Suomenlinna ("Sveaborg", "Viapori") sea fortress is a UNESCO World Heritage Site and one of Finland’s most popular tourist attractions. The construction of the fortress started by the king of Sweden in 1748 as protection against Russian expansionism. Suomenlinna was planned to be a principal base for naval military operations and the general responsibility for the fortification work was given to Augustin Ehrensvärd. The construction phase lasted for over four decades. During this time six islands were fortified to provide a safe harbor and dock for the archipelago fleet in Finland.

In the Finnish War (1808-1809) Russians easily took Helsinki in early 1808 and began bombarding the fortress. Its commander, Carl Olof Cronstedt, negotiated a cease-fire, and when no Swedish reinforcements had arrived by May, Suomenlinna surrendered with almost 7,000 men. After taking over the fortress the Russians set about on an extensive building program, mostly extra barracks, but also extending the dockyard and reinforcing to the fortification lines.

During the Crimean War in 1855 a combined Anglo-French fleet bombarded Viapori for two days in August. At this point, the repair work was nowhere near complete, and Viapori sustained heavy damage in the bombardment. The next stage in the arming of Suomenlinna and the Gulf of Finland came in the build-up to World War I. The fortress and its surrounding islands became part of "Peter the Great's naval fortification" designed to safeguard the capital, Saint Petersburg. The fortress became part of an independent Finland in 1917, following the Russian Revolution.

After the Finnish Civil War, a prison camp existed on the island. About 6000 red prisoners were held in Suomenlinna. Many of them were executed by the white army and others died of disease due to the poor conditions in the fortress.

Suomenlinna is today one of the most popular tourist attractions in Helsinki as well as a popular picnicking spot for the city's inhabitants. A number of museums exist on the island, as well as the last surviving Finnish submarine, Vesikko.

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Details

Founded: 1748-1917
Category: Castles and fortifications in Finland
Historical period: The Age of Enlightenment (Finland)

Rating

4.6/5 (based on Google user reviews)

User Reviews

Audrey Low (2 years ago)
the toy museum was so quaint and pretty!! gets really cold on the island though the ferry ride to the island was fast! if you are getting single trip tickets at the dock, you can only pay in coins if you are using cash which kinda sucks
Amy Wiseman (2 years ago)
The most unique place to go if you get to Hki on a cruise. A must-see for tourists with the time, and a good picnic spot for locals in the summer.
Orestis Karadimitriou (2 years ago)
A must place when you are visiting Helsinki. Excellent place to explore the country' past and unique landscape and scenery. Requires a lot of walking so please get the appropriate gear per season. Best time May to October. A least three museums military - local history - toys. Requires from one hour up to the whole day if you can afford it and weather permitting. A few places to eat on the island or for a coffee plus a super market near the dock that offers a selection of snacks. Try to make the round of the islands and be exploring but also descret as sometimes is difficult to differentiate private property from public places. People still leave there so is a living museum - a unique one. 10k steps can be easily consumed to get an idea of effort if you are into hiking mood. Don't miss it!!!!
Erica Hoot (2 years ago)
Excellent half day trip in Helsinki. Beautiful, well maintained little island with tons of history. The military museums were fascinating. The brewery was great too!
Ujang Sapriatna (2 years ago)
We think this is a must visit place in Helsinki. We took public ferry transport to reach the island, which is included in public transport ticket. The island is pretty and huge. Prepare 3-6 hours to explore the island. The island also has some cafes, tourist info center, museums, and fortress. It's a good place to walk around with families.
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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.