The Cloth Hall in Ypres was one of the largest commercial buildings of the Middle Ages, when it served as the main market and warehouse for the Flemish city"s prosperous cloth industry. The original structure, erected mainly in the 13th century and completed 1304, lay in ruins after artillery fire devastated Ypres in World War I. Between 1933 and 1967, the hall was meticulously reconstructed to its prewar condition, under the guidance of architects J. Coomans and P. A. Pauwels. At 125 metres in breadth, with a 70 metres high belfry tower, the Cloth Hall recalls the importance and wealth of the medieval trade city.
In a row spanning the front of the edifice are tall pointed arches that alternately enclose windows and blind niches. Before the Great War, the niches framed life-size statues of historical personages, counts and countesses of Flanders. The niches on the side wings are now mostly vacant, but those in the centre contain statues of Count Baldwin IX of Flanders and Mary of Champagne, legendary founders of the building; and King Albert I and Queen Elisabeth, under whose reign the reconstruction began. Situated between these two couples, directly above the central archway entrance or Donkerpoort, is a statue of Our Lady of Thuyne, the patron of Ypres.
The belfry, capped with four turrets and a spire, houses a carillon with 49 bells. From a pole atop the spire a gilded dragon overlooks the city. The tower offers an expansive view of the surroundings, and was used as a watchtower in centuries past. It has also accommodated the town archives, a treasury, an armory and a prison. In less enlightened times, cats were thrown off the belfry for reasons that are not clearly understood. One theory is that cats were in some way associated with black magic. A different theory is that cats were held to protect the cloth against mice, but the annual excess of kittens had to be dealt with in some way. Today, a jester commemorates this act by tossing stuffed toy felines from the tower during the triennial Cat Parade.
The Cloth Hall used to be accessible by boat via the Ieperlee waterway, which is now covered. The spacious ground-floor halls where wool and cloth were once sold are now used for exhibitions and tourist information; the second floor, formerly a warehouse, now hosts the In Flanders Fields Museum, dedicated to the history of World War I and also houses a WWI research centre. Via the museum, visitors can access the belfry tower.
Against the east face of the edifice stands the elegant Nieuwerck, whose Renaissance style contrasts markedly with the Gothic of the main building. Originally built between 1619 and 1622, and reconstructed after the war, this annex now serves as a town hall.
A painting of the Cloth Hall as it appeared in ruins in 1918, by Scottish-born artist James Kerr-Lawson, was one of over 1,000 pieces of art commissioned by the Canadian War Memorials Fund for part of a World War I memorial building that was planned after the war. However, the memorial building was eventually scrapped in favour of a memorial cenotaph at the centre of Confederation Square, across the street from Parliament Hill in Ottawa. The painting of the Cloth Hall, and seven other of the commissioned pieces, were instead hung in the Senate Chamber of the newly re-built Centre Block of parliament in 1921, and remains there today.
In 1999 UNESCO inscribed 32 belfry towers into a list of Belfries of Flanders and Wallonia. The belfry tower of Ypres is one of these.References:
The Trinity Lavra of St. Sergius is a world famous spiritual centre of the Russian Orthodox Church and a popular site of pilgrimage and tourism. It is the most important working Russian monastery and a residence of the Patriarch. This religious and military complex represents an epitome of the growth of Russian architecture and contains some of that architecture’s finest expressions. It exerted a profound influence on architecture in Russia and other parts of Eastern Europe.
The Trinity Lavra of St. Sergius, was founded in 1337 by the monk Sergius of Radonezh. Sergius achieved great prestige as the spiritual adviser of Dmitri Donskoi, Great Prince of Moscow, who received his blessing to the battle of Kulikov of 1380. The monastery started as a little wooden church on Makovets Hill, and then developed and grew stronger through the ages.
Over the centuries a unique ensemble of more than 50 buildings and constructions of different dates were established. The whole complex was erected according to the architectural concept of the main church, the Trinity Cathedral (1422), where the relics of St. Sergius may be seen.
In 1476 Pskovian masters built a brick belfry east of the cathedral dedicated to the Descent of the Holy Spirit on the Apostles. The church combines unique features of early Muscovite and Pskovian architecture. A remarkable feature of this church is a bell tower under its dome without internal interconnection between the belfry and the cathedral itself.
The Cathedral of the Assumption, echoing the Cathedral of the Assumption in the Moscow Kremlin, was erected between 1559 and 1585. The frescoes of the Assumption Cathedral were painted in 1684. At the north-western corner of the Cathedral, on the site of the western porch, in 1780 a vault containing burials of Tsar Boris Godunov and his family was built.
In the 16th century the monastery was surrounded by 6 meters high and 3,5 meters thick defensive walls, which proved their worth during the 16-month siege by Polish-Lithuanian invaders during the Time of Trouble. They were later strengthened and expanded.
After the Upheaval of the 17th century a large-scale building programme was launched. At this time new buildings were erected in the north-western part of the monastery, including infirmaries topped with a tented church dedicated to Saints Zosima and Sawatiy of Solovki (1635-1637). Few such churches are still preserved, so this tented church with a unique tiled roof is an important contribution to the Lavra.
In the late 17th century a number of new buildings in Naryshkin (Moscow) Baroque style were added to the monastery.
Following a devastating fire in 1746, when most of the wooden buildings and structures were destroyed, a major reconstruction campaign was launched, during which the appearance of many of the buildings was changed to a more monumental style. At this time one of the tallest Russian belfries (88 meters high) was built.
In the late 18th century, when many church lands were secularized, the chaotic planning of the settlements and suburbs around the monastery was replaced by a regular layout of the streets and quarters. The town of Sergiev Posad was surrounded by traditional ramparts and walls. In the vicinity of the monastery a number of buildings belonging to it were erected: a stable yard, hotels, a hospice, a poorhouse, as well as guest and merchant houses. Major highways leading to the monastery were straightened and marked by establishing entry squares, the overall urban development being oriented towards the centrepiece - the Ensemble of the Trinity Sergius Lavra.
In 1993, the Trinity Lavra was inscribed on the UNESCO World Heritage List.