Strindberg Museum

Stockholm, Sweden

The Strindberg Museum (Strindbergsmuseet) is dedicated to the writer August Strindberg and located in his last dwelling, in the house he nicknamed the "Blå tornet" (The Blue Tower). The Museum is owned by the Strindberg Society of Sweden and was inaugurated in 1973.

Strindberg moved to the house in 1908 and lived there until his death in 1912. The Museum consists of Strindberg's flat and library, as well as an area for temporary exhibitions. Wallpapers and other decorations have been reconstructed in accordance with how the flat looked at the time the writer lived there, but furniture and other details are original.

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Details

Founded: 1973
Category: Museums in Sweden
Historical period: Modern and Nonaligned State (Sweden)

Rating

4.1/5 (based on Google user reviews)

User Reviews

Rick J (10 months ago)
One of the smaller museums in Stockholm is the Strindberg museum, which is located at the far end of the shopping street Drottninggatan, and it is housed in the late laureate's apartment in a building from the early 1900. The museum begins with a tour through his apartment as it was when he lived there and then continues throughout the different periods in his life and focus on different areas of his views. There is also a small cinema showing documentaries about his life. Overall a small but interesting museum for a rainy day, the museum will take about an hour to go through if you spend some time at the exhibits
Marica Jakobsson (11 months ago)
The museum was pleasant. The receptionist was incredibly rude. She was engaged in a personal phone call. She didn't look up or bade me farewell. I've heard that this museum is privately owned. Take care in looking after the visitors! The information on Google hasn't mentioned the increase in the ticket rise.
S K (14 months ago)
Cramped and small. Interesting but not much to see. I saw both floors of the museum which is 2 old apartments and it took me less than 15 min. Still worth a short visit.
Stella (3 years ago)
It was a fantastic experience to be in the very place where the writer lived his final years. But for a foreign visitor it was annoying that most of the descriptions of his work, painting and e.t.c. was in the Swedish language. Very few labels was in English and I would like to read all of the information was given. I told that to the officer. At least it should have a smaller ticket for tourists since we could gather and comprehend the written details. August Strindberg is a major writer for the European literature and it would be wonderful if it will be treated that way, then a Swedish writer. Thank you for your time!
Åke Söderqvist (3 years ago)
Great place to visit if you like Swedish culture and litteratur.
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Reims Cathedral

Notre-Dame de Reims (Our Lady of Reims) is the seat of the Archdiocese of Reims, where the kings of France were crowned. The cathedral replaced an older church, destroyed by fire in 1211, that was built on the site of the basilica where Clovis was baptized by Saint Remi, bishop of Reims, in AD 496. That original structure had itself been erected on the site of some Roman baths. A major tourism destination, the cathedral receives about one million visitors annually.

History

Excavations have shown that the present building occupies roughly the same site as the original cathedral, founded c. 400 under the episcopacy of St Nicaise. That church was rebuilt during the Carolingian period and further extended in the 12th century. On 19 May 1051, King Henry I of France and Anne of Kiev were married in the cathedral.

On May 6, 1210 the cathedral was damaged by fire and reconstruction started shortly after, beginning at the eastern end. Documentary records show the acquisition of land to the west of the site in 1218, suggesting the new cathedral was substantially larger than its predecessors, the lengthening of the nave presumably being an adaptation to afford room for the crowds that attended the coronations. In 1233 a long-running dispute between the cathedral chapter and the townsfolk (regarding issues of taxation and legal jurisdiction) boiled over into open revolt. Several clerics were killed or injured during the resulting violence and the entire cathedral chapter fled the city, leaving it under an interdict (effectively banning all public worship and sacraments). Work on the new cathedral was suspended for three years, only resuming in 1236 after the clergy returned to the city and the interdict was lifted following mediation by the King and the Pope. Construction then continued more slowly. The area from the crossing eastwards was in use by 1241 but the nave was not roofed until 1299 (when the French King lifted the tax on lead used for that purpose). Work on the west facade took place in several phases, which is reflected in the very different styles of some of the sculptures. The upper parts of the facade were completed in the 14th century, but apparently following 13th century designs, giving Reims an unusual unity of style.

Unusually the names of the cathedral's original architects are known. A labyrinth built into floor of the nave at the time of construction or shortly after (similar to examples at Chartres and Amiens) included the names of four master masons (Jean d'Orbais, Jean-Le-Loup, Gaucher de Reims and Bernard de Soissons) and the number of years they worked there, though art historians still disagree over who was responsible for which parts of the building. The labyrinth itself was destroyed in 1779 but its details and inscriptions are known from 18th century drawings. The clear association here between a labyrinth and master masons adds weight to the argument that such patterns were an allusion to the emerging status of the architect (through their association with the mythical artificer Daedalus, who built the Labyrinth of King Minos). The cathedral also contains further evidence of the rising status of the architect in the tomb of Hugues Libergier (d. 1268, architect of the now-destroyed Reims church of St-Nicaise). Not only is he given the honor of an engraved slab; he is shown holding a miniature model of his church (an honor formerly reserved for noble donors) and wearing the academic garb befitting an intellectual.

The towers, 81 m tall, were originally designed to rise 120m. The south tower holds just two great bells; one of them, named “Charlotte” by Charles, Cardinal of Lorraine in 1570, weighs more than 10,000 kg.

During the Hundred Years' War the cathedral was under siege by the English from 1359 to 1360. After it fell the English held Reims and the Cathedral until 1429 when it was liberated by Joan of Arc which allowed the Dauphin Charles to be crowned king on 17 July 1429.

In 1875 the French National Assembly voted £80,000 for repairs of the façade and balustrades. The façade is the finest portion of the building, and one of the great masterpieces of the Middle Ages.

German shellfire during the opening engagements of the First World War on 20 September 1914 burned, damaged and destroyed important parts of the cathedral. Scaffolding around the north tower caught fire, spreading the blaze to all parts of the carpentry superstructure. The lead of the roofs melted and poured through the stone gargoyles, destroying in turn the bishop's palace. Images of the cathedral in ruins were used during the war as propaganda images by the French against the Germans and their deliberate destruction of buildings rich in national and cultural heritage. Restoration work began in 1919, under the direction of Henri Deneux, a native of Reims and chief architect of the Monuments Historiques; the cathedral was fully reopened in 1938, thanks in part to financial support from the Rockefellers, but work has been steadily going on since.

Exterior

The three portals are laden with statues and statuettes; among European cathedrals, only Chartres has more sculpted figures. The central portal, dedicated to the Virgin Mary, is surmounted by a rose window framed in an arch itself decorated with statuary, in place of the usual sculptured tympanum. The 'gallery of the kings' above shows the baptism of Clovis in the centre flanked by statues of his successors.

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Interior

The interior comprises a nave with aisles, transepts with aisles, a choir with double aisles, and an apse with ambulatory and radiating chapels. It has interesting stained glass ranging from the 13th to the 20th century. The rose window over the main portal and the gallery beneath are of rare magnificence.

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Notre-Dame de Reims cathedral, the former Abbey of Saint-Remi, and the Palace of Tau were added to the list of UNESCO World Heritage Sites in 1991.