Revolution is knocking at the door

 

Revolution is knocking at the door

La Puerta de Alcalá, en Madrid (1778).

By Francisco Gutierrez and Roberto Michel 

La Puerta de Alcala is a declaration of intentions from Carlches III. He destroyed the last gate and erected this monument on Indepedization square. 

The building was made with stone, cut in shape to form half-round arcs. The composition is very horizontal, and the heavy rock is designed to intimidate with its echoes once you stand below it. 

The decoration follows the classic themes, with Doric and Jonic column heads. The flower crowns reference the grandiosity of the monument, along with the sculptures that represent the virtues and the royal shield. In addition, it mimics the roman triumph arcs from the roman empire that can also be found in Spain. 

It was built with the sole purpose of being a monument for the city. It welcomes people to the city and serves as a front to the Paseo del Prado street and the Cibeles fountain. This particular style is borrowed from french and Italian models. It is an opposition to the local baroque and Churriguerra style. It was differentiating itself to reinforce the new dynasty that followed a more modest and conservative philosophy.

There was an intense fear from part of the monarchy of experiencing a revolution like what happened to France, so this monument was a tool to reinforce their power and significance to the public. It is not meant to be appreciated in the middle of some gardens; it symbolizes the city and its ruler. Something so big and great that it would last for centuries. 

The moment has a whole separate history of destruction. Its stones hold holes and bullets from the many revolutions it has lived through, including the Spanish Civil war. 

In this case, The gate was meant to keep revolutionary ideas at its doorstep. Proof of its work is the perseverance of the royalty inscription at the top.

Brandeburgo´s Gate, Berlín (1788).

The Branderburgo´s Gate has also witnessed the conflicts that changed the city. It has seen the rise and fall of monarchs, manifestations, and fascist mobilizations. 

It was built in 1792 and was a monument that would substitute one of the frontier gates of the wall. It would be a genuinely monumental symbol of the city. The inspiration behind its structure comes from The Propileos from the Athenas Acropoly. They are classical gates that welcomed people to the Parthenon. That is why we find the Doric columns and a floor plan like the peristyle, a gallery form but columns from Athens. 

The bronze sculpture depicting Nike, the classical goddess of victory, was added two years after the gate was built. She stands proudly on a podium, driving a car. The horses are guiding her to the city's center. Unfortunately, this sculpture was lost during WWII when the monument was severely damaged and had to be restored. 

Arguably one of the most famous symbols of victory, these gates had a similar purpose to the ones in Madrid. However, the potent symbolism and promise of success motivated later generations to shape how the gates were seen worldwide. A display of power by the royals, as a warning of victory no matter the cost or the importance of two cities, brutally separated for years. 

Undoubtedly, the neoclassical themes were and still are of great relevance. 

El Borbon Palace, P.aris (1722)

Although it is not strictly a gate, I chose to include it for its formal similarities with the previous ones. The palace was a commission by Luisa Francisca of Bourbon, daughter of Luis XIV. The Italian architect Giardini made the original design, who brought the classical style with the corinthian columns and the front full of sculptures. Even more similar to Athena's Pantheon than have discussed before.

This building has a lot of history: it was taken by the french revolution during 1798 and nationalized. It later became the polytechnic school until it was converted to the headquarters of the five hundred. A hemicycle was built inside for this reason. It briefly returned to royal hands again during the regime of Charles X but made its way to the national state definitely in 1827. It played a significant role during the second republic and during WWII.

In this case, the palace was created as a luxury residence for the monarchy, but it was later repurposed as a national school that would help young Parisians study. A reflection of what the illustration was all about. I found it significant that the government used it as a national organism to discuss public matters.

The royals were evicted, and the gates to culture, philosophy, and government were open.

Webliography:

https://elpais.com/espana/madrid/2022-07-26/la-puerta-de-alcala-tendra-visitas-guiadas-gratuitas-durante-su-proceso-de-restauracion.html

https://humanidades.com/clasicismo/

https://sdelbiombo.blogia.com/2008/120402-carlos-iii.-el-monarca-ilustrado-a-ratos.php

All images are from Wikipedia.