Kroměříž is first mentioned in 1110. It has a large square, whose focal point is a baroque-style column raised in the middle in order to mark the end of the plague epidemic in 1680. Next to it there is a fountain, part of the town’s water supply, dating from 1665 yet modified several times. The City Hall building and a long row of Renaissance style houses and Art Nouveau façades border the square; yet the bishop’s palace, with its large, splendid gardens, included on the UNESCO heritage list, is clearly the most impressive of all.
There is nothing spectacular about the Naarden square. It is an irregular, not particularly large space, unfolding around Grote Kerk, a red brick church built in the northern Gothic style of the 15th century, dedicated to St. Vitius before the Protestant Reformation. Nevertheless, this church is among the oldest in the Netherlands, surviving a fire after the Spanish invasion of 1557. In the square, to one side of the church, lies the statue of Comenius, who was born in Naarden. At one corner of the square there is a Renaissance-style city hall, decorated with allegorical human figures. Even if this square is nothing special, as a whole it is spectacular. Markt is the centre of a star-shaped fort, surrounded by a double row of water ditches.
This city maintains the traces of successive borders. The walls surrounding the centre were torn down in the 15th century, but their original positions can still be seen, marked by the “muurhuizen”, the clay wall-houses. Linear suburbs have grown outside the old city, along the main roads. In time, the spaces between these and the city were filled up, and the city itself expanded even further, beyond the highway. At the centre stands the square, Marktplein de Hof.
Šibenik is no exception among the towns on the Dalmatian coast. It did not originate as a Greek colony, nor was it founded by Illyrians or Romans, but by the first Croats to settle here. Yet its later history is not very different from that of other coastal towns, impacted by the arrival of the Ottomans, the Venetians, the Kings of Hungary and the Habsburgs. But the Slavs always remain the dominant element in the citadel. For a time, the Istro-Romanian community was numerous here.
The square has distinct nuances and is considered the most beautiful in present-day Croatia. It contains two sections, one of which was the church square, whereas the other was the centre of secular power and, although close to the shore, it was never a port. The important landmarks of the square are the Renaissance-style palace, and especially the Church of St. Jacob, which is part of the UNESCO list.
Trg Luža, the large square in Dubrovnik, lies at the end of the largest artery crossing the citadel from west to east, called Stradun or Placa. Each extremity represents a point of entry into the citadel, marked by a gate and a square. This structure, clearly visible in an aerial photograph, is linked to the way the city was once built. Ten centuries ago, Stradun’s current path was a canal separating the old Greco-Roman colony Ragusa, which was established on an island, from Dubrva, the settlement of the continental Slavs. In the 11th century, the canal was silted and the two communities became one, although their rivalry and mutual contempt would never disappear. A century later, they were still found within the same walls. In accordance with the classic plan of the process of synoecism, the main square was shaped at the geographical contact point between the two communities. Thus, Trg Luža was born and this was also the place where the most important historical buildings would be: Orlando’s statue, the Palace of the Rector, the Sponza Palace, the Clock Tower, Onufri’s small well. The well’s street unites Luža square with the second most important market, Gundulićeva Poljana, which was built much later, after the earthquake of 1667. Although planned separately, the two squares make up a system.
Assisi,famous due to Saint Francis, is, through its positioning, yet another exception to the rule of Etruscan settlements. It lies not on a hill, but on a steep side of Mount Subasio. It also holds its own “secrets”. For one, its shape, irregular like any medieval square, represents the shape of the town in miniature. A coincidence, yet a profoundly symbolic one in the town of Saint Francis. Then, it has a special continuity, for it stands on the site of a Roman cistern. The temple of Minerva also dates from the Roman period, converted into a church in 1539 and admired for its proportions by architects and by Goethe as well. Although not planned this way, the buildings are all nearly the same height, which creates the sensation of unity. There is a single exception, the medieval tower next to the temple of Minerva, which makes the square visible from any corner of the town.
San Marco Square lies at the edge of the largest and lowest island in the Venetian lagoon and is the only square in the city which is called piazza, with all the others being called campo. It has two distinct zones, yet their function may not be understood without considering the whole, which actually makes them inseparable: the square itself and the San Marco plaza, which connects to the sea through the molo, the pier. Piațeta dei Leoncini, with a side marked by the northern wall of the Basilica, opposite to San Marco square, has functioned (and still does) as a continuation of the square itself, and thus has a less palpable identity. It received its name quite late, after statues of lions, sculpted from red Cottanello marble, were brought into its centre in 1722. The initial nucleus is essentially represented by San Marco plaza, initially planned as a square and courtyard of the Doge’s Palace in a time when the spot of the current Basilica was taken only by a palace chapel. The space of the square itself appeared only after the 1156 clogging of a river which cut the actual perimeter in two, and the square became a Square only after Venice underwent a number of historical changes, the steps of a communal psychological transformation. Today it is probably the most photographed square in the world, with over 12 million tourists every year.
The history of Aristotelous square began with a fire that destroyed two thirds of the city in 1917. Until that point – due to centuries of Ottoman rule – Thessaloniki was an Oriental city, with no square. Moreover, any attempt to design one had been thwarted by the impossibility of demolishing an area which had been built too densely. However, what cannot be achieved by architects can be accomplished by fire. The project was prepared by Frenchman Ernest Hébrard in 1918, but finalised only in 1950.
Herceg Novi (Castelnuovo in Italian) is not new as the name claims, but rather quite old, for it was founded in 1382 on the site of a fishing village by the Bosnian King Stephen I, which is also the name of this town’s central square. The Turks conquered the town in 1482 and remained there for two centuries, with a brief Spanish interlude. The town came under Venetian rule in 1687, then passed to Austro-Hungary. After that, Herceg Novi was temporarily ruled by Napoleon, the Russians, and Mussolini, and then became part of Yugoslavia. Its history, though not in its entirety, can be found in its square. It is paradoxical square, for it was built in a typically Italian style, with a splendid Orthodox church in the middle, surrounded by palm trees. Unofficially, the name of the square is Belavista. From there the sea is visible, as well as an Ottoman clock tower, a Spanish fortress, the bell tower of the Catholic church and the lower part of the city.
Náměstí Svornosti is a small, 45 x 60 meter square. Beautiful but unexceptional, grouping a number of houses with Renaissance façades, it has a baroque column and is bounded on one side by the arches of the old City Hall building. The town, called Krumau in German, grew around the splendid castle, whose first historical mention is encountered in a 13th century poem. The castle has always remained the focal point, whilst the square held a secondary role, which accounts for its size, also determined by its location on a bend of the Vltava river. But it too remains a key element in the fairy-tale like atmosphere of the settlement, which has become renowned across the world and, thus, invaded by far too many tourists for such a small town.
Elburg’s square is the result of an intersection between two main arteries, and reproduces on a much smaller scale the quadrangular shape of the city. Elburg has perfect geometrical proportions, thought out in such a way that its measurements link to the golden number[MOU1] . The city, whose shape has remained unchanged, was built between 1392 and 1396, and is unusual for the Middle Ages, as all of its roads are linked both to the city’s edges and to its square, which lies exactly at the geometric centre of the quadrangle.
This square has an important role in the social and economic life of the Leira community, for it is filled with cafes and terraces, where numerous events are organised. The square’s pavement is considered one of the most beautiful in Portugal. In medieval times, the square held seasonal fairs.
This is a square filled with life, bars, shops, taverns, terraces, restaurants. Built between 1821 and 1851 in a neoclassical style and surrounded by identical buildings, with three levels and a colonnade, it is called Plaza Nueva, in contrast to the city’s medieval square, and measures 3400 square meters. The functionalist style of its buildings and the absence of rich decoration reflect the ideas of the Enlightenment, for the square was planned at the end of the 18th century, although its construction began a few decades later. The first architect of the square was Silvestre Pérez. The space gives one the feeling of a giant yet intimate palace salon. Every Sunday, Plaza Nueva hosts a flea market.
This square is among the largest in Europe, and bears the name of King Ottokar II of Bohemia, who in 1256 founded the town, called Budweis in German. The Black Tower, built in the 16th century, and the Cathedral of Saint Nicholas are found in its south-eastern corner. The Baroque City Hall building lies at the opposite corner of the square, whilst its central point is occupied by Samson’s Fountain, featuring elaborate Baroque decorations. Completing the square are 48 houses with coats of arms; a beer factory; and a salt market.