Toruń is a small historic trading city that preserves to a remarkable extent its original street pattern and outstanding early buildings, providing an exceptionally complete picture of the medieval way of life. These buildings in Toruń represent the highest achievements of medieval architecture in brick. The unique spatial layout of Toruń has survived almost intact and provides valuable source material for the history of town development in medieval Europe.
Toruń is situated in the region known in the Middle Ages as the Land of Chelmno. It was granted a town charter in 1233; a fort had been built in the early medieval period to the south-east of the town, facing the river, and this was rebuilt in the mid-13th century by the Teutonic Order. The original function of Toruń was a base for the conquest and colonization of Prussia. However, the Old Town had quickly developed as a major commercial centre for trade between the Baltic and Eastern Europe, along the Vistula to towns such as Pskov, Novgorod and Vladimir. This commercial role expanded as the century proceeded. Toruń became the leading member of the Hanseatic League in the territories ruled by the Teutonic Order. The New Town developed from 1264 to the north of the castle and the east of the Old Town as a centre for crafts and industry. Toruń was one of the most important artistic centres, in particular in architecture, in this part of Europe. It was endowed with many architectural masterpieces, which were to exert a powerful influence on the Teutonic state and neighbouring countries. The astronomer Nicolaus Copernicus was born in Toruń in 1473 and spent his youth there. The Swedish wars and the crisis in Poland in the 17th century brought the town"s prosperity to an end.
The Old Town, which forms the western part of the complex, is laid out around its central Market Place. The street pattern to the south, up to the river, is regular, with five parallel streets running down to the river intersected by cross-streets. The part to the north is also based on perpendicular streets, but they are laid out in a less regular fashion. The main feature of the Market Square is the imposing Old Town Hall, built in 1391-99 using some elements, including the tower of 1274, from its predecessor. An additional storey was added, in full conformity with the Gothic form of the building, in 1602-5. The Parish Church of St John (Cathedral of Toruń since 1992) was built in stages. The Church of the Assumption of the Blessed Virgin Mary, formerly the church of the Grey Friars (Franciscans), contains 14th-century wall paintings, as well as some fine Baroque furnishings. The Old Town was fortified progressively between 1250 and 1300 with a double wall strengthened by bastions; these fortifications were reconstructed in 1420-49 and partly dismantled in the 19th century, but most of the southern sector facing the river survives intact, with gates and towers.
In the New Town, the Parish Church of St James is another fine building in late Gothic style. Its interior contains many Baroque furnishings. The Blackfriars (Dominican) Church of St Nicholas was almost entirely demolished in the 19th century. However, the remains of the church and its cloister have been excavated and laid out as a public park. Most of the Castle of the Teutonic Order was destroyed during the uprising of 1454. The remains have been excavated and laid out for public presentation as a museum. Both the Old and the New Town are rich in fine medieval brick burgher houses, many of which retain their original Gothic facades and interior fittings (partition walls, ceilings, painted decoration). Because of the survival of so many houses from this period, the medieval plots are for the most part still preserved, delineated by their original brick boundary walls.References:
Charlottenburg Palace is the largest palace in Berlin and the only surviving royal residence in the city dating back to the time of the Hohenzollern family. The original palace was commissioned by Sophie Charlotte, the wife of Friedrich III, Elector of Brandenburg in what was then the village of Lietzow. Originally named Lietzenburg, the palace was designed by Johann Arnold Nering in baroque style. The inauguration of the palace was celebrated on 11 July 1699, Frederick's 42nd birthday.
Friedrich crowned himself as King Friedrich I in Prussia in 1701 (Friedrich II, known as Frederick the Great, would later achieve the title King of Prussia). Two years previously, he had appointed Johann Friedrich von Eosander (also known as Eosander von Göthe) as the royal architect and sent him to study architectural developments in Italy and France, particularly the Palace of Versailles. On his return in 1702, Eosander began to extend the palace, starting with two side wings to enclose a large courtyard, and the main palace was extended on both sides. Sophie Charlotte died in 1705 and Friedrich named the palace and its estate Charlottenburg in her memory. In the following years, the Orangery was built on the west of the palace and the central area was extended with a large domed tower and a larger vestibule. On top of the dome is a wind vane in the form of a gilded statue representing Fortune designed by Andreas Heidt. The Orangery was originally used to overwinter rare plants. During the summer months, when over 500 orange, citrus and sour orange trees decorated the baroque garden, the Orangery regularly was the gorgeous scene of courtly festivities.
Inside the palace, was a room described as 'the eighth wonder of the world', the Amber Room, a room with its walls surfaced in decorative amber. It was designed by Andreas Schlüter and its construction by the Danish amber craftsman Gottfried Wolfram started in 1701. Friedrich Wilhelm I gave the Amber Room to Tsar Peter the Great as a present in 1716.
When Friedrich I died in 1713, he was succeeded by his son, Friedrich Wilhelm I whose building plans were less ambitious, although he did ensure that the building was properly maintained. Building was resumed after his son Friedrich II (Frederick the Great) came to the throne in 1740. During that year, stables for his personal guard regiment were completed to the south of the Orangery wing and work was started on the east wing. The building of the new wing was supervised by Georg Wenzeslaus von Knobelsdorff, the Superintendent of all the Royal Palaces, who largely followed Eosander's design. The decoration of the exterior was relatively simple but the interior furnishings were lavish. The ground floor was intended for Frederick's wife Elisabeth Christine, who, preferring Schönhausen Palace, was only an occasional visitor. The decoration of the upper floor, which included the White Hall, the Banqueting Hall, the Throne Room and the Golden Gallery, was lavish and was designed mainly by Johann August Nahl. In 1747, a second apartment for the king was prepared in the distant eastern part of the wing. During this time, Sanssouci was being built at Potsdam and once this was completed Frederick was only an occasional visitor to Charlottenburg.
In 1786, Frederick was succeeded by his nephew Friedrich Wilhelm II who transformed five rooms on the ground floor of the east wing into his summer quarters and part of the upper floor into Winter Chambers, although he did not live long enough to use them. His son, Friedrich Wilhelm III came to the throne in 1797 and reigned with his wife, Queen Luise for 43 years. They spent much of this time living in the east wing of Charlottenburg. Their eldest son, Friedrich Wilhelm IV, who reigned from 1840 to 1861, lived in the upper storey of the central palace building. After Friedrich Wilhelm IV died, the only other royal resident of the palace was Friedrich III who reigned for 99 days in 1888.
The palace was badly damaged in 1943 during the Second World War. In 1951, the war-damaged Stadtschloss in East Berlin was demolished and, as the damage to Charlottenburg was at least as serious, it was feared that it would also be demolished. However, following the efforts of Margarete Kühn, the Director of the State Palaces and Gardens, it was rebuilt to its former condition, with gigantic modern ceiling paintings by Hann Trier.
The garden was designed in 1697 in baroque style by Simeon Godeau who had been influenced by André Le Nôtre, designer of the gardens at Versailles. Godeau's design consisted of geometric patterns, with avenues and moats, which separated the garden from its natural surroundings. Beyond the formal gardens was the Carp Pond. Towards the end of the 18th century, a less formal, more natural-looking garden design became fashionable. In 1787 the Royal Gardener Georg Steiner redesigned the garden in the English landscape style for Friedrich Wilhelm II, the work being directed by Peter Joseph Lenné. After the Second World War, the centre of the garden was restored to its previous baroque style.