The McManus Art Gallery and Museum is a Gothic Revival-style building, located in the centre of Dundee, Scotland.
The building was designed by the architect George Gilbert Scott, who was an expert for the restoration of mediaeval churches and advocate of the Gothic architectural style. He intended to design a large tower like in his previous work at St. Nikolai, Hamburg. The foundations were situated in a small wetland called Quaw Bog at the confluence of the Scourin Burn and Friar Burn, which has since been drained. This meant that the area under the building site was underpinned by large wood beams. However, when construction began in 1865, the ground proved too unstable to support the larger tower that he envisaged. The building was opened as the Albert Institute in 1867.
Two further sections, which extended the building by four art galleries and four museum galleries, were added by 1889. The central section was designed to Scott's intention by David MacKenzie, with the Eastern Galleries by William Alexander. The contents of the Watt Institute, founded in 1848, were incorporated into the collection before the opening of the civic museum and art gallery in 1873. Between 1873 and 1949, the buildings were administrated as part of public library service. From 1959, the city corporation took over the running of the administration. Ironically, following a later refurbishment the building now commemorates the Lord Provost Maurice McManus. Initially retitled McManus Galleries, after refurbishment in 2010, it is now formally known as The McManus: Dundee's Art Gallery and Museum.
The collection includes three paintings by Thomas Musgrave Joy which celebrate Grace Darling's rescue of passengers on the paddlesteamer Forfarshire.
References:The Pilgrimage Church of Wies (Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann. It is located in the foothills of the Alps in the municipality of Steingaden.
The sanctuary of Wies is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary.