Constantinople - Traveling Thru History

Top Historic Sites in Europe, Part 6

Erin — Mon, 29 Jan 2018 08:04:19 +0000

Welcome to Part 6 of my Top Historic Sites in Europe series! I’m glad you came back to check out some more fantastic sites. So far we’ve done the top historic sites from 50 countries in Part 1, Part 2, Part 3, Part 4, and Part 5 and today you’ll get to see the last three countries along with seven bonus sites! I have really loved learning more about these countries along with the significance of some of their historic sites and I’m so excited to share this with you. With a recorded history going back over 37,000 years, there are just way too many fascinating places to see them all. That’s why I’ve partnered with other travel bloggers to find out which sites are of the most historic and significant importance for each of these countries. I hope you’ll enjoy what we’ve put together. Monaco – Monaco Palace Monaco Palace is formally known as the Prince’s Palace in Monaco and was first built as a Genoese fortress in 1191. In 1297, the Grimaldi family captured the fortress through the deception of Francois Grimaldi and made it their stronghold as feudal lords. In the 17th century, the Grimaldi family became sovereign rulers. Before becoming sovereign rulers, the Grimaldi family had to go through a series of the usual hardships of the era. During the 1330s, Charles Grimaldi the First strengthened the fortress and made it strong enough to withstand over 100 years worth of attacks from Genoa, Pisa, Venice, Naples, France, Spain, Germany, England and Provence. Between the 1340s and 1370s, the fortress frequently changed hands between the Grimaldi family and the Genoese and in the end, the Grimaldi family was able to retain ownership of the property. In the 15th century, the fortress was expanded enough to accommodate roughly 400 soldiers as well as the addition of several buildings and a large new wing that signified the beginning of the fortress becoming a palace. While Monaco Palace has been the seat of the Grimaldi family, they have not always resided there. The Grimaldi family were absentee rulers from 1662 through the mid 1700s, choosing instead to live in France at Versailles. In 1793, the family lost the Palace for a short period during the French Revolution while they were placed in exile. In 1814, the Treaty of Paris saw Monaco returned to the Grimaldi family, where it has remained ever since, though not always as a primary residence. Various descendants of the Grimaldi family have chosen to live either at the family estate of Le Marchais outside Paris or in Germany. Prince Rainier III began extensive renovations on the palace starting in 1949 and the family once again returned to the palace that has been their seat of power for over 700 years. Erin Tracy is the owner and author of this blog, Traveling Thru History, which she uses to share her love of history, culture, and travel with her readers. You can also find stories and pictures of her travels on her Facebook page. Wales – Cardiff Castle Cardiff Castle was built in the late 11th century by Norman invaders on top of a 3rd-century Roman fort. The castle was originally built with wood and stone, but in the 12th century it was rebuilt completely in stone. These stones were strong enough to withstand multiple attacks by the Anglo-Normans and the Welsh. In 1423, Richard de Beauchamp, 13th Earl of Warwick, conducted extensive renovations and added the main range on the west side of the castle along with the tall octagonal tower that is seen there today. Around the 1490s, Cardiff Castle began to have less significance as a military outpost, though it wasn’t until the 1550s that the castle began being transformed into a residential property. 1642 saw the castle change hands when Parliamentary forces overran the grounds during the English Civil War, though Royalists regained the property in 1645. The castle was again fought over during the Second English Civil War in 1648 and was almost destroyed by Parliament after the war, but it was eventually decided to garrison troops on the grounds as protection against the Scottish. In the 18th century, the Marquess of Bute. John Stuart, received the castle when he married Charlotte Jane Windsor, daughter of Thomas, Viscount Windsor. After receiving the newly created peerage title of Marquess in the mid-1770s, John Stuart began renovating Cardiff Castle. Several stone walls were removed, a hall and the knights’ houses were demolished, and the grounds were flattened to allow for turf. The main part of the castle had sections removed, two new wings added, and various features updated. The grounds had trees and greenery removed, the moat was filled, and a summer house was built. The castle remained the same until 1868 when the third Marquess of Bute decoded to remodel the castle. It had sat mostly empty since 1814 with only occasional occupants, leading to a low level of disrepair. The third Marquess of Bute added a 150-foot clock tower that contained a lavishly decorated bedroom, servant’s quarters, and smoking rooms. Various other rooms were added to the castle at this time, including the Guest Tower, Arab Room, Chaucer Room, nursery, library, roof garden, Banqueting Hall and bedrooms. All of these rooms were heavily gilded with elaborate carvings, paintings, accents, and stained glass. The grounds were also heavily altered to remove any trace of medieval or Roman times and reinstall the trees and shrubberies which were previously removed. In 1921, the fourth Marquess of Bute restored the masonry to what it was in medieval times and rebuilt various gates and towers that had been part of the original castle. He allowed archaeological investigations of the property to discover Roman walls, which led to the redesign of other buildings which were restored. He also tore out the grand staircase that had been added in the 19th century. Further restorations were carried out after 1947 when the castle was handed over to the city of Cardiff. Erin Tracy is the owner and author of this blog, Traveling Thru History, which she uses to share her love of history, culture, and travel with her readers. You can also find stories and pictures of her travels on her Facebook page. Ukraine – Kiev Pechersk Lavra Kiev Pechersk Lavra is also known as the Monastery of the Caves. It is a historic Orthodox Christian monastery which gave its name to one of the city districts where it is located in Kiev. This Monastery was founded in 1051 by an Orthodox monk named Anthony who hailed from an Esphigmenon monastery on Mount Athos. He chose a cave in the Besetov Mountains overlooking the Dnieper River and was eventually granted the entire mountain by Prince Iziaslav I, at which point the monastery was built by architects from Constantinople. This monastery became the preeminent center of Eastern Orthodox Christianity in Eastern Europe. In conjunction with the nearby Saint Sophia Cathedral, this monastery has been declared a UNESCO World Heritage Site. The main church of the monastery of Dormition Cathedral. The original monastery was built in the 11th century, but was unfortunately destroyed in 1941 when German Nazis occupied the city. There is debate about whether the Germans destroyed the monastery while taking over the city or if the Russians were responsible while enacting the Khreshchatyk explosions to blow up all the bridges in Kiev. While we many never know who was truly responsible for destroying an ancient masterpiece, the structure has been reconstructed to fit its original design. Along with the beautiful monastery, Pechersk Lavra boasts several other architectural marvels. The All Saints Church erected between 1696–1698 is a stunning example of Ukrainian Baroque architecture. Characteristic of the church facades are rich architectural embellishments. In 1905 students of the Lavra art school painted the interior walls of the church. The carved wooden iconostasis is multi-tiered and was made for the All Saints church in the early 18th century. The Gate Church of the Trinity is located atop the Holy Gates, which houses the entrance to the monastery. According to a legend, this church was founded by the Chernihiv Prince Sviatoslav II. It was built atop an ancient stone church which used to stand in its place. In 1718, a fire destroyed the church, but it was quickly rebuilt, its facades and interior walls decorated with ornate stucco work made by V. Stefaovych. In the 18th century, a new gilded pear-shaped dome was built, the facade and exterior walls were decorated with stucco-moulded plant ornaments, and a vestibule built of stone attached to the north end. In the early 20th, century the front and the walls flanking the entrance were painted by icon painters under the guidance of V. Sonin. The interior of the church also contains murals by the early 18th century painter Alimpy Galik. The Great Lavra Bell Tower was designed by Johann Gottfried Schädel. This structure is 96.5 meters in height and was the tallest free-standing bell tower at the time of its construction in 1731–1745. The refectory chambers with the Church of the Saints Anthony and Theodosius is the third in a series of temples. The original temple was built in the 12th century and no drawings or visual depictions of it remain. The second temple was built at the time of the Cossack Hetmanate and was disassembled by the Russian authorities in the 19th century. It was replaced with the current temple, often referred to as the Refectory Church of the Kiev Pechersk Lavra. Erin Tracy is the owner and author of this blog, Traveling Thru History, which she uses to share her love of history, culture, and travel with her readers. You can also find stories and pictures of her travels on her Facebook page. BONUS SITES We’ve hit all the countries in Europe and given some history about the top site for each country, but it’s always hard to pick just one. Here are 7 more sites you won’t want to miss. Romania – Bran Castle Bran Castle is famously known as Dracula’s Castle. It is located on the border between Transylvania and Wallachia in Romania. The first structure to sit on this site was the castle of Dietrichstein, which Teutonic Knights built out of wood in 1212. This castle was destroyed by Mongols in 1242. In 1377, Louis I of Hungary gave Saxons permission to build a stone castle on the site, which was eventually used in defense against the Ottoman Turks in 1438-1442. When it wasn’t being used defensively, the castle was a customs post for those who traveled the mountain pass between Transylvania and Wallachia. In 1533, the City of Brasov took possession of the castle as payment for outstanding loans made to King Vladislas of Hungary. From that time forward, the castle played a militarily strategic role up to the mid-18th century. The next notable event in the castle’s history was in 1920 when the Treaty of Trianon granted Transylvania to Romania, along with Bran Castle, which became the royal residence in Romania. Queen Marie ordered extensive restoration work on the castle to bring it back to its medieval splendor. During WWII, the castle was used as a hospital before it was seized by the communist regime in 1948. At this time the royal family was exiled from Romania. It wasn’t until 2005 that the castle was returned to the Habsburg family who then carried out further restorations before opening the castle as the first private museum in Romania in 2009. Erin Tracy is the owner and author of this blog, Traveling Thru History, which she uses to share her love of history, culture, and travel with her readers. You can also find stories and pictures of her travels on her Facebook page. Greece – Erechtheion The Erechtheion (also called Erechtheumis) an ancient Greek temple on the north side of the Acropolis of Athens in Greece. The Persians had destroyed much of the city during an invasion, so Pericles, the general of Athens from 461-429 BC, commissioned two men to restore the damaged buildings atop the Acropolis. Along with restoring the sacred religious building the Persians had destroyed, Pericles also requested that they build another building, The Erechtheion. The purpose for the Erechtheion is...

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The Stavelot Triptych

Erin — Mon, 15 Dec 2014 04:26:32 +0000

During the Middle Ages, religious travel was becoming popular. As more people began pilgrimages to seek out religious relics, different churches and monasteries began working to draw visitors and gain additional funding through donations left by the devout. Since very few churches or cities could lay claim to such renowned relics as were in Jerusalem and Rome, many commissioned elaborate housings for the small relics they did have in an attempt to draw visitors. It was during this time, roughly 1156 AD, that a small abbey in what is now known as Belgium commissioned local Mosan artists to create a reliquary to hold their small, precious relics. This is now known as the Stavelot Triptych. Background While it is not known who commissioned the Stavelot Triptych or the actual artist was, it is there is an understanding in the art community of where it originated. It is commonly believed the Abbot of Stavelot Abbey requested its creation and that Godefroid de Huy, a prominent goldsmith during that time, created the work. Wibald, the Abbot of Stavelot Abbey from 1130 to 1159, went to Constantinople in 1154 and returned to the abbey with a piece from the cross on which Christ was crucified, known as the True Cross, and a small scrap of the Mother Mary’s robe. In order to show proper reverence to these items and to draw additional interest in seeing them, Abbot Wibald had a beautiful and ornate Romanesque reliquary made for them: the Stavelot Triptych. A triptych is something that is made up of three pieces. In this case, it is a set of three ornately decorated panels that are hinged together so they can be closed and minimized for easy transport. The main panel of the Stavelot Triptych is set up like an ancient shadow box to display two smaller Byzantine triptychs which hold the relics Abbot Wibald brought back from Constantinople. Those triptychs date from the “11th or early 12th centuries” (Ross). On them we see depictions of the cross surrounded by images of Constantine and Helena, archangels and the military saints George, Procopius, Theodore and Demetrius along with four evangelists. The Left Panel While the objects in the center panel of the triptych are fascinating and worthy of attention, the side panels of the triptych are also remarkable and warrant equal attention. For, on the side panels we find the stories of Emperor Constantine’s conversion and St. Helena’s quest to find the True Cross. These panels are designed in a way that is very typical of Romanesque art during this time period. Bottom Medallion On the left-hand side of the triptych is the story of Emperor Constantine’s conversion to Christianity. The story begins at the bottom and is an idealized version of true events. In the bottom medallion, Constantine is shown having a dream of an angel. The angel is telling him he will be victorious if he goes into battle with the sign of the cross. The angel is bending over, gesturing up, while Constantine is laying down sleeping. This animated gesture is a contrast from the stoic poses used in Byzantine art as are the labels, details and speech bubbles, which are storytelling elements that are common of Romanesque art at this time. There are also various symbolic elements in the image. The crown hanging from the center shows Constantine is destined for greatness. The curtain being pulled aside behind him denotes he is a holy figure. There is a cityscape in the background which suggests that this takes place in a city in Rome. Middle Medallion The middle medallion depicts the end of the Battle of Milvian Bridge. In this battle, Constantine was victorious over Maxentius, who is seen running from Constantine’s troops who are carrying a cross. Constantine became Emperor after this victory, which he believed came about because he used the cross. As an added dramatic element, two soldiers lay dying at the bottom: one is speared while the other is bleeding out through the neck. This element was included because Romanesque artists told stories in more lively ways to engage the emotions of the viewer. The earth is represented, as well, to ground them and give them a more realistic and relatable quality. Top Medallion The final medallion telling the story of Constantine’s conversion is on the top left. In this medallion, we see Constantine being baptized, which is a partial fabrication. Constantine really was baptized, but not in the manner depicted in the medallion. He was actually baptized by a heretic, which the church did not want represented. This picture depicts him being baptized by Pope Sylvester at the end of his life while priests and ministers witnessed the ceremony. The lines on his body represent ribs and muscles which was done in a typically Romanesque fashion as Romanesque art exaggerated muscles and strength. This baptism is shown to be blessed by God by use of the rays and God’s hand and is shown to have taken place in Rome. The Right Panel On the opposite side of the triptych we see the story of Empress Helena, Constantine’s mother, seeking for and finding the cross which Jesus Christ was crucified on. This cross is known as the True Cross and is highly revered in Christian culture. It was sought after for years and is commonly believed to have been found by Empress Helena during her visit to the Holy Land from 326-328AD. Empress Helena is believed to have found the crosses for Jesus Christ and the two thieves who were crucified with Him and legend states that “a miracle revealed which of the three was the True Cross” (Wikipedia). Bottom Medallion As with Constantine’s story on the left, Empress Helena’s story begins at the bottom of the panel. The bottom right medallion shows Empress Helena sitting on throne, talking to Jewish elders. She went to the Holy Land to establish churches and relief agencies as well as search for relics and bring them back to Rome. In this scene Helena is seated while talking to the Jewish elders as she tries to get them to tell her where the cross Jesus was crucified on is. They refuse to tell her and she threatens them with fire, which is shown behind the elders. The Jewish elders are labeled as Jews and also dressed with white hats which denote them as Jews. As was typical with artistic conventions of the time, Jews wear different kinds of clothing that sets them apart from Christians in art. Middle Medallion In the middle medallion on the right, we see Empress Helena giving direction while the Jewish elders dig a pit. After severe threatening, the Jews finally capitulated and told Empress Helena where they thought the crosses were. Empress Helena had the Jews dig up (and destroy) the Temple of Venus, which is where the crosses were. This act is shown to be blessed by God by use of the rays and God’s hand. There were three crosses underneath the Temple of Venus and they had to figure out which one was the True Cross. Top Medallion The top medallion shows the story of how they figured out which cross was the one Jesus Christ died on. Soon after finding the crosses, they saw a dying person passing by and asked him touch each cross. Legend states that the True Cross healed the man. This act is shown to be blessed by God by use of the rays and God’s hand. Comparison Analysis As a whole, the Stavelot Triptych is fascinating and very ornate, though that was not unusual for this time period. Since many churches were commissioning elaborate reliquaries for their magnificent relics, works of such ornate and elaborate craftsmanship were becoming common and held similar characteristics. The elements and conventions of the Stavelot Triptych, while detailed and beautiful, were very typical of Romanesque art. Within 50 years of the Stavelot Triptych being created, another famous work was created that held very similar elements. This was the Reliquary of St. Maurus. Similarities Both the Stavelot Triptych and the Reliquary of St. Maurus were created by Mosan artisans and commissioned by churches in what is now known as Belgium. Mosan artists were craftsmen from the Meuse valley, which is on the modern-day border between Germany and Belgium. These artists were in high demand during the Romanesque era and created such works as the “Baptismal font at St Bartholomew’s Church in Liège, the Shrine of Saint Servatius in Maastricht, the Shrine of Saint Hadelin in Vise, the Shrine of Saint Remacle in Stavelot, the Shrines of Saint Domitian and Saint Mangold in Huy, the Shrine of Our Lady at Tournai Cathedral, Shrine of the Three Kings at Cologne Cathedral, Shrines of Charlemagne and Mary at Aachen Cathedral, the Barbarossa Chandelier at Aachen Cathedral, the Stavelot alter base, Retable of the Pentecost and the Reliquary with head of Pope Alexander I” (Wikipedia). Aside from being created by artists from the same area, the Stavelot Triptych and the Reliquary of St. Maurus have several elements in common, which were typical of that time. Both works were made of wood, were heavily gilded, were decorated with enamelwork and were inlaid with precious stones. While one is a triptych and the other a chasse, a chest with slanted roofs, they both have the same purpose: to house precious religious relics. As such, they are both covered in depictions of saints and religious figures. In typical Romanesque fashion, the figures are shown in motion and with narrative qualities. Both pieces also contain medallions which tell stories of the persons important to each reliquary and have labels along with various indicative text. These works also have an increased amount of detail and depictions of the ground, which are typical features of Romanesque art. Religious Importance When creating the Stavelot Triptych, the artist created a work that is mesmerizing and timeless. This work, while typical of its time, is fascinating and worth the esteem it receives. Aside from being the housing for religious artifacts, this work is important because it is a combination of two styles: Byzantine reliquaries housed inside a Romanesque reliquary. This was entirely unique and allows us to fully compare the two styles. The Stavelot Triptych is also important because it is evidence of a person being able to safely travel great distances during that era. Traveling great distances was new to that time period and the combination of two art styles from two different areas made during this era shows that people could travel successfully. And the final reason the Stavelot Triptych is important is because it shows that Romanesque art had an interest in the narrative of telling stories with lively characters, which was a big change from the stoic and stiff characters from Byzantine art, thus providing a segue between Byzantine art and Western Medieval art. Conclusion Overall, the Stavelot Triptych is a very important and stunning piece of Romanesque Mosan artwork that has retained its importance and veneration for generations. Whether or not we ever discover who commissioned it, who created it and whether or not the artifacts inside are truly what they claim to be, this work will always hold an aura of mysticism and reverence. Its significance as a religious artifact as well as the artistic skill used in creating this work have made it a timeless work that will maintain admiration and adoration for decades to come. Works Cited “Concise History of the Reliquary and Its Restoration.” Relikviar Sv Maura. N.p., n.d. Web. 11 Dec. 2014. <http://www.svatymaur.cz/en/restoration/concise-history-of-the-reliquary-and-it.html>. Petzold, Dr Andreas. “Khan Academy.” Khan Academy. N.p., n.d. Web. 10 Dec. 2014. <https://www.khanacademy.org/humanities/medieval-world/latin-western-europe/romanesque1/a/a-beginners-guide-to-romanesque-art>. “Reliquary of St. Maurus.” Memim Encyclopedia. N.p., n.d. Web. 11 Dec. 2014. <http://memim.com/reliquary-of-st.-maurus.html>. “Reliquary of St. Maurus.” Wikipedia. Wikimedia Foundation, 12 Mar. 2014. Web. 11 Dec. 2014. <http://en.wikipedia.org/wiki/Reliquary_of_St._Maurus>. “Romanesque Art.” Wikipedia. Wikimedia Foundation, 12 Nov. 2014. Web. 11 Dec. 2014. <http://en.wikipedia.org/wiki/Romanesque_art>. Ross, Nancy. “Stavelot Triptych.” 10 Dec. 2014. Lecture. Sorabella, Jean. “Pilgrimage in Medieval Europe.” The Metropolitan Museum of Art. Heilbrunn Timeline of Art History, Apr....

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