced in September 1950, the process taking four months and consuming 19 tons of dynamite.[13] So solid was its construction that the dome and its entire mount remained intact even after the rest of the building fell to the ground.[14] Only one section was preserved, a portal from the balcony from which Karl Liebknecht had declared the German Socialist Republic. It was later added to the Council of State building (Staatsratsgebäude), with an altered cartouche, where it forms the main entrance. The empty space where the Stadtschloss had stood was named Marx-Engels-Platz and used as a parade ground.
Management and Technology)
In 1964, the GDR built a new Staatsrat or Council of State building on part of the site, incorporating Liebknecht's balcony in its facade. From 1973 to 1976, during the government of Erich Honecker, a large modernist building was built, the Palast der Republik (Palace of the Republic), which occupied most of the site of the former Stadtschloss. Shortly before German reunification in October 1990, the Palast der Republik was found to be contaminated with asbestos and was closed to the public. After reunification, the Berlin city government ordered the removal of the asbestos, a process which was completed by 2003. In November 2003, the German federal government decided to demolish the building and leave the area as parkland pending a decision as to its ultimate future. Demolition started in February 2006 and was completed in 2009.
The demolition was lengthy because of the presence of additional asbestos, and because the Palace acted as a counterbalance to the Berliner Dom, across the street, on the unstable grounds of the Museum Island.[15] East Germans resented the demolition, especially those for whom the Palace of the Republic had been a place of fond memories, or who felt a sense of dislocation in a post-communist world.[16] Part of the Palace formed a Stasi surveillance centre that recorded the visitors and staff.[17]
From 2008 until the commencement of construction in 2013, the large area of the original Schlossplatz became a grassed field, laid out on minimal lines with wooden platforms. At the same time, the Berlin Monument Authority (Landesdenkmalamt) undertook extensive archaeological excavations. Parts of cellars that had been situated in the south-west corner of the former Palace were discovered and it was decided these would be preserved and made accessible to visitors as an "archaeological window".[18]
Reconstruction
Following reunification a 20-year-long debate commenced as to whether the palace should be reconstructed, and whether this should be in part or whole. Pro-reconstruction lobby groups argued that the rebuilding of the Stadtschloss would restore the unity and integrity of the historic centre of Berlin, which includes the Berliner Dom, the Lustgarten and the museums of Museum Island. Opponents of the project included those who advocated the retention of the Palast der Republik on the grounds that it was itself of historical significance; those who argued that the area should become a public park; and those who believed that a new building would be a pastiche of former architectural styles; would be an unwelcome symbol of Germany's imperial past; and would be unacceptably expensive for no definite economic benefit. They also argued that it would be impossible to accurately reconstruct the exterior or interiors of the building, since neither detailed plans nor the necessary craft skills are available. Others disputed this, claiming that sufficient photographic documentation of both existed when it was converted to a museum following 1918.[citation needed]
The ideological divide was epitomized by the two following groups. The Association for the Preservation of the Palace of the Republic (Verein zur Erhaltung des Palastes der Republik) championed a renovation of the GDR building that would incorporate a re-creation of the principal western facade the City Place, for a multipurpose "people's center" similar to the Pompidou Center in Paris. The Berlin City Palace Sponsoring Association (Förderverein Berliner Stadtschloß) argued for complete external reconstruction of the City Palace, as they considered it the only option that would restore the esthetic and historic ensemble of Berlin's heart.[19] It also rejected suggestions that the proposed meticulous reconstruction would be an unauthentic 'Disney' replica, drawing attention to the fact that most centuries-old stone buildings are, by dint of aging and repair, at least partial reconstructions; and that the argument that the present time can only represent itself in its own architectural language, is simply ideology. It also drew attention to the Venice Charter observation that "historic edifices have a material age and an immaterial significance" – an importance that transcends time, and justifies their reconstruction to preserve a vital part of urban identity and historical memory, provided that sufficient documentation for a truly authentic copy exists.[19]
Towards construction
An important driving force behind the reconstruction was businessman Wilhelm von Boddien.[20][21] In 1992, he and Kathleen King von Alvensleben[22] founded, what evolved to be the Berlin City Palace Sponsoring Association – which became the most influential lobby group. The Association accumulated plans that had been believed lost, and funded a research project at the Technical University of Berlin to measure surviving photos and drawings of the Palace to create precise architectural plans. In 1993, on the world's largest scaffolding assembly, it audaciously erected a trompe-l'oeil mockup of two frontages of the Stadtschloss facade on a 1:1 scale on plastic sheeting. Privately funded by donations and sponsorship, this coup de théâtre stood for a year and half. Showing a vision of central Berlin lost for fifty years, and how the palace could provide the missing link to the historical ensemble of the Zeughaus, the Altes Museum, and the Berlin Cathedral, the spectacle brought the debate to a temporary climax in 1993/4.[23][24] While opinion continued to remain divided, the association succeeded in winning over many politicians and other key figures to its efforts.[25]
Construction work, November 2018
In view of the previous opposition, including high cost, and most importantly, the psychological and political objections, successive German governments had declined to commit themselves to the project. However, by 2002 and 2003 cross-party resolutions of the Bundestag (German parliament) reached a compromise to support at least a partial rebuilding of the Stadtschloss. In 2007, the Bundestag made a definitive decision about the reconstruction. According to this compromise, which had been drawn up by a commission, three façades of the palace would be rebuilt, but the interior would be a modern structure to serve as a cultural museum and forum. An architectural competition was held, and in 2008 the jury chose the submission by Italian architect Franco Stella.[26] Some of the internal spaces in Stella's design follow the exact proportions of the original state rooms of the palace; this would allow for their reconstruction at a later date should this be desired. The reconstruction also reproduces the original metre-thick width of the outer walls. These have been rebuilt as a sandwiched construction as follows: an inner retaining wall of concrete, followed by a layer of insulation, and an outer wall of brick, sandstone and stucco which replicates the original. Reconstruction of the Renaissance-gabled Pharmacy Wing, which connected to the Stadtschloss on the north side, would be another possible future project.
Panorama of how the finished reconstruction was intended to look, 2008.
Due to German government budget cuts, construction of the "Humboldtforum", as the new palace was titled, was delayed. The foundation stone was finally laid by President Joachim Gauck in a ceremony on 12th of June 2013 which heralded the launch of a €590M reconstruction project.[27]
In 2017, there was a debate whether to feature a cross on the dome of the palace, in relation to adhering historical accuracy or secularism.[28] Afterwards, a statue of Antinous was installed on the palace facade in the Schlüterhof courtyard.[29] However, the cross was installed on the top of the dome on May 29, 2020.[30]
On completion in 2020, the building housed a museum containing collections of African and other non-European art, as well as two restaurants, a theatre, a cinema, and an auditorium.[31]
From Wikipedia, the free encyclopedia
Fulda Cathedral
The Cathedral of Christ the Saviour
Fuldaer Dom
Fulda Cathedral
Fulda Cathedral is located in Germany
Location in Germany
50°33′14″N 9°40′18″ECoordinates: 50°33′14″N 9°40′18″E
LocationFulda
CountryGermany
DenominationCatholic
History
Former name(s)The Abbey Church of Fulda
StatusCathedral
Founded23 April 1704
Founder(s)Adalbert von Schleifras
DedicationSaint Boniface
Dedicated15 August 1712
Past bishop(s)Sturmius , Johannes Dyba , Heinz Josef Algermissen
Architecture
Functional statusActive
Architect(s)Johann Dientzenhofer
Architectural typeChurch
StyleBaroque
Completed1712
Specifications
Length99 m (324 ft 10 in)
Height39 m (127 ft 11 in)
Number of spires2
Spire height65 m (213 ft 3 in)
Bells10
Administration
DioceseFulda
ProvincePaderborn
Clergy
Bishop(s)Michael Gerber
Fulda Cathedral (German: Fuldaer Dom, also Sankt Salvator)[1][2] is the former abbey church of Fulda Abbey and the burial place of Saint Boniface. Since 1752 it has also been the cathedral of the Diocese of Fulda, of which the Prince-Abbots of Fulda were created bishops. The abbey was dissolved in 1802 but the diocese and its cathedral have continued. The dedication is to Christ the Saviour (Latin: Salvator). The cathedral constitutes the high point of the Baroque district of Fulda, and is a symbol of the town.
History
The present cathedral stands on the site of the Ratgar Basilica (once the largest basilica north of the Alps), which was the burial site of Saint Boniface and the church of Fulda Abbey, functions which the new building was intended to continue.
The plans of the new church were drawn up in 1700 by one of the greatest German Baroque architects, Johann Dientzenhofer, who was commissioned by the Prince-Abbot Adalbert von Schleifras for the new building on the recommendation of the Pope after Dientzenhofer's study trip to Rome in 1699. The deliberate similarity of the church's internal arrangement to that of St. Peter's Basilica in Rome is testimony to Dientzenhofer's visit.
The Ratgar Basilica was demolished to make way for the new Baroque structure, on which construction began on 23 April 1704[3] using in part the foundations of the earlier basilica. In 1707 the shell was completed. The roof was finished in 1708 and the interior in 1712. The new abbey church was dedicated on 15 August 1712. The dedication tablet placed on the facade by von Schleifras gives the dedication as Christus Salvator.[4]
The new Baroque building, like its predecessor, served as the abbey church and the burial shrine of Saint Boniface. In 1752 it was elevated to a cathedral on the creation of the Diocese of Fulda. In 1802 Fulda Abbey was dissolved and the cathedral's function as the abbey church ceased, but it continued in operation as the seat of the Bishops of Fulda.
On 4 June 1905 during celebrations of the 1150th anniversary of the death of Saint Boniface a stray firework lodged in the righthand tower and started a fire (it is presumed to have set light to old jackdaws' nests). The tower was burnt out, and the bells Osanna and Bonifatius were destroyed. Other parts of the cathedral were not damaged.
After damage caused by air raids during World War II the cathedral was closed for restoration until 1954.
Pope John Paul II visited Fulda on 17 and 18 November 1980. More than 100,000 people were present on the cathedral square on 18 November to attend the open-air mass celebrated by the Pope.[5]
Architecture
Orientation
Like the Ratgar Basilica before it, and St. Peter's in Rome, but unlike the great majority of European churches, Fulda Cathedral is oriented to the west. The main facade onto the cathedral square is the east front, and the choir is located at the west end of the nave. (The Ratgar Basilica had a second choir to the east, which Dientzenhofer did not replicate in his new building).
Dimensions
The cathedral is 99 meters long and 39 meters high into the top of the dome. The main frontage is flanked by two towers 65 meters high.
Form and ground plan
The building is a basilica, with a central aisle and two side aisles, and two transepts separated by the crossing, over which is the dome. The ground plan is thus a cross with double arms. The nave is extended to the east by the addition of an entrance hall, the two facade towers and two domed chapels (St. Andrew's Chapel and St. John's Chapel). Beyond the crossing and the northern transept the chancel continues, with the high altar and beyond it the choir, with the crypt of Saint Boniface beneath. The side aisles run parallel to the main aisle up to the sacristy and the Lady Chapel, which is directly adjacent to the former monastic buildings.
Exterior
Bell towers
The facade is flanked by two towers 65 metres high, the four storeys of which are clearly delineated by ledges. Sandstone statues, greater than life size, by Andreas Balthasar Weber, represent to the right Saint Sturm as abbot, with a mitre, abbot's staff and book, and to the left Saint Boniface as bishop with a crook and a Bible pierced by a dagger. On the third storey are copper and gilt numerals and hands belonging to a mechanical clock and a sundial.
Main portal
Four massive three-quarter columns accompanied by half-pilasters stand to either side of the main portal and support the architrave, the frieze with its triglyphs and the heavy cornices. On the architrave over segments of a round arch sit two large angels, supporting the arms of the Prince-Abbot Adalbert von Schleifras, sculpted by Balthasar Esterbauer, consisting of the arms of Fulda Abbey quartering those of von Schleifras.
The portal door is ornamented with Corinthian pilasters and wrought iron door fittings.
The upper storey of the facade is divided by massive pillars. A large round-topped window is decorated with columns, inflexed arches and urns. The window is surrounded by sandstone sculptures representing the patron saints of Fulda, the twin brothers Simplicius and Faustinus, as knights. Their shields bear their symbol - three lilies - and the cross, the device of the abbey, both of which appear in the arms of the town of Fulda.
The central part of the facade is terminated by a triangular gable filled with urns and a round window. On the point of the gable stands a figure of Christ giving a blessing.
Obelisks
Next to the two domed chapels stand a pair of sandstone obelisks about 11 metres high, the function of which, besides being decorative, is to make the facade appear broader. On the Abschlussplatte is a pedestal with four rampant lions, and above them the arms of von Schleifras with various inscriptions.
Interior
The white interior combines elements of St. Peter's Basilica and St. John Lateran in Rome. The magnificent decoration shows the influence of Roman Baroque. The overall effect is dominated by the contrast between the white of the walls and of the stucco on the one hand and the black and gold of the architectonic elements and of the fittings on the other. Giovanni Battista Artari, a stuccoist, decorative artist and sculptor, created the stucco work of the interior as well as the larger than life-size stucco figures of the Apostles, who are represented in accordance with their description by the Apostle Paul in Galatians 2.9 as "pillars" of the church.
The Golden Wheel
A great curiosity in both the old Ratgar Basilica and the later Baroque church and cathedral was the so-called "Golden Wheel" (German: das Goldene Rad), a medieval musical apparatus, which was made in 1415 during the rule of the Abbot Johann I von Merlau and for over 370 years delighted the faithful with its evocation of the "music of the spheres". It was in the form of a great star, consisting of 14 rays about 2.5 metres long mounted on a round metal plate; from the rays hung 350 bells. It was set and kept in motion by two ropes or cables running round an axle, by which the star could be kept turning and the bells ringing. It was lavishly decorated with glittering golden Gothic floral finials and vesica-shaped decorations.[6]
By the time it was reinstalled in the new Baroque church in 1712 there were only 127 bells remaining.
It was hung in the nave to the east of the dome. In 1781 a cable broke during the Whitsun service and the heavy wheel crashed to the ground causing deaths and injuries. It was left in a barn for two years, and before a decision could be reached about whether it should be re-hung, all the bells had disappeared. The bishop's smith then broke it up and reused the metal.
Dome
Dientzenhofer was inspired in the design of the dome by that of the Church of Il Gesù in Rome, the mother church of the Jesuit Order, and like that of Il Gesù, the dome of Fulda Cathedral is intended to be the visual focal point of the building. In the spandrels above the pillars of the dome are well-preserved frescoes by Luca Antonio Columba, depicting the four Evangelists. In the niches are stucco figures greater than life-size by Giovanni Battista Artari: directly in front of the high altar stands the Archangel Michael holding scales and a sword, with the devil at his feet; to the left, the Archangel Gabriel holding a lily; to the right the Archangel Raphael holding a censer; and at the back a guardian angel, showing a child the way to heaven. Finally in the dome itself is a stucco figure of the Holy Spirit in the form of a dove in a burst of radiance.
Fittings and furnishings
Pulpit
Bells
The cathedral has ten bells hung in the two towers: bells 1–3 in the north tower, and bells 4–10 in the south tower.
The Salvator is the only bell now surviving of the set cast in 1897 by Carl & Rudolf Edelbrock. In 1908 Carl Edelbrock added an Osanna.
The Osanna which now hangs in the top storey of the north tower is a different bell, cast by Friedrich Wilhelm Schilling. It is supposed to be one of the best bells he ever cast: the story is that it did not need to be tuned after casting. The present Sturmius and Lioba bells were recast from bells of 1897 which were not in tune with the 1908 Osanna. In 1994 the Karlsruher Glocken- und Kunstgießerei cast five bells to replace another five smaller bells from the set of 1897.
High altar
The sculptor Johann Neudecker and the stuccoist Giovanni Battista Artari worked together to make the high altar, which on 15 August 1712 Prince-Abbot Adalbert von Schleifras dedicated in honour of the Assumption of the Blessed Virgin Mary,[1] as she is received by the Holy Trinity.
Organ
Between 1708 and 1713 an organ was built in the new church by the Franciscan Adam Öhninger, with 41 registers on three keyboards and pedals.[7] Andreas Balthasar Weber and the artist-woodworker Georg Blank undertook the carvings on the organ case. In a comprehensive restoration of the cathedral between 1992 and 1996 the case was restored and the old colours that were discovered were replaced as close as possible in the original. The Rieger Orgelbau company completed in 1996 the new organ works, using some of the pipes from the old Sauer organ. The present organ comprises 5 divisions on 4 manuals and the pedals with 72 registers.
Crypt
The tomb of Saint Boniface
The Boniface Chapel in the crypt is a survival from the Ratgar Basilica and houses the remains of Saint Boniface, the "Apostle of the Germans", in a sarcophagus, which also has a relief carving and an antependium by Johann Neudecker. During his visit to Fulda in 1980, Pope John Paul II prayed at the tomb of Saint Boniface and in his sermon emphasized Boniface's importance as the beginning of the gospel in Germany.[8]
Surroundings of the cathedral
To the north of the cathedral is the former St. Michael's Priory, since 1831 the bishop's residence, and the Carolingian St. Michael's Church. Directly attached to the cathedral to the west are the Baroque former conventual buildings of the abbey, constructed between 1771 and 1778, now the Theological Department of the University of Fulda. Nearby is the modern chapel of the Catholic seminary, which was built 1966-1968 by the architect Sep Ruf. South of the monastery is the deanery and the dean's garden, where a lapidarium is now located. In part of the deanery buildings is the cathedral museum.
Cathedral museum
The adjoining cathedral museum contains numerous liturgical vestments and vessels, including the "Silver Altar", dating from the 18th century, which includes a reliquary for the head of Saint Boniface and the dagger with which he was murdered, besides others of his relics.
Cathedral square
On the cathedral square directly in front of the main entrance large open-air concerts regularly take place, sometimes featuring international stars (e.g., José Carreras, Chris de Burgh).
Rome #fontaine #fontainedetrévi #fontanaditrévi #stylebaroque #architectes #nicolassalvi #giovannipaolopanini #rome #italie #patm666photos
Construite pour les chevaliers de l'ordre de Saint-Jean de Jérusalem (1571-1574)
Style baroque.
Actuellement bureau du 1er ministre de Malte
L'église de San Luis de los Franceses est un parfait exemple de l'architecture baroque sévillane. Elle possède deux belles coupoles recouvertes d'azulejos colorés, qu'on ne peut malheureusement pas bien voir à cause du manque de recul. Fermée pour rénovations, nous n'avons pas pu en visiter l'intérieur.