The first structure on the site of Old Bümpliz Castle was a Burgundian royal estate which was built around 900. Around 1250-1270 a round stone tower was built in the center of the site. This round tower was quite unusual for Bernese castles but may indicate a savoyard influence. Since Peter II of Savoy held authority over Bern at the time, it is likely, but not confirmed, that the round tower was built as a symbol of Savoy's power. The round tower no longer exists, but its location is marked with a cross on the floor of the current restaurant terrace. Shortly after the construction of the tower, the wooden wall was replaced with a stone wall and a half-round tower was added to protect the wall. The round central tower was demolished in the following decades. The growing Bernese power began to force Savoy out of Bümpliz and by the late 13th century, there were Bernese nobles who were naming themselves after their estates in Bümpliz. Under the Bernese nobles, the castle remained unchanged until 1470.
In 1470 Bümpliz village and the castle became part of the lands of the powerful Bernese patrician Erlach family. The castle was rebuilt from a purely defensive structure into an impressive administrative and residential castle. A new gatehouse tower was built, and stands, almost unchanged, today. The supports and structure of the drawbridge over the moat are still visible today.
In the following century, the Old Castle became increasingly old fashioned and uncomfortable. In 1742, Daniel Tschiffely hired Albrecht Stürler to replace the old building with the Neues Schloss Bümpliz. The New Castle was built southwest of the Old Castle. During construction, much of the Old Castle was pulled down or rebuilt.
In 1839 Johann Friedrich Albrecht Tribolet bought the Old and New Castles from Carl von Tavel. He rebuilt the buildings and used them as a private sanatorium for mental patients.
In 1979/80 the Castle was rebuilt. The gate was reopened in the gatehouse, a portion of the moat was excavated and a drawbridge added. The windows were rebuilt in the baroque style and the burned roof was rebuilt as close to original as possible. The north-west wing was rebuilt, while the north-east wing was recreated in concrete and glass. A restaurant opened in the north-east wing, the gatehouse and the courtyard. The rest of the building was converted into the Bümpliz village archives and into meeting rooms or offices.References:
The St Sophia's Cathedral was built between 1045-1050 inside the Novgorod Kremlin (fortress). It is one of the earliest stone structures of northern Russia. Its height is 38 m. Originally it was taller, for during the past nine centuries the lower part of the building became concealed by the two-metre thick cultural layer. The cathedral was built by Prince Vladimir, the son of Yaroslav the Wise, and until the 1130s this principal church of the city also served as the sepulchre of Novgorodian princes. For the Novgorodians, St Sophia became synonymous with their town, the symbol of civic power and independence.
The five-domed church looks simpler but no less impressive than its prototype, the thirteen-domed St Sophia of Kiev. The cathedral exterior is striking in its majesty and epic splendour evoking the memories of Novgorod's glorious past and invincible might. In the 11th century it looked more imposing than now. Its facade represented a gigantic mosaic of huge, coarsely trimmed irregular slabs of flagstone and shell rock. In some places (particularly on the apses), the wall was covered with mortar, smoothly polished, drawn up to imitate courses of brick or of whitestone slabs, and slightly coloured. As a result, the facade was not white, as it is today, but multicoloured. The play of stone, decorative painting and the building materials of various texture enhanced the impression of austere simplicity and introduced a picturesque effect.
The two-storied galleries extend along the building's southern, western and northern sides, with a stair-tower constructed at the north-eastern corner. The cathedral has three entrances - the southern, western and northern, of which the western was the main one intended for ceremonial processions. A gate standing at the entrance is known as the Sigtuna Gate (mid-12th century); according to legend, it was brought from the Swedish town of Sigtuna in 1187. The second name of the gate derives from the town of Magdeburg, where it was made. The two leaves are decorated with biblical and evangelical scenes in cast bronze relief. In the lower left corner there are portraits of the craftsmen who created this superb specimen of medieval Western European bronze-work. An inscription in Latin gives their names, Riquin and Weissmut. The small central figure - judging from an inscription in Slavonic - is a representation of the Russian master craftsman Avraam, who assembled the gate.
There is yet another bronze gate in the cathedral, called the Korsun Gate. Made in the 11th century in Chersonesos, Byzantium, it leads from the southern gallery into the Nativity Side-Chapel. Legend has it that the gate was handed over to Novgorod as a gift of Prince Yaroslav the Wise (c. 978 - 1054).
The interior of the cathedral is as majestic as its exterior. It is divided by huge piers into five aisles, three of which end in altar apses. In the south-western corner, inside the tower, there is a wide spiral in relatively small, modest buildings of the 12th - 16th centuries.