The Neues Schloss in Meersburg was the seat of the Prince-Bishop of Constance from its construction in 1750 until the bishopric was dissolved in 1803. Construction began in 1710 under Bishop Johann Franz II. von Stauffenberg, with Christoph Gessinger designing and supervising the work. It would be two years later in 1712 that the project was finished. The building was, however, a bit unfinished as a symbol of the power of the bishop. The upper story contained a number of apartments for visiting nobles and church leaders as the residence of a Prince-Bishop should, but it lacked a grand staircase and other trappings of wealth and power.
When Hugo Damian von Schönborn, who was already Bishop of Speyer and had already built Schloss Bruchsal there, took over the seat at Meersburg in 1740 he wanted to improve the Neues Schloss. He brought in the master builder Johann Georg Stahl from Bruchsal to turn the Schloss into a more impressive and elegant building. Following plans from Balthasar Neumann, Johann built an impressive staircase and decorated the castle.
From 1741 until 1743 the castle chapel was added, based on plans from Balthasar Neumann. The art and statues are the work of the fresco painter Gottfried Bernhard Göz from Augsburg (1708–1774) and the sculptor Joseph Anton Feuchtmayer (1696–1770).
By 1759 the Prince-Bishop Cardinal Franz Konrad von Rodt had the castle renovated under the direction of the master builder Franz Anton Bagnatos. The already dilapidated stairway had to be restored. The baroque facade of the castle was redone in the Rococo style, with enlarged windows, additional decoration around the windows and new gables.
The interior decoration is the work of the Mainz artist Giuseppe Appiani (c. 1705–1786) and the sculptor Carlo Luca Pozzi (1735–1803). Among the paintings by Appiani are two enormous paintings over the Grand Staircase from 1761 and over the ballroom from 1762.
During the 19th century and until 1955 the Schloss served as a school for girls, a local prison, a sailors' school, a secondary school and from 1865–1937 as the Baden Institution for Deaf-mutes, which moved to Gengenbach after 1937. Following World War II it was used as barracks for French troops.
Today the castle is home to several museums. In addition to the Town Gallery and the Dornier Museum, which take up the 2nd floor, the New Palace is also home to the Palace Museum of the Prince Bishops (Fürstbischöfliche Schlossmuseum) on the 3rd floor. It offers the opportunity to view the residential and representation rooms of the prince bishops refurnished with contemporary appointments from that age.References:
The Church of Saint Demetrius, or Hagios Demetrios, is the main sanctuary dedicated to Saint Demetrius, the patron saint of Thessaloniki. It is part of the site Palaeochristian and Byzantine Monuments of Thessaloniki on the list of World Heritage Sites by UNESCO since 1988.
The first church on the spot was constructed in the early 4th century AD, replacing a Roman bath. A century later, a prefect named Leontios replaced the small oratory with a larger, three-aisled basilica. Repeatedly gutted by fires, the church eventually was reconstructed as a five-aisled basilica in 629–634. This was the surviving form of the church much as it is today. The most important shrine in the city, it was probably larger than the local cathedral. The historic location of the latter is now unknown.
The church had an unusual shrine called the ciborium, a hexagonal, roofed structure at one side of the nave. It was made of or covered with silver. The structure had doors and inside was a couch or bed. Unusually, it did not hold any physical relics of the saint. The ciborium seems to have been a symbolic tomb. It was rebuilt at least once.
The basilica is famous for six extant mosaic panels, dated to the period between the latest reconstruction and the inauguration of the Byzantine Iconoclasm in 730. These mosaics depict St. Demetrius with officials responsible for the restoration of the church (called the founders, ktetors) and with children. An inscription below one of the images glorifies heaven for saving the people of Thessalonica from a pagan Slavic raid in 615.
Thessaloniki became part of the Ottoman Empire in 1430. About 60 years later, during the reign of Bayezid II, the church was converted into a mosque, known as the Kasımiye Camii after the local Ottoman mayor, Cezeri Kasım Pasha. The symbolic tomb however was kept open for Christian veneration. Other magnificent mosaics, recorded as covering the church interior, were lost either during the four centuries when it functioned as a mosque (1493–1912) or in the Great Thessaloniki Fire of 1917 that destroyed much of the city. It also destroyed the roof and upper walls of the church. Black-and-white photographs and good watercolour versions give an idea of the early Byzantine craftsmanship lost during the fire.
Following the Great Fire of 1917, it took decades to restore the church. Tombstones from the city"s Jewish cemetery - destroyed by the Greek and Nazi German authorities - were used as building materials in these restoration efforts in the 1940s. Archeological excavations conducted in the 1930s and 1940s revealed interesting artifacts that may be seen in a museum situated inside the church"s crypt. The excavations also uncovered the ruins of a Roman bath, where St. Demetrius was said to have been held prisoner and executed. A Roman well was also discovered. Scholars believe this is where soldiers dropped the body of St. Demetrius after his execution. After restoration, the church was reconsecrated in 1949.