For a few years now, there’s been two things I wanted to experience in Japan… 1) go to a sumo wrestling event and 2) go see a Hatsune Miku concert and find out how that works and what the big deal is. So when we were making plans for this trip and found out that Hatsune Miku was going to be ‘playing’ in Brisbane literally the day we get home from Japan, it kinda felt like we had to go.
For anyone who happens to stumble accidentally over my dribble driven blog, and is unfamiliar with Hatsune Miku, the whole thing is totally weird, and also very typically Japanese. Hatsune Miku is a Vocaloid (a vocaloid is a like a digital software voicebank, in this case one that was developed by a company called Crypton Future, which is capable of talking and singing entirely with a large pre-reordered database of vocal data). Hatsune Miku is officially known as CV01, and is a likeness of a 16 year old Japanese girl with extremely long turquoise hair that she wears in huge long pigtails. The personification of Hatsune Miku has been very cleverly marketed and branded and is effectively a virtual rockstar or teen idol? The representation of Hatsune Miku perform at “live virtual concerts” (oxymoronic much?) on a stage as a high tech animated holographic projection. The image is rear projected on a special glass screen… so we are effectively all here to watch a big TV screen with a pretend pop star playing a pre-recorded show that is synced to live music; cos yes, there’s a back up band!
Yale and I had really good seats actually, we were in the stalls, probably about 25 rows deep. We got a great view of the hologram, and it afforded us an opportunity to really observe the crowd – which I found quite twice as fascinating as the show. I did feel like I was Jane Goodall amongst her subjects though, just completely fascinated by how enthralled and engaged the audience was with this ‘artist’.
Cos Hatsune Miku is computer generated, I got AI to create me a selfie of me as Jane Goodall observing the concert… stupid AI wouldn’t make me into an age appropriate Jane Goodall though, would it?! But other than the grey hair and the obvious wrinkles, yeah not a bad representation. 😁
The music was largely unfamiliar to me, if you want to see Hatsune Miku videos, there’s heaps of them on YouTube, and it’s all super poppy, with high pitched young squeaky voices… not my thing at all – which is probably evident when you consider the only other concerts I’ve been to this year are Rammstein and the Hu..!
She (I don’t know?! Can you misgender a holographic vocaloid?) also had a bunch of holographic vocaloid friends that were part of the show too (I’m reluctant to say they ‘performed’, for obvious reasons!). So I spent the show watching the quality of the display, but also watching the crowd, and they were soooo into this!
My iPhone coped really well with the lighting conditions, the projection and the 30m or so to the state to get some great renderings of the rendering!
Hatsune Miku is a cultural phenomenon in Japan, I would have loved to be able to go to one of these shows in Japan to see how over the top the crowd was, but I imagine, in order to be right up in the middle of it, I would have totally bawked at the cost of tickets. As it is, we were surrounded by fans who had the offical Hatsune Miku Glowsticks that look like this:
They sell for AUD$60 each and were sold out FIVE HOURS before the concert started! They’re literally a strange little torch with LED light/s that have a colour changing function. And (this was the weird bit to me), every single one of the fans who had these Glowsticks knew exactly what colour to change their Glowsticks to for each song *and* they all knew a routine of movements for waving their Glowsticks that went with each different song! 😮
There were some who didn’t have Glowsticks that literally filmed the entire show from beginning to end, and I don’t think looked up at the stage directly hardly at all…
And there was this lovely lady right beside me who didn’t smile once during the concert, but appeared to be in an almost trance-like state of concentration waving her stick. She was in the zone!
This couple in front of us had bought the VIP Premium ticket that came with a Hatsune Miku souvenir pack containing a Glowstick and a short, lightweight Miku kimono. There was one guy a couple of rows in front of us and a bit to the right, who was wearing a full length Hatsune Miku kimono that obviously was something he owned from a previous event or shopping expedition, who had SIX of the Glowsticks and was holding three in each hand and was almost conducting the audience behind him in keeping everyone’s the actions in synch! It was fascinating to watch how excited these kids were; I’d like to say it was a diverse crowd, but it really wasn’t… it was super saturated with cosplayers and gamer types (and some of their parents playing chaperone!).
There was even some duet acts… I have no idea how they kept the holographic display in synch with the live music, but it all went without a hitch and the holograms looked like they were singing without any lag or hiccoughs.
One thing that was very different from a traditional concert was the speed with which Hatsune Miku and friends could do a costume change! Holey moley there was some quick changes going on! Complete with huge change in hairstyles. 😆
At the end of the show, and two encore songs, there was a huge explosion of streamers from the roof which spooled out like a massive bukkake of white from the ceiling, and had the kids scrambling to try and collect some up to take home!
All up, it was fascinating to attend. There was probably less than 3000 people here, I can’t imagine what seeing this would be like in Japan or Korea with a crowd of tens of thousand. Amazing! Quite the unique cultural experience, and rounding out the end of our trip to Japan really … weirdly, I guess. 😛
So, now I guess I have to try harder to get to some sumo wrestling next time we are in Japan!
Driving from Yugawara to Hakone proper today, up some beautiful winding mountain roads. I noticed from my last trip to Japan that when you’re out and about in a car, and you encounter gorgeous scenery, there are rarely places to pull over and enjoy the view. In Australia, lookouts seem to be everywhere there’s even a slight elevation in the road, along with some big board of information to tell you what you are looking at. Here they seem very few and far between.
Looking back towards Tokyo.
The elusive Mt Fuji! Sadly, without any snow on top… apparently it’s the first time in 130 years there has been no snow on Mt Fuji in October. Signs of rapid climate change are all around us. The hovering low cloud is reminiscent of so many iconic Japanese prints and artworks.
These guys pulled up in their car and at first I was like, ‘Hey! Way to block the view!’, but they have a cute little K-car so we forgive them.
When we arrived in Hakone, we did a quick scout out of the Hakone Checkpoint area. The Hakone Checkpoint was originally an inspection facility during the Edo period (1603-1868) and was dedicated to keeping the city of Edo (Tokyo as was) safe. There were up to 50 checkpoints scattering across the country during this era but most were abandoned when the Edo Period ended. From what I’ve read the Hakone Checkpoint is the only one that has been restored. It was rebuilt and renovated in 2007, using the traditional building tools and techniques from the Edo Period. I am planning on coming back this way in a couple of weeks to visit the site – but so not going near it on a public holiday weekend!
The little shopping street leading up the Checkpoint has many craftsman who create the traditional ‘Yosegi Zaiku’ workwork that has its origins in the mountains of Hakone. The craft has hundreds of years of history and is designated as a special Japanese cultural treasure, and utilises naturally different coloured timber laid out in intricate geometrical designs and patterns to make complex and beautiful timber products.
Hakone Karakuri Musuem – showcases the techniques used to make the Yozegi Zaiku masterpieces. There is a small museum which displays how the history of the techniques date back to the Edo period, and it was as much as 1000 years ago that local craftsmen began to gather in Hakone to take advantage of the wide varieties of wood available in the mountains here. Initially, the timbers were used to create furniture, but around 200 years ago a noted craftsman named Jinbei Ishikawa developed a technique of co-mingling different colours and grains of woods to make boards and then cut them into thin slices of timber veneer. These thin boards containing the intricate designs are then glued to various boxes, trays, coasters and what have you, to create these beautiful marquetry pieces.
Planes used to create the thin slices of timber decorations.
The work is so beautiful, and showcases some serious woodworking talent.
After checking out the marquetry and resisting buying anything to carry around for the rest of the trip, we sought out something fishy for lunch. We found a sushi restaurant near the Checkpoint, called Daimasa Honten. It was rated 4.2 on the Googles, which is damn near impossible in Japan. The Japanese are notoriously harsh on rating restaurants, they will never complain about food they are served, but they have very high standards and seem to often feel, ‘things can always be better!’ Which seems to sit with the Japanese ideals of perfectionism quite nicely. Anyway, if you’re in Tokyo and see a restaurant with over 4 stars aggregate reviews on Google, just know that’s damn near impossible – and you should go there, the food will be amazing. This place however, could just be lucky enough to have lots of western tourists visiting who are more free and easy with their praise!
I chose a unagi and tuna rice bowl, that is supposed to look like a dragon.. and while the picture on the menu was sort of dragon like if you squint at it from the right – mind did not! 😀 Nevermind though, it was super fresh and really tasty. So all is good with the world.
Yale ordered a donburi set full of all good things. All up, a delicious meal and for a fairly reasonable price (compared to what we would pay for similar in Australia, though admittedly kinda touristy priced for Japan).
After lunch, we took a drive to get to Kitanozake Saryou, and made a quick detour to a photo point on a small side road near the “Old Tokaidō ROad, Ancient Cedar Avenue”. We managed to get some beautiful views of Lake Ashi towards the famous Hakone Tori Gate, and Mt Fuji in the background. As luck would have it, one of the very touristy and famous pirate ships was coming past and made for some beautiful iconic Japanese photos.
Togendai Station – where the ships come in.
Had to do a quick stop at the konbini for some saké… and I’m always amused at the strangeness available at the local shop. Spam nigiri? Hotdog in a bun complete with ketchup and mustard, and how long has that been sitting in that bag? Yikes!
Yale found this enormous chocolate waffle ice cream monstrosity… don’t let the Yale for scale throw you off, this thing was easily as big as my hand!
While in the area for a few days, we took the opportunity to visit the Hakone Venetian Glass Musuem also known as the Hakone Glass Forest or the Ukai. It is located in Sengokuhara in the Ashigarashimo District and I thought the idea of a Venetian glass museum in Japan was going to be something seriously odd… and well, I always love me a bit of absurdity in the morning.
And all these objects are before you even enter.
This is an Insta-famous archway is made entirely of crystals. It is quite striking when the sun hits it, but today it was quite overcast.
I saw this curly white glass sculpture in the middle of the lake and was immediately reminded of Dale Chihuly’s work… but didn’t think that likely as it was a Venetian glass collection, yes? Only to walk around the corner and find a plaque confirming that yes, it is actually a Chihuly.
The Venetian Art Glass Musuem.
I don’t know what this cascade of glass flowers is called or when it was made – but it was interesting.
Glass perfume bottle in the carriage – Italy, c.1860.
Compote bowl and lid in filigrana a reticello techniques. Italian, undated.
Wine glass in filigrana a reticello. Italy, c. 17thC
Glass ship hot work. 18thC Venice.
Mosaic of Doge Niccolo Marcello. This mosaic has a portrait of Niccolo Marcello, who was Doge (admiral) from 1473 to 1474, in the centre. Marcello Marcello’s portrait was repeatedly painted by Venetian painters such as Gentile Bellini and Titian in the 15th and 16th centuries. This mosaic was probably modeled on a portrait painted in a Venetian workshop.
Bottle in rock crystal with two handles, c.16th.
Cave a parfum. c.1870.
Glass rose water sprinkler, 18-19th C.
Insense burner with painting cicada and chrysanthemums, c.1840.
Bottle enameled with figures parading, c. 1500 AD.
Porcelain perfume bottle decorated with florid motif. C. 1760.
Black figure aryballos fragrant oil bottle, c.6thC.
Glass bottle with decoration, c.1C AD.
Toilet bottle, c.1stC AD.
Double head glass flask, c.1stC AD.
Porlain perfume bottle with enamels, c.1891-1920.
Glass perfume bottle “boy hon Fleur’s de Pommies”, c.1919.
Pair of glass perfume bottles in an enamel case, c.1770. This portable perfume set, which was popular at the court during the reign of King Louis XVI, is an extremely elegant case made of octagonal gold with beveled corners and decorated with a tortoiseshell pattern of scattered gold stars. It contains two glass perfume bottles with gold caps. The small gold funnel in the center is used to pour the blended perfume into the bottle. This piece was made as a special order for a French aristocrat.
Set of four glass perfume bottles with ornament case. Italy 19thC.
Mirror in glass mosaics, c.19thC.
Pommander, c.1630… is this made of glass??? I’m not seeing it.
Lamps in Millefiori glass, c.1910.
The Venetian Glass Rose Garden…
All the roses are made in glass… it’s really quite pretty and unfortunately very Insta-worthy. It took some patience to get some photos without the selfie crowd about!
’Le Tre Grazie’, c.1996 : Three bubbles inside the sphere emit rainbows when exposed to light – a eulogy to purity and feminine grace.
The gardens are really pretty and when the sun did peak out from behind the clouds, the sparkling in the glass forest was truly striking.
Onions and Reeds Installation, Dale Chihuly, c.1941.
Such a striking sculpture, and from the ‘40s – it’s hard to believe it’s as old as it is given the nature of the medium.
We also had a chance to go for a walk at the Hakone Open Air Museum. I am not super fond of modern art, but I think expected things to be a little less out of place than the Venetian glass!
“Girl with Rooster” – Shin Hongo (Japanese), 1962, bronze.
”Grandson of the General” – Seibo Kitamura (Japanese), 1918, bronze.
”Eva” – Francesco Messina (Italian), 1949, bronze.
”Pavillion Sculpture” – Max Bill (Swiss), 1969, white granite.
“Van Gogh Walking Through the Fields” – Ossip Zadkine (Russian/French), 1956, bronze. As I approached this piece, I saw the worn face and the heavy accoutrement and assumed it was going to be a heavily laden fighter with weaponry, it was only as I got closer I could see it wasn’t guns he was carry, and wasn’t until I saw the plaque that it was like, ‘Oh wow, did I read that wrong.’
”Great Prophet” – Pablo Gargallo (Spanish), 1933, bronze.
There is a world famous Picasso museum here, which is full of paintings, ceramics and even tapestries – most of which is created by Picasso himself, and some of which is inspired by the movement. To be honest, I’m not a huge fan. I can understand and appreciate the intent and important of most modern art; it’s just not that appealing to me, personally. Also – no photos. Sad panda face ensues.
Symphonic Sculpture (below) – Gabriel Loire is an 18-meter-tall tower covered entirely in stained glass made from shards of thick glass broken by hand with a hammer. “The intricate designs and patterns allow the outside light to pass through it in complex refracting motions, creating a beautiful, fantastical world.” Oddly, we have perfect weather for this – bright contrast outside makes photographing stained glass tricky.
It’s pretty spectacular… but no Saint Chapelle!! 😛
”Two Piece Reclining Figure: Points” – Henry Moore (British), 1968-70, bronze.
”Family Group” – Henry Moore (British), 1948-49, bronze.
”Miss Black Power” – Niki de Saint Phalle (French), 1968, polyester resin, paint.
“Close III” – Anthony Gormley (British), 1993, iron. I LOVE this piece! It’s so simple and yet speaks to me. The artist’s statement, not so much, but the figure itself. 🙂 ‘The artist recreated his body in iron. The rotatation and orbital revolution of the Earth produces centrifugal force and gravity binding it to the ground.’ Sure… but to me it speaks of years of exhaustion and chronic fatigue and pain.
”The Boxing Ones” – Barry Flanagan.
“Two Eggs” – ??? I have a note here somewhere…
”A Grand Story” – Giuliano Vango (Italian), 2004, Carrara marble.
“Intersecting Space Construction” – Ryoji Goto (Japanese), 1978. FRP, iron and paint – inspired by wire mesh and in praise of human connections.
The Kaiserliche Schatzkammer or the Imperial Treasury of Vienna! Where we are hoping to see all the things that we have seen copies of so far! lol For people into medieval embroidery or early medieval gold work, this place really is a treasure trove. I was super excited to be here, before we even entered the building.
Tabard of the Herald of the Princely County of Tyrol -Johann Fritz (embroider) Vienna, 1838, Silver lamé, velvet, gold, silver and silk embroidery, silver fringing braid.
From the Left: 1) Staff of the Grand Controllers – Southern German, 1600-1610. 2) Staff of the Grand Steward of the County of Gorlzia – Southern German, c.1660. 3) Staff of the Hungarian Grand Equerry – Vienna, 1700-1725. 4) Staff of the Grand Comptroller – Vienna, 1835. 5) Cane of the Grand Equerry – Vienna, 1790-1800. 6) Staff of a Master of Ceremonies – Vienna, 1800-1850. 7) Staff of a Junior Master of the Table – Vienna, 1800-1810. Staff of the Grand Master of the Table – Vienna, 1835. 8) Staff of a Master of Ceremonies – Vienna, 1800-1835. 9) Staff of a Grand Master of Ceremonies – Vienna, 1850-1900…. Wood or cane, bronze, gilded, and silver mounts.
The Hereditary Banner of Austria. Austria, c.1705. Silk, damask, embroidered with metal and silk threads.
Keys of the Imperial Chamberlain, from 1711 to 1918. As a sign of their privileged status chamberlains at the Habsburg court wore a key that symbolized their access to the ruler’s chambers. The office of chamberlain was reserved to members of the high nobility. The holders of this office belonged to the “first society” and were part of the emperor’s retinue at official ceremonies. The falconer’s gear as well as the tabards and staffs on view here are similarly the insignia of various officials or families in the hereditary lands and indicate their rank and status.
Dog Collar, Insignia of the Grand Master of the Hunt, Vienna, 1838. Velvet, leather gold embroidery. Mounts silver mounted.
Austrian Archducal Coronet of Joseph II, c.1764. Silver glided, diamonds, semi-precious stones removed. As early as the reign of Duke Rudolf IV (1339-65) the Habsburgs pursued the goal of being raised to the dignity of archduke. Their claim was finally recognized in 1453, and the archducal coronet, an insignia resembling a crown became the official symbol of Habsburg rule in the hereditary lands. Such an insignia was created for Archduke Joseph in 1764 based on medieval models. The coronet’s gold foil frame, or “carcass”, is exhibited in this room. The jewels were soon removed from the coronet to be used for other purposes.
Insignia for the Hereditary Grand Master Falconer, Vienna, 1835. Leather, velvet, gold braid, gold embroidery and feathers. Falconers pouch and two falcon’s hoods.
Tabard for the Herald of the Roman King, Vienna, 1600-1650; gold lamé, satin, gold embroidery, finger border, glass beading.
Tabard for the Herald of the Roman Emperor, Vienna, 1613 and 1719. Gold lamé, silk and glass.
Tabard for the Herald of Emperor Francis I Stephen, Vienna, 1775-1750. Velvet, satin, gold and silver lamé, gold silver and silk embroidery, gold and fringe border.
Tabard for the Herald of the King of Bohemia, Vienna, 1600-1700. Velvet, gold and silver embroidery, fringing braid, glass beading.
Tabard for the Herald of the King of Hungary, Vienna, 1600-1700. Silver lamé, gold, silver and silk embroidery, fringing braid.
Crown of Emperor Rudolf II, later crown of the Austrian Empire Jan Vermeyen goldsmith, Prague, 1602. Gold, enamel, diamonds, rubies, spinels, sapphires, pearls, velvet
Imperial orb for the crown Rudolf II. Andreas Osenbruck goldsmith, Prague, 1612-1615. Gold, enamel, diamonds, rubies, sapphire, pearls.
Sceptre for Emperor Matthias for the crown of Rudolf II. Andreas Osenbruck Goldsmith, Prague, 1615. Ainkhürn (narwhal tooth), gold, enamel, diamonds, rubies, sapphire, pearls.
Ceremonial robes of a Knight of the Hungarian Order of St Stephen, Vienna, c.1764. Velvet, fake ermine, gold and silver embroidery, gimped embroidery in gold.
Robes of a Knight of the Austrian Order of Leopold, Joseph Fisher (1769-1822), Vienna, c.1808. Gros de tours, fake ermine, gold embroidery, metal foil, ostrich feather, silk
Mantle of the Austrian Emperor, designed by Philipp von Stubenraüch (1784-1848), Vienna, c.1830. Velvet, gimped embroidery in gold, Paulette’s, gold braid, ermine and silk.
Robes of a Knight of the Austrian Order of the Cross, designer Philipp von Stubenraüch (1784-1948), Vienna 1815/16. Velvet, silver embroidery, leather silver embroidery.
Conronation vestments of the Kingdom of Lombardy and Venetia, Designer Philipp von Stubenraüch (1784-1848), Vienna, 1838. Velvet, gimped embroidery, gold, ermine, moiré, gold and silver embroidery.
The Robes worn by King of Bohemia as Elector, Vienna or Prague, c. 1625-1650… Mantle, gloves and matching ermine hat.
Jewellery Box of Empress Marie Louise, Paris, 1870, silver gilded velvet. Martin Guillaume Biennais (1764-1843) and Augustin Dupré (1748-1833).
Marie Louse, Empress of the French (1791-1847). Francois Pascal Simon Gerard, Paris, 1812, oil on canvas.
Cradle of the King of Rome, Paris, 1811. Silver gilded, gold, mother of pearl, velvet, silk, tuile, gold and silk embroidery. Designers and craftsmen: Pierre-Paul Prud’hon (1758-1823), Henri-Victor Roget (1758-1830), Jean-Baprise-Claude Odiot (1733-1850), Pierre-Philippe Thomire (1751-1843).
Ewer and Basin used for Imperial Baptisms, Spanish Master, 1571, gold and partly enamelled.
Egg Cup form the estate of King Louis XVI of France (1754-1793), Paris, c.1774/80. Silver gilded.
Family Tree showing Kings and Emperors from the House of Habsburg. Gold and chalcedonies. Tree: Vienna, 1725-30. Intaglios: Christoph Dorsch (1675-1732), Nuremberg, 1725/30/
Cameo showing the Portrait fo Emperor Franz I – Giovanni Beltrami (1777-1854). Made before 1840. Onyx, and enamelled gold.
Set of Jewels from the estate of Archduchess Sophie (1805-1872), Paris, 1809/19. Gold, silver, diamonds, emeralds, topazes.
Emerald Unguentarium, Dionysius Miseroni, Prague, c.1641. Emerald 2860 carat, enamelled gold. ‘As early as the 17th century the 2,680-carat emerald vessel was regarded as one of the most famous objects in the Imperial Treasury. The tremendous value of this unique showpiece, whose lid was cut out of the jewel’s interior, is illustrated by the story that Genoese jewellers declined to value it as security for a loan which Emperor Ferdinand III (1608-57) sought, avowing that they were not accustomed to dealing with such large pieces.’ Sadly the light in here is so bad, that I had to pluck an image off the internet.
Crown of Stefan Bocskay, Turkish, c.1605. Gold, precious stones, pearls and silk.
Case for the Crown of Stefan Bocskay, Turkish, c.1605. Fabric: Persian, c.1600, wood and silk.
The “Two Considerable Treasures” – Emperor Ferdinand I (1503-64) bequeathed to his successor, Emperor Maximilian II, two treasures of special importance: an enormous agate bowl (about 50cm across), and the “Ainkhürn” or unicorn horn. It was laid down that these two pieces would forever remain in the possession of the eldest male member of the family in perpetuity as ‘inalienable heirlooms’ and could not be sold or given as gifts.
Agate Bowl, Constantinople, 300-400AD. Carved from a single piece of agate.
“Ainkhürn”or Unicorn Horn. Ferdinand I received the “Ainkhürn” as a gift from King Sigismund II of Poland in 1540. During this age the mythical unicorn was thought to be an actual animal, which might only be captured in a virgin’s lap. The unicorn was thus regarded as an allegory of Christ, and its horn a symbol of divine power, from which secular dominion was derived. The horn, which was also thought to be an antidote to poison, was traded in Europe at tremendous prices. Only in the 17th century was it recognized that what had been believed to be unicorn’s horn was in fact the twisting tusk of the narwhal (Monodon monoceros).
Christophorus Relief, Upper Rhine, c.1475-1500, cast copper, gold-plated, glass stones.
Chalice from the Propety of Emperor Maximilian of Mexico. Circle of the Rondino Di Guerrino, Sienna, c.1375. Silver, gold plated copper, pit enamelled.
Late Gothic Chalice, Hungary, c.1500. Gold plated silver, gemstones.
Chalice with the Motto of Emperor Friedrich II, Southern Germany likely Nuremberg, 1438. Gold plated silver.
Blue Tunicella (Dalmatia), Palermo, Royal Court Workshop, 1125-1150. Silk, gold embroidery, small gold tubes, gold with cloisonné enamel, pearls, tablet weave.
The semi-circular Coronation Mantle of red silk was produced in Palermo in the 12th and early 13th centuries; with its depiction of a lion subduing a camel, the long, richly embroidered outer garments-blue tunicella and white alba-as well as shoes, stockings and gloves together with the belt reflect, (in part based on their inscriptions in part on other evidence), a connection with the Norman kings of Sicily. The overall design and elements of the decoration are derived from the court attire of Byzantine emperors. The older textiles probably came to the Empire through the Hohenstaufen emperor Henry VI. He married the Norman princess Constance in 1186 and became king of Sicily in 1194. In the empire they were apparently thought to be priestly vestments, used for coronations and complemented by additional textiles.
Coronation Mantle, Palermo, Royal Court Workshop, 1133/34. Samite silk, gold and silk embroidery, pearls, enamel, filigree, precious stones, tablet weave.
OMG… finally a chance to see this! I’ve been looking at pictures of these objects in books for nearly three decades. I can’t believe I get to see them in person.
The Eagle Dalmatic, South German, c.1330/40. Red silk twill damask, embroidery in silk, gold, small axinites.
The Stola (below) imitates a ‘loros’ an older type of textile of Byzantine or Norman origin. The six metre-long sash of yellow silk was decorated with black imperial eagles in medallions, only one of which has been preserved. Differently than the original manner of wearing the “loros”, in the medieval Holy Roman Empire the long sash was worn as a priest’s stola, that is forming a cross across the breast. This can be seen in Albrecht Dürer’s famous portrayal of Charlemagne (Room 11). The purple Dalmatic is embroidered with eagles and crowned heads. In this way the wearer of the garment is associated both with the heraldic beast of the Holy Roman Empire and his predecessors as king.
Alba, Palermo, Royal Court Workshop, c.1181 with later additions. Taffeta silk, Samite silk, fold wire embroidery, pearls, precious stones and tablet weave.
Stole, Italy, before 1328. Louise silk, gold threads, pearls, silver gilded appliqués with graduation, champlevé enamel and glass stones.
Imperial Cross, Western German, c.1030. Body: oak, precious stones, pearls, niello. Base: Prague, later additions c.1352, silver gilded enamel.
The Burse of St. Stephen, Carolingian, 800-833. Wooden body, gold, precious, stones, pearls.
Room full of extant herald’s tabards! Mostly 1700s, but just gorgeous.
Herald for the King-At-Arms and Herald of the Archduchy of Brabant, Brussels, c.1717. Embroiderer: Louis Almé. Velvet, gold lamé, appliqué, gold embroidery and fringing braid.
Herald’s Tabard for the King-At-Arms and Herald of the Duchy of Burgundy, Brussels, c.1600-1700. Velvet, silver lamê, fringing braid.
Tabard for a Herald of Maria Theresia (First King at Arms), Brussels, c.1742. Embroiderer: Eldens. Velvet, gold and silver lamé, appliqué, gold, silver and silk embroidery, gold braid.
Tabard for the First King-At-Arms of Archduke Albrecht, Sovereign of the Netherlands. Brussels, c.1599-1621. Velvet, gold and silver lamé, appliqué, gold silver and silk embroidery, fringing braid.
Emperor Maximilian I (1459-1519) – Bernhard Strigel (1460-1519), German, c.1500. Oil on Limewood.
Charles the Bold, Duke of Burgundy hoped to succeed Emperor Frederick Ill on the throne of the Holy Roman Empire. To achieve his aim, he assented to the marriage of his only daughter Mary to Archduke Maximilian, the emperor’s son and heir. The wedding, however, only took place after the duke’s death in 1477. Mary and Maximilian’s son Philip was born on 19 April 1478, ensuring the “Burgundian heritage” would ultimately remain with the House of Habsburg.
Mary, Duchess of Burgundy (1457-1482) – Francesco Terzio, Southern Germany, c. 1600 terracotta.
Tapestry Showing the arms of Emperor Charles V – weaver: Willem de Pannemaker, Brussels, c.1540. Wool, silk, gold and silver thread.
Tabard for the Stattholder First King-at-Arms, called Towson d’Or (Golden Fleece), Brussels c.1580. Velvet, gold and silver lamé, gold, silver and silk embroidery.
Order of the Golden Fleece Knight’s Chain, Burgundian-Netherlands, c.1435-1465. Gold and enamel.
Potence Chain of Arms of the Herald of the Order of the Golden Fleece, Netherlandish, c.1517. Gold and enamel.
This is one of the most beautiful heraldic objects I’ve never seen. I’ve admired it for years… never thought I’d be able o see it.
I am completely unapologetic for the amount photographs that I took and have added here!
Just when you think the Schatzkammer has delivered up all it’s treasures – the next room contains only some of *the* most famous embroidered objects ever created. I like did a double take when walking in… it was like the first time I saw the Cluny Tapestries all over again. They are so amazing and so beautifully preserved! Just fucking spectacular!
Liturgical Vestments of the Order of the Golden Fleece. Cope of the Virgin, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet. Hood depicting the virgin.
Liturgical Vestments of the Order of the Golden Fleece. Dalmatic, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls and velvet.
Liturgical Vestments of the Order of the Golden Fleece. Cope of Christ (Pluvial), Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet. Hood depicting the Almighty.
Liturgical Vestments of the Order of the Golden Fleece. Casula, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet.
Liturgical Vestments of the Order of the Golden Fleece. Cope of John the Baptist, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet. Hood depicting John the Baptist.
Liturgical Vestments of the Order of the Golden Fleece. ABOVE: Antependium (rear panel), Burgundian, c.1425-1440; the Trinity, prophets and apostles. BELOW: Antependium (front panel), Burgundian, c.1425-1440; Mythical marriage of St Catherine Embroidery on linen, metal and silk threads, pearls, pastes (glass).
Phew! Man, I haven’t been a smoker since May 17th 1997… but damn, after that I need a cigarette and a good lie down. Back out in the Real World, I had to make do with some bratwurst and a Coke Zero! What an amazing visit! I think this has now officially out paced the Museé de Moyen Age as my favourite museum.
Paderborn in a small town on the way to Hanover. It’s known for its beautiful Catholic cathedral – The High Cathedral of St Mary, St Liborious and St Kilian belonging to the archdiocese of Paderborn. The church is built in the late Romanesque and Gothic styles and is at the centre of the town above some springs, called the Pader Springs.. and well, you gotta stop for lunch somewhere! So why not choose a town with a famous medeival cathedral!
The cathedral is dedicated to three saints – namely, the Vigin Mary, St Kilian and St Liborious of Le Mans. Liborious is also the first patron of the city and his bones were brought from France to Paderborn in 836 by Emperor Louis the Pious – as part of what was a traditional relic dispersion. Relics were sent to various regional diocese to provide places/things for parishioners to pay homage and tribute to, and to make pilgrimages to see. I find it rather interesting that the remains of revered saints and religious personages were taken and scattered all over the countryside; the only other group of people who had their remains separated and sent to the four corners of any given kingdom in the medieval period were traitors and high criminals. Figure that one out!
Paradise Portal, done in the Romanesque style, c.1160.
The Paradise vestibule and Paradise portal are in the southern extension of the church. Built in the second half of the 12thC it is now twice as large today as it was in the 1860s. It has been used as a resting space for pilgrims on their way to the Santiago de Compostela, and there are many similar porches on French churches and cathedrals at other pilgrimage churches en route to Santiago.
The Cathedral was rebuilt from the 11thC, along with the Ottonian Imperal place in the region with large vaulted ceilings. The vaults of the Paderborn Cathedral are surprisingly uniform, given its window configuration doesn’t appear to possess the same symmetry… there’s some architectural trickery going on here.
Sadly, there wasn’t a lot of information around the church to explain objects to visitors. But on the other hand, it’s possibly because it’s more of a working cathedral and not a heavily toursited area, so that’s a bonus for the locals.
A decidedly non-medieval looking pulpit. Fair guess to say it was a later addition.
A Bishop Badurad had a crypt built into Paderborn Cathedral, which dates back the 1100AD. Although it was redesigned in the 13thC it remains on of the largest hall crypts in Germany – which is surprising because it doesn’t seem overly large compared to the sorts of crypts you see in France and Italy?
Under the altar of the crypt is an ebony shrine containing the relics of Saint Liborious (in the small box above – we couldn’t access that area).
On the opposite side of the crypt is an anteroom to the Bishop’s Crypt, which is decorated with mosaics from 1935. Though modern, the mosaics create a beautiful space around a gravestone which contains the replics of a Bishop Meinwerk; past the anteroom is the actual crypt of all the Paderborn Bishops. It is this unusually mosaic’d crypt that attracts most visitors to Paderbornerdom. It is actually quite beautiful, and has a decidedly art deco style to it.
At the centre of the Bishops’ Crypt is a Pieta, which is flanked left and right with two enormous bronze plates listing all the names of the Paderborn bishops right up to the 20thC. The bronze plates start with names of Bishops all the way back to the 900s, and the bones of all the previous bishops rest in a collective grave in the floor. It’s incredible to see this historical record going so far back.
The Chapel of St Joseph dates to the 14thC and was initially dedicated to the Three Magi.
The town of Paderborn is really quite cute and very sleepy. The centre of the Marktplaz has a fountain called the Neptunebrunnen Fountain, reminiscent of the Neptune fountain in the centre of Gdańsk. This fountain was originally built in 1730 by Johann Theordor Axer and reconstructed in 1979 by Joseph Rokis.
I love the details in medieval buildings surrounding the Marktplaz… very cool medieval rainbow mosaic.
Onward to Hanover…
Checked into our hotel and immediately went looking for a beer hall… we had decided to skip lunch as we spent too much time in the Cathedral, which put us on the hunt for Hanover’s best currywurst and jagerschnitzel!
Angus was very happy with his wash – my schnitzel was nice, the mushroom sauce was good, but not Heidelberg good… I am going to get mightily sick of the piles of fried potato that comes with every meal (I don’t eat them). Thankfully, we are here smack dab in the middle of erdbereen season – so there’s fresh strawberries everywhere for very cheap! They tasted even better than they looked if that is possible.
Cologne Cathedral is enormous! Like most important cathedrals and churches in Europe, it was built on very early Christian sites. In this case, on the site where early Roman Christians met in Cologne around 300AD. The building as it exists today wasn’t started until the high gothic era – around 1248, and unlike many other cathedrals that took hundreds of years to complete, the build plans never changed.
It’s hard to imagine that everyone who worked on the construction of this magnificent cathedral all knew that they would never live to see the endeavour completed. The plan to build the cathedral was started in 1164, when there was an agreed upon transfer of some relics to the town. In 1225, the planning for a bishop’s residence and pilgrimage church were established, and the prior building (from the 9thC) was demolished. In 1248 the foundation stone was laid.
In the 1360s building work slowed down, as the foundations were completed and some areas of the cathedral were already consecrated and put to use as a church. It wasn’t until the 15thC that the south steeple was completed at a massive height of 58m tall. Around 1530, work on the cathedral came to a halt all together as most of the ground floor, the nave, the choir, transepts and two lower storeys became usable.
And it pretty much stayed in that condition until 1794 when the French Revolution troops invaded and the archdiocese of Cologne was abolished. The cathedral was temporarily used as a fodder storage room and also as a makeshift prisoner of war camp! It wasn’t used as a church again until 1801, and the archdiocese wasn’t reestablished until 1821.
Construction eventually resumed on the cathedral in 1842 to be finally completed in 1880 – and all still to the exact same plans that were laid out in 1225! Which is just unbelievable when you think about how difficult it is to get a committee of five people to agree on how a fucking bus shelter should be built these days… let alone be able to keep an enormously intricate build of this calibre, going to the original plans and specifications for over 600 years and generation upon generation of architects, stonemasons, builders and who knows how many other masters and craftsmen, involved. It’s simply amazing.
In WWII, Cologne was reduced to rubble, and the cathedral was severely damaged by numerous bombs. Entire bays of the vaulted ceilings were collapsed and various windows were blasted out. One bomb tore an enormous hole in the western facade and destroyed a supporting buttress which was hastily stored up with makeshift bricks. Due to the construction techniques though, the bulk of the cathedral was able to withstand the shock of the blasts and vibrations. At the end of the war, it stuck out of a massive field of debris and destruction, looking largely undamaged compared to the rest of the city.
These windows were created in 1884, and based on a designed by Johannes Klein. Six of the eight windows were destroyed in WWII and remade in the 1990s.
This picture does not come close to conveying the sense of enormity and proportion this cathedral has. It feels as big as the Hagia Sofia, or the Florence Cathedral, the only other medieval cathedral that I remember feeling this overwhelming sense ginormity is possibly St Peter’s in the Vatican.
Altarpiece of St Claire, c.1350-1360. Oldest existing retable that contains a tabernacle for holding the sacraments. Originally came from the former Franciscan convent of St Clare and has resided in Cologne cathedral since 1811.
The ‘swallows nest’ organ was built in 1998 to commemorate the 750th anniversary of the Cathedral.
Crucifix of Gero (because… donated by some Bishop Gero c.976). At over 1000 years old, and considered one of the first larger than life size sculptures of the midlands, it represents Christ in the moment of death, through which mankind was redeemed. The Baroque altar was added in 1683 by Canon Heinrich von Mering. The Crucifix was said to be miraculous, and has been especially venerated over the centuries.
Statue of Grace depicting Our Lady, decorated with jewellery – also known as the Schmuckmadonna (great name!).
I just can’t get over the scale of this place.
Altarpiece of St Agilolph carved timber and painted. Antwerp c.1520. From the former collegiate church of Our Lady at the Steps (St Maria ad Gradus).
St Heribert’s Shrine, c.970. Heriberto was born in Worms to Count Hugo and Tietwista – his maternal half brother was Heinrich, Bishop of Wurzburg. Silver, gilded, gold, precious gems and enamel, Cologne. It is under glass and has a rope around it so it ws difficult to photograph – but stunning enamel work!
St Christoper statue, Tilman van der Burch, c.1470.
Intricate mosaics cover 1,350sqm of the cathedral floor and are based on designs by August Essenwein – and created and laid 1885-1892 by Villeroy and Boch in Mettlach (believe it or not!). Villeroy and Boch… not just overpriced crystal! 😉
The Altarpiece of the City’s Patron Saints – originally created c.1445 the triptych is attributed to Stephan Lochner, Cologne. The central panel portrays Adoration of the Magi flanked by St Ursula and her companion, St Gereon, partron saints of Cologne.
Altapeice of the Magi, Wilhelm Mengelberg, c.1892.
From the crypt below the cathedral:
Visitors are able to climb the 533 steps into the south steeple for amazing views over the city of Cologne. It brings you to 100m above the ground…needless to say, me and my bung knee didn’t make the climb, but Angus did.
The Cologne Cathedral is truly impressive; it’s no wonder it was included in the original 1978 listings of World UNESCO Heritage sites. It was declared endangered in 2004 as there were plans in place to build several high rise buildings close to the Cathedral, but it was delisted from being endangered in 2006 when city planners thankfully came to their senses and put a limit on the height of modern buildings near the cathedral. It would have drastically altered the city skyline had they built up right beside it.
Some clever fundraising… hearts with the flags of all nations. For some reason, people can’t help themselves but pop some coins onto their own flags. The American heart even had a bunch of USD$1 notes plonked on it.
The Cologne Cathedral also has a rather impressive collection in their Domskammer / Treasury, which was an amazing labyrinth of tunnels underground at the back of the cathedral.
Reliquary monstrance. Cologne, c.1500. Silver, copper, gilded, rock crystal and glass.
Reliquary of the Cross from St Mary ad Gradus. Constantinople, mid-end of the 12thC. Figures, wings and ornaments, Cologne, c.1240. This reliquary was reset in the late Romanesque times with pieces of a Byzantine relic casket containing pieces of The Cross.
Shrine of St Engelbert. Goldsmith: Conrad Dulsbergh. Casket Designer: Jeremiah’s Geisselbruhn. Relief Designer: Augustin Braun Cologne, 1633, silver, partly gilded.
Reliquary of St Vincent de Paul, c.1800, silver, gilded.
Reliquary of the Cross with spectacle-glass. Workshop of Hans von Reutlingen, Aachen, 16thC. Silver, gilded, spectacle-glass.
Statue of a deacon holding a reliquary of King Melchior. 16thC, Cologne. Silver, gilded, glass reliquary, bronze, partly gilded, silver plated, precious stones.
Hammer and trowel, Wilhelm Pullack, Cologne, c.1842. Silver and ebony. These tools were used by King Friedrich Wilhelm IV of Prussi when he laid the foundation stone for the completion of Cologne Cathedral on 4th Sept 1842.
Shrine of the Magi, Cologne, late 12thC. inner wooden construction of the sharing, oak, glass, copper, gilded.
Reliquary Monstrance with links from St Peter’s Chains. Cologne, c.1500, Silver, copper, gilded, rock crystal and glass.
Necklaces/Collars of the Mayors of the city of Koln Cologn, 1954-1955. Gold, niello gold and silver gilded on bronze and garnet.
The Domskammer really feels like you’re walking around in a medieval vault.
Left: Crosier of Philippus Cardinal Krementz, Archbishop of Cologne (1885-1899) – Unknown artist, Rhineland, 1868, silver, gilded and enameled. Centre: Crosier of Herman Jospeh Schmitz, Auxiliary Bishop of Cologne (1893-1988), – Peter Oediger, Krefeld, 1893, silver, partly gilded and enameled. Right: Crosier of Hubertus Theophilus Samar, Archbishop of Cologne (1900-1902) – Gabriel Hermeling, Cologne 1892, silver, gilded, enamel, precious stones.
Left: Chalice Franz Christoph Mederle. Augsburg. c. 1750. Silver, gilded. Right: Chalice, Augsburg, late 18thC. Silver, gilded.
The Lamb of the Apocalypse. Johann Heinrich Rohr, Cologne, c.1774-1780. Silver, brass, partly gilded.
Monstrance. Franz Christoph Mederle, Augsburg, 1749/51. Pendants: c1516. Gold, silver, gilded, and precious stones.
Necklace c.1657. Donated by Archbishop Maximilian Heinrich as jewellrey for the Schmuckmadonna. Christian Schweling, Cologne, gold, enamel, previous stones
Matching bracelet – also by Christian Schweling, Cologne, c.1657.
The Sumptuous Monstrance. Christian Schweling, Cologne, c.1657/58. Destroyed in 1975 when theives broke into the Treasury and reconstructed by Peter Bolg 1978-1987 using original pieces. Gold, silver, gilded, enamel, rock crystal, precious stones, pearls.
Epitaph of Jakob von Crzny, Brussels, c.1518. Bronze, gilt, brass and enamel.
Bust Reliquary of St Gregory of Spoleto. Cologne, c. 1500. Silver party gilded, gold ring with precious stone.
Bust Reliquary of St Sebastian. Franz Wusten, Cologne, c.1875. Silver, partly gilded, enamel, precious stones.
Reliquary of St Walburga. Wilhelm Sittmann, Cologne, c.1765. Silver Gilded.
Reliquary. Johann Heinrich Rohr, Cologne, c.1766. Silver, gilded.
Two Angels as Candleholders. Cologne, c.1500, Brass, silver, partly gilded.
Left: Censer, Rhineland, c.1500, silver. Right: Censer, Cologne, late 16thC lid, 20thC charcoal holder and foot. Silver.
Chalices all from Cologne. Left: 15thC silver/gilded. Centre: early 14thC, silver/gilded. Right: late 15thC, silver/gilded, enamel.
Monstance, Cologne, c.1400. Silver, gilded, enamel, mother of pearl. Donated to the Cathedral by Maria Theresia Schaefhaueun in 1846.
Electoral Sword: c.1480-90. Sheath: c.1515-1547. Cologne, Silver, partly gilded, enamel, steel, velvet. Gothic Bishop’s Crosier: Cologne, c.1322. Silver, partly gilded, enamel. The bishop’s crosier and the electoral sword are the symbols of spiritual and secular authority of the archbishops of Cologne. The Crosier is from the consecration of the Gothic Cathedral Choir in 1322. The sword from the reign of Archbishop Hermann von Hessen (1480-1508).
Details of above:
Chalice with paten and spoon. Heinrich J Wilma. Düsseldorf, c. 1893. Silver, gilded, enamel, precious stones and pearls.
Chalice with paten and spoon, Franz Wusten, Cologne, c.1888. Silver, gilded and enamel.
Altar braid from the High Altar of Cologne Cathedral. Cologne, completed prior to 1518. Silk, and gold threads. The altar braid was believed to have been bestowed by Dean of the Cathedral, Friedrich von Simmen-Sponheim. The coats of arms of his parents are appliquéd onto both ends of the braid.
Fragment of the canopy of the Madonna of Milan, Cologne, c.1280/90. Limestone with traces of colouration.
Four apostles of the jamb of the portal of Cologne Cathedral, c.1375. Limestone Behind: Saints Andrew, Peter, Paul and John. Front: Angel with a bell, St Catherine, a Prophet.
Detail: the Prophet.
Prophet from the reading desk in the choir of the cathedral. Cologne, c.1300. Tuff with colouration.
Grave goods from a Frankish woman’s tomb. Located under the inner choir during renovations in 1959 were these objects belonging to a young woman of approximately 28 years old. Personal objects were burning with noble perons at that time and included these lavish jewellery items.
Rosette brooches. Gold, garnets. Frankish.
Strap tags from cross garterings. Gold and garnets.
Bow brooches, gold, garnets.
Spherical pendant. Gold, rock crystal or moonstone. Frankish.
Six Capitals – Master of the Laacher Samson, Cologne, c.1200. Limestone.
Dalmatic and stole from the Capella Clementina. Paris, c.1742. Silver fabrics, gold embroidery.
Pluvial and five mitres of the Capella Clementina, Paris, c.1742. A forty-four piece trousseau of silver fabrics and gold embroidery. These splendid vestments were ordered in Paris by Clemens August von Wittelsbach, Archbishop of Cologne on the occasion of the coronation of his brother, the Emperor Karl VII – 12th February 1742.
Chasuble and mantle of the Capela Clementina, Paris, c.1742. Silver fabrics and gold embroidery.
Pectoral Cross and ring. Johann Bernhardt Clausius, Frankfurt AM, c.1769. Silver, precious stone.
Burse with the Virgin on the Crescent. Germany, late 19thC. Silk, gold and silver threads.
Cope of the Angels Vestements. Germany, c.1713. Silk, gold and silver threads.
Book Cover, Johann Franz Weissweiler, Cologne, early 18thC. Silver.
Book of Hours, Early 17thC. Leather, silver, gilded, iron.
St Peter’s Banner, Wilhelm Mengelberg (design), Minna Peters (worked), Neuss, c.1899. Cotton, silk, gold and silver metal threads, glass stones and pearls.
Magi’s Banner. Wilhelm Mengelberg (design), Minna Peters (worked), Neuss, c.1899. Cotton, silk, gold and silver metal threads, glass stones, pearls.
Chasuble with coat of arms of the Hirzelin Family, Cologne, c.1480 (appliqué work). Ground cloth replaced in 1963. Silk, linen, gold and silver metal threads.
Pluvial brooch with a figure of St Hubert. Gabriel Hermeling, Cologne, c.1892. Silver, gilded, enamel.
Crosier: Belonging to Johannes Cardinal Geissel (Archbishop of Cologne 1842-1864). – Made by Gabriel Hermeling, Cologne, c.1862. Silver, gilded, enamel. Mitre: Belonging to Johannes Cardinal Geissel (Archbishop of Cologne 1842-1964). – Unknown artist, Lyon, c.1850. Silk, gold, glass stones .
Magi’s Chasuble. Joseph Grossé, Bruges, c.1901. Silk, gold and silver thread.
1) Mitre of Joseph Hammels, Auxiliary Bishop of Cologne, 1924-1944. Germany, c.194. Silk, gold threads, glass stones. 2) Bishop’s ring of Antiochus Cardinal Fischer (Archbishop of Cologne 1903-1912), made by August Witte, Aachen, c.1904. Gold and precious stones. 3) Crosier of Peter Josef Lausberg (Auxiliary Bishop in Cologne 1914-1922), made by Leo Moldrickx, Cologne, c.1914. Silver, enamel, precious stones, ivory, pearls.
Large Plate, Friedrich Toussaint, Aachen, c.1900. Silver, gilded, enamel.
Dalmatic, Peter Hecker (design) Cologne, c.1922. Erica Freund (embroidery), Cologne, c.1927. Silk, gold, threads, steel, pearls and glass pearls.
Pluvial accessories. Peter Heckler (designer of the cope) Cologne, c.1922. Erika Freund (embroidery), Cologne, c.1927. silk, gold threads, steel pearls, glass pearls.
After the cathedral and the amazing Domskammer – we made sure to take a break and visit the famous Peter’s Brauhaus for pork knuckles and schnitzels! Of course. It was a really cool place, great facade on the building and they have a massive overflow dining area across the road, up the street a little and in the square – which was packed at the moment due to all the football fans that are here for the 2024 EuroCup but aren’t using the Fan Zones.
We managed to get a table inside.
I wanted to see the stained glass ceiling, and I did, but it was packed with people and it was impossible to get a photo of it without snapping all these folks mid-forkful, so, below is a pic I unscrupulously stole off the internet.
Naturally I went for a schnitzel, which was such a polite portion of food compared to Angus’ enormous pork knuckle dinner! So much potato though – didn’t eat any of it. I’m going to look like a schnitzel by the time we leave Germny… the cuisine here is not ideal for someone who doesn’t like sausages and refuses to eat bread or potatoes. 😛
Totally forgot to take an ‘after’ picture – he demolished that thing!
