History of Estonia between 1919 - 1940
Estonia as a unified political entity first emerged after the Russian February Revolution of 1917. With the collapse of the Russian Empire in World War I, Russia's Provisional Government granted national autonomy to an unified Estonia in April. The Governorate of Estonia in the north (corresponding to the historic Danish Estonia) was united with the northern part of the Governorate of Livonia. Elections for a provisional parliament, Maapäev was organized, with the Menshevik and Bolshevik factions of the Russian Social Democratic Labour Party obtaining a part of the vote. On November 5, 1917, two days before the October Revolution in Saint Petersburg, Estonian Bolshevik leader Jaan Anvelt violently usurped power from the legally constituted Maapäev in a coup d'état, forcing the Maapäev underground.
In February, after the collapse of the peace talks between Soviet Russia and the German Empire, mainland Estonia was occupied by the Germans. Bolshevik forces retreated to Russia. Between the Russian Red Army's retreat and the arrival of advancing German troops, the Salvation Committee of the Estonian National Council Maapäev issued the Estonian Declaration of Independence in Pärnu on February 23, 1918.
After the collapse of the short-lived puppet government of the United Baltic Duchy and the withdrawal of German troops in November 1918, an Estonian Provisional Government retook office. A military invasion by the Red Army followed a few days later, however, marking the beginning of the Estonian War of Independence (1918–1920). The Estonian army cleared the entire territory of Estonia of the Red Army by February 1919.
On 5–7 April 1919 The Estonian Constituent Assembly was elected. On February 2, 1920, the Treaty of Tartu was signed by the Republic of Estonia and the Russian SFSR. The terms of the treaty stated that Russia renounced in perpetuity all rights to the territory of Estonia. The first Constitution of Estonia was adopted on June 15, 1920. The Republic of Estonia obtained international recognition and became a member of the League of Nations in 1921. In nearby Finland similar circumstances resulted in a bloody civil war. Despite repeated threats from fascist movements, Finland became and remained a free democracy under the rule of law. By contrast Estonia, without a civil war, started as a democracy and was turned into a dictatorship in 1934.
The first period of independence lasted 22 years, beginning in 1918. Estonia underwent a number of economic, social, and political reforms necessary to come to terms with its new status as a sovereign state. Economically and socially, land reform in 1919 was the most important step. Large estate holdings belonging to the Baltic nobility were redistributed among the peasants and especially among volunteers in the Estonian War of Independence. Estonia's principal markets became Scandinavia, the United Kingdom, and western Europe, with some exports to the United States and to the Soviet Union. The first constitution of the Republic of Estonia, adopted in 1920, established a parliamentary form of government. The parliament (Riigikogu) consisted of 100 members elected for 3-year terms.
Between 1920 and 1934, Estonia had 21 governments. A mass anticommunist and anti-parliamentary Vaps Movement emerged in the 1930s. In October 1933 a referendum on constitutional reform initiated by the Vaps Movement was approved by 72.7 percent. The league spearheaded replacement of the parliamentary system with a presidential form of government and laid the groundwork for an April 1934 presidential election, which it expected to win. However, the Vaps Movement was thwarted by a pre-emptive coup d'état on March 12, 1934, by Head of State Konstantin Päts, who then established his own authoritarian rule until a new constitution came to force. During the Era of Silence, political parties were banned and the parliament was not in session between 1934 and 1938 as the country was ruled by decree by Konstantin Päts. The Vaps Movement was officially banned and finally disbanded in December 1935. On May 6, 1936, 150 members of the league went on trial and 143 of them were convicted to long-term prison sentences. They were granted an amnesty and freed in 1938, by which time the league had lost most of its popular support. The independence period was one of great cultural advancement.Empty citation (help) Estonian language schools were established, and artistic life of all kinds flourished. One of the more notable cultural acts of the independence period, unique in western Europe at the time of its passage in 1925, was a guarantee of cultural autonomy to minority groups comprising at least 3,000 persons, including Jews (see history of the Jews in Estonia). Historians see the lack of any bloodshed after a nearly "700-year German rule" as indication that it must have been mild by comparison.
Estonia had pursued a policy of neutrality, but it was of no consequence after the Soviet Union and Nazi Germany signed the Molotov–Ribbentrop Pact on August 23, 1939. In the agreement, the two great powers agreed to divide up the countries situated between them (Poland, Lithuania, Latvia, Estonia, and Finland) with Estonia falling in the Soviet "sphere of influence". After the invasion of Poland, the Orzeł incident took place when Polish submarine ORP Orzeł looked for shelter in Tallinn but escaped after the Soviet Union attacked Poland on September 17. Estonian's lack of will and/or inability to disarm and intern the crew caused the Soviet Union to accuse Estonia of "helping them escape" and claim that Estonia was not neutral. On September 24, 1939, the Soviet Union threatened Estonia with war unless provided with military bases in the country –- an ultimatum with which the Estonian government complied.Reference: Wikipedia
The Château de Vaux-le-Vicomte is a baroque French château built between 1658-1661 for Nicolas Fouquet. It was made for Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV, the château was an influential work of architecture in mid-17th century Europe. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on a large-scale project for the first time. Their collaboration marked the beginning of the 'Louis XIV style' combining architecture, interior design and landscape design. The garden's pronounced visual axis is an example of this style.
To secure the necessary grounds for the elaborate plans for Vaux-le-Vicomte’s garden and castle, Fouquet purchased and demolished three villages. The displaced villagers were then employed in the upkeep and maintenance of the gardens. It was said to have employed eighteen thousand workers and cost as much as 16 million livres. The château and its patron became for a short time a focus for fine feasts, literature and arts. The poet La Fontaine and the playwright Molière were among the artists close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with a dinner event organized by François Vatel, and an impressive firework show.
After Fouquet was arrested and imprisoned for life, and his wife exiled, Vaux-le-Vicomte was placed under sequestration. The king seized, confiscated or purchased 120 tapestries, the statues, and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists (Le Vau, Le Nôtre and Le Brun) to design what would be a much larger project than Vaux-le-Vicomte, the palace and gardens of Versailles.
The Marshal Villars became the new owner without first seeing the chateau. In 1764, the Marshal's son sold the estate to the Duke of Praslin, whose descendants would maintain the property for over a century. It is sometimes mistakenly reported that the château was the scene of a murder in 1847, when duke Charles de Choiseul-Praslin, killed his wife in her bedroom, but this did not happen at Vaux-le-Vicomte but at the Paris residence of the Duke.
In 1875, after thirty years of neglect, the estate was sold to Alfred Sommier in a public auction. The château was empty, some of the outbuildings had fallen into ruin, and the famous gardens were totally overgrown. The huge task of restoration and refurbishment began under the direction of the architect Gabriel-Hippolyte Destailleur, assisted by the landscape architect Elie Lainé. When Sommier died in 1908, the château and the gardens had recovered their original appearance. His son, Edme Sommier, and his daughter-in-law completed the task. Today, his descendants continue to preserve the château, which remains privately owned by Patrice and Cristina de Vogüé, the Count and Countess de Vogüé. It is now administered by their three sons Alexandre, Jean-Charles and Ascanio de Vogüé. Recognized by the state as a monument historique, it is open to the public regularly.
The chateau is situated near the northern end of a 1.5-km long north-south axis with the entrance front facing north. Its elevations are perfectly symmetrical to either side of this axis. Somewhat surprisingly the interior plan is also nearly completely symmetrical with few differences between the eastern and western halves. The two rooms in the center, the entrance vestibule to the north and the oval salon to the south, were originally an open-air loggia, dividing the chateau into two distinct sections. The interior decoration of these two rooms was therefore more typical of an outdoor setting. Three sets of three arches, those on the entrance front, three more between the vestibule and the salon, and the three leading from the salon to the garden are all aligned and permitted the arriving visitor to see through to the central axis of the garden even before entering the chateau. The exterior arches could be closed with iron gates, and only later were they filled in with glass doors and the interior arches with mirrored doors. Since the loggia divided the building into two halves, there are two symmetrical staircases on either side of it, rather than a single staircase. The rooms in the eastern half of the house were intended for the use of the king, those in the western were for Fouquet. The provision of a suite of rooms for the king was normal practice in aristocratic houses of the time, since the king travelled frequently.
Another surprising feature of the plan is the thickness of the main body of the building (corps de logis), which consists of two rows of rooms running east and west. Traditionally the middle of the corps de logis of French chateaux consisted of a single row of rooms. Double-thick corps de logis had already been used in hôtels particuliers in Paris, including Le Vau's Hôtel Tambonneau, but Vaux was the first chateau to incorporate this change. Even more unusual, the main rooms are all on the ground floor rather than the first floor (the traditional piano nobile). This accounts for the lack of a grand staircase or a gallery, standard elements of most contemporary chateaux. Also noteworthy are corridors in the basement and on the first floor which run the length of house providing privacy to the rooms they access. Up to the middle of the 17th century, corridors were essentially unknown. Another feature of the plan, the four pavilions, one at each corner of the building, is more conventional.
Vaux-le-Vicomte was originally planned to be constructed in brick and stone, but after the mid-century, as the middle classes began to imitate this style, aristocratic circles began using stone exclusively. Rather late in the design process, Fouquet and Le Vau switched to stone, a decision that may have been influenced by the use of stone at François Mansart's Château de Maisons. The service buildings flanking the large avant-cour to the north of the house remained in brick and stone, and other structures preceding them were in rubble-stone and plaster, a social ranking of building materials that would be common in France for a considerable length of time thereafter.
The main chateau is constructed entirely on a moated platform, reached via two bridges, both aligned with the central axis and placed on the north and south sides. The moat is a picturesque holdover from medieval fortified residences, and is again a feature that Le Vau may have borrowed from Maisons. The moat at Vaux may also have been inspired by the previous chateau on the site, which Le Vau's work replaced.
The château rises on an elevated platform in the middle of the woods and marks the border between unequal spaces, each treated in a different way. This effect is more distinctive today, as the woodlands are mature, than it was in the seventeenth century when the site had been farmland, and the plantations were new.
Le Nôtre's garden was the dominant structure of the great complex, stretching nearly a mile and a half (3 km), with a balanced composition of water basins and canals contained in stone curbs, fountains, gravel walks, and patterned parterres that remains more coherent than the vast display Le Nôtre was to create at Versailles.
Le Nôtre created a magnificent scene to be viewed from the house, using the laws of perspective. Le Notre used the natural terrain to his advantage. He placed the canal at the lowest part of the complex, thus hiding it from the main perspectival point of view. Past the canal, the garden ascends a large open lawn and ends with the Hercules column added in the 19th century. Shrubberies provided a picture frame to the garden that also served as a stage for royal fêtes.
From the top of the grand staircase, this gives the impression that the entire garden is revealed in one single glance. Initially, the view consists of symmetrical rows of shrubbery, avenues, fountains, statues, flowers and other pieces developed to imitate nature – these elements exemplify the Baroque desire to mold nature to fit its wishes, thus using nature to imitate nature. The centerpiece is a large reflecting pool flanked by grottos holding statues in their many niches. The grand sloping lawn is not visible until one begins to explore the garden, when the viewer is made aware of the optical elements involved and discovers that the garden is much larger than it looks.