The Sigulda manor center began to develop in the fore-castle area of Sigulda Medieval Castle during the 17th century. There are still a few remaining 18th and 19th century buildings built during the ownership of the Von Borghs and Kropotkins. These are the Summer Castle, the New Castle, the White Castle, the vagar's (supervisor of serfs) house, the servants' house, a barn, a laundry house and a vegetable and fruit basement. The manor center is enclosed by chipped boulder walls with a splendid gate structure.
The New Castle was built during the time of Duchess Olga and Duke Dimitry Kropotkins from 1878 until 1881 using the materials from an older building which stood here during the 17th century.
The master’s house was built in neo-gothic style by Jānis Mengelis from Cēsis. The planning and the shape of the house is simple. The architectural and artistic value of the castle is achieved through the successful use of Gothic forms and the color shades from the recycled chipped boulders. Looking through any window, you will have a panoramic view of the Gauja valley including the ruins of Sigulda castle. Farther away you will see the ruins of Krimulda and Turaida. On the opposite side there is a neatly landscaped yard.
During World War I this building was destroyed. In 1922, following the agrarian reforms, New Castle became the Writers’ Castle because it was used by the Latvian Union of Writers and Journalists. The building was in unusable condition after the war so the Union had to invest a large amount of money for restoration. In the 1920’s and 30’s, full room and board was offered to writers and literary types as well as other visitors.
In 1934 the castle was acquired by the Latvian Press Society. From 1936 to 1937, major reconstruction work was done under the leadership of architect August Birkhans. Building plans were completely re-drawn. The overlook tower was heightened, the terrace around the building was expanded and a new balcony was added to the second floor. Inside, a new modern-age interior design was installed. It became the most notable example of national modern design in the Baltic region. Many famous artists of that time such as Niklāvs Strunke, Pēteris Ozoliņš, Kārlis Sūniņš, and Vilhelms Vasariņš took a part in creating it. Pictures of the castle were found in French art magazines as the press at the time would report. The Writers Castle became a popular visitor's destination after the renovation.
In 1938, the monument of Atis Kronvalds, made by Teodors Zalkalns, was unveiled at the front of the New Castle. Atis Kronvalds was a teacher and a publicist and helped initiate the second wave of the New Latvian movement.
During World War II, the New Castle was used as a headquarters for the Nord division of the German army. After the war, the USSR Council of Ministers made it a recreation house for high state officials. In 1953, the Health department of the Latvian SSR established the Sigulda rehabilitation center which was in operation until the restoration of Latvian independence.
From 1993 through 2002, the New Castle held the Sigulda City council and then, beginning in 2003, the Sigulda District Council.
Next to the New Castle there is a yellow house known as the Summer Castle. It was built at the turn of the 18th or 19th century in style of classicism. The elongated wooden house was built by a master-builder from Cēsis, a man called the last of the Livs of Vidzeme, Mārcis Sārums. Initially Kropotkin's family used the building as a personal orthodox church after the completion of the New Castle in 1881. Services were held by the orthodox priest of Ledurga parish. The building also came under reconstruction when the Writers and Journalists Union obtained ownership and remodeled it to become a boarding-house.
An art gallery was installed in the former brewery of Sigulda manor. Artist Elmārs Gaigalnieks has, over the past 12 years, created the unique technique of sand art which is in continuous development. In this special atmosphere, you can view the sand art and the three dimensional installations. There is also a unique collection of sand samples from five continents.References:
The Mosque–Cathedral of Córdoba, also known as the Great Mosque of Córdoba and the Mezquita is regarded as one of the most accomplished monuments of Moorish architecture.
According to a traditional account, a small Visigoth church, the Catholic Basilica of Saint Vincent of Lérins, originally stood on the site. In 784 Abd al-Rahman I ordered construction of the Great Mosque, which was considerably expanded by later Muslim rulers. The mosque underwent numerous subsequent changes: Abd al-Rahman II ordered a new minaret, while in 961 Al-Hakam II enlarged the building and enriched the Mihrab. The last of such reforms was carried out by Almanzor in 987. It was connected to the Caliph"s palace by a raised walkway, mosques within the palaces being the tradition for previous Islamic rulers – as well as Christian Kings who built their palaces adjacent to churches. The Mezquita reached its current dimensions in 987 with the completion of the outer naves and courtyard.
In 1236, Córdoba was conquered by King Ferdinand III of Castile, and the centre of the mosque was converted into a Catholic cathedral. Alfonso X oversaw the construction of the Villaviciosa Chapel and the Royal Chapel within the mosque. The kings who followed added further Christian features, such as King Henry II rebuilding the chapel in the 14th century. The minaret of the mosque was also converted to the bell tower of the cathedral. It was adorned with Santiago de Compostela"s captured cathedral bells. Following a windstorm in 1589, the former minaret was further reinforced by encasing it within a new structure.
The most significant alteration was the building of a Renaissance cathedral nave in the middle of the expansive structure. The insertion was constructed by permission of Charles V, king of Castile and Aragon. Artisans and architects continued to add to the existing structure until the late 18th century.
The building"s floor plan is seen to be parallel to some of the earliest mosques built from the very beginning of Islam. It had a rectangular prayer hall with aisles arranged perpendicular to the qibla, the direction towards which Muslims pray. The prayer hall was large and flat, with timber ceilings held up by arches of horseshoe-like appearance.
In planning the mosque, the architects incorporated a number of Roman columns with choice capitals. Some of the columns were already in the Gothic structure; others were sent from various regions of Iberia as presents from the governors of provinces. Ivory, jasper, porphyry, gold, silver, copper, and brass were used in the decorations. Marvellous mosaics and azulejos were designed. Later, the immense temple embodied all the styles of Morisco architecture into one composition.
The building is most notable for its arcaded hypostyle hall, with 856 columns of jasper, onyx, marble, granite and porphyry. These were made from pieces of the Roman temple that had occupied the site previously, as well as other Roman buildings, such as the Mérida amphitheatre. The double arches were an innovation, permitting higher ceilings than would otherwise be possible with relatively low columns. The double arches consist of a lower horseshoe arch and an upper semi-circular arch.