1736 - Data Points by Date/Period

Le Ber-Le Moyne House, or Maison Le Ber-Le Moyne in French, is Montreal's oldest intact building, constructed between 1669 and 1671. Situated in the borough of Lachine along the Saint Lawrence River, between the Lachine Rapids and Lake Saint-Louis, it was designated a National Historic Site of Canada on June 19, 2002. The house and its archaeological collection have also been recognized as heritage assets by Quebec’s ministère de la Culture et des communications since 2001.Originally built as a fur trading post between 1669 and 1687, the house was constructed on land once owned by French explorer René-Robert Cavelier de La Salle. Wealthy merchants Jacques Le Ber and Charles Le Moyne purchased the property in 1667 to control the primary trade routes around Lake Saint-Louis. Records suggest that the building ceased to serve as a trading post between 1680 and 1685, making it the last surviving structure associated with Charles Le Moyne’s career.After Le Moyne’s death in 1685, his widow, Catherine Primot, sold the property in 1687 to Guillemot dit Lalande, who abandoned it in 1689 following the Massacre of Lachine. Marguerite Chorel, wife of Guillaume de Lorimier, acquired it in 1695 and resided there until her death in 1736. Her family continued to occupy the house until it was sold in 1765 to Irish innkeeper Hugh Heney, who modernized it but never lived there himself, leasing it to tenants instead.By 1844, the property was significantly diminished due to the expansion of the Lachine Canal. It was acquired by retired Colonel Edward P. Wilgress, and during this period, several artworks captured its transformation, including Frances A. Hopkin’s 'Wilgress House and Garden, Lachine' and J.E. Taylor’s 'The Cottage, Lachine.' The house became the summer residence of the Curie family after merchant William Curie purchased it in 1901.In the 1940s, Lachine Mayor Anatole Carignan recognized the historical importance of the Le Ber-Le Moyne House, leading to the City of Lachine’s purchase in 1946 for $25,000. The building was converted into the Manoir Lachine Museum, which opened to the public on June 24, 1948. A fish hatchery with rearing ponds and aquariums was added to the site in the early 1950s, drawing public interest, but the hatchery closed in 1962.The museum underwent major restoration in the 1980s to reveal the original stone walls and beams, removing 1950s additions and restoring the house to its 17th-century appearance. Archaeological digs conducted between 1998-2000 and 2009-2010 by the firm Archéotec unearthed around 32,000 artifacts, documenting various phases of the site’s history, including pottery shards and tools that confirm a Native American presence dating back 2,000 to 2,500 years.Today, the Le Ber-Le Moyne House is part of the Musée de Lachine, which includes the heritage site, an archaeological collection, 17th-century buildings, and a sculpture garden known as the Musée plein air de Lachine. The garden, one of Canada’s largest, features works by artists such as Bill Vazan, Ulysse Comtois, Marcel Barbeau, Michel Goulet, and Linda Covit. In addition to historical exhibits, the Musée de Lachine also hosts contemporary art exhibitions each year.Located 6 kilometers (4 miles) from Angrignon Metro station, the museum is accessible via the 110 and 195 buses operated by the Société de transport de Montréal, with a travel time of approximately 40 minutes.The Le Ber-Le Moyne House exemplifies French Colonial architecture, notable for its cedar-shingled roof and absence of dormers.

The Franciscan Church of the Annunciation, also known as Frančiškanska cerkev in Slovene, stands prominently on Prešeren Square in Ljubljana, Slovenia's capital. Serving as the parish church of Ljubljana's Annunciation Parish, its origins trace back to a construction period between 1646 and 1660, likely replacing two or three earlier churches. The bell towers were added around 1720 under the direction of Francesco Olivieri and Francesco Rosina. In 1858, the church's exterior underwent redesigning based on plans by Franz Kurz zum Thurn und Goldenstein. Internally, frescoes by Matevž Langus [sl] in the mid-19th century and ceiling artwork by Matej Sternen in the early 20th century grace the church. The main altar, a prominent feature, was primarily crafted by the Baroque sculptor Francesco Robba in 1736. The church's distinct red or pink hue holds symbolic significance associated with the Franciscan monastic order. Recognized for its historical and cultural significance, the church attained protected status as a national cultural monument of Slovenia in 2008.The interior of the church showcases a basilica design in early-Baroque style, featuring a main altar crafted by sculptor Francesco Robba. Most frescoes, painted by Matevž Langus in the mid-19th century, and additional contributions by Janez Wolf in 1882, suffered damage during the 1895 Ljubljana earthquake. New ceiling frescoes in a Baroque trompe-l'œil style were executed by Matej Sternen in the 1930s. Regarding the facade, built in Baroque style between 1703–1706, it underwent a complete redesign in 1858, overseen by Franz Kurz zum Thurn und Goldenstein. The color was changed to red, replacing the previous white, and adorned with a statue of Our Lady of Loretto atop the entrance, replacing an older Black Madonna statue. The facade showcases pilasters with Ionic and Corinthian capitals, embellished with volutes, and sculptures of God the Father, an angel, and the Virgin Mary by Paolo Callalo. The entrance boasts a 19th-century wooden door featuring relief sculptures of women's heads. Renovations were carried out in the 20th century in 1961 and 1992–93.

The Rundāle Palace (Rundāles pils in Latvian; formerly known as Schloss Ruhental or Ruhendahl in German) stands as one of the principal Baroque palaces constructed for the Dukes of Courland in present-day Latvia, alongside Jelgava Palace. Erected in two stages, first from 1736 to 1740 and then from 1764 to 1768, the palace resides in Pilsrundāle, situated within the Rundāle Parish, Bauska Municipality, in the Semigallia region, merely 12 km west of Bauska.The Rundāle Palace, commissioned by Duke of Courland Ernst Johann von Biron in 1735, was built on the site of an old medieval castle. Constructed in stages by Bartolomeo Rastrelli, the palace faced delays due to resource allocation to another project, Jelgava Palace. After Biron's exile, the palace remained incomplete until 1768 when its construction resumed. Johann Michael Graff adorned it with ornate stucco decorations. Over time, the palace changed hands, eventually passing to the Shuvalov family before suffering damage during World War I and Latvian War of Independence. It served various purposes, from school to museum, and underwent extensive restoration, finally completing in 2015. It's a prominent tourist site and a museum, preserving its rich history and serving as a residence for foreign dignitaries.

St. Euphemia's Church, commonly referred to as the Basilica of St. Euphemia (though not officially a minor basilica) and locally known as St. Fuma's Church, stands as a Baroque church situated in the historic center of Rovinj.The church, constructed between 1725 and 1736 atop earlier Christian foundations, was initially devoted to Saint George, later to both Saints George and Euphemia before being dedicated solely to Euphemia. Its facade, added in 1883, overlooks a wealth of art treasures including Gothic statues from the 15th century and paintings spanning the 16th and 17th centuries. The bell tower, reminiscent of St. Mark's Basilica in Venice, was built between 1654 and 1680 and features a 60-meter-high tower crowned by a statue of Saint Euphemia functioning as a wind vane.The church is described by Alice Lee Moqué in Delightful Dalmatia:'At first glance it is seen that the tower with its golden angel is almost an exact copy of the campanile in Venice, only this angel is Saint Eufemia, the little town's patron saint...whose marvelous experiences are plainly depicted upon the walls of the chapel.'Alice Lee Moqué, a suffragette and travel writer, recounts a local legend surrounding the arrival of the sarcophagus at the Church. According to the legend, two fishermen, rescued by a mysterious light during a storm, witness an object sinking into the sea near Rovinj's shore. Despite unsuccessful attempts by townspeople to retrieve it, a widow's plan involving oxen successfully hauls the sarcophagus from the water to a nearby hill. A skeptic collapses in its presence, claiming to have received a vision from Saint Euphemia herself. The relics, believed to contain her bones, were said to have been stolen by the Genoese and later taken by the Venetians before finally returning to the town in the 14th century, solidifying the hill as the 'Hill of St Euphemia' in local folklore.

Melk Abbey, known as Stift Melk in German, stands above the town of Melk in Lower Austria, Austria. Positioned on a rocky outcrop with commanding views of the Danube River, it is adjacent to the picturesque Wachau valley. Notably, the abbey houses the tomb of Saint Coloman of Stockerau, along with the remains of numerous individuals from the House of Babenberg, which was Austria's inaugural ruling dynasty.Founded in 1089 by Leopold II, Margrave of Austria, who bestowed one of his castles upon Benedictine monks from Lambach Abbey, Melk Abbey boasts a rich history. The twelfth century saw the inception of the Stiftsgymnasium Melk, a monastic school, and the rise of its esteemed library known for its vast collection of manuscripts. Throughout the fifteenth century, the abbey spearheaded the Melk Reform movement, revitalizing monastic life in Austria and Southern Germany. The current Baroque structure, constructed between 1702 and 1736 by Jakob Prandtauer, stands as a testament to the abbey's grandeur. Key attractions include the abbey church adorned with frescos by Johann Michael Rottmayr and the library housing an impressive array of medieval manuscripts and musical compositions, complemented by frescos by Paul Troger. Despite facing threats of dissolution under Emperor Joseph II, Melk Abbey persevered and remained intact, escaping seizure during the late 18th-century dissolutions. Surviving the Napoleonic Wars and the tumultuous period following the Anschluss in 1938, during which the school and a significant portion of the abbey were seized, the institution managed to reclaim its property after World War II. Currently, the school accommodates almost 900 pupils of both genders and has been a member of the Austrian Congregation, now part of the Benedictine Confederation, since 1625. Notably, Melk Abbey is an integral part of the Wachau Cultural Landscape, designated as a UNESCO World Heritage Site.

The monastery of Holy Apostles Peter and Paul constitute a compact constructive ensemble, composed by the catholicon of the Holy Apostles, the chapel of the physician saints Cosmas and Damian which functioned as a coemeterium, and the living quarters for the monks. The construction of the monastery was rendered in different phases, beginning from 1709 when the church of Sts. Peter and Paul was built by Hadji Athanasios Rimara. The adjacent chapel of Sts. Cosmas and Damian was built in 1736 under hegoumenos (abbot) Methodios, manciple Ioannes from the village Aidenohores near Serres and the monk Anthimios. The architectural design of the two buildings differs from that of the other churches of Vithkuqi and this difference stems from their function. Both church and the chapel were decorated with the donations of Siropoulos from Aidenohori and Panayot Desin from Vithkuqi, while for the painting was engaged one of the most eminent workshops of the period, of Constantine and Athanasios from Korçë (and their assistants). On the whole, the art of Constantine and Athanasios is influenced by the paleologan painting tradition, revived in Mt. Athos, and adopts elements of western art. The wooden iconostasis of the chapel of Sts. Cosmas and Damian is another piece of artwork of outstanding values. Some of the icons are works of hierodeacon Constantine of Spatheia.

1736 (6)

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02-03-2024

18-11-1924

1767

1450

1177

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