Fürstenfeld Abbey is a former Cistercian monastery in Fürstenfeldbruck. It was one of the household monasteries of the Wittelsbachs. The abbey church of the Assumption of the Virgin Mary is held to be a masterpiece of the late Baroque in southern Germany.
In 1256, Louis II, Duke of Bavaria killed his first wife, Marie of Brabant (1226–1256) on suspicion of adultery, the penance for which, as imposed by Pope Alexander IV, was the foundation of a monastery. The first foundation at Seldental, at Tal near Aibling, in 1258, was afterwards moved to the present site near the town of Bruck in 1263. Papal permission for the new foundation to be settled by Cistercian monks from Aldersbach Abbey had been obtained as early as 1256, but was not confirmed by the Bishop of Freising until 1265, in which year the new abbey was at last settled.
Louis II endowed and privileged the new abbey very handsomely and when he died, was buried here. His son, Louis IV, Holy Roman Emperor, was also a great benefactor to the abbey, which supported him in his dynastic struggle against the Habsburger Frederick the Handsome. Emperor Louis IV died of a stroke at Puch nearby on 11 October 1347 during a bear hunt, and his heart was buried here. Both men named Louis are commemorated by elaborate Baroque monuments.
In the Thirty Years' War, in 1632/33 the monastery was sacked by the troops of King Gustavus Adolphus of Sweden, and the monks fled to Munich. From 1640 however the abbey began to make an economic recovery. Under Abbot Martin Dallmayr several churches were built and the number of monks doubled.
In 1691 the foundation stone was laid of the Baroque monastery buildings, responsibility for the construction of which lay with the Munich court architect and master builder, Giovanni Antonio Viscardi. The supervision of the construction, which did not properly begin until after the War of the Spanish Succession, was the responsibility of Johann Georg Ettenhofer, who probably introduced some alterations to Viscardi's plans. In 1723 the quire was completed, and in 1741 the church was dedicated, but the remaining works lingered on until about 1780.
A number of first-class artists were employed in the fitting-out, including the brothers Jacopo and Francesco Appiani and the Asam brothers: Cosmas Damian Asam painted the ceiling frescoes, and Egid Quirin Asam created the side altars and possibly also the design of the high altar. In layout the abbey church of Fürstenfeld follows the typical pattern of South German and Austrian churches. The interior is of imposing height and width, and in spite of the lengthy construction and fitting-out period makes a very unified impression.
In 1803, as a result of the general secularisation in Bavaria, Fürstenfeld Abbey passed into private ownership. The new proprietor was Ignaz Leitenberger, a Bohemian cloth manufacturer. The inhabitants of the town of Bruck saved the church from demolition, however. In 1816 it became the property of King Maximilian I Joseph of Bavaria and from that time forward has served as a church of the royal family.
In 1817 the Bavarian Field Marshal Prince Wrede bought up the whole monastery, in which a year later a hospital and home for invalid soldiers was opened. In 1828 a prayer room for Protestants was opened in the former chapter room. Between 1848 and 1921 the monastery buildings were used for a variety of military purposes: for example, as a base for a number of infantry and cavalry units and as a military hospital. In 1866 part of the premises, in use at the time as a hospital, to the south of the church was destroyed in a fire.
After 1918 the former service range became the property of the Wittelsbach Compensation Fund, which rented it in 1923 to Ettal Abbey. From 1921 the remaining monastic buildings were used as boarding accommodation for school children. From 1924 to 1975 various police-related institutions were accommodated here, such as the principal police training school and the training schools of the Schutzpolizei and the Landpolizei, and from 1975 the special police studies department of the Bavarian Civil Service Technical College. In 1979 the town of Fürstenfeldbruck acquired the service buildings, which they re-modelled between 1987 and 2001 into a new cultural centre for the citizens of the district of Fürstenfeldbruck.References:
The Cloth Hall in Kraków dates to the Renaissance and is one of the city's most recognizable icons. It is the central feature of the main market square in the Kraków Old Town (listed as a UNESCO World Heritage Site since 1978).
The hall was once a major centre of international trade. Traveling merchants met there to discuss business and to barter. During its golden age in the 15th century, the hall was the source of a variety of exotic imports from the east – spices, silk, leather and wax – while Kraków itself exported textiles, lead, and salt from the Wieliczka Salt Mine.
Kraków was Poland's capital city and was among the largest cities in Europe already from before the time of the Renaissance. However, its decline started with the move of the capital to Warsaw in the very end of the 16th century. The city's decline was hastened by wars and politics leading to the Partitions of Poland at the end of the 18th century. By the time of the architectural restoration proposed for the cloth hall in 1870 under Austrian rule, much of the historic city center was decrepit. A change in political and economic fortunes for the Kingdom of Galicia and Lodomeria ushered in a revival due to newly established Legislative Assembly or Sejm of the Land. The successful renovation of the Cloth Hall, based on design by Tomasz Pryliński and supervised by Mayor Mikołaj Zyblikiewicz, Sejm Marshal, was one of the most notable achievements of this period.
The hall has hosted many distinguished guests over the centuries and is still used to entertain monarchs and dignitaries, such as Charles, Prince of Wales and Emperor Akihito of Japan, who was welcomed here in 2002. In the past, balls were held here, most notably after Prince Józef Poniatowski had briefly liberated the city from the Austrians in 1809. Aside from its history and cultural value, the hall still is still used as a center of commerce.
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The Gallery of 19th-Century Polish Art was a major cultural venue from the moment it opened on October 7, 1879. It features late Baroque, Rococo, and Classicist 18th-century portraits and battle scenes by Polish and foreign pre-Romantics.