The main tower and a secondary tower of Nuraghe Oes contain a single room, which was once divided into three spaces with wooden garrets supported by recesses, attached thanks to holes made in the walls.

Dating back to a period between the Bronze Age and the Iron Age (9th-6th century BC), the Oes is a majestic work of Nuragic architecture, built using well-finished basalt rocks. The main building consists of a tower (keep) with three floors and a truncated cone shape that ‘falls’ on all sides with a uniform slope. It is made up of 29 rows of stones. It is 16 metres tall and has a diameter of 11 and a half metres, making it the largest Nuragic building found so far. It once had a tholos vault (false dome). Against it, there is a bilobed bastion, with a perimeter of 50 metres, on two levels and with two entrances, that encloses a courtyard and two secondary towers. One of these is well-preserved. The overall complex measures 425 square metres and also includes a sacred area, with a fence (temenos) that has a vaguely hexagonal shape and a little megaron temple, the remains of a Tomb of Giants, of which you will notice the stele resting on the ground, a vast residential settlement of circular and oval huts. Their type is uncertain (perhaps cisterns and a second little temple). Between the sacred area and the Nuraghe, twenty rocks laid on edge and fixed in the ground resemble a megalithic circle.



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Giave, Italy
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Founded: 800-500 BCE

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4.6/5 (based on Google user reviews)

User Reviews

MARIANO DEVERS (4 months ago)
Superb, even if neglected by the administration with the grass and brambles on the access road preventing access
Layledda (11 months ago)
Unmanaged and freely visited site. You can leave the car a few hundred meters away and then continue on foot along the river. The similarity with Santu Antine is evident although this is more modest in several respects. The well in the courtyard is blocked or perhaps no longer active. The whole internal part is collapsed, it is not possible to access even the lower chamber. Someone left a small wooden staircase in order to go up which I do not recommend using because it is too short and unreliable. Relying on legs, arms and hands we entered with some difficulty upstairs to find that it was only possible to access the stairs. Through these you can get to the top and walk the perimeter. In the center an immense pile of stones on which a fig tree has grown. We tried to go down to the lower floor but it is impossible to reach the room, the collapses are too large and the staircase ends up being buried.
costanza pisanu (2 years ago)
In a marvelous setting, with notes of barrel organ music and launeddas, the bright colors of beautiful costumes, visitors have experienced a couple of hours, immersed nostalgic atmosphere of days gone by. Beautiful event.
UBALDO Dicenso (2 years ago)
It is a historical place that recalls an older Roman civilization, too bad it's put there and that's it. No guide, no keeper
Roger Axon (2 years ago)
An interesting Nuraghe tower. Well worth the walk to it.
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.