The Neolithic flint mines of Spiennes are among the largest and earliest Neolithic flint mines of north-western Europe, located close to Walloon village of Spiennes. The mines were active during the mid and late Neolithic (4300–2200 BC).
The mines occupy two chalk plateaux located to the south-east of the city of Mons. They cover an area essentially devoted to agriculture. The site appears on the surface as a large area of meadows and fields strewn with millions of scraps of worked flint. Underground, the site is an immense network of galleries linked to the surface by vertical shafts dug by Neolithic populations.
The Spiennes flint Mines are the largest and earliest concentration of ancient mines of north-west Europe. The mines were in operation for many centuries and the remains vividly illustrate the development and adaptation of mining techniques employed by prehistoric populations in order to exploit large deposits of a material that was essential for the production of tools and cultural evolution generally. They are also remarkable by the diversity of technical mining solutions implemented and by the fact that they are directly linked to a habitat contemporary to them.
In the Neolithic period, (from the last third of the 5th millennium until the first half of the 3rd millennium), the site was the centre of intensive flint mining present underground. Different techniques were used, the most spectacular and characteristic of which was the digging out of shafts of 0.8 to 1.20m in diameter with a depth down to 16 metres. Neolithic populations could thus pass below levels made up of large blocks of flint (up to 2m in length) that they extracted using a particular technique called ‘striking’ (freeing from below with support of a central chalk wall, shoring up of the block, removal of the wall, removal of the props and lowering of the block). The density of the shafts is important, as many as 5,000 in the zone called Petit Spiennes (14 ha), leading to criss-crossing of pits and shafts in some sectors.
Stone-working workshops were associated with these mining shafts as is witnessed by numerous fragments of flint still present on the surface and which give its name to a part of the site, Camp à Cayaux (Stone Field). Essentially the production aimed at the manufacture of axes to fell trees and long blades to be transformed into tools. The standardisation of the production bears witness to the highly skilled craftsmanship of the stone-cutters of the flint of Spiennes. The vestiges of a fortified camp have also been discovered at the site comprising two irregular concentric pits at a distance of 5 to 10m. The archaeological artefacts discovered are characteristic of the Michelsberg culture discovered in the mining sector.
The site and its surroundings were added to the UNESCO's list of World Heritage Sites in 2000.References:
Kroměříž stands on the site of an earlier ford across the River Morava. The gardens and castle of Kroměříž are an exceptionally complete and well-preserved example of a European Baroque princely residence and its gardens and described as a UNESCO World Heritage Site.
The first residence on the site was founded by bishop Stanislas Thurzo in 1497. The building was in a Late Gothic style, with a modicum of Renaissance detail. During the Thirty Years' War, the castle was sacked by the Swedish army (1643).
It was not until 1664 that a bishop from the powerful Liechtenstein family charged architect Filiberto Lucchese with renovating the palace in a Baroque style. The chief monument of Lucchese's work in Kroměříž is the Pleasure Garden in front of the castle. Upon Lucchese's death in 1666, Giovanni Pietro Tencalla completed his work on the formal garden and had the palace rebuilt in a style reminiscent of the Turinese school to which he belonged.
After the castle was gutted by a major fire in March 1752, Bishop Hamilton commissioned two leading imperial artists, Franz Anton Maulbertsch and Josef Stern, arrived at the residence in order to decorate the halls of the palace with their works. In addition to their paintings, the palace still houses an art collection, generally considered the second finest in the country, which includes Titian's last mythological painting, The Flaying of Marsyas. The largest part of the collection was acquired by Bishop Karel in Cologne in 1673. The palace also contains an outstanding musical archive and a library of 33,000 volumes.
UNESCO lists the palace and garden among the World Heritage Sites. As the nomination dossier explains, 'the castle is a good but not outstanding example of a type of aristocratic or princely residence that has survived widely in Europe. The Pleasure Garden, by contrast, is a very rare and largely intact example of a Baroque garden'. Apart from the formal parterres there is also a less formal nineteenth-century English garden, which sustained damage during floods in 1997.
Interiors of the palace were extensively used by Miloš Forman as a stand-in for Vienna's Hofburg Imperial Palace during filming of Amadeus (1984), based on the life of Wolfgang Amadeus Mozart, who actually never visited Kroměříž. The main audience chamber was also used in the film Immortal Beloved (1994), in the piano concerto scene.