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Romanesque architecture is an architectural style of medieval Europe characterized by semi-circular arches. There is no consensus for the beginning date of the Romanesque style, with proposals ranging from the 6th to the 11th century, this later date being the most commonly held. In the 12th century it developed into the Gothic style, marked by pointed arches. Examples of Romanesque architecture can be found across the continent, making it the first pan-European architectural style since Imperial Roman architecture. The Romanesque style in England is traditionally referred to as Norman architecture.

Romanesque architecture - Wikipedia

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The Romanesque single-nave Church of St. Michael, dating back to the 13th century, stands on a nearby hill. Inside, it houses precious 15th-century frescoes that are still awaiting professional restoration. The frescoes were created using a technique of wall painting on fresh plaster, which requires speed and precision, as corrections can only be made by removing and replacing the entire plaster layer. To ensure accuracy, painters first sketched the design on cardboard and then transferred the outlines onto the fresh plaster. The artist behind these frescoes remains unknown, but the style is distinctly Gothic, with a notable tendency towards caricature, often evident in the exaggerated features like fleshy mouths and blunt noses. The central figure in the fresco is Christ, depicted kneeling before a chalice, with a wicker fence painted along the bottom edge. In the middle of the church stands a statue of St. Michael, while the left wall displays a series of frescoes illustrating scenes from the Bible, stretching from right to left. The right wall remains white and empty. The frescoes follow a chronological narrative, with only one scene depicting the birth of Jesus. The artist placed a particular emphasis on the resurrected Christ, highlighting the path He takes toward the final resurrection. The scenes, in order, are The Adoration of the Three Kings, The Last Supper, The Kiss of Judas (beneath which Glagolitic graffiti reads '1545, month of December, 16th'), Christ before Pilate (accompanied by Glagolitic script stating 'To pisa overflovan'), The Flagellation, St. George, and The Last Judgment. A window now occupies the space where St. George and The Last Judgment should be.

Congregation Emanu-El, the oldest synagogue community in Canada, is celebrating its 161st year at Blanshard Street with a $1.5 million restoration project. The synagogue, a national historic site and rare example of 19th-century Romanesque Revival architecture, has seen increased attendance due to recent global and local events, including rising antisemitism and the Hamas-led attack on Israel. The current restoration includes both structural and aesthetic updates. Exterior repairs, underway since July (2024), focus on the rock foundation and brick walls using heritage mortar. This phase is expected to be completed by November (2024), with interior renovations starting in December (2024). So far, over $900,000 has been raised, including funds from the Victoria City Heritage Trust and the Ronald S. Roadburg Foundation. The synagogue’s long history in Victoria includes challenges, such as financial difficulties in the 1950s that led to makeshift solutions like boarding up windows and installing stoves. Despite recent security concerns and the rise of antisemitism, the congregation finds reassurance in the enduring presence of their historic building.

Schloss Johannisberg, situated in the village of Johannisberg in the Rheingau wine-growing region of Hesse, Germany, functions as both a castle and a winery. With a winemaking legacy spanning over 900 years, it's renowned for its association with the inception of late harvest wines. The palace also serves as a venue for the Rheingau Musik Festival, made accessible by co-founder Tatiana von Metternich-Winneburg.Historical Timeline Schloss JohannisbergThe locale, linked to winemaking since the Middle Ages, saw vineyards under Louis the Pious yielding wine around Charlemagne's era. In 1100, Benedictine monks erected a monastery on Bischofsberg ('Bishop's mountain'), recognizing it as prime vine-growing terrain. Thirty years later, a Romanesque basilica in honor of John the Baptist emerged, christening the hill Johannisberg. Ravaged during the German Peasants' War in 1525, the monastery faced destruction. In 1716, Konstantin von Buttlar, Prince-Abbot of Fulda, acquired the estate, kickstarting the baroque palace's construction and planting Riesling vines by 1720, establishing the world's oldest Riesling vineyard. Ownership changed hands during the Napoleonic Wars until Francis II, Holy Roman Emperor, granted it to the Austrian statesman Prince von Metternich in 1816. During World War II, the castle suffered bombings, reducing it to ruins, later restored by Paul Alfons von Metternich-Winneburg and Princess Tatiana post-war. After Prince Paul's passing in 1992, and with no heir, the Metternich lineage ended. The estate was sold to the Oetker family in 1974 due to financial constraints. Presently, the vineyard spans approximately 35 hectares (86 acres).Late Harvest Wines - Schloss JohannisbergLegend has it that a delay in grape harvest, due to a messenger's late arrival with permission from Heinrich von Bibra, led to the grapes developing 'noble rot' Botrytis cinerea. This fortuitous delay resulted in high-quality wine production. In 1775, Schloss Johannisberg produced the first Spätlese Riesling, followed by an Auslese wine in 1787 and an Eiswein in 1858, marking significant milestones in winemaking. The estate historically used various color seals to categorize grape ripeness, serving as the basis for Germany's new wine classification in 1971. Schloss Johannisberg stands as a single vineyard designation (Einzellage), exempt from displaying a village name on labels, using Schloß Johannisberger as its vineyard designation. Moreover, Weingut Schloss Johannisberg is a member of the Verband Deutscher Prädikatsweingüter (VDP).

Stična Abbey, Slovenia's sole active Cistercian monastery, stands as a paramount cultural, ecclesiastical, and architectural marvel, tracing its origins back to 1132 during the Romanesque era. Rapidly emerging as the focal point of Carniola's religious, cultural, and economic life, the monastery housed the treasured illuminated Stična manuscripts in Latin within its library, dating from the 12th and 13th centuries, until Emperor Joseph II's reforms. Notably, in 1428, Stična witnessed the creation of a significant manuscript pivotal to Slovene linguistics, marking an early entry in the Slovene language's textual history. Though the monastery's visage evolved across centuries, remnants of its earliest construction endure within the cloister and abbey church. In 1784, following the Josephine reforms, the monastery met its dissolution. However, after an absence of 114 years, the White Monks reclaimed Stična in 1898, perpetuating their centuries-old traditions steeped in the Cistercian ethos of Ora et Labora. Enduring as a bastion of tradition, Stična Abbey persists as one of Slovenia's most ancient spiritual and cultural bastions.

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.

Maribor Cathedral (Slovene: mariborska stolnica) stands as a Roman Catholic cathedral in the northeastern city of Maribor, Slovenia, honoring Saint John the Baptist. Functioning as the seat of the Roman Catholic Archdiocese of Maribor and serving as the parish church of the Parish of Maribor–St. John the Baptist, it also serves as the final resting place of Bishop Anton Martin Slomšek, a notable advocate for Slovene culture. Architecturally, the cathedral's origins trace back to the late 12th century with its original Romanesque structure. During the Gothic period, enhancements included a rib vault, expansion of the choir, and the addition of two side naves. Subsequent modifications during the Baroque era introduced the chapel of Saint Francis Xavier and the chapel of the Holy Cross.

This church, a striking example of Gothic architecture with its adorned vaults, angel star, and black marble altar, underwent a late 19th-century restoration to reclaim its original Gothic charm, renewing its facades, stained-glass windows, and entrance portal. Inside, pillars divide the hall, supporting a ribbed vault featuring an eight-point star. The central nave's vault boasts an angel star, while the presbytery flaunts a star-shaped vault adorned with figurines. In the 18th century, Ludovic Bombassi replaced the main Gothic altar with a remarkable black marble piece, complemented by statues of St. Leopold and St. Nicholas by Angelo Pozzo. Additional altars by sculptor Janez Jarm and Janez Vurnik Jr.'s Mary's altar from 1898 add to the church's splendor. Near the church and rectory stand remnants of a 14th-century wall. A World War II bunker houses a shrine to Edith Stein, and the rectory courtyards preserve traces of an erstwhile tavern, offering historical insights upon request or during guided tours. This church likely had its origins in a 10th-century chapel and evolved alongside the town's growth, becoming significant enough to relocate the archdiocese by the 13th century. Its transition from a Romanesque basilica to a Gothic church began around 1500, potentially marked by a 1495 inscription, denoting a major renovation.

The Cathedral of the Assumption of the Blessed Virgin Mary, also known as Koper Cathedral, stands as the Catholic diocesan seat in Koper. Erected in the latter half of the twelfth century, the church originally followed Romanesque architecture, featuring three naves culminating in apses. Over time, renovations in the late 14th century introduced Gothic elements to the western facade, further altered after an earthquake in 1460, blending Renaissance features. The tower, reminiscent of an Italian bell tower, offers panoramic views and houses one of Slovenia's oldest bells from 1333. In the early 18th century, Venetian influence prompted baroque transformations directed by Giorgio Massari. These included embellishments such as paintings by Venetian artists Pietro Liberi, Celesti Andrea, Antonio Zanchi, and the renowned Vittore Carpaccio. Carpaccio's 'Holy Conversation,' dating back to 1516, stands as the cathedral's most significant artwork.

The Basilica of San Silvestro, the oldest church in Trieste dating back to the 11th/12th century, now serves as the focal point for the Helvetic and Waldensian Evangelical community. Its Romanesque façade showcases an austere yet elegant rose window, and a bell tower, possibly a former defense tower, adorns the Romanesque porch. Throughout history, significant events occurred here, noted by inscribed stones, including its designation as Trieste's first temple and cathedral. In 1785, Emperor Joseph II put the Church of San Silvestro up for auction, which the Evangelical community, mainly Swiss immigrants, purchased. They renovated it in a simple manner and reopened it for reformed religious services. Following a 1927 earthquake, the basilica was restored to its original 14th-century style and later declared a national monument in 1928. During the late 19th century, the Helvetic community welcomed the Waldensian community, both sharing reformed beliefs, despite administrative distinctions. The basilica's prized organ, recently restored, not only accompanies religious services but also takes center stage in various musical events held there.

The ancient Rosegg castle, also recognized as Altrosegg, stands atop a hill in Carinthia's Rosental valley. Its origins likely trace back to the latter part of the 12th or early 13th century, undergoing expansions until the onset of the 19th century. Subsequently, it succumbed to ruin. Presently, the castle's remnants reside within the Rosegg Zoo, encompassing the castle hill, and hold designation as historical landmarks. Around 1801, amid the upheaval of the French Wars, a protective wall arose at the hill's base using stones sourced from the castle. Later, when materials were required for a new tower at Rosegg's parish church in 1806/07, Prince Orsini-Rosenberg permitted villagers to utilize stones from the ancient fortress. Following damage to the village by French forces in 1813, the castle endured further dismantling, with only the keep largely escaping destruction. By 1829, Peter Ritter von Bohr gained ownership of Rosegg, initiating the construction of a zoo in 1830. However, by 1833, governance of Rosegg transitioned to Johann I Joseph, Prince of Liechtenstein, a rule that persists through his descendants today. The remnants of the once expansive castle complex, situated on the north side, safeguard fragments of the Romanesque Bergfried. A bergfried, also known as a belfry, is a tall tower commonly seen in medieval castles in German-influenced regions. It serves a defensive purpose similar to the keep found in English or French castles. However, unlike a keep, a bergfried wasn't usually meant for permanent living quarters, focusing primarily on defensive capabilities as a free-standing fighting tower. Despite attempts to demolish it at the close of the 19th century due to purported decay, this structure, along with segments of the outer curtain wall, has endured.

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