The Abbey of Sainte-Trinité (the Holy Trinity), also known as Abbaye aux Dames, is a former monastery of women. The complex includes the Abbey Church of Sainte-Trinité. The abbey was founded as a Benedictine monastery of nuns in the late 11th century by William the Conqueror and his wife Matilda of Flanders as the Abbaye aux Dames ('Women's Abbey'), as well as the Abbaye aux Hommes ('Men's Abbey'), formally the Abbey of Saint-Étienne. The works began in 1062, starting from the rear and finished in 1130. Matilda, who died in 1083, was buried in the choir under a slab of black marble.
The original spires were destroyed in the Hundred Years' War and replaced by less striking balustrades in the early 18th century. The community of nuns were dispersed and suppressed by the French Revolution. In 1823 the local city council decided to transfer the ancient Hôtel-Dieu (possibly also founded by William the Conqueror, but more likely King Henry II of England), to the former cloister for use as a hospital, and the canonesses regular, who had assumed responsibility for the hospital from the two abbeys during the 14th century, established themselves there. The canonesses continued to operate there until 1908 when the facility was given to the Hospice Saint-Louis for use as a nursing home. The vault was demolished and rebuilt in 1865. The church was last restored between 1990 and 1993.
The façade has two large towers on the sides, each with doors leading to the aisles. The pediment of the central bay echoes the nave roof. The tympanum of the central portal depicts the Trinity and the four apocalyptic beasts, symbols of the Four Evangelists.
The nave is flanked by pointed arches surmounted by a gallery (triforium) which supports the groin vault, the first of this type built in Normandy (1130). The transept, in the centre of the church, houses the main altar. The northern transept is in Romanesque style, opening over a small apse (the chapel of the Blessed Sacrament) which houses the tabernacle. The southern transept is characterised by Gothic columns integrated within the Romanesque decoration. The choir ends with an apse decorated by four columns and a gallery with fantastic figures. Also present is a crypt in honour of Saint Nicholas.References:
The Cloth Hall in Kraków dates to the Renaissance and is one of the city's most recognizable icons. It is the central feature of the main market square in the Kraków Old Town (listed as a UNESCO World Heritage Site since 1978).
The hall was once a major centre of international trade. Traveling merchants met there to discuss business and to barter. During its golden age in the 15th century, the hall was the source of a variety of exotic imports from the east – spices, silk, leather and wax – while Kraków itself exported textiles, lead, and salt from the Wieliczka Salt Mine.
Kraków was Poland's capital city and was among the largest cities in Europe already from before the time of the Renaissance. However, its decline started with the move of the capital to Warsaw in the very end of the 16th century. The city's decline was hastened by wars and politics leading to the Partitions of Poland at the end of the 18th century. By the time of the architectural restoration proposed for the cloth hall in 1870 under Austrian rule, much of the historic city center was decrepit. A change in political and economic fortunes for the Kingdom of Galicia and Lodomeria ushered in a revival due to newly established Legislative Assembly or Sejm of the Land. The successful renovation of the Cloth Hall, based on design by Tomasz Pryliński and supervised by Mayor Mikołaj Zyblikiewicz, Sejm Marshal, was one of the most notable achievements of this period.
The hall has hosted many distinguished guests over the centuries and is still used to entertain monarchs and dignitaries, such as Charles, Prince of Wales and Emperor Akihito of Japan, who was welcomed here in 2002. In the past, balls were held here, most notably after Prince Józef Poniatowski had briefly liberated the city from the Austrians in 1809. Aside from its history and cultural value, the hall still is still used as a center of commerce.
On the upper floor of the hall is the Sukiennice Museum division of the National Museum, Kraków. It holds the largest permanent exhibit of the 19th-century Polish painting and sculpture, in four grand exhibition halls arranged by historical period and the theme extending into an entire artistic epoch. The museum was upgraded in 2010 with new technical equipment, storerooms, service spaces as well as improved thematic layout for the display.
The Gallery of 19th-Century Polish Art was a major cultural venue from the moment it opened on October 7, 1879. It features late Baroque, Rococo, and Classicist 18th-century portraits and battle scenes by Polish and foreign pre-Romantics.