New Palace, Potsdam, Germany

A colossal palace building, its high tambour dome recognizable from afar, rises up at the western end of the Hauptallee (the main promenade) in Sanssouci Park: the Neues Palais (New Palace). In strong contrast to the intimate and rather modest Sanssouci Palace the large palace complex served official, representational needs. Grand banquet halls, splendid galleries and regally designed suites, not to mention Sanssouci’s Baroque palace theater in the southern wing, await visitors in its interior.
Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg

When the Seven Years’ War ended with the signing of the Treaty of Hubertusburg in 1763, and Prussia had survived the latter without territorial losses, Frederick the Great resumed his construction activities. The New Palace was erected in the western part of Park Sanssouci between 1763 and 1769. Frederick’s New Palace marks the symbolic end of an era, since after its completion no further baroque palaces were built in Prussia.
Sanssouci Park Potsdam

The New Palace is a palace situated on the western side of the Sanssouci park in Potsdam, Germany. . . In an architectural form, Frederick the Great sought to demonstrate the power and glories of Prussia attributing it as fanfaronade, an excess of splendor in marble, stone and gilt. For the King, the New Palace was not a principal residence, but a display for the reception of important royals and dignitaries.
. . .
After the death of Frederick the Great in 1786, the New Palace fell into disuse and was rarely occupied as a residence or entertainment venue. However, starting in 1859 it became the summer residence of the German Crown Prince, Frederick William, later German Emperor Frederick III. The palace was the preferred residence of Frederick and his empress, Victoria, throughout the 99 Days’ Reign. During the short reign of Frederick III, the palace was renamed “Friedrichskron Palace” (Schloss Friedrichskron) and a moat was dug around the palace. The accession of Wilhelm II saw renovation and restoration within the palace being carried out with the installation of steam heating, bathrooms in state apartments and electrification of the chandeliers which Frederick the Great had collected from across Europe. Until 1918, it remained the preferred residence of Wilhelm II and the Empress Augusta Viktoria. After the November Revolution and the abdication of Wilhelm II, the New Palace became a museum and remained such until the Second World War.

The New Palace is a baroque palace and consists of a three-winged corps de logis (residential wing) around a courtyard with low side wings. The three-wing system has a front length of 220 meters. The facade is characterized by a reddish brick pattern and fluted Corinthian pilasters made of sandstone in colossal order. The red brick was only painted on for cost reasons. . . . The middle section of the two-and-a-half-storey building – with a mezzanine – is crowned by a huge, functionless 55 meter high main dome. The Three Graces group is located on the dome. The dome is only used for architectural decoration and has no other purpose. It does not contain any space. The two single-storey pavilion-like side wings have an L-shaped floor plan. They also each have a dome.
Best of Potsdam

On back:
Potsdam — Neues Palais | Jaspisgalerie
Publisher (artist): Johann Jaunbersin

Google Street View.

(Via Google Translate)
The marble gallery to the south led to the king’s apartments. Red jasper and white Carrara marble dominate the picture in this long hall. French doors let a lot of light into the interior. Three ceiling paintings connected by a rich gold ornament symbolize the times of day – the night, the morning and the noon. They are works by the painter Bernhard Rode. The division of fields and framing stucco are based on the ceiling design of the much smaller gallery in Sanssouci Palace.

On back:
Potsdam — Neues Palais | Muschel- oder Grottensaal
Publisher (artist): Johann Jaunbersin

Google Street View.

As a visitor, you first enter the vestibule. Then you come to the grotto or shell hall. Over 20,000 different minerals, ores, fossils, shells and snails, rocks and artefacts adorn and decorate the garden room designed as a grotto. The hall was originally designed a little more simply, but the walls were further enriched with minerals, fossils and semi-precious stones in the 19th century.
Best of Potsdam

On the ground floor behind the vestibule is the Grotto Hall, attributed to Carl von Gontard, with walls encrusted with shells, stones, marble, quartz and semi-precious stones, which were enriched in the 19th century. Part of the design of the Groto Hall is a marble floor depicting marine animals and plants and an 1806 ceiling painting, Venus and Amor, the Three Graces and Putti. Attributed to Johann Gottfried Niedlich, the painting has replaced an earlier work. Niches around the room contain statuary and fountains, with cut crystal chandeliers hung in the arches.

Old Palace, Berlin

Berlin. Palais Kaiser Wilhelm I.

The Old Palace (German: Altes Palais), also called Kaiser Wilhelm Palace (Kaiser-Wilhelm-Palais), is a former Royal Prussian residence on Unter den Linden boulevard in Mitte, the historic heart and city center of Berlin. It was built between 1834 to 1837 by order of Prince William of Prussia, who later became German Emperor William I, according to plans by Carl Ferdinand Langhans in Neoclassical style. Damaged during the Allied bombing in World War II, the Old Palace was rebuilt from 1963 to 1964 as part of the Forum Fridericianum. . . . The Prussian crown prince Frederick William hired one of the most prominent architects of Germany, Karl Friedrich Schinkel, to design a memorial complex for Frederick the Great. However, after being disappointed with the expensive plans of Schinkel, he accepted the modest concept of the architect Carl Ferdinand Langhans in Neoclassical-style. As the construction of the palace was completed in 1837, the then crown prince William I began using the building as his residence until his death in 1888. The palace was built with a pergola, a mezzanine and a vestibule.

(Via Google Translate)
Langhans erected the building in the years 1834 to 1837 in the classical style. It has 13 window axes facing the street with a covered portico -like driveway surrounded by an eagle frieze. Eagles fly at the corners. A green pergola was added to the Opernplatz. Wilhelm’s living and working rooms were on the lower floor of the left part of the building, facing the street and a green inner courtyard at the back, while Augusta’s were on the upper floor, connected by an intimate spiral staircase. The vestibule was located in the central part, the representative staircase and the social rooms above. In the right part, which extended as a much longer side wing from Oranische Gasse to Behrenstraße, there were festival rooms, including the large circular dance hall. Towards Behrenstraße, around a second inner courtyard, were the service and living quarters of the staff, horse stables and a coach house . In everyday operation, the entrance on the narrow Oranische Gasse served as the main entrance and right of way. . . . During the imperial period , the palace developed into one of the most important sights in Berlin. Wilhelm always appeared at the “historic corner window” of his study on the ground floor to watch the guard procession Unter den Linden at the Neue Wache diagonally opposite.

Mariinsky Palace & St Isaacs Square, St Petersbourg

С. Петербургь Государвтвенный совѣтъ Марiинская площадь
St.-Pétersbourg Consèil de l’Empire, et la place Marijnskaja
Postmarked 1914
Publisher: “Richard” St Petersbourg

Google Street View.

The Mariinskiy Palace occupies a prominent position in St. Petersburg’s historic centre, across St. Isaac’s Square and the Blue Bridge from St. Isaac’s Cathedral. The land on which it was built had originally been the site of the St. Petersburg residence of Zakhar Chernyshev, a prominent military commander who had played a key role in the Seven Years’ War and been Minister of War in the reign of Catherine the Great. In 1839, Emperor Nicholas I commissioned the court architect Andrey Stackensneider to build a palace as a wedding present for his daughter, Grand Duchess Maria Nikolaevna, who was about to marry Duke Maximilian of Leuchtenberg, the step-grandson of Napoleon Bonaparte and a keen amateur scientist and art collector. Stackensneider, who was also responsible for the Nikolaevskiy Palace and the Beloselskiy-Belozerskiy Palace, created a monumental neoclassical building with intricate decor inspired by medieval French and Renaissance architecture. The original palace interiors were equally eclectic, with each hall decorated in a different style.

Mariinsky Palace (Russian: Мариинский дворец), also known as Marie Palace, was the last neoclassical Imperial residence to be constructed in Saint Petersburg. It was built between 1839 and 1844, designed by the court architect Andrei Stackenschneider. It houses the city’s Legislative Assembly. The palace stands on the south side of Saint Isaac’s Square, just across the Blue Bridge from Saint Isaac’s Cathedral. The site had been previously owned by Zakhar Chernyshev, and contained his home designed by Jean-Baptiste Vallin, which was built between 1762 and 1768. Chernyshev occasionally lent his home to foreign dignitaries visiting the capital, such as Louis Henri, Prince of Condé. From 1825 to 1839, the Chernyshev Palace, as it was then known, was the site of the Nikolaevskaya Cavalry School [ru], where Mikhail Lermontov was known to have studied for two years. The palace was demolished in 1839, and materials were reused in the construction of the Mariinsky Palace. . . . The Mariinsky Palace returned to Imperial ownership in 1884, where it remained until 1917. During that period, the palace housed the State Council, Imperial Chancellery, and Committee of Ministers, which after 1905 became the Council of Ministers. The grand hall for the sessions of the State Council was designed by Leon Benois.

“St. Isaac’s Square at the beginning of the XIX century” (from Wikimedia Commons)

St Isaac’s Square is St. Petersburg’s main administrative square. On its south side we find the Mariinsky Palace, which today houses the city’s legislature – while on the northern side of the Square we find Admitalty Prospekt. . . . In the early days, St Isaac’s was a market place, and was known as Market Square. It only got its present name in 1738.

The first stone-built buildings to appear on St Isaac’s square were built at the behest of Empress Anna Ioannovna. The architectural style to be seen on the square appeared during the reign of Emperor Alexander I. It was his dream to turn St. Petersburg into the world’s most beautiful city, and thus he invited the French architect Antoine François Mauduit. However, political upheavals at the time left the architect in a difficult position. This left the way clear for a different French architect – Auguste Montferrand – to undertake the design and construction of St Isaac’s Cathedral on the square. The Russian architect Karl Ivanovich Rossi was offered an unusual commission in 1847. At the request of Emperor Alexander II, he took overall charge of the layout of the square, and brought it into the appearance we see here today.
Another Russia

City Hall, Antwerp, Belgium

Intérieur De l’Hôtel de Ville. – Grande Salle Leys, – Vue d’ensemble
[Interior of Town Hall – Leys Hall – Overview]
Publisher: G. Hermans

In the beginning of the 16th centrury, the city had made plans to build a new town hall in Gothic style, much like the town halls of Leuven, Brussels and Oudenaarde. However, they had to use their construction material and money to defend themselves against attacks from the Army of Maarten van Rossem from Gelre. It was only twenty years later that the financial position of the city had improved to such an extent that the plan for a new building for the mayor was unshelved. But, by this time fashion had changed. The Gothic style was out and replaced by the Renaissance style. The building clearly is a Renaissance building (look at the superposition of Dorian and Ionic colons), but the middle section still clearly resembles the towers of the many Gothic Flemish and Brabantine town halls. This atypical Renaissance middle makes this building more beautiful. Think that it were not there (hold a paper above the middle of the picture), and see what remains: a boring building seeming very flat and low). The 45 doors in the ground floor were built to house little shops. The rent that the shop-keepers had to pay was used to help finance the construction of this building.
Belgiumview (more pictures)

Renovations during the late 19th century by architects Pierre Bruno Bourla, Joseph Schadde and Pieter Jan August Dens drastically modified the interior. Much of the stately decoration dates from this period, as does a roof over what was once an open-air inner courtyard. A number of the leading Antwerp historical painters were invited to assist with the decorations. Henri Leys painted a series of murals depicting key events in Antwerp’s history and portraits of former Belgian rulers for the Leys Hall.

Hendrik Leys and the city’s keeper of the records Pieter Génard conceived a whole scenario for this showpiece room. The portraits of the dukes and emperors that had granted Antwerp privileges are hung above the doors. The large tableaux on the walls illustrate the freedoms of the city before 1794. Leys began work in 1864. He had completed eleven portraits and four large tableaux by the time of his death five years later.
City Mayors

Intérieur De l’Hôtel de Ville. Salle des Mariages.
[Interior of Town Hall. Marraige Hall.]
Publisher: G. Hermans

Google Street View.

Victor Lagaye (1825–1896) painted the five murals of weddings performed in different historical periods: the era of the Ancient Belgians; the Roman epoch; a Christian ceremony celebrated by Saint Willebrord in 650; the aristocratic wedding of Philip the Beautiful and Johanna of Castilla in 1497; and a civil ceremony of the 17th Prairal of 1796 (in accordance with the law of the 17th Prairal of the year IV in the French revolutionary calendar). There are two allegorical wedding tableaux by Lagaye beside the fireplace. On the left is The Union of Trade and Industry; on the right The Union of Science and Literature. Cornelis Floris designed the fireplace and he sculptured two caryatides in alabaster himself. In 1886 Saldis and Amfitrite, the bas-relief by G. Geefs, was placed above the mantelpiece. It symbolises the river Scheldt and the Sea.
City Mayors

Salles des Mariages, 1890s, (from Wikimedia Commons)

Antwerp City Hall was constructed between 1561 and 1565 under the supervision of the master builder Cornelis II Floris de Vriendt, with the collaboration of the Italian Nicolo Scarini, among others. It is in the Flemish-Italian Renaissance style, also known as the Floris style, a conspicuous innovation in the Netherlands of the sixteenth century that was imitated as far away as Scandinavia. Mutinying Spanish sailors torched the building during the Spanish Fury of 1576, but it was rebuilt in 1579. The city hall originally had an open-air inner courtyard. A roof was added during a thorough renovation in the nineteenth century. Most of the present interior, including a large number of wall panels, dates from that period.

The Aldermen of Antwerp were given a building—het Schepenhuis—for the city’s administration and their meetings around 1406. The Lakenhal was situated next to the Schepenhuis. Antwerp’s economy grew fast in the years following its construction. Around 1450 the city’s population was 20,000 or so, but by the middle of the sixteenth century Antwerp was home to around 100,000 people and the largest city north of the Alps after Paris. The workload of the Mayors and Aldermen increased progressively and the old Schepenhuis became far too small. It was also felt to be too undistinguished for such a large city. . . In 1560 the magistrate decided to build a city hall on the broad western side of Grote Markt, the main market square, which was owned by the city. That meant that no money would have to be spent on purchasing the land and shops could be developed at street level, generating rents that would cover some of the construction costs. This time there was a clear preference for a building in the new Renaissance style. The city managers set up a committee of ten experts, who came to agreement on a design. The Antwerp members included the sculpture, architect and designer Cornelis II Floris (1513–1575), and the artists Jan Metsys and Lambert van Noort. Florentine master builder Nicolo Scarini was one of the committee’s foreign members. The inauguration took place on 27 February 1565, four years after the first stone was laid.
City Mayors

Antwerp City hall with panorama; Elisée Reclus, Ernest George, Ravenstein & A. H. Keane; 1883 (from Wikimedia Commons).


The Grote Markt during the Antwerp sack by Spanish 1576. (from Wikimedia Commons).

Grand Staircase, Iowa State Capitol, Des Moines, USA

Grand Staircase, Iowa State Capitol
Des Moines, Iowa

Postmarked 1913
Publisher: Enos B. Hunt, Jr., Des Moines

Google Street View.

The Iowa State Capitol, commonly called the Iowa Statehouse, is in Iowa’s capital city, Des Moines. As the seat of the Iowa General Assembly, the building houses the Iowa Senate, Iowa House of Representatives, the Office of the Governor, and the Offices of the Attorney General, Auditor, Treasurer, and Secretary of State. The building also includes a chamber for the Iowa Supreme Court, although court activities usually take place in the neighboring Iowa Supreme Court building. The building was constructed between 1871 and 1886.
. . . .
A three-story brick building served as a temporary Capitol and was in use for 30 years, until destroyed by fires: in the meantime, the permanent Capitol was being planned and built. In 1870, the General Assembly established a Capitol commission including local businessman and politician Peter A. Dey to employ an architect, choose a plan for a building (not to cost more than $1.5 million), and proceed with the work, but only by using funds available without increasing the tax rate. John C. Cochrane and Alfred H. Piquenard were designated as architects, and a cornerstone was laid on November 23, 1871. However, much of the original stone deteriorated through waterlogging and severe weather, and had to be replaced. The cornerstone was relaid on September 29, 1873.

The beauty, dignity, and arrangement of the interior become apparent as a visitor stands under the dome of the first floor. Broad, lofty corridors extend west, north, and south. Walls are highly decorated. The grand staircase is to the east. Suites opening from the south corridor are those of the governor, auditor of state, and treasurer of state. The Supreme Court and the Court of Appeals office are to the north; the secretary of state’s suite is to the west. The grand staircase ascends to a landing and divides north and south to bring visitors to the floor above, where the House of Representatives is on the north, the Senate on the south, and the law library on the west.
. . .
Extending the full width of the east wall over the staircase is the great mural painting, “Westward,” an idealized representation of the coming of the people who made Iowa. This was completed as part of the 1904 decoration.
Iowa Profile — State Library of Iowa

Kadriorg Palace, Tallinn, Estonia

Tallinn – Reval. Kadroru loss.
Postmarked 1927
Publisher: Jaan Winnal

Virtual tour

Google Street View (approximate).

Kadriorg Palace is a Petrine Baroque palace built for Catherine I of Russia by Peter the Great in Tallinn, Estonia. Both the Estonian and the German name for the palace means “Catherine’s valley”. It was built after the Great Northern War for Nicola Michetti’s designs by Gaetano Chiaveri and Mikhail Zemtsov.

After the successful siege of Tallinn during the final phase of the Great Northern War in 1710 czar Peter the Great of Russia bought a small Dutch-style manor house at Lasnamäe for his wife Catherine. The house today is the result of a drastic renovation ordered by Nicholas I of Russia in 1827. However, plans for a larger palace in the area soon developed and construction of a new palace, Kadriorg, was started on 25 July 1718. Peter and Catherine visited the unfinished residence on several occasions, but after the emperor’s death in 1725 Catherine showed no interest in the seaside property. The great hall with Catherine’s initials and profuse stucco decor (attributed to Heinrich von Bergen) survives, while many other interiors have been altered. . . . After the declaration of independence of Estonia in 1919, the palace became state property. For a time, one of the wings housed the studio of sculptor August Weizenberg while the palace was used for art exhibitions. Between 1921 and 1928 the palace housed what would eventually develop into the Art Museum of Estonia.

Kadriog Palace and Park has a long history in Tallinn. It was commissioned by Peter the Great after he successfully brought Estonia under his domain. The Palace was to be a sea-side home for himself and his wife, Catherine I of Russia. Building of the Palace was started in July of 1718. Niccolo Michetti, the Italian architect, designed this beautiful Baroque Palace. Although only two stories tall, it is a very grand building. Unfortunately, Peter died before the building was completed. Catherine lost all interest in the palace after the death of her husband, and never visited it, even after the palace was completed. Parts of the palace were left to fall into disrepair; however, the great hall has been lovingly preserved and restored.

Construction work in the palace was a joint effort of several foreign masters: in addition to the Italian chief architect, parts of the job were carried out by the Roman architect Gaetano Chiaveri, the Venetian stucco master Antonio Quadri, Salomon Zeltrecht from Sweden, the sculptor Heinrich von Bergen from Riga, and many others. Several of those men later worked in Saint Petersburg; the founding of a new Russian capital also provided employment for another Kadriorg Palace architect, Mikhail Zemtsov, who was in charge of construction in Kadriorg after Michetti returned to Italy. Workers were brought in from Russia, and more difficult tasks were fulfilled by soldiers from the Tallinn garrison or by forced labourers. In the town of Tallinn, which was nearly empty of people and had been severely damaged by war, the construction of an unprecedentedly magnificent palace next to the modest local summer manors, seaside rocks and junipers seemed like a miracle.The strong will of a ruler who wanted to break from tradition planted a fragile southern architectural masterpiece in the harsh climate of northern Europe. Unfortunately, the builders did not manage to carry out all of Michetti’s and Peter’s grandiose plans because, after the death of the tsar in 1725, the interest of Russian rulers in the Baltic Sea, its navy, Tallinn and the palace died down for quite a while.
. . .
A new chapter in the history of Kadriorg began in 1827. As in earlier days, changes were linked to the arrival of a ruler. In that year, Emperor Nicholas I visited Tallinn for the first time, and was very disgruntled that he could not stay in the imperial palace built by Peter I, as Kadriorg Palace was in such bad condition that staying there overnight was impossible. After his visit, the emperor gave orders to transfer the palace, which Paul I had entrusted to the civilian governor of Estonia, back to the administration of the Ministry of the Imperial Court, to immediately start renovation work on the building and park, and to provide the palace and its annexes with everything necessary.

The reconstruction of 1827–1831 was in accordance with the changes that had taken place in the lifestyle of the imperial family and the court. Family relations, feelings and a natural way of life were considered more important than exterior magnificence. So that guests could enjoy the healthy sea air more comfortably, an awning with curtains was placed on the balcony, the stairs leading to the Flower Garden were replaced by a semicircular enclosed veranda, and a new staircase was added to the seaside wing. All of the rooms were fitted with fancy furniture, bathrooms were installed, lamps, Persian rugs and works of art were brought to Tallinn, and special porcelain sets and glazed earthenware were ordered from the Kiev-Mezhigorsk faience factory. The purpose of rooms was also altered. The most respectable rooms on the main floor in the seaside wing were furnished as the apartment of Empress Alexandra Feodorovna; above her, on the third floor, the living rooms of the emperor and the crown prince were located; the bedrooms and living rooms of the emperor’s daughters covered both floors of the right wing. The 18th-century ceremonial enfilade of rooms became the summer house of a large family.
Kadriorg Art Museum

Goverment House, Adelaide, South Australia

Government House, Adelaide
Publisher: The Valentine & Sons’ Publishing Co., Melbourne & Sydney

Google Street View.

Government House is not only one of the oldest remaining colonial public buildings in Adelaide but it also the oldest Government House in Australia. The eastern Regency Wing was constructed in 1839–40. Government House is the home and headquarters of the governor, the representative of the Queen of Australia. The governor once presided over the government of the colony of South Australia. Meetings of the Legislative Council were held in the governor’s sitting room. The granting of responsible government in 1856 reduced the role of the governor to a largely ceremonial one.
. . .
The first governor’s residence was constructed by marines from the Buffalo on a site between the present railway station and the River Torrens. ‘Government Hut’ was built of timber slabs, wattle and daub, with a thatched roof, calico ceiling and external stone chimneys. Governor Hindmarsh described it in May 1837: ‘I have but one end of my mud hut finished and all my family lay on the floor in one room while two smaller ones serve for Mrs H., myself and a female servant’. Lieutenant-Colonel George Gawler succeeded Captain John Hindmarsh in 1838. Gawler complained bitterly that only half of his family could fit into the hut; the rest being accommodated in tents. Moreover, the hut had only one fireplace and no kitchen, storeroom, servant’s room or outbuilding. Gawler wanted the structure replaced with a much higher standard of accommodation.
SA History Hub

The earliest part of the House to be built was the east wing of the present building. It was completed and occupied in May 1840. Government House is thus probably the second oldest continuously occupied house in the State, after a small cottage in Pennington Terrace, North Adelaide, which was first occupied in mid-1839. When completed, Government House consisted of the present main Drawing Room, Morning Room, Hindmarsh Dining Room, and upstairs there were three bedrooms, a dressing room and two small servants’ rooms. The location of the kitchens and ancillary rooms was in a separate but adjacent building following the custom of the time. These were built on an east-west axis approximately 9 metres to the north of the house. In 1846 there were other additions to the north of this block.
Government House, South Australia

Ballroom Garden, Governor’s Palace, Williamsburg, USA

Ballroom Garden, Governor’s Palace, Williamsburg, Virginia
On back:
In 1724, the Reverend Hugh Jones wrote of the Governor’s Palace <<a magnificent Structure, built at the public Expense, finished and beautified with Gates, fine Gardens, Offices, Walks, a fine Canal, Orchards &c.>> The Palace, its dependencies, and gardens have been reconstructed to their original appearance
Publisher: Colonial Williamsburg, Indianopolis “Made in Switzerland by Atelier Graphique H. Vontobel, Feldmeilen. Imported exclusively by Runca Import Company, Rutherfordton N.C.. USA”

Google Maps.

An official Colonial Williamsburg postcard illustrated with a view looking down from the Governor’s Palace cupola on the formal garden behind the Ballroom Wing. The card offers a view of the formal gardens behind the Governor’s Palace, flanking one side of the Ballroom Wing. These gardens, designed by Arthur Shurcliff, include boxwood parterres and one dozen large cylindrical shrubs known as the Twelve Apostles, a feature often appearing in eighteenth-century English gardens. Near the top of the photo, a pleached hornbeam arbor is visible to the left. Just beyond the arbor is a small structure built into the garden wall that served as a privy (necessary).
John D. Rockefeller Jr. Library, Colonial Willamsburg Foundation

The Governor’s Palace in Williamsburg, Virginia, was the official residence of the Royal Governors of the Colony of Virginia. It was also a home for two of Virginia’s post-colonial governors, Patrick Henry and Thomas Jefferson, until the capital was moved to Richmond in 1780, and with it the Governor’s residence. The main house burned down in 1781, though the outbuildings survived for some time after. . . . Through the efforts of Reverend Dr. W.A.R. Goodwin, rector of Bruton Parish Churc h and philanthropist John D. Rockefeller Jr., whose family provided major funding, the elaborate and ornate palace was carefully recreated in the early 20th century.The reconstruction was based on numerous surviving pieces of evidence. Archaeological excavations of the site revealed the original foundations and cellar, together with architectural remnants that had fallen in during the fire. Jefferson’s drawings and plans from his proposed renovation have survived, conveying the interior plan. In 1929, while the project was already in planning, a copperplate engraving nicknamed the Bodleian Plate was discovered in England’s Bodleian Library. The plate included renderings c. 1740 of the exterior of the palace, along with the Capitol and the Wren Building. Additional evidence included original artifacts and Virginia General Assembly records. The house, outbuildings, and gardens opened as an exhibition on April 23, 1934.

Belvedere, Vienna, Austria

K.K. Belvedere. | Palais Sr.  k. u. k. Hoheit des durchlauchtigsten Hern Erzherzog Franz Ferdinand von Oesterreich-Este. | Wien
Publisher: P. Leclere

Google Street View.

360o Panoramic Views

The construction of the Upper Belvedere began as early as 1717, as testified by two letters that Prince Eugene sent from Belgrade to his servant Benedetti in summer 1718, describing the progress of work on the palace. Construction was so far advanced by 2 October 1719 that the prince was able to receive the Turkish ambassador Ibrahim Pasha there. The decoration of the interior started as early as 1718. In 1719 he commissioned the Italian painter Francesco Solimena to execute both the altarpiece for the Palace Chapel and the ceiling fresco in the Golden Room. In the same year Gaetano Fanti was commissioned to execute the illusionistic quadratura painting in the Marble Hall. In 1720 Carlo Carlone was entrusted with the task of painting the ceiling fresco in the Marble Hall, which he executed from 1721 to 1723.

The unique, overall complex, with its two palaces, the Upper and Lower Belvedere, and their extensive gardens, is one of the most stunning Baroque architectural ensembles in the world. In the 18th century, the Austrian general Prince Eugene of Savoy commissioned the renowned Baroque architect Johann Lukas von Hildebrandt to build a summer residence. After the death of Prince Eugene, Empress Maria Theresa acquired the entire complex and transformed the Upper Belvedere into an exhibition venue for the imperial collections – making it one of the first public museums in the world. The Marble Hall was the venue for important historical events and now offers an unparalleled view of Vienna

Istana Mahkota – Sultan’s Palace, Klang, Malaysia

A photo printed as a postcard so no publisher details or caption

Between 1903 and 1957 there existed an older palace on the same site [as the palace of the Sultan of Selangor], known as Istana Mahkota Puri. It was built in 1903 during the rule of Sultan Sir Alaeddin Sulaiman Shah, who was the fifth Sultan of Selangor, and the design closely resembles the Sultan Abdul Samad Building in Kuala Lumpur. The Sultan went on to live in the palace for 35 years until his death in 1938. In the 1950s it was briefly used as a student dorm for nearby schools. The palace was demolished in October 1957 and soon replaced by the present-day structure.

…taking the reign as Sultan Alaeddin Suleiman Shah, the grandson of Sultan Abdul Samad informed the State Council that he preferred for his seat to be in Klang instead of Jugra or Kuala Lumpur. . . Sultan Alaeddin found Klang’s fort too cramped for a palace site and the existing Malay graves there wasn’t much of a pull to him either. A 25-acre area along Langat Road was deemed suitable. With that site in mind, plans for Klang’s new palace was announced in the papers in October 1898. However, as you know, land matters are not always straight forward and so a new location had to be agreed upon. It was only by March 1899 that a final site was selected on a hill overlooking Klang’s recreation ground.
. . .
Records reveal that two design concepts were proposed by the team, one in a Mughal-Eclectic style reflecting the design of the New Government Office that Hubback and Row had worked on earlier. The other was in European style. Sultan Alaeddin selected the former, but his choice was met with slight resistance from the Secretary General, Henry Conway Belfield, as it was twice the allocated budget, sending Spooner’s team back to the drawing board to revise their design and estimates.

The Klang Istana was officially named as Istana Mahkota. Sultan Alaeddin was formally installed as the 5th Sultan of Selangor at the Istana in November 1903. Construction works at the palace however did not stop then. He had earlier in May 1903 insisted for a building extension, for which an additional $10,000 budget was approved.
Arthur Benison Hubback

Palace of the sultan at Klang near Kuala Lumpur, c.1910 Wikimedia Commons

From behind the veil of the harem peered a curious face, a feminine face, as you might imagine! Strangers in the palace of the Sultan of Selangor are a novelty, and the lady was evidently as curious about us as we, I must admit, were about her. Was she one of the 72-year-old Sultan’s several wives? We wondered.

While the Kangaroo was at Port Swettenham it was my good fortune to be permitted to see the handsome palace of His Highness the Sultan of Selangor, a fine building set on the crest of a green sloped hill at Klang, five miles from Port Swettenham.

One can’t help feeling a little flattered as a handsome, bearded Sikh slopes his bayoneted rifle and salutes at the entrance to the palace. And the surprise of this martial courtesy is still on you as you cross the cool, fern laden verandahs and enter the throne room. Even a man cannot repress a gasp of wonder at this exhibition of Oriental color and pomp. Against a glittering background stands the Sultan’s throne, richly ornamented and brilliantly colorful. Flanking it are the seats for the Resident, the High Commissioner and other dignitaries, all their chairs being richly upholstered in a vivid gold satin. Standing on the marble floor, I glanced round this big, luxurious room, and it was then that my eye caught a shadow behind the veil that my smiling Malay guide informed me in his perfect English was the entrance to the harem. Theshadow took more definite shape, a feminine head peered round the edge of the veil. I almost winked.

The Sultan was not home that afternoon. From this beautiful room we looked through the dining hall (where the photos of the King and Queen of England are displayed on the walls), the sitting room, where the Sultan sits with his wives—-but not always all together-—and then strolled down the slope to see the finest mosque in all Malaya.
Mirror, 23 December 1933, p. 4

The Sultan, who succeeded his father, who died a few months ago, will be crowned In the old palace at his capital, Klang. The Government suggested that a new palace be built before the coronation, but this will be held up until the revenues of the State increase.
Truth, 4 December 1938, p. 21