Cathedrals in Finland

Helsinki Cathedral

Helsinki Cathedral is a distinct landmark in the scenery of central Helsinki, with a tall green dome surrounded by four smaller domes. It was built in 1830–1852 in neoclassical style to replace an earlier church from 1727. The cathedral was designed by Carl Ludvig Engel, to form the climax of the whole Senate Square laid out by Engel, surrounded by a number of buildings all designed by him.Today the cathedral is one ...
Founded: 1830-1852 | Location: Helsinki, Finland

Uspenski Cathedral

Uspenski Cathedral is an Eastern Orthodox cathedral dedicated to the Dormition of the Theotokos (the Virgin Mary). The cathedral was designed by the Russian architect Alexey Gornostaev (1808–1862), but it was built after his death in 1862-1868. It was made of bricks brought mainly from Bomarsund fortress in Åland which had been destroyed during the Crimean War in 1854.Uspenski cathedral represents the Slavonic architec ...
Founded: 1862-1868 | Location: Helsinki, Finland

Turku Cathedral

Turku Cathedral is the Mother Church of the Evangelical Lutheran Church of Finland, and the country's national shrine. It is the central church of the Archdiocese of Turku and the seat of the Archbishop of Finland. It is also regarded as one of the major records of Finnish architectural history.The cathedral was originally built out of wood in the late 13th century, and was dedicated as the main cathedral of Finland in 13 ...
Founded: 1400-1410 | Location: Turku, Finland

Porvoo Cathedral

The Porvoo Cathedral was originally made of wood. The first stone walls were built between 1410 and 1420 and in 1450 the church was expanded four meters towards east and six meters towards south. The cathedral has been destroyed by fire numerous times; in 1508 by Danish and in 1571, 1590, and 1708 by Russian forces. On May 29, 2006, the outer roof collapsed after arson, however with the inner ceiling undamaged and the ca ...
Founded: 1410-1420 | Location: Porvoo, Finland

Tampere Cathedral

The national romantic cathedral was designed by Lars Sonck and built between 1902 and 1907. In the beginning of the 20th century Russification was a governmental policy of the Russian Empire aimed at limiting the special status of the Grand Duchy of Finland and possibly the termination of its autonomy. This caused the rise of the national romanticism in Finland and Tampere Cathedral was one of the most remarkable examples ...
Founded: 1902-1907 | Location: Tampere, Finland

Oulu Cathedral

The Oulu Cathedral is an Evangelical Lutheran cathedral and the seat of the Diocese of Oulu. The church was built in 1777 as a tribute to the King of Sweden Gustav III of Sweden and named after his wife as Sofia Magdalena's church.The wooden structures burned in the large fire of the city of Oulu in 1822. The church was built again on top of the old stonewalls with famous architect Carl Ludvig Engel as the designer. T ...
Founded: 1777 (restored 1832) | Location: Oulu, Finland

St. Henry's Cathedral

St. Henry's Cathedral is dedicated to Henry, Bishop of Uppsala. It was constructed between 1858–1860. The architecture of the church is Gothic Revival with statues of Saint Henry, Saint Peter and Saint Paul decorating the exterior. Since Finland is predominantly Lutheran, the church was intended primarily for use by Catholic foreigners. The church is the main Catholic church in Helsinki, and offers Mass in many ...
Founded: 1858-1860 | Location: Helsinki, Finland

Espoo Cathedral

The Espoo Cathedral is a medieval stone church built in the last half of 15th century. The church is thus the oldest preserved building in the city. The church was originally designed in by an unknown "Espoo master" and built between 1485 and 1490 under his supervision. The only remaining parts of the medieval church are the eastern and western parts of the nave. The weapons room was removed between 1804 and 1806 and cer ...
Founded: 1480-1490 | Location: Espoo, Finland

Kuopio Cathedral

The Kuopio Cathedral is a stone Neoclassical style church and the seat of the Diocese of Kuopio. It’s fifth church in Kuopio, the first one was built in 1552.The cathedral was built between 1806 and 1815 by Jacob Rijf (1806–1807) and Pehr Granstedt (1813–1815). The altarpiece has been painted by B. A. Godenhjelm in St. Petersburg. Matthias Ingman donated it to the cathedral in 1843.
Founded: 1806-1815 | Location: Kuopio, Finland

Mikkeli Cathedral

Mikkeli Cathedral was built in 1896-1897. The large red-brick church is designed by Finnish church architect Josef Stenbäck. It represents the Gothic Revival style like many other churches designed by Stenbäck. The bell tower is in the western gable of the church. The church has 1,200 seats. The organ was built in 1956 by Kangasala Organ Factory and has 51 stops. The altar painting "Crucified" was made by Pekka ...
Founded: 1896-1897 | Location: Mikkeli, Finland

Lapua Cathedral

The Lapua Cathedral is one of the nine cathedrals in Finland. The neoclassical cathedral was built in 1827 and designed by famous architect C. L. Engel. The belfry remains from the earlier church building. The cathedral's pipe organ is the largest in Finland.
Founded: 1827 | Location: Lapua, Finland

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Château de Vaux-le-Vicomte

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.

Architecture

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.

Gardens

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.