The Church of St. Lawrence dates back to ca. 1450 and is the oldest building in Vantaa and all of Greater Helsinki. Along with its surrounding neighborhood, the church is a part of the Helsingin pitäjän kirkonkylä district, which is one of the best preserved historical parishes in all of Finland.
The Church of St. Lawrence was partially destroyed in a fire on 7 May 1893, after which it was reconstructed in a Gothic Revival style.
The Church of St. Lawrence was built around the year 1450, though records suggest that a wooden equivalent stood in its position as early as 1401. Prior to the Protestant Reformation and the introduction of Lutheranism into Finland, the church served the Roman Catholic Church. It was built as the church of Helsinki Parish, well before Helsinki, the city, was founded in 1550. The parish village with its church was favorably located on a coastal road between Turku and Vyborg. A branch of the salmon-rich River Vantaa ran through the village as well.
On 7 May 1893, the church was largely destroyed by a conflagration, leaving behind only its stone walls and vaults. Reconstruction was overseen by the renowned Finnish architect Theodor Höijer, who opted to alter the appearance of the church by increasing the sizes of its windows and tending toward a Gothic Revival style. The reconstruction, or as it was referred to, the restoration, was influenced by the cultural context of the late 1800s, during which Medieval architecture was gaining newfound respect in Finland.
The church was reopened in 1894, marking the then-believed 400 year anniversary of the building. More recently, the church has been recognized as older, by at least 50 years.
The façade of the church is reminiscent of other Finnish medieval churches, such as the Porvoo Cathedral. The reason for the similarity is that many churches from that time period in southern Finland were designed by the same person, the anonymous Pernajan mestari, who is presumed to be a German architect. The church has, however, been redesigned to some extent following the fire of 1893, leading to the current design being a mixture of Medieval and Gothic Revival architecture.
The Church of St. Lawrence has an external bell tower located next to the front of the building. It was completely destroyed in 1893 and rebuilt in a style similar to the Gothic Revival style of the church building. The tower has two bells, and its roof is peaked by a flèche with a cockerel weather vane.
The church is surrounded by a graveyard, which acts as the primary graveyard for the parishes of Vantaa. Up until 1793, the graveyard remained constrained to its original size, until an inspection deemed it too crowded. Since then, it has been regularly expanded to suit the needs of the growing population. The graveyard's current area is about 10 hectares. It's most notable grave is the mausoleum of Swedish naval commander Carl Olof Cronstedt.
Prior to the fire of 1893, the church interior remained largely unchanged throughout the centuries. One change that took place was the treating of the inner walls with chalk; in the middle ages, the walls were decorated with Medieval paintings, but by the 18th century, the walls were chalked white. The fire revealed several pre-Reformation paintings on the church vaults, though contemporaries deemed the paintings artistically worthless and "primitive". Before being painted over again, the art historian Emil Nervander made replica paintings of them, which are currently stored by the Finnish National Board of Antiquities.References:
Palacio Real de Aranjuez is a former Spanish royal residence. It was established around the time Philip II of Spain moved the capital from Toledo to Madrid. Aranjuez became one of four seasonal seats of government, occupied during the springtime (from about holy week). Thereafter, the court moved successively to Rascafría, El Escorial and wintered in Madrid. Aranjuez Cultural Landscape is an UNESCO World Heritage Site.
After the Christian conquest, Aranjuez was owned by the Order of Santiago and a palace was built for its Grand Masters where the Royal Palace stands today. When the Catholic Monarchs assumed the office of Grand Master of the Order of Santiago, Aranjuez became part of the Royal estate. This fertile land, located between the Tajo and Jarama Rivers, was converted into the Spanish monarchy"s most lavish country retreat: during Spain"s Golden Age, Aranjuez became a symbol for the perfection of nature by mortal hands, as El Escorial was for art.
Such excellence was based on strong Renaissance foundations, as Charles V envisaged this inherited estate as a large Italian-inspired villa, a desire continued by Philip II who appointed Juan Bautista de Toledo to design leafy avenues that ran through the gardens and farming land. A series of dams was constructed in the 16th century to control the course of the Tajo River and create a network of irrigation canals.
The splendour of the estate was only enhanced by the Bourbon monarchs, who would spend the whole spring, from Easter to July, at the Palace. Phillip V added new gardens and Ferdinand VI designed a new system of tree-lined streets and created a small village within the estate, which was further developed by Charles III and Charles IV. As Ferdinand VII and Isabella II continued to visit Aranjuez during the spring, the splendour of this site was maintained until 1870.
The Royal Palace, built by Phillip II on the site of the old palace of the Grand Masters of Santiago, was designed by the architect Juan Bautista de Toledo –under whom construction began in 1564– and later Juan Herrera, who only managed to finish half the project. Although glimpses of the original layout still remain, the building itself is more characteristic of the classicism favoured by the Hapsburg monarchs, with alternating white stone and brick. The original design was continued by Phillip V in 1715 but not finished until 1752 under Ferdinand VI. The rectangular layout that Juan Bautista de Toledo had planned, and that took two centuries to complete, was only maintained for 20 years, since in 1775 Charles III added two wings onto the Palace.
As the Prince of Asturias, Charles IV was a frequent visitor to the pier pavilions built by Ferdinand VI and grew up playing in the Prince’s Garden. When he became King, he decided to build a new country house at the far end of these gardens, known as the Casa del Labrador (the labourer"s house) due to its modest exterior that was designed to heavily contrast the magnificent internal decor. It was built by chief architect Juan de Villanueva and his pupil Isidro González Velázquez, who designed some of the interior spaces. These rooms, developed in various stages until 1808, are the greatest example of the lavish interior decor favoured by this monarch in his palaces and country retreats. Highlights at this Site include the combination of different types of art and the luxurious textiles, in particular the silks from Lyon, as well as wealth of original works on the main floor, where Ferdinand VII added various paintings and landscapes by Brambilla.
Phillip II, a great lover of gardens, paid special attention to this feature of the Aranjuez Palace: during his reign, he maintained both the Island Garden, designed by the architect Juan Bautista de Toledo, and the King"s Garden, immediately adjacent to the Palace and whose current layout was designed by Philip IV. The majority of the fountains on this island were commissioned by Phillip IV, while the Bourbons added other features such as the Charles III benches.
Phillip V made two French-style additions to the existing gardens: the Parterre Garden in front of the palace and the extension at the far end of the Island Garden, known as the Little Island, where he installed the Tritons Fountain that was later moved to the Campo del Moro park by Isabella II.
The Prince"s Garden owes its name and creation to the son and heir of Charles III who, in the 1770s, began to use Ferdinand VI"s old pier for his own enjoyment. He also created a landscaped garden in the Anglo-French style that was in fashion at the time and which was directly influenced by Marie Antoinette"s gardens at the Petit Trianon. Both Juan de Villanueva and Pablo Boutelou collaborated in the design of this garden.