Description: Shipping from Europe with tracking number $20Cathedral Gothic architecture medal 58mm by Famous Jacob Wiener , born on February 27 , 1815in the village of Hoerstgen, Kamp-Lintfort , died on November 3, 1899in Brussels , is a Belgian medalist . He produced numerous medals, coins and postage stamps, in particular the first Belgian postage stamp , put into circulation onJuly 1 , 1849.Biography When he was two years old, Jacob's family, which was Jewish and did not adopt the name Wiener (the Viennese) until 1808 , moved to Venlo in the Netherlands . His father is Marcus Mayer (1794-?) and his mother, Hanna Barruch (1791-?). Jacob, who is the eldest of a family of ten children, goes, at the age of thirteen, to his uncle, the renowned engraver Loeb Baruch, in Aix- la-Chapelle , to learn drawing, modeling and engraving.In 1835 , he went to Paris to complete his training and, in 1839 , at the age of twenty-four, he settled permanently in Brussels and, a few years later, naturalized Belgian.His first works drew attention to him, mainly a medal which represented the Sainte-Gudule church in Brussels. This was, for him, the starting point of an engraved reproduction of the main monuments of Europe, 41 in number (including 8 for France ) .Popular favor attached to his name, and he was called upon to carry out important works such as the first Belgian postage stamps and the organization of their manufacture, the means of preventing fraud, the making of dies, etc. That of historical tokens for the Municipal Council of Brussels was also entrusted to him, as well as other works. He often worked in collaboration with his brothers Léopold and Charles Wiener , also medal engravers.Wiener was, around 1870 , in full activity and at the height of his success when he felt the first expectations of his ardor, consequences of his indefatigable assiduity, of the prolonged and constant use of the magnifying glass: his sight gradually weakened and, in 1872, he became blind . However, after carrying out the cataract operation on both eyes, we managed to restore his sight more or less, but the healing was not complete and a relapse was still to be feared, he had to give up the practice of his art in 1874 1 .Wiener survived twenty-five years at the end of his brilliant artistic career, but the Jewish community of Belgium, knowing his devotion to the confessional interests of his cult, gave him an important place in the management of their interests and ended up placing him at the head of their higher administration, a position he occupied laboriously and with dignity, surrounded until his last moments by the veneration of his colleagues.Although a Knight of the Order of Leopold and of several other foreign orders, Jacques Wiener, former engraver to the King, President of the Israelite Central Consistory of Belgium , had formally renounced, out of simplicity and modesty, the military honors to which he was entitled. His burial took place in the cemetery of Ixelles 2 .He was the husband of Annette Newton (1816-1891 ) , of English origin.He was the father of Samson Wiener (born on August 18 , 1851 in Brussels and died there on April 10 , 1914 in a car accident), a lawyer and liberal French-speaking Brussels senator.He was the grandfather of Ernest Wiener (Brussels 1882-1973): After studying at the Royal Military School , Ernest Wiener graduated as an electrical engineer from the Montefiore Institute . Seriously wounded on the front in 1918, after four years of combat, Major Wiener would become the director of the Royal Military School , then General-Major at Headquarters during the invasion of May 1940. Taken prisoner, he spent the war at the Stalag 3 , 4Work The first Belgian stamp, with the effigy of King Leopold I , composed by Jacob WienerHis first important achievement was a commemorative medal for the municipality of Venlo , ( Netherlands ) in 1840. In 1848, he won the contract for the engraving of the first Belgian postage stamp. He therefore took care of the composition and entrusted its engraving to John Henry Robinson . We see the King of the Belgians, Leopold I in military uniform, with clearly visible epaulets, hence the name Epaulettes given to this issue.In 1845, he began to engrave medals for the exterior and interior of monuments, with great attention to detail accuracy, which was new: First a group of ten medals of Belgian churches, then the important monuments of Europe, cathedrals, churches, mosques, the Pantheon in Paris, the Saint-Sophie mosque in Istanbul, the dome of Pisa, the cathedrals of Cologne, Reims or Saint- Paul in London , but also all Belgian prisons and town halls 2 .In 1859 he produced a medal of the Mosque-Cathedral of Cordoba , exhibited in the Victoria & Albert Museum 5 . Spain is becoming a popular destination for travellers, who discover traces of Muslim influence, in Cordoba, the Alhambra in Granada and the Alcazar in Seville .Around 1864, he made a medal of the interior of the Hagia Sophia mosque in Constantinople , exhibited at the Victoria & Albert Museum 6 .In 1872, his eyesight declining, he ceased to produce medals. Aachen CathedralAachen CathedralAachener DomThe Cathedral in 2014ReligionAffiliationRoman CatholicProvinceDiocese of AachenYear consecrated805LocationLocationAachen, North Rhine-Westphalia, GermanyGeographic coordinates50°46′29.1″N 6°5′2.12″EArchitectureTypeCathedralStyleCarolingian-Romanesque Gothic OttonianGroundbreaking796SpecificationsLength73 m (239 ft 6 in)Width56 m (183 ft 9 in)Spire(s)1Spire height72 m (236 ft 3 in)UNESCO World Heritage SiteCriteriaCultural: i, ii, iv, viReference3Inscription1978 (2nd Session)Area0.2 ha (0.49 acres)Buffer zone67 ha (170 acres)Wikimedia | © OpenStreetMap[Interactive fullscreen map]Aachen CathedralAachen Cathedral (German: Aachener Dom) is a Roman Catholic church in Aachen, Germany and the seat of the Roman Catholic Diocese of Aachen.One of the oldest cathedrals in Europe, it was constructed by order of Emperor Charlemagne, who was buried there in 814. From 936 to 1531, the Palatine Chapel saw the coronation of thirty-one German kings and twelve queens. The church has been the mother church of the Diocese of Aachen since 1930.[1] In 1978, Aachen Cathedral was one of the first 12 items to be listed on the UNESCO list of World Heritage sites, because of its exceptional artistry, architecture, and central importance in the history of the Holy Roman Empire.[2]HistoryAnimation of Aachen cathedral (English subtitles)Charlemagne began the construction of the Palatine Chapel around 796,[3] along with the rest of the palace structures.[4] The construction is credited to Odo of Metz. The exact date of completion is unclear; however, a letter from Alcuin, in 798, states that it was nearing completion, and in 805, Pope Leo III consecrated the finished chapel.[5] A foundry was brought to Aachen near the end of the 8th century and was utilized to cast multiple bronze pieces, from doors and the railings, to the horse and bear statues.[6][nb 1] Charlemagne was buried in the chapel in 814.[1] It suffered a large amount of damage in a Viking raid in 881, and was restored in 983.Following Charlemagne's canonization by Antipope Paschal III in 1165, the chapel became a draw for pilgrims.[1] Due to the enormous flow of pilgrims, in 1355 a Gothic choir hall was added,[7] and a two-part Capella vitrea (glass chapel) was consecrated on the 600th anniversary of Charlemagne's death.[1] A cupola, several other chapels, and a steeple were also constructed at later dates. It was restored again in 1881,[8] when the Baroque stucco was removed.[9]Floorplan of Charlemagne's Palatine ChapelDuring World War II, Aachen, including its famed cathedral, was heavily damaged by Allied bombing attacks and artillery fire, but the cathedral's basic structure survived. Many of the cathedral's artistic objects had been removed to secure storage during the war, and some which could not be moved were protected within the church itself. However, the glazing of the 14th-century choir hall, the Neo-Gothic altar, a large part of the cloister, and the Holiness Chapel (Heiligtumskapelle) were irretrievably destroyed. Reconstruction and restoration took place intermittently over more than 30 years, and cost an estimated €40 Million.StructureThe cathedral uses two distinct architectural styles, with small portions of a third. First, the core of the cathedral is the Carolingian-Romanesque Palatine Chapel, which was modeled after San Vitale at Ravenna and is notably small in comparison to the later additions. Secondly, the choir was constructed in the Gothic style.[7][9] Finally, there are portions that show Ottonian style, such as the area around the throne.[9]Carolingian Octagon (Palatine chapel) View of the OctagonThe Barbarossa chandelier under the dome of the OctagonThe octagon in the centre of the cathedral was erected as the chapel of the Palace of Aachen between 796 and 805 on the model of other contemporary Byzantine buildings (e.g. the Basilica of San Vitale in Ravenna and the Little Hagia Sophia in Constantinople).[10] The architect was Odo of Metz, and the original design was of a domed octagonal inner room enveloped by a 16 sided outer wall.[5] The span and height of Charlemagne's Palatine chapel was unsurpassed north of the Alps for over two hundred years.The Palatine chapel consisted of a high octagonal room with a two-story circuit below. The inner octagon, with a diameter of 14.46 metres (47.4 ft),[5] is made up of strong piers, on which an octagonal cloister vault lies, covering the central room. Around this inner octagon is a sixteen sided circuit of low groin vaults, supporting a high gallery above. This upper story was known as the Hochmünster (high church). The arched openings of the lower story are only about half as high as those of the Hochmünster, as a result of which the lower story looks stocky and bulky. The two floors are separated from each other by an expansive cornice. The high altar and Imperial throne are located on the upper circuit of the Palatine chapel in an octagonal side room, covered by a barrel vault lying on an angle. This area was connected to the palace by a passage. Above the arches of the gallery, an octagonal drum with window openings rises, on top of which is the cupola. On the east end was a small apse that protruded and was, in later years, replaced by the choir. Opposite of this, was the tiered entrance to the rest of the now defunct palace, Westwork.[5] Light is brought in by a three tiered system of circular arched windows. The corners of the octagonal dome are joined with the walls with a system of paired pilasters with corinthian capitals.[5]The upper gallery openings are divided by a grid of columns. These columns are ancient and come from St. Gereon in Cologne. Charlemagne allowed further spolia to be brought to Aachen from Rome and Ravenna at the end of the 8th century. In 1794, during the French occupation of the Rheinland, they were removed to Paris, but in 1815 up to half the pieces remaining in the Louvre were brought back to Aachen. In the 1840s they were restored to their original places once more and new columns of Odenberg granite were substituted for the missing columns. The interior walls were initially lined with a marble facade.[9] The round arched openings in the upper floor in the side walls of the octagon, between the columns, in front of a mezzanine, are decorated with a metre-high railing of Carolingian bronze rails. These bronze rails were cast 1200 years ago in a single piece according to Roman models. The original cupola mosaic was probably executed around 800 and known from Medieval sources depicted Christ as the triumphant lord of the world, surrounded by the symbols of the Four Evangelists, with the twenty-four elders from the Apocalypse of John offering their crowns to him. In 1880-81 it was recreated by the Venetian workshop of Antonio Salviati, according to the plans of the Belgian architect Jean-Baptiste de Béthune. The dome was intricately decorated with a mosaic tile.[9]The exterior walls of the Carolingian octagon, made of quarry stone, are largely unjointed and lack further ornamentation. The only exception is that the projections of the pillars of the cupola are crowned by antique capitals. Above the Carolingian masonry, there is a Romanesque series of arches above a late Roman gable. The Octagon is crowned by unusual baroque vents.Aachen Cathedral was plastered red in the time of Charlemagne, according to the most recent findings of the Rheinish Office for Monuments. This plaster was made longer-lasting through the addition of crushed red brick. The colour was probably also a reference to the imperial associations of the work.[11]GeometryThe question of which geometric concepts and basic dimensions lie at the basis of the chapel's construction is not entirely clear even today. Works of earlier cathedral architects mostly followed either the Drusian foot (334 mm) or the Roman foot (295.7 mm). However, these measurements require complex theories to explain the church's actual dimensions.[12] In 2012, the architectural historian Ulrike Heckner proposed a theory of a new, hitherto unknown unit of measure of 322.4 mm, the so-called Carolingian foot, to which all other measurements in the Palatine chapel can be traced back. This measurement is referred to as the Aachener Königsfuß (Aachen royal foot), after the similarly sized Parisian royal foot (324.8 mm).[13]Beyond this, there is a symbolic layer to the octagon. Eight was a symbol of the eighth day (Sunday as the sabbath) and therefore symbolised the Resurrection of Jesus Christ and the promise of eternal life. Likewise, ten, the number of perfection in Medieval architectural symbolism, is frequent in the Palatine Chapel: Its diameter (including the circuit surrounding the dome) measures a hundred Carolingian feet (i. e. ten by ten) – equivalent to the height of the dome.[14]Ground plan & cross-sections Aachen Cathedral 1520, depicted by Albrecht Dürer Bronze model near the main
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