Archive for 05/18/17

Nakon što smo obišli dvorac i opet pogledali sve bitne znamenitosti koje su bile otvorene turistima,
uputili smo se prema parkovima.Kiša je polako prestajala i oblaka se počela kidati što je bio dobar znak da se krene u park i vrtove.

Prema njima vodi poseban odvojak,opet sigurnosna provjera te kupovina ulaznica.

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Za one koji ne žele u parkove vodi drugi odvojak prema dvorcu Trianon jer je u cijeni ulaznice za Versallise i posjet Trianonu.

Pošto su bile i glazbene fontane i show koji ih prati platili smo 16 EU ulaznicu.Ulaznica za dvorac se kupuje posebno ispred dvorca,ili imate Museum pass i press pas kao mi. Djeca do 18 godina i državljani EU zemalja do 25 godina i ovdje ne plaćaju ulaznicu.Jedna od alternativa je i on line kupovina ulaznica onda su nešto skuplje i morate točno vrijeme ulaska napisati.
Kad smo već u vrtovim Versalliesa red je i napisati nešto o njima.

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Općenito govoreći o vrtovima i parkovima koji svakodnevno mame uzdahe posjetitelja iz cijelog svijeta, svakako treba istaknuti “Les Jardins et Parc du Château de Versailles” (“Vrtove i park dvorca Versailles”).

Sami vrtovi i park dvorca Versailles prostiru se na području od 800 hektara zemlje, a kreirani su u baroknom stilu “Le Jardin à la Française” (klasičan francuski stil oblikovanja pejzaža) koji se razvio iz talijanskog i francuskog renesansnog stila.

Osnovna odlika ovog profinjenog stila je simetrija, dok su upravo vrtovi i park dvorca Versailles njegovi najpoznatiji predstavnici, koji na taj način nadopunjavaju arhitekturu dvorca.
Ovo remek-djelo krajobrazne arhitekture dizajnirao je André Le Nôtre u drugoj polovini 17. stoljeća, a glavna tema koja se ocrtava kroz vrtove je Sunce. Naime, veliki broj elemenata je osmišljen kako bi veličao slavu “Kralja Sunce” – Luja XIV. Ideja kreatora je bila da se vrtovi protežu od istoka prema zapadu, slijedeći Sunčevu putanju. Sunce bi ujutro najprije bilo vidljivo iznad “La Cour d'Honneur” (arhitektonski izraz za formalan ulazni dio u dvorac), zatim bi osvijetlilo dvorac i, naravno, odaje Kralja.

Središnja os vrtova je “Le Grand Canal” (“Veliki kanal”), pozicioniran kako bi prilikom zalaska Sunca kreirao “predstavu” svjetlosnih zraka koje se reflektiraju na površini vode. Ovo svjetlošću obasjano vodeno središte vrtova bilo je mjesto plovidbe brojnih, većih i manjih, brodova. Tijekom ljeta, tu su organizirane i razne brodske zabave, dok su u zimskom periodu, umjesto brodova, zaleđenom vodom “plovile” sanjke i klizaljke. Nakon što je Republika Venecija poklonila Kralju dvije gondole, uslijedila je izgradnja “Male Venecije” u sklopu Velikog kanala.

Oko ove centralne osi smještena je prava raskoš jezera, vrtova, puteljaka, fontana… Jedna od najpoznatijih fontana svakako je ona posvećena Apolonu. “Le Bassin d’Apollon” predstavlja ovog vladara Sunca iz grčke mitologije koji, upravljajući svojom kočijom, leti nebom osvjetljavajući ga. Naravno, lik Apolona je odabran upravo zbog poveznice s Lujem XIV.

“Les Parterres d'Eau” je naziv dva velika, pravokutna bazena koji djeluju kao nastavak fasade dvorca. Ove dvije vodene površine, reflektirajući Sunčeve zrake, obasjavaju fasadu slavne “La Galerie des Glaces” (“Dvorane ogledala”).

Skulpture izrađene od mramora, bronce ili olova oplemenjuju šetnice, fontane, kao i brojna druga područja u sklopu vrtova. Zajednički nazivnik većine skulptura je njihova tematska poveznica s grčkom i rimskom mitologijom. Primjerice, brončane statue koje predstavljaju četiri glavne francuske rijeke, nalaze se u sklopu “Les Parterres d'Eau”, a oblikovane su po uzoru na antičko doba. Simboli rijeka su bradati muškarci, okrunjeni trstikom, koji u rukama drže veslo ili “rog obilja” budući da je voda izvor bogatstva.

“L'Orangerie” možemo nazvati kraljevskim voćnjakom. Prostire se na površini od tri hektara, a dizajn zgrade u kojoj se preko zime čuva više od tisuću stabala voćki, osmislio je arhitekt Jules Hardouin-Mansart. Prevladavaju stabla naranče iz Portugala, Španjolske i Italije, a tu su i limun, šipak, kao i palme, te oleandri. Neka od stabala su starija od dvjesto godina. Za vrijeme vladavine Luja XIV, L'Orangerie je bila ukrašena brojnim skulpturama koje se sada nalaze u Muzeju Louvre.

Od šetnica, istaknimo “Kraljevsku šetnicu”, poznatu i pod nazivom “Zeleni tepih” budući da je njen središnji dio prekrasna livada. Dugačka je 335, a široka 40 metara, te ukrašena s dvanaest statua i isto toliko vaza, postavljenim simetrično uzduž šetnice.

“Le Salle de Bal” (“Plesna dvorana”) na otvorenom kreirana je od nekoliko vrlo zanimljivih elemenata. Kamenje i morske školjke, donesene s obala Afrike i Madagaskara, spojeni su u stepenastu formu preko koje se voda “spušta” stvarajući kaskade.

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Glazbenici su bili smješteni na području iznad kaskada, dok su gledatelji bili smješteni u amfiteatru gdje su sjedili na stepenicama prekrivenim travom. Mramorni dio u središtu “dvorane” je bio plesni podij.

Vrtovi i dvorac Versailles su među najposjećenijim znamenitostima u Francuskoj, a 1979. godine su upisani na UNESCO-vu Listu svjetske baštine. Svakako sve opisano kroz nekoliko ključnih elemenata ovog veličanstvenog djela krajobrazne arhitekture, je zapravo samo uvertira u upoznavanje njegovog povijesnog i umjetničkog značaja. Pravo bogatstvo atrakcija očekuje vas prilikom posjete Versaillesu,dvorcu i njegovim vrtovima i parkovima.

Tako primjerice u kraljevskom povrtnjaku Potager du Roi i danas uspijeva 900 sorti probranog voća i povrća. U Potageru uspijevaju žute maline, vinskocrveni krumpiri, prugasti, ljubičasto-bijeli patlidžani, papreni dragoljub, gorkasti hemerokalis, korabica, koromač i brojne druge vrste. Prema legendi, najomiljenije povrće Kralja Sunca bio je špinat, smokve i kruške.

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Complete collections representing the Popes since St. Peter up to our days are extremely rare. Everyone knows one of the medallions of the St. Paul's outside-the-walls Basilica in Rome. Very little one of 268 cameos of the treasure of the Cathedral Notre Dame de Paris.

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On the night of 15-16 July 1823, a fire destroyed the Roman basilica and greatly strained series of medallions began in the fifth century by the Léon the great Pope and continued by Salvatore Monosilo at the request of Pope Benedict XIV. During the restoration, the Pope Pius IX asked artists 'Studio Vaticano' to 255 mosaic medallions.

This reconstruction coincided with the discoveries of the ancient sites of Rome, as well as with the difficulties of the Pope due to the advance of Italian unity which threatened its States. In the Catholic States of the German empire and France, all current of sympathy surrounded the Holy See. The collection of cameos of Notre Dame is probably one of the signs. At this time also, the cameos of Torre of Greco were in great vogue in the German empire.

On their origin, the archives of the chapter of the Cathedral Notre Dame de Paris, in their current state, only give few specifics. They were all carved in the workshops of Torre of Greco, their undisputed capital. They were released to the chapter in 1887 by a rich Bavarian donor, which we know the reason for his gesture. The research in this sense being impossible, we must settle this tradition transmitted by the Canon Auzas. The necessary legal authority in this time of bankruptcy regime having been given, the chapter deliberates on May 20, 1888: It has proposed and accepted to the cameos of the Popes in the Chapter Hall. It is the only historical document that we could get to the chapter.

These cameos are gems of great finesse. The artists of the Greco Torre, as they are several depending on what reveals the Bill, gave each of the popes of the gestures varied, hieratic probably, but alive. The poses are different, unconnected with the character of each Pope, but less conventional than the Roman medallions. The clothes are different: there is the screed or camail, the tiara with one, two or three crowns, the Leviticus mitre, the simple CAP or the hood. The movements are often expressive: each bless, others are in meditation before the crucifix. some profile, or from the front, others sitting or standing as Pius VI in a move of firmness or moving as Innocent XII.

Cameos of the last 10 popes, of Léon XIII to Benedict XVI, come to be made (September 2008) by master Goudji and master Pierre red-Pullon, on the 120th anniversary of the collection. They are like the previous ones, finely carved on shell, and their setting is silver.

Treasury of Notre Dame, like the other treasures of religious buildings, retains the objects intended for the liturgy of the Catholic Church. Vases sacred, ornaments and liturgical books serve to the celebration of the mass, to other offices and the administration of the sacraments.

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Treasury of Notre Dame is traditionally placed under the responsibility of the chapter, college of canons charged with the exercise of worship. First inventory date back to 1343 and 1416. Good times and times of crisis succeed: parts were sent to the melting or sold. This treasure was nevertheless among the richest in France until the Revolution of 1789 where he was brutally shattered. No object of the ancient treasure remains.

The re-enactment of the Treasury

The discount at Notre Dame in 1804 of several Holy relics of the Passion, preserved before the Revolution to the Sainte-Chapelle, marks the beginning of the reconstitution of the treasure. Chapter and donations, often illustrious personalities or clergymen, controls are added to it. Devastated again during the riots of 1830 and the bag of the Archbishopric in 1831, the Treasury knows a revival with the restoration of the Cathedral and the reconstruction of the sacristy as early as 1849 by architect Eugène Emmanuel Viollet-le-Duc which attaches to give a consistent look by adopting the Gothic architecture, landscaping and goldsmithing.

850e anniversary of the Cathedral in 2013, the Treasury has a new museography, respecting the environment and the furniture required in the 19th century by its directors.

Choice of the works on display, signage, development and explanation of the historical dimension, design, lighting, all contribute to make intelligible to the public the meaning, function and the artistic value of the pieces presented, in accordance with the amenities desired by Viollet-le-Duc and who, in this particular place, have any legitimacy.

Renovations of the Treasury were held from January 9 to February 10, 2012. The new Museum is accessible to the public since February 11, 2012.

Opening hours: every day of the week from 9:30 to 18:00

Last entry 15 minutes before.

These times may be changed based on exceptional celebrations.

Participation fees 5EU.

THE TREASURY KEEPS THE OBJECTS OF WORSHIP

In France, more than two hundred and fifty churches offer a treasure to visit. The criteria for the objects to a Treasury changed little over the centuries even if the intentions underlying their conservation have evolved. It comes first to preserve the valuable objects of worship and their sacredness.

Any object that is in contact with the body of Christ in the form of the host and the consecrated wine is sacred in nature and, for this reason, was until recently made in a precious material or at least covered with a precious material. This category the chalices who receive the precious blood, the ciboria where are the consecrated, the custodes which are used to carry the wafers, the chalices used to present the host to the adoration of the faithful.

Many others objects used for the celebration of mass. : buretteset their tray, Ewer and basin, or the administration of the sacraments: baptismal (or chremiers) containing the chrism for baptism and the ordinations and the oil for the sacrament the sick has been made in precious metals and with a great search.

We also find in the treasures the attributes specific to the Bishops : mitres, croziers and rings, as well as the processional cross and many crucifix.

Them liturgical vestments: impeller, chasubles, dalmatics, copes, stoles, as the old and illuminated books support hard to be exposed to light and require great care.

Next to the items used in the celebration of worship, and in greater numbers than these, we find the reliquaries. In various forms: Cross, hunts, medallions, monstrances, custodes, statuettes, busts etc..., they close the remains of saints that the Church honors a special devotion. Notre Dame de Paris has relics of many saints but especially it is home to the Very Holy relics of the Passion of the Christ acquired by St. Louis and preserved in the Holy Chapel until the Revolution.

TREASURY, RESERVE OF PRECIOUS OBJECTS

The value of these objects is, obviously, to the scarcity of materials: gold, vermeil, precious stones. She is also due to the talent of the artists and craftsmen who executed them.

Notre Dame has received since its construction over the centuries the often lavish gifts by which sovereigns and large were demonstrating their attachment to the Church at the same time as their sponsorship. Their value can also keep the historical circumstances surrounding their origin: memories of the arrival of a Pontiff as the chasuble worn by Jean-Paul II during the world day of youth in 1997 or, in a most tragic way, objects used by the three archbishops of Paris who died violently in the nineteenth century.

Until the Revolution, the treasure was openly considered to be a possible pool of money for times of crisis : epidemics, famines, foreign wars and civil wars. Either at the urging of the King, by itself, the chapter of Notre-Dame, always sent to the melting of precious objects to make currency. Thus disappeared the vermeil of St. Simeon and St. Andrew reliquary offered by Philippe-Auguste, the statuette of Saint Denis decorated with sapphires and pearls to arms of Isabeau of Bavaria sold from 1429, the bust of Saint Agnes adorned with a rich Sapphire surrounded by eight gems gold and wearing a gold olive.

During the civil war between Armagnacs and Burgundians at the beginning of the 15th century, then during the wars of religion of new sales and typefaces took place in 1562 and in 1577: the reliquary with the head of St Philip gold, covered with precious stones offered by the Duke of Berry in 1414 was sent to the cast in 1562.

In the middle of the eighteenth century still, in December 1759, during the seven years ' war, at the request of Louis XV, ten candlesticks of money - including four offered by the last Bishop of Paris Henri de Gondi in 1607 (Paris was erected by Archbishop at his death) - six vermeil candlesticks given fifty years earlier by the Cardinal of Noailles, a large stoup a lamppost, a large Chapel XVII and a great lamp of money given by Anne of Austria in 1636 were brought to the Mint to be melted.

RevolutionAfter having nationalized church property (November 2, 1789). ordered the confiscation and the melting of the objects useless to the cult (3 March 1791), then objects of worship themselves (September 10, 1792). The treasure disappeared completely and prior to this period objects that are there now came later: none come to Notre Dame. After the Concordat, the treasure was recreatedin part thanks to the donations of Napoleon. Then came restoration where the close alliance of the throne and the altar brought significant enrichments. The riots of 1830 and especially that of February 1831 brought many disappearances. No serious disaster has reached the treasure since that time despite a few flights. Since the law of Separation of Church and State (1905), it is the State that owns the objects entered before inventories that were then made.

THE ENRICHMENTS OF THE TREASURY

It is most often that objects entered the Treasury grant. Under the Ancien Régime, all the Kings and many of their family members have made some present at Notre Dame.

In 1789, the Treasury still had the table of gold, said San Sebastian, offered by the Duke of Berry in 1406. This tradition was perpetuated in the nineteenth century, the sovereigns passing command to artisans renowned for a happy event of their reign : Te Deum following a victory (monstrance said of Louis XVIII), princely baptism (ornaments offered by Napoleon III in 1856 on the occasion of the baptism of the Prince Imperial), marriage or Holy (major donations of Napoleon in 1804).

Several friends popes of the Church in Paris have also enriched Treasury (calyx of Léon XIII, of Jean XXIII) as well as the sovereigns in visit (Cross offered by the Emperor of Ethiopia).

Prelates and canons treasure bequeathed the chalices, ciboria, chapels they had been offered by their family or of the faithful in their Ministry.

THE TREASURE IN THE SACRISTY OF THE CATHEDRAL

The Treasury of Notre Dame de Paris square has varied little over the centuries, and he was always kept in a building located perpendicularly to the Cathedral at the level of the chapels of the ambulatory South. Old buildings also housed classrooms sacristy to the use of the desservants of the Church as is still the case.

In the eighteenth century these ancillary buildings threatened ruin and the architect Soufflot (1714-1781) was asked to develop plans for a new sacristy, the first stone was laid on Thursday, August 12, 1755. This main sacristy built in two years claimed mix Greek and Gothic styles and was hurt all of the Cathedral. Basically, access by a staircase to two ramps to a spherical, vaulted room where, in carved cabinets, hunts and relics; the ornaments were deposited on the upper floor. This building built in the test of the time did not even live a century. The July 1830 and February 1831 riots ravaged the Archdiocese and the sacristy to the extent that it had to renounce to restore them.

Only the sacristy had to be rebuilt between 1845 and 1850 by Lassus and Viollet-le-Duc around a small cloister square whose two arms provide access to the Cathedral. The closest part of the transept is used for worship, the other part houses the treasure. The stained glass windows of the cloisterperformed by Gerente, tell the life of Sainte Genevieve. In the treasure room, stained-glass windows are the work of Marshal of Metz, they represent the bishops and archbishops of Paris. Landscaping, furniture and stained glass of the Treasury were executed under the direction of Viollet-le-Duc. Wild and Milon realized the masonry; Lechesne, the ornamental sculpture; Baker, the locksmith; Mirgon, furniture.

VIOLLET-LE-DUC AND TREASURY OF NOTRE DAME

The great Architect Restorer of the Cathedral, inspired by the religious art of the thirteenth century, Eugène Viollet-le-Duc, is also with its predecessor Lassus, the creator of the new sacristy (1845-1850).

Viollet-le-Duc strives to reconstruct a goldsmith of medieval style. But, beyond the copy or adaptation of the medieval forms, he also produced real creations like the Paschal candlestick or the reliquary of the Crown of thorns. He personally drew large cabinets and the chapiers of the treasure room. The goldsmiths Bachelet, Poussielgue-Rusand and Chertier carried out its projects.

A church treasure (German: Kirchenschatz) is the collection of historical art treasures belonging to a church, usually a monastery (monastery treasure), abbey, cathedral. Such "treasure" is usually held and displayed in the church's treasury or in a diocesan museum. Historically the highlight of church treasures was often a collection of reliquaries.

As a result of gifts and the desire to acquire sacred artifacts, many churches over the centuries gathered valuable and historic collections of altar plate, illuminated manuscripts of liturgical or religious books, as well as vestments, and other works of art or items of historical interest.

Medieval and early modern
The Relics of Sainte-Chapelle are relics of Jesus Christ acquired by the French monarchy in the Middle Ages and now conserved by the Archdiocese of Paris. They were originally housed at Sainte-Chapelle in Paris and are now in the cathedral treasury of Notre Dame de Paris.

Saint Louis (King Louis IX) built Sainte-Chapelle in the 13th century to house the Holy Crown, a fragment of the True Cross and other relics he had acquired from Baldwin II of Constantinople. This made the chapel itself an immense reliquary, housing the crown, the True Cross fragment, relics of the Virgin Mary, the Holy Lance, the Holy Sponge and the Mandylion, a supposed image of Christ.

In the early modern era the kings of France drained their treasury, sold rubies and melted down gold to supply their vast military spending needs, making all the chapel's ecclesiastical treasures into a monetary reserve that could be used if needed, as they had also been in the medieval era. This meant that under Henry IV of France (reigned 1589 - 1610) what was left of the treasure was reduced to the state it would hold until the French Revolution.

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Revolution to present
The Revolution meant a ban on conserving relics and all other sacred symbols linked to the kings, though this allowed for pieces judged to be of high artistic quality to be saved. These relics were handed over to the archbishop of Paris in 1804 and are still held in the cathedral treasury of Notre Dame, cared for by the Knights of the Holy Sepulchre and the cathedral chapter. The first Friday of every month at 3 PM, guarded by the Knights, the Holy Relics are exposed for veneration and adoration by the faithful before the cathedral's high altar.Every Good Friday, this adoration lasts all day, punctuated by the liturgical offices. An exhibition entitled Le trésor de la Sainte-Chapelle was put on at the Louvre in 2001.

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