History of Finland between 1809 - 1917
The Grand Duchy of Finland (literally Grand Principality of Finland) was the predecessor state of modern Finland. It existed 1809–1917 as part of the Russian Empire and was ruled by the Russian Emperor as Grand Prince. During the Finnish War between Sweden and Russia, the four Estates of occupied Finland were assembled at the Diet of Porvoo on March 29, 1809 to pledge allegiance to Alexander I of Russia who in return guaranteed that the laws and liberties as well as religion would be left unchanged. Following the Swedish defeat in the war and the signing of the Treaty of Fredrikshamn on September 17, 1809, Finland became a true autonomous grand principality, a constitutional monarchy within the autocratic Russian Empire although the usual balance of power between monarch and diet resting on taxation was not in place since the Emperor could rely on the rest of his vast Empire. The title "Grand Prince of Finland" was added to the long list of titles of the Russian Tsar. After his return to Finland in 1812, the Finnish-born Gustaf Mauritz Armfelt became councillor to the Russian emperor. Armfeldt was instrumental in securing the Grand Principality as an entity with relatively greater autonomy within the Russian realm, and for regaining the so-called Old Finland that was lost to Russia in the Treaty of Nystad in 1721.
The history of the Grand Principality can briefly be characterised as:
The constitutional status of Finland was not codified in Russian law before the February Manifesto of 1899, by which time Finns and Russians had developed quite different ideas about the status of Finland. The autonomy of Finland was at first encouraged by the Russians in part due to the relatively developed governmental structures in Finland (as compared to the emperor-centered Russia of early 19th century) and in part as a deliberate policy of goodwill to win over the minds of the Finnish people. The autonomous status led Finns to develop their own ideas of nationalism and constitutional monarchy, which they could to a large extent implement in practice with the assent of the Tsar. However, while each tsar at the time of his coronation did agree to uphold the special status of the local laws in Finland, there is no evidence that they understood their position as one of a constitutional monarch, despite the growing prevalence of such an interpretation in Finland in the latter part of the 19th century. As governmental organizations developed in Russia, and unity of the empire became one of the leading tenets of Russian politics, clashes between the Russian and Finnish governmental organizations grew frequent and led to the attempted russification.
Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.