Wallenstein palace is the first large secular palace of the Baroque era. The original Palace was built in years 1623-1630 by Albrecht von Wallenstein, Duke of Mecklenburg (1583-1634), who made his name and fortune as the Commander-in-Chief of the Imperial forces in the Thirty Years War. Emperor Ferdinand II feared Albrecht of Wallenstein’s calculating mind and had him assassinated in 1634 in the town of Eger (now Cheb). He lived in the palace for only a year before his death. His widow sold it to his nephew and it remained in the Wallenstein family until 1945. After the Second World War, the palace became Czechoslovak state property and was renovated to house government offices. Today, the Senate of the Czech Republic operates out of the main palace buildings. The Riding School is used as a branch of the National Gallery in Prague. The challenging restoration of the main building began in mid-1999. The most valuable parts of this building in historical and artistic terms are the Main Hall, the Knights' Hall, the Antechamber, the Audience Hall and the Mythological and Astronomical Corridors.
The main wing of Wallenstein palace was largely a reconstruction of the Trcka residence. It incorporates both late renaissance and Nordic mannerism which is expressed in the portals and Netherlandish dormer-windows. Initially, in keeping with the architectural style, the Main Hall was decorated with tapestries and furniture ordered from Italy and the Netherlands. Much of the original furnishings were looted either in 1648 by the Swedes or 1742 by the French.
The west wing of the complex hosts the Main Hall, that rises to the height of two stories. The Duke is depicted, in the middle ceiling fresco as the god of war, Mars, riding in a war chariot drawn by a team of horses. In the painting, the Duke is holding the reins of four horses while Mars is usually seen only holding three horses. The stucco work depicting weapons, war trophies and musical instruments were probably made by Santino Galli and Domenico Canevalle. When the wing was built, it was the second largest hall after the Spanish hall of Prague Castle with an area of 288 meters squared and a height of 10.5 meters. This is original façade was altered in the mid nineteenth century to include marble portals from the Cerninsky palace and the entire hall was rebuilt as a barracks.
Originally tile stoves placed in each room heated the palace. The tile in the Antechamber was used later to line the fireplace. Guests waited in the antechamber to be granted audience with the Duke. Due to an adaptation in the 19th century, it is a kind of Mirror Hall with two Venetian mirrors made in the 18th century on the Italian island of Murano. The only objects original to the room are a set of four chests used by the Duke to hold his wardrobe. They are Italian chests made around the turn of the 17th century.
The palace chapel is two stories high and richly decorated with scenes from the legend of St Wenceslas. Cabinet-maker and woodcarver Arnošt Jan Heidelberger constructed the chapel altar in 1630. Its construction marked the first Baroque monument of its kind in Prague and the beginning of the Baroque age in the Czech lands.
The garden was created at the same time as the Wallenstein Palace in the early 17th century, in the lower part of the Malá Strana District. It displays a fine example of Mannerist layout and decoration, with very diverse sections. It is dominated by an aisle lined with bronze sculptures, an impressive Sala Terrena and an amazing artificial grotto.References:
The Cathedral of Limburg is one of the best preserved late Romanesque style buildings. It is unknown When the first church was built above the Lahn river. Archaeological discoveries have revealed traces of a 9th-century church building in the area of the current chapel. It was probably built in Merovingian times as a castle and the chapel added in the early 9th century.
In 910 AD, Count Konrad Kurzbold (cousin of the future King Konrad I) founded a collegiate chapter of 18 canons, who lived according to the rule of Bishop Chrodegang of Metz, on the hilltop site. The original castle chapel was torn down and a three-aisled basilica was built in its place. The foundations of this basilica have been found beneath the present floor.
The construction of current cathedral is dated to 1180-90. The consecration was performed in 1235 by the archbishop of Trier. It seems certain that the cathedral was built in four stages. The first stage encompassed the west facade, the south side aisle, the choir and the transept up to the matroneum. This section forms the Conradine church. The second stage consisted of the addition of the inner pillars of the south nave. In this stage the bound system was first introduced. In the third phase, the matroneum in the southern nave was built. The fourth stage included the north side of the transept and the choir matroneum. By this stage Gothic influence is very clear.
The interior was destroyed by Swedish soldiers during the Thirty Years War (1618-48) and reconstructed in a late Baroque style in 1749. The Baroque renovation was heavy-handed: the surviving medieval stained glass windows were replaced; all the murals were covered up; the ribs of the vaults and columns of the arcades were painted blue and red; the capstones were gilded; the original high altar was replaced. The colorfully painted exterior was coated in plain white and the central tower was extended by 6.5 meters.
The collegiate chapter of Limburg was dissolved in 1803 during the Napoleonic period, but then raised to the rank of cathedral in 1827 when the bishopric of Limburg was founded. Some renovations in contemporary style followed: the walls were coated white, the windows were redone in blue and orange (the heraldic colors of the Duke of Nassau) and towers were added to the south transept (1865).
Further changes came after Limburg was incorporated into the Kingdom of Prussia in 1866. It was now the Romantic period and the cathedral was accordingly restored to an idealized vision of its original Romanesque appearance. The exterior stonework was stripped of all its plaster and paint, to better conform with the Romantic ideal of a medieval church growing out of the rock. The Baroque interior was stripped away and the wall paintings were uncovered and repainted.
Further renovations came in 1934-35, enlightened by better knowledge of the original art and architecture. Art Nouveau stained glass windows were also added. A major restoration in 1965-90 included replastering and painting the exterior, both to restore it to its original appearance and to protect the stonework, which was rapidly deteriorating while exposed to the elements.
The interior is covered in medieval frescoes dating from 1220 to 1235. They are magnificent and important survivals, but time has not been terribly kind to them - they were whitewashed over in the Baroque period (1749) and uncovered and repainted with a heavy hand in the Romantic period (1870s) before finally being restored more sensitively in the 1980s.