The Goseck circle is a Neolithic circle structure. It may be the oldest and best known of the Circular Enclosures associated with the Central European Neolithic. It also may be one of the oldest Solar observatories in the world. It consists of a set of concentric ditches 75 metres across and two palisade rings containing gates in places aligned with sunrise and sunset on the solstice days.
Its construction is dated to c. 4900 BC, and it seems to have remained in use until 4600 BC. This corresponds to the transitional phase between the Neolithic Linear Pottery and Stroke-ornamented ware cultures. It is one of a larger group of so-called Circular Enclosures in the Elbe and Danube region, most of which show similar alignments.
Excavators also found the remains of what may have been ritual fires, animal and human bones, and a headless skeleton near the southeastern gate, that could be interpreted as traces of human sacrifice or specific burial ritual. There is no sign of fire or of other destruction, so why the site was abandoned is unknown. Later villagers built a defensive moat following the ditches of the old enclosure.
The Goseck ring is one of the best preserved and extensively investigated of the many similar structures built at around the same time. Traces of the original configuration reveal that the Goseck ring consisted of four concentric circles, a mound, a ditch, and two wooden palisades. The palisades had three sets of gates facing southeast, southwest, and north. At the winter solstice, observers at the center would have seen the sun rise and set through the southeast and southwest gates.
Archaeologists generally agree that Goseck circle was used for observation of the course of the Sun in the course of the solar year. Together with calendar calculations, it allowed coordinating an easily judged lunar calendar with the more demanding measurements of a solar calendar.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.