Püssirohukelder

Tartu, Estonia

In 1763 Russian Empress Catherine II ordered to fortify Tartu again. It was decided to build a gunpowder magazine (Püssirohukelder) in the former city moat. The responsibility of the building was assigned to Field-Marshal General de Villebois. His engineers started to build magazine in 1768. The bricks are brought from the old Mary Church (about where the University Main Building is now) and the ruins of the bishop settlement on Toome Hill demolished in 1708. The magazine completed in 1778.

Today Püssirohukelder offers Estonian and German dishes and has room for up to 300 people.

Reference: Püssirohukelder

Comments

Your name



Address

Lossi 28, Tartu, Estonia
See all sites in Tartu

Details

Founded: 1768-1778
Category:
Historical period: Part of the Russian Empire (Estonia)

Rating

4.4/5 (based on Google user reviews)

User Reviews

Ricky Löfqvist (3 years ago)
Excellent as last time. Lots of Good food and okay prices. Starters are Huge. Free bread with food is a nice touch
Veronika Jallai (3 years ago)
I like this place! Very authentic and has it's own spirit. Waiters are polite,food is tasty! Soup in the bread bowl with forest mushrooms is my favorite!
International Use (3 years ago)
Lovely place to visit on a cold day. Fine soup in a loaf. Fast n friendly service
Elizabeth Toney (3 years ago)
Really cool looking place, beer is great. Service is slow. Food is dated. When the menu says crab claws, they mean those stuffed battered fried things. Cauliflower on the appetizer menu is also fried, unexpected but good. Most tasted that it came from a frozen bag you can get at the grocery store.
Dace Janis Maslovski (3 years ago)
Nice place, large space, we were 7 persons and were served in moderate time. Kids had fun initially but went a little crazy because of waiting time. Soups were delicious. Chicken fillet was a bit too dry and the Est national potato barley mash did not seem really authentic. Staff very nice and friendly. Honest 4 stars.
Powered by Google

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.