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Renaissance (43)

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The Renaissance is a period in European history marking the transition from the Middle Ages to modernity and covering the 15th and 16th centuries, characterized by an effort to revive and surpass ideas and achievements of classical antiquity. It occurred after the Crisis of the Late Middle Ages and was associated with great social change. In addition to the standard periodization, proponents of a "long Renaissance" may put its beginning in the 14th century and its end in the 17th century.

Renaissance - Wikipedia

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Data Points with Word "Renaissance"

Predjama Castle, also known as Predjamski grad or grad Predjama in Slovene, Höhlenburg Lueg in German, and Castel Lueghi in Italian, stands as a Renaissance fortress nestled within a cave entrance in the heart of south-central Slovenia, within the historical region of Inner Carniola. Situated in the village of Predjama, it lies approximately 11 kilometers from Postojna and 9 kilometers from Postojna Cave. Historically, the castle dates back to 1274 when it was first mentioned under the German name Luegg, commissioned by the Patriarch of Aquileia and constructed in the Gothic style. Perched strategically under a natural rocky arch high in a stone wall, its design aimed to deter easy access. Over time, it came under the ownership and expansion efforts of the Luegg noble family, also known as the Knights of Adelsberg. Predjama Castle gained fame as the residence of the knight Erasmus of Lueg during the 15th century. Erasmus, a renowned robber baron, found himself in conflict with the Habsburgs after a series of events, including the killing of Marshal Pappenheim. Legend has it that Erasmus, besieged by the Holy Roman Emperor's forces, utilized a hidden passageway to maintain supplies and continue his resistance efforts. Following the siege and destruction of the original castle, subsequent reconstructions took place, with the current Renaissance-style castle being built in 1570 adjacent to the original medieval fortifications. Throughout the centuries, it served as a favored summer retreat for notable families like the Cobenzls. In the 19th and 20th centuries, ownership of the castle changed hands multiple times until it was ultimately confiscated and nationalized by Yugoslav Communist authorities after World War II, becoming a museum. Today, Predjama Castle stands as a testament to centuries of history and serves as a popular tourist destination, offering insights into medieval life and architecture in Slovenia.

The Olimje Monastery, initially a fort belonging to the Counts of Pilstien around 1015, underwent several transformations, transitioning from a fort to a castle to a monastery. In 1550, Count Tattenbach converted it into a Renaissance-style castle. It was donated to Paulines monks in 1657, who transformed the castle into a monastery. In 1782, Emperor Joseph II dismissed the monastery, leading to various ownership changes. Count Attems bought it in 1805, turning it back into a castle. In 1945, the castle was nationalized after the killing of Count Ferdinand Attems. Efforts were made to restore it as a monastery before 1999, when it was turned into a religious house by the Slovenian Conventual Province. Today, it serves as a residence for Minorite monks, housing a centuries-old pharmacy and a herbal garden. The Church of the Assumption of Mary, featuring a grand Baroque altar, is also a highlight.

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.

St. Vitus's church was transformed and renamed the Basilica of Mary Help of Christians, a significant Slovenian national sanctuary since 1863. Renowned architects contributed to its ornate design, including Ivan Vurnik and Jože Plečnik. The basilica features impressive mosaics and sculptures, including depictions of biblical figures and prophets. Adjacent to the basilica stands a Franciscan monastery housing the modern Nativity Museum. The chapel, though not central, remains the heart of the sanctuary, adorned with paintings and marble. The church's history dates back to the 14th or 15th century, and its present Neo-Renaissance structure, designed by architect Robert Mikovitz, was consecrated in 1900. Inside, Renaissance influences dominate, with intricate artworks by Slovenian artists adorning altars. The grandeur of the church is exemplified by the beautiful tabernacle altar, considered among Vurnik's finest creations.

The Council Square, also known as Piața Sfatului, is an area with a high concentration of architecturally significant landmarks. While its layout has evolved over the centuries, by 1420, the main market area in the heart of 'Brasov's Stronghold' had adopted the dimensions we see today, featuring the Council House at its center. A stream originating from the Schei neighborhood used to divide the market into Monastery Street (Muresenilor) and Gate's Street (Republicii), near The Pillory, where the Lies' Bridge once stood, first documented in 1523. The market's edges were named after the types of commerce conducted there, including The Flax Course (to the north), The Tubbers’ Course (to the west), The Flowers Course and the Fruits' Fair (to the south), and the Wheat’s Course (to the east). The buildings surrounding the market were largely rebuilt in a later period due to extensive renovations following a major fire in 1689. Nevertheless, remnants of medieval structures can still be found in some inhabited buildings, such as George Baritiu Street No. 2, Council Place No. 20, and No. 25. There are also Renaissance-era buildings, like the Merchants' House (No. 14), and houses belonging to the urban patriciate (No. 15-16), which have been carefully restored in recent years. The Seuler House (No. 27) dates back to the 18th century, with its facade later redesigned in the Baroque style. The 19th century saw the construction of The Safrano House (No. 23), and at the beginning of the 20th century, The Czell Palace (No. 26, currently housing a bank) and the parochial house of the orthodox church The Assumption were built in neo-Byzantine style on the eastern side of the square.

The Merchant's House was constructed between 1544 and 1545, thanks to the generous donations from Apollonia, the widow of Brasov's Judge Mayor, Lucas Hirscher. It stands proudly at the intersection of the marketplace and the street that now bears Apollonia's name. Unfortunately, a devastating fire in 1689 reduced the building to ruins. However, in 1759, it underwent extensive repairs, and its original splendor was fully restored during a meticulous renovation between 1957 and 1961. Today, this edifice is hailed as a prime example of Renaissance architecture in Transylvania, particularly within the realm of commercial structures. Heading south from the market square, towards the Biserica Neagră - Black Church, you'll encounter a cluster of three houses built during the 16th and 19th centuries. These residences, known as numbers 15-16, once belonged to the Closius, Hiemesch, and Giesel families. They provide a glimpse into the architectural style of the urban elite during the Renaissance era in Transylvania. These homes still retain many period-specific features, such as grand halls with semi-cylindrical vaults and ornate plaster moldings, interiors adorned with intricate vegetal-floral and figurative mural paintings, and decorative stone elements. Of particular note is the ground floor of Giesel House, which anchors the western edge of the market square and showcases a splendid portico with arcades supported by finely crafted stone pillars.

Mureșenilor Street in Brasov has been a prominent thoroughfare in the town since medieval times, boasting a remarkable collection of historic buildings that span different architectural eras. Among these treasures is the Schobeln House at number 9, which dates back to 1550 and represents the Renaissance period. This street also serves as a testament to the architectural diversity of the late 19th century in Brasov. During this period, a plethora of residences were constructed along Mureșenilor Street, each showcasing distinctive styles. Notable examples include the Neo-Baroque Dr. Nicolai Garoiu House at number 17, completed in 1898, and the houses designed by Christian Kertsch, who succeeded Peter Bartesch as the town's engineer. Among Kertsch's creations are the elaborately ornamented Verzár merchant houses at number 10, constructed in 1886 in an eclectic style. Another remarkable gem along this historic street is the residence of merchant Ghiţă Popp, built in 1887 at number 3, which draws inspiration from neo-Renaissance aesthetics. This exquisite residence is adorned with intricate paintings gracing the passage's ceiling on the ground floor and the parlour's ceiling, adding to the street's architectural richness.

Casa Haller is a historically significant building in Sibiu. Constructed in an L-shaped plan, the house features a basement, ground floor, and first floor. The main façade boasts distinct architectural elements, including a semi-circular arched door passageway at the center of the ground floor. Renaissance-style rectangular windows adorn the first floor, while the two-ridged roof showcases eye-shaped skylights in two levels. Inside, the ground floor reveals semi-cylindrical and cross-shaped arches. A valuable aspect is Body B, a two-story Gothic tower dwelling with an abrupt, two-ridged roof. Special architectural elements encompass a Corinthian-columned doorway with embossed trophies and a coat of arms above. A stone framework exists on the passageway's left side. A potential chapel-like tower stands with gothic features, three windows, and crossed baguettes. Other features include an ogive door framework accessing the cellar and decorative door framework with Renaissance motifs and Haller's emblem. The façade showcases rock-framed windows with lion mural paintings, discovered during rehabilitation in 2006. In terms of history, the house's ownership changed hands over centuries. Initially owned by Hyeronimus Schneider after 1470, it transitioned through various proprietors like Michael Gereb, Johannes Agatha, and Szervatius Holzschuch. In 1537, Petrus Haller purchased the house and undertook Renaissance-period renovations. The Haller family held ownership until 1882 when Wilhelm Nendwich bought it, followed by August Teutsch, who established a pharmacy in 1884. Over time, the building served various purposes, including housing the 'La Leu' pharmacy, a fashion and manufacturing store, and later a woolies store after nationalization. The article captures the building's architectural details and its role as a witness to Sibiu's evolving history and uses.

The Black Church, located in Brașov, Romania, is a significant Gothic-style monument built by the local Transylvanian Saxons community during medieval times (construction on it began during the late 14th century, at an unknown date — analysis of related evidence has led several researchers to conclude that work began between 1383 and 1385). It serves as a prominent Lutheran place of worship and represents the largest and most important such structure in the region. Contrary to common belief, the dark appearance of the church is attributed to pollution rather than a historical fire, as supported by modern research. The cathedral, now a museum, is a city landmark with a disputed origin for its name. The Black Church, situated in Brașov, Romania, boasts impressive features. It spans 89 meters by 38 meters, reaching a height of 65 meters at its bell tower. The exterior sculptures and masonry exhibit various styles, including Bohemian Gothic and Renaissance influences. The church houses sculptures like those depicting saints and significant figures, with some copies on the choir buttresses. The church's murals reflect late Gothic and Renaissance art, including the coat of arms of Matthias Corvinus. It houses three bells, an organ with 4,000 pipes, valuable rugs, chalices, and other ornate items.

The Altemberger House, currently the Museum of History in Sibiu, was originally acquired in 1545 by the city's Magistrate. It served as the Town Hall for four centuries until 1948. The structure consists of 10 architectural components, including an added defensive tower, creating one of the most remarkable assemblages of civic Gothic architecture in Romania and the South Eastern Europe. The oldest segment of this architectural complex is the residential tower, which was constructed in the late 13th century. In 2018, the building's inner courtyard was adorned with bronze busts portraying significant figures from national history, commemorating the Great Union Centennial. The rear courtyard, referred to as Martyrs’ Garden, houses various figurative sculptures, such as the finely executed male portraits adorning the loggia's four consoles, exhibiting a touch of Renaissance influence.

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