1840 - Data Points by Date/Period

The Church of St. Peter and Paul in Brașov is a remarkable Roman Catholic edifice, distinguished by its unique Baroque architecture. It stands as one of the city's most renowned landmarks. Historical Background: This church, as it exists today, was constructed in the latter half of the 18th century. It was built upon the grounds of an ancient Dominican monastery dating back to 1342. The original monastery church was designed in the Gothic style, with its altar facing east, in contrast to the current church, which features a west-facing altar. Following the Reformation in the 16th century, the monastery was disbanded. The choir of the old Gothic church was repurposed by the Hungarian Lutheran community, while the nave and other monastic structures were utilized as storage facilities. In 1711, the monastery was reestablished under the patronage of Franciscan monks, and by 1716, it came under the ownership of the Jesuits. The transformation of the site began in earnest in 1766, with the demolition of the original Gothic church. In 1773, Priest Ignatius Wagenseil sought the support of Empress Maria Theresa of Austria for the church's reconstruction. On June 3, 1776, the official construction work commenced, supervised by the architect Karl Joseph Lamasch, resulting in the splendid Transylvanian Baroque structure that stands today. On September 29, 1782, the new church was consecrated by Bishop Ignaţiu Batthyány of the Diocese of Alba Iulia, with the final touches completed in 1787. In 1840, a Roman Catholic gymnasium was established adjacent to the church. Located in the heart of Brașov's historic center, the Roman Catholic Church of St. Peter and Paul is the city's sole monument built entirely in the Baroque style. A noteworthy architectural feature is the tribune along the nave, adorned with an arched balustrade parapet, accessible via stairs integrated into the thick masonry. On the side of the nave facing the street, intricate stucco decorations grace the walls. The triumphal arch in the middle section of the church displays the coat of arms of Brașov and Transylvania, along with the year of the church's completion. Biblical scenes are depicted in medallions painted on the vaulted ceiling, a renovation project undertaken at the outset of the 20th century. The side chapels house historical altars and confessionals, while under the two symmetrical canopies on the triumphal arch, you'll find the pulpit to the south, a creation by János Kupcsay (1840-1910), and a unique piece of Baroque furniture, a painting of Mary Protectress from Passau ⁠( de ) to the north. The chancel, constructed in the Gothic style, features a pentagonal octagonal closure. The cylindrical vault with pointed-arch openings in the apse is supported by Corinthian engaged columns, embellished with wooden statues of various saints, including St. Peter, St. Paul, St. Francis, and St. Anthony. Ogival windows pierce the side walls of the choir, adorned with stained glass from the early 19th–20th centuries, crafted in the workshop of Ede Kratzmann in Budapest. Additionally, sacristies with floors and an oratory were annexed to the northern and southern sides of the choir. Access to the upper floors of these structures is provided by stairs linked to the triumphal arch, with rooms on the first floor opening onto the choir, featuring parapets with balustrades and twin windows.

The Casa Universitarilor, dating back to approximately 1800, was initially the property of Iordache Cantacuzino Canta (1740-1826), a prominent figure in Moldavia. Iordache served as logofăt (senior counselor) in the Divan of Moldavia and also held the position of caimacam (governor) in 1802 during the reign of Alexandru Șuțu. Later, his son, Logofatul Nicolae Canta, reconstructed the house in 1840 during the rule of Mihai Sturza (1834-1849). The building, originally housing the Housekeeping School (1914) and Urban Home Economics School (1930), has been a canteen restaurant for Al. I. Cuza University's teaching staff since 1947, including visiting delegations. Between 1951 and 1952, the University House underwent renovations and expansion, becoming a notable venue for discussions on Iași's history and culture. Featuring one floor, seven rooms, annexes spanning around 600 square meters, a 200-square-meter cellar, and an expansive garden of nearly 5,000 square meters, the property is now owned by Iași University. Maria Cantacuzino de Chavannes (1822-1898), daughter of Nicolae Cantacuzino (Canta) and a member of Moldova's nobility, resided here. Notably, Maria was the inspiration for her husband, Puvis de Chavannes, in creating frescoes depicting the life of Saint Genevieve in the French Pantheon. Maria Cantacuzino was also the aunt of the artist Theodor Pallady.

The County Palace, known in Croatian as Županijska palača, stands as an eminent edifice housing the Office of Public Administration in Osijek-Baranja County, situated in Osijek, Croatia. Originally, it served as the prestigious seat of the County Assembly of Osijek-Baranja County, which gives it its name. The illustrious architectural design of this building is credited to Nikola Hild, and its construction took place between 1840 and 1846.

The construction of the house was made by unknown masters in 1835-1840. Its owner, a wealthy merchant and farmer, whose trade with silk and spices led him to India, showed a rich fantasy and exquisite taste when ordering the construction and the decoration of the house. The plot of irregular shape is located on the lower terrace under the Balabanov's House. The house is located in the southeastern corner, leaving space for agricultural premises, a bathroom with a dressing room and a basement (storage) in the small but arranged yard, where the invariable marble reservoir and fountain are placed. The bathroom is of oriental type with domes, arched niches and marble floor with 'hypocaust' floor heating. The entrance to the dressing room is from the ground floor of the house. At the far end of the yard is the basement, built entirely of stone with iron doors and window grilles. Under the painted canopy above the entrance of the basement there is a fresco painting depicting a picturesque house, an entrance to the courtyard, and a small room that resembles the buildings located in the courtyard.The facade of the house, facing the courtyard, has a central portico with wooden columns inscribed inwards. The wooden door at the entrance leads into the big parlor around which several rooms are located. A single-flight staircase at the bottom leads to the upper floor with a large parlor, surrounded by rooms with lush decorations. It is the work of craftsmen who have painted the rooms inside and out with wall piers, garlands, still life and landscapes with landmarks from Constantinople, Athens, Alexandria, Stockholm, and castles and gardens by seas and mountains. The threaded ceilings with geometric ornaments are additionally painted in Oriental style. In the marble faucet-fountain, rose water still flows. The Hindliyan House illustrated urban life from the middle of the 19th century.

The Roman Catholic community in Chisinau, consisting primarily of Polish individuals, was formed in the late 1830s. Ten years later, in 1840, utilizing their own financial contributions, the community constructed a sacred place. The church project received approval in St Petersburg, with architect and sculptor Joseph I Charlemand playing a significant role in its neoclassical design, influenced by Italian Renaissance architecture. This religious building, known as the Cathedral of Divine Providence (Romanian: Catedrala Romano-Catolică Providența Divină), is affiliated with the Catholic Church and is located in Chișinău, Moldova. It serves as the seat of the Diocese of Chișinău. Initially built in 1836 by architect Avraam Melnikov, thanks to grants from Tsar Nicholas I of Russia, the church adopted a neoclassical style. However, with the arrival of Soviet power in 1944, all parish activities ceased. In 1963, the church was closed, and the faithful were compelled to use a small chapel in the cemetery. It was only in 1989 that the building was returned to the parish. Since 1993, the church has been the host of the Apostolic Administration of Moldova and, since 2001, the newly established Diocese of Chișinău. At present, it is estimated that there are approximately 20,000 Catholics in Moldova.

The Triumphal Arch, known as Arcul de Triumf in Romanian, is a monument located adjacent to the Nativity Cathedral on Piața Marii Adunǎri Naționale nr. 2 in Central Chișinău, directly across from Government House. It was constructed in 1840 by architect I. Zauschevic as a commemoration of the Russian Empire's victory over the Ottoman Empire during the Russo-Turkish War (1828–29). Originally, the monument housed a large bell weighing nearly 6,400 kg (400 Puduri) on its second level until 2011. The building is square in shape, consisting of two levels, with a height of 13 meters. The capitals of the four pillars are adorned in the Corinthian style, while the upper level features classical decorations. A mechanical clock, illuminated at night, is displayed on the front of the arch but does not chime to indicate the time. The ornamentation and capitals are made of ceramic materials. The initial clocks on the arch were installed in 1842, imported from Odesa. However, seven years later, a strong wind damaged the dial, and the mechanism continued functioning until 1881 when it was replaced. The new mechanism was purchased from Austria. The clock remained operational without repair until the outbreak of war when it was damaged during bombings in 1941. In 1945, plaques were affixed to the Arch's walls, bearing the names of Soviet army fighters and Moldovan citizens who fought in Bessarabia during World War II and were honored with the title 'Hero of the Soviet Union.' These plaques were later removed in 1991 after the country gained independence. The Triumphal Arch in Chișinău occupies a prominent position within the architectural ensemble, aligning with the Nativity Cathedral, its bell tower, the Great National Assembly Square, and the Government House. It was crafted using copper from cannons captured by Russian forces during conflicts with the Ottoman Empire. The bell, originally intended for the cathedral's belfry but deemed too large, was ultimately installed in the arch, which was purposefully designed to accommodate it. In 1973, the monument and its clock mechanism underwent complete restoration.

The Palace of Culture of Tirana (Albanian: Pallati i Kulturës) was built on the Pazari i Vjeter area of Tirana by request of Enver Hoxha. For this construction, both the old bazaar and the historic mosque of Mahmud Muhsin Bey Stërmasi were destroyed under the rulership of the Albanian Labour Party in adherence to the communist country's declaration of state atheism. The Ottoman mosque had been built from 1837 to 1840 and had a tiled roof as well as a striking minaret with a sherefe. The first stone of the new building was symbolically put by Nikita Khrushchev in 1959. The work was finished in 1963. The architecture is very similar to many communist era social buildings in Eastern Europe. There have been virtually no renovations to the building since its construction. The Palace of Culture includes the National Library of Albania and the National Theatre of Opera and Ballet of Albania.

1840 (7)

Other Dates/Periods

04-04-1921

1100

1730

22-11-1961

05-03-1914

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