On a hill overlooking Arras stand the remains of two towers which bear testament not only to the once-powerful Mont-Saint-Eloi Abbey. According to legend the abbey was established in the 7th century by Saint Vindicianus, a disciple of Saint Eligius, and by the Middle Ages it had become a powerful religious centre; however the turbulent times of the Revolution saw its walls pillaged for their stone. All that survived were the twin towers of white limestone and the porch on the west wall.
From the beginning of the First World War the towers were used by French troops to observe German positions on Lorette Spur and Vimy Ridge. The suspicions of the French soldiers were aroused when Germans fired upon their every movement until it was realized that what was giving them away was not a spy but the birds nesting on the towers which took flight when troops disturbed them. In 1915 heavy shelling truncated the towers, reducing their height from fifty-three to forty-four metres.
In early 1916 the British Army relieved French troops in the sector. The latter had established an extension to the local cemetery in Ecoivres, at the foot of the hill, to bury 786 of their soldiers who died there, mostly in the fighting of 1915. A military tramway used to carry supplies to the troops at the front also served as an ambulance to bring back the dead and wounded. This transport system conferred on Ecoivres Military Cemetery an unusual feature in that, from the French extension to the Cross of Sacrifice, the graves of the mostly British and Canadian soldiers are in chronological order relating to the date of death: the graves of the men of the 46th North Midland Division who relieved the French in March 1916 are followed by those of the 25th Division who fell in the German attack at the foot of Vimy Ridge in May 1916; next come the men of the 47th London Division who died between July and October 1916 and finally the graves of the Canadians who lost their lives in the successful assault on Vimy Ridge in April 1917.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.