Deutsches Eck ('German Corner') is the name of a headland in Koblenz where the river Mosel joins the Rhine. In 1897, nine years after the death of the German Emperor William I, the former emperor was honoured with a giant equestrian statue.
In 1945, the statue was badly damaged by an American artillery shell. Soon afterwards it was completely taken down. The French military government planned to replace the old memorial with a monument for peace and understanding among nations, but this concept was never realized.
After the formation of the Federal Republic of Germany and the German Democratic Republic in 1949, the country was divided into a capitalist west and a communist east. In order to express the deep wish for a united Germany, President Theodor Heuss turned the German Corner into a monument to German unity. As a result, the coats of arms of all German Länder (states), including those of former German territories such as Silesia, East Prussia and Pomerania, were installed. Replacing the destroyed equestrian statue, a German flag flew over the plaza.
After the Berlin Wall came down in November 1989, three concrete parts of the actual wall were installed next to the monument. On 3 October 1990, the emblems of the new federal states were added.
With German Reunification in 1990, the German Corner no longer served as a symbol of the aspiration for a united Germany. Thus, a discussion arose regarding a remodelling of the plaza. Critics considered the reinstallation of the equestrian statue of Wilhelm I as out of time and improper, whereas promoters saw the opportunity for tourist benefits. As the owner of the site, any decision to reinstall a statue of Wilhelm I rested with the government of the Rhineland-Palatinate. However, the state government transferred its rights to the city of Koblenz and when Werner and Anneliese Theisen (a couple from Koblenz) announced that they would bear all costs for a reconstruction of the statue, the decision was made to proceed.
The Düsseldorf sculptor, Raymond Kittl, was commissioned to produce a replica of the original sculpture and the remodelled statue was created from durable bronze cast unlike the original which had been made from copper plates. In May 1992, the parts of the statue were brought to Koblenz on board the MS Futura. The assembly work was completed at the port and on 2 September 1993 a mobile lattice boom crane lifted the statue onto the base. The installation took place on Sedan Day, which although no longer officially recognized, was the day on which the German victory in the Battle of Sedan was commemorated. On 25 September 1993, the new statue was inaugurated.
Today, a big national flag and the flags of the 16 Länder are flying at the German Corner as a reminder of German unity. The three parts of the Berlin Wall are now dedicated to the 'victims of the division'.References:
Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.