Two ancient stone crosses at Eivindvik have probably experienced the 'Gulating' (a judicial and legislative assembly) and the introduction of Christianity. One of these has elegant, arched arms and stands in the field called Krossteigen on the slope up from the municipal house.
The cross is 2.65 metres high, 1.3 metres wide, 8 - 10 centimetres thick, and is made of Hyllestad stone, a mica schist interspersed with garnet. The stone is shaped in such a way that the cross arms are arched, which have given the stone the term 'Anglian'. At the front, facing the other cross only a few hundred metres away, is a 63-centimetre-high and 55-centimetre-wide Latin cross, carved in a one-two-centimetre-deep relief. With its Anglian form, the cross is unique among the 60 stone crosses in Norway. This may indicate that it was made by foreign sculptors. The tradition of erecting stone crosses probably comes from the British Isles.
Just below the Anglian cross there is a water source that is said to have been a pagan sacrificial source. According to one legend, Saint Olaf erected the cross in the field of Krossteigen to destroy the pagan rites linked to the source. Another legend has it that Olaf shot three arrows in different directions at the court site and then erected a cross where each arrow fell to the ground. Bishop Fridtjov Birkeli (1906-1983) who has studied these ancient crosses, thinks that it is more likely that it was Haakon the Good (brought up at the court of the English king Athelstan) who raised the cross with Bishop Sigfried of Glastonbury in the south west of England. The flat area below the cross is highly suitable as a court site and resembles other court sites, such as Thingvellir on Iceland. King Haakon is said to have erected the cross to mark the christening of the court site. In such a context both stone crosses at Eivindvik play an important part in establishing the exact location of the 'Gulating'.
In a document dating from 1626 we find the earliest description of the crosses at Eivindvik. There is no indication that the Anglian cross has been moved. On the contrary, there is evidence that the location has been carefully selected. There is actually a solar observation linked to the Anglian cross. On winter solstice, 22 December, the sun rises just high enough to shine on the whole cross.
As the cross leaned forward, the 'Historisk Museum' put the cross back in a vertical position, financially supported by the municipality of Gulen. In a survey report from 1994, the cross is considered to be in a fine state. A memorial erected at Floli in connection with the choice of 'Gulatinget' becoming the county's millennium site, is evidently inspired by the crosses. The two crosses at Eivindvik are also used as symbols in the municipal coat of arms for Gulen.References:
The famous Italian Medici family have given two queens to France: Catherine, the spouse of Henry II, and Marie, widow of Henry IV, who built the current Luxembourg palace. Maria di Medici had never been happy at the Louvre, still semi-medieval, where the fickle king, did not hesitate to receive his mistresses. The death of Henry IV, assassinated in 1610, left the way open for Marie's project. When she became regent, she was able to give special attention to the construction of an imposing modern residence that would be reminiscent of the Palazzo Pitti and the Boboli Gardens in Florence, where she grew up. The development of the 25-hectare park, which was to serve as a jewel-case for the palace, began immediately.
The architect, Salomon de Brosse, began the work in 1615. Only 16 years later was the palace was completed. Palace of Luxembourg affords a transition between the Renaissance and the Classical period.
In 1750, the Director of the King's Buildings installed in the wing the first public art-gallery in France, in which French and foreign canvases of the royal collections are shown. The Count of Provence and future Louis XVIII, who was living in Petit Luxembourg, had this gallery closed in 1780: leaving to emigrate, he fled from the palace in June 1791.
During the French Revolution the palace was first abandoned and then moved as a national prison. After that it was the seat of the French Directory, and in 1799, the home of the Sénat conservateur and the first residence of Napoleon Bonaparte, as First Consul of the French Republic. The old apartments of Maria di Medici were altered. The floor, which the 80 senators only occupied in 1804, was built in the middle of the present Conference Hall.
Beginning in 1835 the architect Alphonse de Gisors added a new garden wing parallel to the old corps de logis, replicating the look of the original 17th-century facade so precisely that it is difficult to distinguish at first glance the old from the new. The new senate chamber was located in what would have been the courtyard area in-between.
The new wing included a library (bibliothèque) with a cycle of paintings (1845–1847) by Eugène Delacroix. In the 1850s, at the request of Emperor Napoleon III, Gisors created the highly decorated Salle des Conférences, which influenced the nature of subsequent official interiors of the Second Empire, including those of the Palais Garnier.
During the German occupation of Paris (1940–1944), Hermann Göring took over the palace as the headquarters of the Luftwaffe in France, taking for himself a sumptuous suite of rooms to accommodate his visits to the French capital. Since 1958 the Luxembourg palace has been the seat of the French Senate of the Fifth Republic.