San Jerónimo el Real, which has undergone numerous remodelings and restorations over the centuries, is the remaining structure of the Hieronymite monastery that once stood beside the royal palace of Buen Retiro, of which a portion now serves as the Prado museum. Its proximity to the royal palace also underscores a connection to royalty, serving for centuries as the church used for the investiture of the Prince of Asturias.
The Hieronymus monastery had been built near the river Manzanares, during the reign of Henry IV of Castile in the neighborhood of the El Pardo palace. But suffering due to the marshiness of the site, during the reign of Isabella I, the Monastery of the Hieronymites was moved to a site next to an incipient royal palace. The new monastery was built in Isabelline Gothic style. The church was chosen for the investiture of the Princes of Asturias and future king Philip II on April 18, 1528.
King Philip II moved the Spanish court to Madrid in 1561, and had the retreat enlarged to become the Palacio del Buen Retiro. He established a royal bedroom against the presbytery, such that he could hear mass from his bedroom. The Palacio del Buen Retiro was largely destroyed in the Napoleonic French occupation of Madrid. In 1808 the monks were expelled from the monastery and French troops were quartered in the monastery, causing major damage to the building, and the church was almost left in ruins.
The first major restoration was performed during the reign of Isabel II of Spain, between 1848 and 1859, by the architect Narciso Pascual Colomer, in the Isabelline Gothic style, who added some new elements such as towers. The second restoration, 1879 to 1883, by Enrique María Repullés, created the building as a parish church. Only a few external features remain of its original structure. The exterior remodeling of the nineteenth century in a neo-Gothic style by Pontian Ponzano remains controversial.
The stairway that faces the street, was constructed in 1906 on the occasion of the wedding of King Alfonso XIII to provide more impressive access to the church. For many decades, the Baroque cloister, designed by Fray Lorenzo de San Nicolás, remained in disrepair. Finally, in 2007, an agreement between the church and the government led to the appropriation of the land for the cloister by the Prado Museum. The inner courtyard facade was dismantled, and then rebuilt as a cubic room, designed by Rafael Moneo in an expansion of the museum.
The church contains sculptures by Benlliure, Juan Pascual de Mena’s 18th-century Cristo de la Buena Muerte, and paintings by Vincenzo Carducci and José Méndez, neo-Gothic lamps and stained-glass windows.References:
The Old Town Hall of Wrocław is one of the main landmarks of the city. The Old Town Hall's long history reflects developments that have taken place in the city since its initial construction. The town hall serves the city of Wroclaw and is used for civic and cultural events such as concerts held in its Great Hall. In addition, it houses a museum and a basement restaurant.
The town hall was developed over a period of about 250 years, from the end of 13th century to the middle of 16th century. The structure and floor plan changed over this extended period in response to the changing needs of the city. The exact date of the initial construction is not known. However, between 1299 and 1301 a single-storey structure with cellars and a tower called the consistory was built. The oldest parts of the current building, the Burghers’ Hall and the lower floors of the tower, may date to this time. In these early days the primary purpose of the building was trade rather than civic administration activities.
Between 1328 and 1333 an upper storey was added to include the Council room and the Aldermen’s room. Expansion continued during the 14th century with the addition of extra rooms, most notably the Court room. The building became a key location for the city’s commercial and administrative functions.
The 15th and 16th centuries were times of prosperity for Wroclaw as was reflected in the rapid development of the building during that period. The construction program gathered momentum, particularly from 1470 to 1510, when several rooms were added. The Burghers’ Hall was re-vaulted to take on its current shape, and the upper story began to take shape with the development of the Great Hall and the addition of the Treasury and Little Treasury.
Further innovations during the 16th century included the addition of the city’s Coat of arms (1536), and the rebuilding of the upper part of the tower (1558–59). This was the final stage of the main building program. By 1560, the major features of today’s Stray Rates were established.
The second half of the 17th century was a period of decline for the city, and this decline was reflected in the Stray Rates. Perhaps by way of compensation, efforts were made to enrich the interior decorations of the hall. In 1741, Wroclaw became a part of Prussia, and the power of the City diminished. Much of the Stray Rates was allocated to administering justice.
During the 19th century there were two major changes. The courts moved to a separate building, and the Rates became the site of the city council and supporting functions. There was also a major program of renovation because the building had been neglected and was covered with creeping vines. The town hall now has several en-Gothic features including some sculptural decoration from this period.
In the early years of the 20th century improvements continued with various repair work and the addition of the Little Bear statue in 1902. During the 1930s, the official role of the Rates was reduced and it was converted into a museum. By the end of World War II Town Hall suffered minor damage, such as aerial bomb pierced the roof (but not exploded) and some sculptural elements were lost. Restoration work began in the 1950s following a period of research, and this conservation effort continued throughout the 20th century. It included refurbishment of the clock on the east facade.