1776 - Data Points by Date/Period

The Château Ramezay is a historic building and museum located on Notre-Dame Street in Old Montreal, directly across from Montreal City Hall in Montreal, Quebec, Canada.Originally built in 1705 as the residence for Montreal's governor, Claude de Ramezay, the Château holds the distinction of being Quebec’s first designated historical monument and is the oldest private history museum in the province. It was recognized as a National Historic Site of Canada in 1949.The Château changed hands and functions several times over the years. After Ramezay’s descendants sold it to the Compagnie des Indes, it served as the headquarters of the Continental Army in 1775 when they captured Montreal. In 1776, Benjamin Franklin briefly stayed at the Château while attempting to recruit troops for the American Revolutionary War. Following the British conquest, the building served as a residence for British governors until 1849, known formally as Government House, complementing the governor’s residences in Quebec City and Sorel.In 1878, the Château became home to the Université de Montréal’s first Faculty of Medicine. By 1894, it had been purchased by the Numismatic and Antiquarian Society of Montreal, transforming into a museum and portrait gallery. In 1895, architect Sir Andrew Taylor led alterations to adapt the space for its new role.Today, the Château Ramezay Museum houses a collection of roughly 30,000 items, mainly donated by Montrealers, including manuscripts, artworks, numismatic items, ethnological artifacts, paintings, prints, and furniture. Between 1997 and 2002, the museum underwent extensive restorations, adding the Governor’s Garden, which was inaugurated in 2000. In 2003, it received the National Award of Excellence from the Landscape Architects of Canada and has welcomed over a million visitors to date.

Île-à-la-Crosse (Plains Cree: ᓵᑭᑕᐚᕽ, romanized: sâkitawâhk) is a northern village in Division No. 18, northwestern Saskatchewan, established in 1778 as a historic trading post. It is Saskatchewan's second-oldest community, following the Red River Colony, and sits at the end of a 20 km (12 mi) peninsula on the western shore of Lac Île-à-la-Crosse. The village connects with Peter Pond Lake and Churchill Lake through a series of lakes and rivers.The Cree and Dene named this area Sakitawak, meaning 'big opening where the waters meet.' These waterways were known as the headwaters of Missinipe, later renamed English River, and now called the Churchill River. Île-à-la-Crosse lies at the southern gateway to the Methye Portage, a critical trade route where waters flow towards both the Arctic Ocean and Hudson Bay.Île-à-la-Crosse has significant historical importance due to its strategic location, which attracted fur trading companies and Catholic missionaries. Historically, it was a borderland between Cree and Dene territories, becoming a hub for cultural and economic exchanges among the Cree, Dene, Scots, English, French, and Métis peoples.Île-à-la-Crosse developed as a key center in the fur trade, establishing a distinct Métis community. In 1776, Thomas Frobisher built the first trading post, followed by Peter Pond, who charted a route to Athabasca. The area became a central hub for fur trading, with traders moving north and west from the Plains.The fur trade intensified competition, particularly between the North West Company and Hudson's Bay Company (HBC). After the 1821 merger of these companies, Île-à-la-Crosse became the administrative center of the English River District, supporting nearby trading posts and solidifying its role in the fur trade. The Métis population grew as a result of intermarriages between Indigenous women and fur traders.By the late 19th century, many posts in the region closed due to settler expansion, the sale of Rupert's Land, and the buffalo's westward migration.As of the 2021 Census, the village had 1,425 residents, with 77% identifying as Métis and 18% as First Nations. Most residents speak English, with 18% speaking Indigenous languages, including Algonquian and Michif. Seasonal employment influences the population size, and many residents leave the community for work.

Holy Trinity Church, known as cerkev sv. Trojice in Slovene and Chiesa della Santissima Trinità in Italian, is a historic structure situated in Hrastovlje, a village in southwestern Slovenia. Its origins are debated, with one theory suggesting it dates back to the 12th century as a Romanesque church, while another posits it as an exemplar of Istrian Early Venetian Renaissance architecture from the 15th century. Positioned beyond a protective wall erected by locals in the 16th century to shield against Turkish invasions, this church is part of defensive structures known as 'tabor' scattered across Slovenian-settled regions.History of the Church of the Holy Trinity in HrastovljeThe church in Hrastovlje stands on rock without deep foundations and is mainly built from exposed stone, typical of the coastal region. It lacks extensive plaster, revealing its construction. With only two windows due to local weather conditions, the interior remains dim. Modifications over time include the addition of a protective outer wall, reducing natural light. Distinct from other pilgrim churches, it has its bell tower on the west side. Despite its small size—11.7 meters long and 6.05 meters wide—it's considered an example of Istrian Renaissance architecture from the late 15th century. The current northwestern entrance was likely established around 1776, differing from the original entrance near the bell tower.The Interior of the Church of the Holy Trinity in HrastovljeJohannes de Castua (John of Kastav) completed painting Gothic frescoes in the church on July 13, 1490. These intricate artworks include Glagolitic script in some sections. Among the most renowned is the Dance of Death or 'Danse Macabre.' These masterpieces, concealed under layers of plaster, were unveiled in 1949 by the academic sculptor Jože Pohlen.The external wall of the Church of the Holy Trinity in HrastovljeLeander Zarotus likely fortified the church with a wall, expanding its defense. The 8-meter-thick limestone wall, reinforced around the late 15th century, envelops the entire structure, allowing only the bell-tower and its cross to emerge above it. Initially erected as protection against Turkish invasions, the wall is shaped as an irregular rectangle and features two bastion-like towers. One tower guards the southeast, while the other, on the northwest side, defends the entrance from the village. These towers show traces of two layers for archers, indicating a previous higher structure capable of accommodating three archer levels. Additionally, a former balcony above the entrance gates served as a vantage point for defense tactics such as hurling stones or pouring boiling liquids on assailants.

Turaida Castle (Turaidas pils in Latvian; known historically as Treiden or Treyden in German, meaning 'Thor's garden' in Livonian) stands as a newly reconstructed medieval fortress located in Turaida, within Latvia's Vidzeme region. Positioned on the opposing side of the Gauja River from Sigulda.Turaida Castle, a focal point of the Museum Reserve, is an imposing sight, towering above the treeline and visible from the air or Sigulda's opposite riverbank. Comprising the northern gate tower as the forepart, a central highest tower, and the southern tower-shaped section forming the rear view. In 1214, construction began on the castle under Archbishop Albert's direction for the Livonian Brothers of the Sword, replacing a prior Livonian wooden castle. Initially named Fredeland or 'Land of Peace,' it became locally known as 'Turaida.' The castle, primarily red-brick, evolved with additional defenses in the 14th and 15th centuries, adding the tower-shaped southern section and the semi-rounded western tower with domestic buildings. Despite minor 17th-century reconstructions, the castle lost significance and was abandoned after a 1776 fire, gradually falling into ruin. By the 20th century, only fragmented remnants remained. Since 1976, ongoing archaeological digs led to extensive restoration, showcasing the castle's original state. Exhibitions recount the castle's history and the Gauja Livonians. The main tower offers breathtaking views of the Gauja Valley within the Turaida Museum Reserve.

The Black Church, also known as the parochial church of Saint Mary within 'Brasov's Stronghold,' is believed to have been built around 1383 under the direction of priest Thomas Sander. It was constructed on the site of an ancient place of worship. The name 'The Black Church' was given to this structure after a significant fire in 1689. This church stands as the quintessential Gothic monument in this region of Europe, showcasing a cohesive architectural and sculptural design, particularly in the ancient part of the monument known as the church's choir. The choir features statues of saints adorning the arched buttresses, reflecting the Central-European style typical of Parler's stone masons family. Construction of the church began but was interrupted by a Turkish invasion in 1421. It resumed in the mid-15th century, resulting in a hall-like structure with three aisles, lateral stands, and two towers on the west side. Only the southern tower surpasses the building's height. During this phase, five portals of carved stone were added, crafted by stone masons brought from the building yard of Saint Elisabeth Church in Košice, Slovakia. The western portal is considered a reference to late Gothic architecture in Southeastern Europe. Above the southeastern entrance's tympanum, there is a preserved image of Virgin Mary with the Child, flanked by Saint Catherine and Saint Barbara, showcasing the artistic mastery of King Mathias Corvinul's era (1458-1490). The painting is protected by a threshold with a wooden door bearing the inscription '1477,' signifying the completion of construction works. Following the devastating fire in 1689, the interior of the Black Church was reconstructed in the Baroque style. This phase saw the addition of arches, the richly adorned lateral stands with arcades featuring sculptures, a painted wooden pulpit, and choirs associated with the artisans' guilds. In the Black Church's present-day courtyard, named after the humanist Johannes Honterus (1498-1549), a central figure in the religious Reform in Transylvania, the medieval graveyard once existed. It was enclosed by several now-vanished constructions, except for the parochial church (first documented in 1379 and expanded in 1776) and remnants of Saint Catherine chapel (1388), likely situated on the site of a premonstratensian monastery documented in 1235. This monastery's name is linked to the initial historical mention of Braşov.

In the Middle Ages, the entrance to 'Brașov's Stronghold' from the 'Old Town' was through the Monastery Gate, situated along what is now Mureșenilor street. This street was originally named after the nearby Dominican settlement, which was first documented in 1342. Following the establishment of the Hapsburg Empire in Transylvania, the Roman-Catholic Church Saints Peter and Paul was constructed on the site of the former monastery. This impressive church was built between 1776 and 1782, based on the architectural plans designed by Karl Joseph Lamasch. The project received direct financial support from Empress Maria Theresa. The church's vaults are renowned for their Baroque architecture, making it one of the most representative Baroque constructions in Brasov. In the early 20th century, the interior of the church was further embellished with religious scenes painted in medallions, and the windows were adorned with stained glass panels commissioned from Budapest.

Saint Friday's Church is located in the city of Përmet. The stream flowing by it, with its occasional floods, has flooded the church several times. Typologically it is described as a basilica covered with a system of arches and spherical caps. This cult object dates back to 1776. XVIII century and is a protected Cultural Monument of First Category. The church is 22 meters long, 16 meters wide and 8 meters high. It consists of 3 naves and a dome system, which are connected to the naos, narthex and altar. The church is built of pumice stone bound with lime mortar. The roof is covered with black stone slabs while the interior is decorated with wall paintings. The iconostasis is carved in wood. The inscription on a stone slab refers to the building of the church back to 1776 by the master Ilia Christo, while the wall paintings with scenes from the Scriptures were made in 1808 by the painter Terpo Zografi, son of Kostandin Zografi, fresco and icons painter from Mokra, Korçë. The iconostasis and wood carvings were artistically worked under the direction of Dhimitri, the Albanian craftsman from Konitsa.

In the mid-18th century (1776), this was the site of the road (Via Delfina) that linked Koper under the Venetians and Trieste under the Habsburgs. The route was different to that of the modern-day road, which was built in the interwar period and called Via Flavia after the erstwhile Roman road. From 1902 until 1935, the narrow-gauge railway known as Parenzana led through Škofije, connecting Trieste and Poreč. The wider Škofije area was settled even in Roman times. One of the few archaeologically explored sections of Roman roads in this part of Istria is situated at Križišče near Spodnje Škofije. Paved with red gravel, the road led towards Rižana, where we could probably expect to find the remains of a Roman bridge. The burial ground at Križišče also indicates that the area was populated by Romans, as evidenced by the burial practice and objects, as well as the division into fenced-in burial plots positioned along the Roman road not far from the villa rusticae discovered at Školarice. The Church of St. Matthew and the Church of the Sacred Heart is dedicated to the Apostle and Evangelist Matthew. The church was built by inhabitants of three villages in 1673 and consecrated by Bishop Francesco Zeno. It can also be found in Paolo Naldini's Ecclesiastical Chorography (1700). In the 1930s, the church of the Sacred Heart with a simple facade, tympanum and stone portal was built close to the old church of St. Mathew. The single-nave church with a flat ceiling ends with a chancel that is somewhat lower than the nave; the two are separated by a barrel vault. The bell tower (16.09m) is attached to the chancel. Featuring large, semi-circular windows, it is topped with a gable roof.

The current parish church was constructed by the Piranese architect Giovanni Dongetti on the remains of the 14th century church which was damaged by a storm in 1651. The construction works commenced in 1730 and continued until 1757. The church was consecrated in 1760 even though it was still unfinished. This was the first example of a late-Palladian church built in the 18th century in Venetian Istria and became an architectural template for other Istrian churches. The unfinished front elevation is divided into six pilasters topped by Corinthian capitals and geometric decorations. The main entrance is framed by semi-columns supporting the architrave and a lunette embellished with a Renaissance-style shell. Inside, three pairs of shallow side chapels, containing Baroque stone altars, delimit the single nave. The altars dedicated to the Sacred family, St. Nicholas and the Sacred Heart, also contain altarpieces painted at the end of the 19th century. The remaining three side chapels contain artefacts older than the current church, belonging to a previous one, such as the wooden Crucifix over the altar of the Sacred Cross and the altarpiece of the Baptism of Christ which date back to late 16th/early 17th century. The latter reflects the influence of the so-called 'Scuola di Parma', Parma school. In the altar of Our Lady of Sorrows there is a 15th century polychrome wooden statue of the Mater Dolorosa. The relics of St. Nicephorus and of his deacon Maximilian are kept in the altar. The apsis, besides the altarpiece, is also decorated with two marble statues of the saints Peregrine and Nicephorus on each side of the altar. They were sculpted at the beginning of the 19th century by Antonio Bosa in the style of Antonio Canova. The altarpiece is a 1788 work of Domenico Martinelli depicting the Ascension of the Blessed Virgin Mary. The ceiling paintings dating back to the mid-18th century are attributed to Giuseppe B. Bisson. Within the church there is a fine organ built in 1776 by Francesco Dacci. In addition there is another artefact from the previous church: a 15th century wooden triptych of Saint Peter, Antony Abbot and Martin in high relief by a master carver. Placed inside the church on the right hand side, there is a stone bas relief of St. Peregrine holding a model of Umag. Originally this artefact was placed above the main gate of the city.

The Kyujanggak, also known as Gyujanggak, was the royal library of the Joseon Dynasty. It was founded in 1776 by order of King Jeongjo of Joseon, at which time it was located on the grounds of Changdeok Palace. Today known as Kyujanggak Royal Library or Kyujanggak Archives are maintained by Kyujanggak Institute for Korean Studies (규장각한국학연구원) at the Seoul National University. It functions as a key repository of Korean historical records and a centre for research and publication of the annual journal Kyujanggak.

1776 (11)

Other Dates/Periods

05-10-1996

18-02-1883

1922

29-12-2010

03-11-2005

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