The Abbey of La Cambre or Ter Kameren Abbey is a former Cistercian abbey in Ixelles, Brussels. The abbey church is a catholic parish of the Archdiocese of Malines-Brussels and home to a community of Norbertine canons while other parts of the monastery house the headquarters of the Belgian National Geographic Institute and La Cambre, a prestigious visual arts school.
The abbey was founded about 1196, by its patroness Gisèle, with the support of the monastic community of the abbey of Villers, following the Cistercian rule. Henry I, Duke of Brabant donated the Étangs d'Ixelles, a water mill, and the domaine of the monastery. The Abbaye de la Chambre de Notre-Dame, hence La Cambre, remained under the spiritual guidance of Villers, one of the most important Cistercian communities.
Saint Boniface of Brussels (1182–1260), a native of Ixelles, canon of Sainte-Gudule (future cathedral of Brussels), who taught theology at the University of Paris and was made bishop of Lausanne (1231), lived eighteen years in the abbey and is interred in the church. The mystic leper saint Alix lived in the community at the same epoch.
During the numerous wars of the 16th and 17th centuries, the abbey was largely destroyed, but it was rebuilt in the 18th century, in the French form it largely retains.
The abbey was suppressed at the French Revolution. Today's buildings are from the 18th century. The simple abbey church houses Albert Bouts' early 16th-century The Mocking of Christ. The cloister adjoins the abbey church and the refectory. The 18th-century abbesses' residence, with its cour d'honneur and formal gardens, has preserved the presbytery and the stables and other dependencies. The terraced garden and formal clipped bosquets were restored in the 18th-century manner starting in 1924.References:
The St Sophia's Cathedral was built between 1045-1050 inside the Novgorod Kremlin (fortress). It is one of the earliest stone structures of northern Russia. Its height is 38 m. Originally it was taller, for during the past nine centuries the lower part of the building became concealed by the two-metre thick cultural layer. The cathedral was built by Prince Vladimir, the son of Yaroslav the Wise, and until the 1130s this principal church of the city also served as the sepulchre of Novgorodian princes. For the Novgorodians, St Sophia became synonymous with their town, the symbol of civic power and independence.
The five-domed church looks simpler but no less impressive than its prototype, the thirteen-domed St Sophia of Kiev. The cathedral exterior is striking in its majesty and epic splendour evoking the memories of Novgorod's glorious past and invincible might. In the 11th century it looked more imposing than now. Its facade represented a gigantic mosaic of huge, coarsely trimmed irregular slabs of flagstone and shell rock. In some places (particularly on the apses), the wall was covered with mortar, smoothly polished, drawn up to imitate courses of brick or of whitestone slabs, and slightly coloured. As a result, the facade was not white, as it is today, but multicoloured. The play of stone, decorative painting and the building materials of various texture enhanced the impression of austere simplicity and introduced a picturesque effect.
The two-storied galleries extend along the building's southern, western and northern sides, with a stair-tower constructed at the north-eastern corner. The cathedral has three entrances - the southern, western and northern, of which the western was the main one intended for ceremonial processions. A gate standing at the entrance is known as the Sigtuna Gate (mid-12th century); according to legend, it was brought from the Swedish town of Sigtuna in 1187. The second name of the gate derives from the town of Magdeburg, where it was made. The two leaves are decorated with biblical and evangelical scenes in cast bronze relief. In the lower left corner there are portraits of the craftsmen who created this superb specimen of medieval Western European bronze-work. An inscription in Latin gives their names, Riquin and Weissmut. The small central figure - judging from an inscription in Slavonic - is a representation of the Russian master craftsman Avraam, who assembled the gate.
There is yet another bronze gate in the cathedral, called the Korsun Gate. Made in the 11th century in Chersonesos, Byzantium, it leads from the southern gallery into the Nativity Side-Chapel. Legend has it that the gate was handed over to Novgorod as a gift of Prince Yaroslav the Wise (c. 978 - 1054).
The interior of the cathedral is as majestic as its exterior. It is divided by huge piers into five aisles, three of which end in altar apses. In the south-western corner, inside the tower, there is a wide spiral in relatively small, modest buildings of the 12th - 16th centuries.