Cathedrals in Switzerland

Bern Minster

The first church on this site of Bern Minster probably was a small chapel built during the founding of Bern (1191). By the 15th century, Bern had expanded and become a major city-state north of the Alps. To celebrate their growing power and wealth, the construction of new church began in 1421. During the first phase, Matthäus Ensinger, a foreman from Ulm, was in charge of the project. The construction took over 150 yea ...
Founded: 1421 | Location: Bern, Switzerland

St. Peter's Cathedral

The St. Peter"s Cathedral in Geneva is known as the adopted home church of John Calvin, one of the leaders of the Protestant Reformation. Inside the church is a wooden chair used by Calvin. St. Peter"s Cathedral was build between years 1160-1252, on the place where previously used to stand basilica from the 6th century. Cathedral was rebuilded several times, last reconstructions took place in 18th century. In ...
Founded: c. 1160 | Location: Geneva, Switzerland

Basel Minster

The Basel Minster is one of the main landmarks and tourist attractions of the Swiss city of Basel. It adds definition to the cityscape with its red sandstone architecture and coloured roof tiles, its two slim towers and the cross-shaped intersection of the main roof. Early structures The hill on which the Minster is located today was already a building site in the late Celtic Era in first century BC. A pre-R ...
Founded: 12th century | Location: Basel, Switzerland

Lausanne Cathedral

Construction of the Lausanne Cathedral began in 1170. Twenty years later another master mason restarted construction until 1215. Finally a third engineer, Jean Cotereel, completed the majority of the existing cathedral including a porch, and two towers, one of which is the current day belfry. The other tower was never completed. The cathedral was consecrated and dedicated to Our Lady in 1275 by Pope Gregory X, Rudolph o ...
Founded: 1170-1275 | Location: Lausanne, Switzerland

Abbey of Saint Gall

The Abbey of Saint Gall has existed at least since 747 AD and became an independent principality between 9th and 13th centuries, and was for many centuries one of the chief Benedictine abbeys in Europe. The Abbey of St Gall is an outstanding example of a large Carolingian monastery and was, since the 8th century until its secularisation in 1805, one of the most important cultural centres in Europe. The library at ...
Founded: 747 AD | Location: St. Gallen, Switzerland

Solothurn Cathedral

The St. Ursus Cathedral in Solothurn is dedicated to Ursus of Solothurn, who was a 3rd-century Roman Christian venerated as a saint. His his body is located under the cathedral. The first church on the site was built in the Early Middle Ages. St. Ursus of Solothurn was venerated in the city by the 5th century. By 870 there was a college of canons and presumably a collegiate church in Solothurn. A Romanesq ...
Founded: 1772-1773 | Location: Solothurn, Switzerland

Sion Cathedral

The first building on the site of current Sion Cathedral was built in the 9th century and destroyed by fire in 1010. The next Romanesque cathedral existed until the 15th century. The existing bell tower dates from the 13th century. The nave was rebuilt in Gothic style between 1450 and 1500. The cathedral contains several Roman inscriptions, 15 altars, and many fonts.
Founded: 11th century | Location: Sion, Switzerland

Fribourg Cathedral

The Gothic Cathedral of St. Nicholas dominates the center of the medieval town of Fribourg. It is built on a rocky outcrop 50 metres above the river Sarine (Saane). The main body of the church was started in 1283 and completed by 1430. The tower was completed in 1490. It is 76 metres tall and houses 11 bells. It also features a rose window above the main portal with stained glass by Harrison Weltlich (1988). The st ...
Founded: 1283 | Location: Fribourg, Switzerland

St. Lawrence Cathedral

The Cathedral of Saint Lawrence was founded in the High Middle Ages but rebuilt in the late 15th century, with the façade completed in 1517. It is the seat of the Diocese of Lugano, and dedicated to Saint Lawrence of Rome. The church is known on this site from 818. In 1078 it was made a collegiata, becoming a cathedral in 1888. The original Romanesque building was oriented the opposite way to the present church, ...
Founded: 15th century | Location: Lugano, Switzerland

Chur Cathedral

The Cathedral of Saint Mary of the Assumption is the Catholic cathedral of the diocese of Chur in Switzerland. The episcopal palace of the bishop of Chur is beside the church. The cathedral claims the relics of St Lucius of Britain, said to have been martyred nearby in the late 2nd century. During the Swiss Reformation, the Catholic population of the city were confined to a ghetto enclosed around the bishop"s court b ...
Founded: 1154-1270 | Location: Chur, Switzerland

Arlesheim Cathedral

The Cathedral of Arlesheim served as the main church of Arlesheim and the cathedral of the Diocese between 1679-1792. After the French Revolution, when the Prince Bishop Sigismund Roggenbach had to leave and go into exile in Constance, then he returned to Freiburg in 1793. The building and its contents were auctioned after serving successively as a wine cellar and a stable. It became a religious building again in 1812, ...
Founded: 1680-1681 | Location: Arlesheim, Switzerland

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.