Spandau Citadel is one of the most important and best-preserved Renaissance fortresses in Europe. In the 16th century, developments in weaponry rendered older castles useless. Thus, Kurfürst Joachim II ordered his fortification in Spandau to be constructed as a fortress in the ‘new Italian style.’ The fortress was laid out as a rectangle of curtains (fortress walls) with bastions, entirely encircled by water. The distance between the top of each bastion is about 300 meters. Around 1680, during the time of Friedrich Wilhelm, the segment gable was added to adorn the 16th century gatehouse. In its centre is displayed the Brandenburg coat of arms composed of twenty-seven fields. After Kurfürst Friedrich III. claimed the royal title on January 18, 1701, he had the Kurhut (traditional hat of German princes) above the coat of arms replaced by the royal crown. In 1813 Prussian artillery bombarded the citadel in an attempt to recapture it from Napoleon’s troops. The gatehouse was severely damaged, and in 1839 it was reconstructed in the neo-classical style. Passage through the so-called Commander`s House, today home to the permanent exhibition about the castle and citadel, leads visitors to the Julius Tower.
The master builders Chiaramella and Lynar incorporated two buildings from the medieval Castle Spandau into the construction of the fortress: the 13th century Julius Tower and the Palas from the 15th century. The Tower, thirty meters high, offers a splendid look-out point. Originally built for residence and defence, its up to 3,60 meters thick walls were used after 1871 to shelter the ‘Reichskriegsschatz,’ the reparations indemnity paid by the French after the Franco-Prussian War.
Archaeological work has revealed that the medieval Ascanian castle had its own, even earlier predecessors. Remnants of a Slavic fortification from around 1050 were discovered, including sections of a wood-earth wall. This structure, as well as the stone foundation of the 15th century castle wall, are presented in situ in the West Curtain.
During the Third Reich, the Citadel was a restricted military zone for the army’s gas-defence laboratories. Around 300 employees worked not only on poisonous defence gas, but also on developing chemical weapons. Evidence of lasting effects prompted intensive police searches for chemical residues between 1988 and 1992, considerably delaying the restoration of the Citadel.
After the Second World War, the Citadel was used for a variety of purposes - although, contrary to popular legend, Rudolf Hess was never imprisoned here. Today the fortress embraces a purely cultural function. Concerts and large art and historical exhibitions occupy its public spaces. The former Arsenal houses the Museum of Spandau City History, while the central courtyard frequently hosts large events and open air concerts. The Bastion Kronprinz holds exhibition spaces and the Youth Art School www.kunstbastion.de. Artists, craftsmen and a puppet theatre are established in House 4.References:
The Holy Trinity Column in Olomouc is a Baroque monument built in 1716–1754 in honour of God. The main purpose was a spectacular celebration of Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia between 1713 and 1715. The column was also understood to be an expression of local patriotism, since all artists and master craftsmen working on this monument were Olomouc citizens, and almost all depicted saints were connected with the city of Olomouc in some way. The column is the biggest Baroque sculptural group in the Czech Republic. In 2000 it was inscribed on the UNESCO World Heritage Sites list.
The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it.
The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus’ earth life – his mother’s parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming – who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.
Below them, the second stage is dedicated to Moravian saints St. Cyril and St. Methodius, who came to Great Moravia to spread Christianity in 863, St. Blaise, in whose name one of the main Olomouc churches is consecrated, and patrons of neighbouring Bohemia St. Adalbert of Prague and St. John of Nepomuk, whose following was very strong there as well.
In the lowest stage one can see the figures of an Austrian patron St. Maurice and a Bohemian patron St. Wenceslas, in whose names two important Olomouc churches were consecrated, another Austrian patron St. Florian, who was also viewed as a protector against various disasters, especially fire, St. John of Capistrano, who used to preach in Olomouc, St. Anthony of Padua, a member of the Franciscan Order, which owned an important monastery in Olomouc, and St. Aloysius Gonzaga, a patron of students. His sculpture showed that Olomouc was very proud of its university. Reliefs of all twelve apostles are placed among these sculptures.
The column also houses a small chapel inside with reliefs depicting Cain's offering from his crop, Abel's offering of firstlings of his flock, Noah's first burnt offering after the Flood, Abraham's offering of Isaac and of a lamb, and Jesus' death. The cities of Jerusalem and Olomouc can be seen in the background of the last mentioned relief.