Nesvizh or Niasvizh Castle is a residential castle of the Radziwiłł family. The estate was owned by the Radziwiłł magnate family from 1533, when it was awarded to Mikołaj Radziwiłł and his brother Jan Radziwiłł after the extinction of the Kiszka family. Since the Radziwills were one of the most important and wealthy clans of the Grand Duchy of Lithuania, it was there that the Lithuanian Archive was moved in 1551. In 1586 the estate was turned into an ordynacja.
In 1582 Mikołaj Krzysztof 'Sierotka' Radziwiłł, the Marshal of Lithuania, voivode of Trakai and Vilnius and castellan of Šiauliai, started the construction of an imposing square three-storey chateau. Although the works were based on a pre-existing structure of a mediæval castle, the former fortifications were entirely turned into a renaissance-baroque house. Construction was completed by 1604, and they added several galleries half a century later. The château's corners were fortified with four octagonal towers.
In 1706, during the Great Northern War, Charles XII's army sacked the castle and destroyed its fortifications. Several decades later, the Radziwiłłs invited some German and Italian architects to substantially renovate and enlarge the chateau. Antoni Zaleski decorated its yellow facades with baroque stucco work. The 16th-century castle gates were also reconstructed, and the two-storey gatehouse tower was crowned with a helm. It was at this time that the three separate buildings surrounding the central courtyard were joined into a single structure.
The most important structure in Nesvizh is the Corpus Christi Church (1587 to 1603), connected with the castle by a dam over a ditch and containing coffins of 72 members of the Radziwill family, each interred in a simple coffin made of birch and marked with Trąby Coat of Arms. Designed by the Italian architect Gian Maria Bernardoni (1541 to 1605), the church is considered the first Jesuit temple patterned after Il Gesù in Rome, the first domed basilica with Baroque facade in the world and the first baroque piece of architecture in Eastern Europe.
Apart from elaborate princely sepulchres, its interior features some late baroque frescoes from 1760s and the Holy Cross altar, executed by Venetian sculptors in 1583.
In 1770 the castle was seized by Russian forces and the Radziwill family was expelled. Soon afterwards the Lithuanian Archive was transferred to Saint Petersburg (where it remains), while the majority of works of art gathered in the palace were distributed among various Russian nobles. Abandoned both by the original owners and by the Russian army, the palace gradually fell into disrepair. However, it was restored by the Radziwills and between 1881 and 1886 the castle's interiors were renovated by Prince Anton Radizwill and his French wife, Marie de Castellane. They also designed a landscape park in English style. With an area of more than one square kilometre, the park is one of the biggest such facilities in Europe.
In 1939, the Radziwiłł family was expelled from the castle by the invading Red Army. In Soviet times, the castle was used a sanatorium, while the park gradually fell in neglect. In 1994, the castle complex was designated the national historical and cultural reserve. In 2005 the castle complex was listed by UNESCO as a World Heritage Site.References:
Notre-Dame de Reims (Our Lady of Reims) is the seat of the Archdiocese of Reims, where the kings of France were crowned. The cathedral replaced an older church, destroyed by fire in 1211, that was built on the site of the basilica where Clovis was baptized by Saint Remi, bishop of Reims, in AD 496. That original structure had itself been erected on the site of some Roman baths. A major tourism destination, the cathedral receives about one million visitors annually.
Excavations have shown that the present building occupies roughly the same site as the original cathedral, founded c. 400 under the episcopacy of St Nicaise. That church was rebuilt during the Carolingian period and further extended in the 12th century. On 19 May 1051, King Henry I of France and Anne of Kiev were married in the cathedral.
On May 6, 1210 the cathedral was damaged by fire and reconstruction started shortly after, beginning at the eastern end. Documentary records show the acquisition of land to the west of the site in 1218, suggesting the new cathedral was substantially larger than its predecessors, the lengthening of the nave presumably being an adaptation to afford room for the crowds that attended the coronations. In 1233 a long-running dispute between the cathedral chapter and the townsfolk (regarding issues of taxation and legal jurisdiction) boiled over into open revolt. Several clerics were killed or injured during the resulting violence and the entire cathedral chapter fled the city, leaving it under an interdict (effectively banning all public worship and sacraments). Work on the new cathedral was suspended for three years, only resuming in 1236 after the clergy returned to the city and the interdict was lifted following mediation by the King and the Pope. Construction then continued more slowly. The area from the crossing eastwards was in use by 1241 but the nave was not roofed until 1299 (when the French King lifted the tax on lead used for that purpose). Work on the west facade took place in several phases, which is reflected in the very different styles of some of the sculptures. The upper parts of the facade were completed in the 14th century, but apparently following 13th century designs, giving Reims an unusual unity of style.
Unusually the names of the cathedral's original architects are known. A labyrinth built into floor of the nave at the time of construction or shortly after (similar to examples at Chartres and Amiens) included the names of four master masons (Jean d'Orbais, Jean-Le-Loup, Gaucher de Reims and Bernard de Soissons) and the number of years they worked there, though art historians still disagree over who was responsible for which parts of the building. The labyrinth itself was destroyed in 1779 but its details and inscriptions are known from 18th century drawings. The clear association here between a labyrinth and master masons adds weight to the argument that such patterns were an allusion to the emerging status of the architect (through their association with the mythical artificer Daedalus, who built the Labyrinth of King Minos). The cathedral also contains further evidence of the rising status of the architect in the tomb of Hugues Libergier (d. 1268, architect of the now-destroyed Reims church of St-Nicaise). Not only is he given the honor of an engraved slab; he is shown holding a miniature model of his church (an honor formerly reserved for noble donors) and wearing the academic garb befitting an intellectual.
The towers, 81 m tall, were originally designed to rise 120m. The south tower holds just two great bells; one of them, named “Charlotte” by Charles, Cardinal of Lorraine in 1570, weighs more than 10,000 kg.
During the Hundred Years' War the cathedral was under siege by the English from 1359 to 1360. After it fell the English held Reims and the Cathedral until 1429 when it was liberated by Joan of Arc which allowed the Dauphin Charles to be crowned king on 17 July 1429.
In 1875 the French National Assembly voted £80,000 for repairs of the façade and balustrades. The façade is the finest portion of the building, and one of the great masterpieces of the Middle Ages.
German shellfire during the opening engagements of the First World War on 20 September 1914 burned, damaged and destroyed important parts of the cathedral. Scaffolding around the north tower caught fire, spreading the blaze to all parts of the carpentry superstructure. The lead of the roofs melted and poured through the stone gargoyles, destroying in turn the bishop's palace. Images of the cathedral in ruins were used during the war as propaganda images by the French against the Germans and their deliberate destruction of buildings rich in national and cultural heritage. Restoration work began in 1919, under the direction of Henri Deneux, a native of Reims and chief architect of the Monuments Historiques; the cathedral was fully reopened in 1938, thanks in part to financial support from the Rockefellers, but work has been steadily going on since.
The three portals are laden with statues and statuettes; among European cathedrals, only Chartres has more sculpted figures. The central portal, dedicated to the Virgin Mary, is surmounted by a rose window framed in an arch itself decorated with statuary, in place of the usual sculptured tympanum. The 'gallery of the kings' above shows the baptism of Clovis in the centre flanked by statues of his successors.
The facades of the transepts are also decorated with sculptures. That on the North has statues of bishops of Reims, a representation of the Last Judgment and a figure of Jesus (le Beau Dieu), while that on the south side has a modern rose window with the prophets and apostles. Fire destroyed the roof and the spires in 1481: of the four towers that flanked the transepts, nothing remains above the height of the roof. Above the choir rises an elegant lead-covered timber bell tower that is 18 m tall, reconstructed in the 15th century and in the 1920s.
The interior comprises a nave with aisles, transepts with aisles, a choir with double aisles, and an apse with ambulatory and radiating chapels. It has interesting stained glass ranging from the 13th to the 20th century. The rose window over the main portal and the gallery beneath are of rare magnificence.
The cathedral possesses fine tapestries. Of these the most important series is that presented by Robert de Lenoncourt, archbishop under François I (1515-1547), representing the life of the Virgin. They are now to be seen in the former bishop's palace, the Palace of Tau. The north transept contains a fine organ in a flamboyant Gothic case. The choir clock is ornamented with curious mechanical figures. Marc Chagall designed the stained glass installed in 1974 in the axis of the apse.
The treasury, kept in the Palace of Tau, includes many precious objects, among which is the Sainte Ampoule, or holy flask, the successor of the ancient one that contained the oil with which French kings were anointed, which was broken during the French Revolution, a fragment of which the present Ampoule contains.
Notre-Dame de Reims cathedral, the former Abbey of Saint-Remi, and the Palace of Tau were added to the list of UNESCO World Heritage Sites in 1991.