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.
Our itinerary for Vienna (outside of Eurocup stuff) was to check out as many museums as possible; but it felt very much like you can’t take a trip to Vienna without going to the Schönbrunn.
Commissioned by Leopold I in 1696, it was designed and built to the preferred baroque architectural style at that time, it is heavy and ornate with large sweeping staircases and colonnades. It was intended as a summer palace and hunting lodge not far from the River Wein, and had several halting stages of construction (due to the lack of funds resultant from war with Spain among other Hapsburg trials). Emperor Charles VI gave it to his daughter Maria Theresia who was apparently particularly fond of the place, and it was she who left the largest mark on the estate.
I remember the palace really well from visiting here in 1995 and mostly remember that it was huge, ornate and we had a very cool guide showing us around. It was also a rather quiet place without too many tourists and not a lot of ropes or glass stopping you from interacting with the space (unlike my memories of Versailles that same trip). Everything was about the Empress Maria Theresia, her investment and design decisions regarding the estate and her prolific offspring that were wed to the various royal houses on the continent leading to her being named, the ‘Grandmother of Europe’. Her name was uttered with a thick Austrian accent numerous times in every single room!
Jesus has this place changed… thanks to the Netflix TV services, “Empress”, the entire palace now is all about Elizabeth – also known as, ‘Sisi’, who was married to the Emperor Franz Josef some one hundred years after Maria Theresia. Seriously, you could could be forgiven for leaving here thinking that Sisi built the place and was the only royal to have lived here! The free roaming tour with polite ‘please don’t touch the velvet wallpaper’ signs are gone, and in it’s place is a rigid, timed and structured audio tour keeping you in glass walkways well away from the artefacts. The palace was packed with visitors… though given it was late afternoon, I imagine it is even worse in the mornings.
Oh, and nice overpriced touristy carriage rides on offer around the grounds.
Still it is a lovely building and there is a lot to see here; having recently seen the over the top Nymphemberg Palace, among others, it does all start to feel a bit same-same, though.
The Billiard Room – ‘Franz Jospeh saw himself first and foremost as an officer of his army. Appropriately, the subject of the large format paintings in this room is the Military Order of Maria Theresa, the highest military order of merit of of the Habsburg Monarchy.’ Which was pointed out on the audio-tour… but possibly ignored as everyone is here to hear about Sisi!
Audience Chamber – Here the various emperors received individuals who had been granted a private audience with the monarch. Members of the government, high ranking military officers and court officials were also summoned here several times a week to deliver their reports.
Emperor Franz Joseph’s (aka Sisi’s husband) Study – A host of personal pictures and photographs bear witness to the style of interior favoured by the emperor in his private quarters. Over the course of his long life he amassed in this room a wealth of mementos of his wife Elisabeth (Sisi), their four children and thirteen grandchildren.’
Ketterl Room – the concealed door in the back wall of the study leads into the valet de chambre’s rooms. I’m not sure what a Ketterl is…
Franz Joseph’s Bedroom – the emperor’s bedroom was also where he died on November 21, 1916. The brown is a bit… meh.
Stairs Cabinet – the Stairs Cabinet served Empress Elisabeth as a writing room. Here she wrote her letters, journals and her poetry. The bookcase still contains part of her personal library apparently.
Dressing Room – immediately adjacent to the bedroom, the dressing room was the innermost and most private room in the empress’s apartments. Sisi was known to have a strict diet and beauty regimen to maintain her girlish figure and look after her ankle length hair.
Imperial Couple’s Bedroom – the bedroom in the Italian style that was shared by Franz Joseph and Sisi was furnished and decorated as we see it now, for their marriage in 1854.
Salon of Empress Elisabeth – this was Sisi’s primary reception room. “The Rococo Revival interior is a typical example of the furnishing and decoration of a state room at the Viennese court during the reign of Emperor Franz Joseph.”… and is way too chintzy for me.
Marie Antoinette Room – during the time when Elisabeth occupied these apartments, the Marie Antoinette Room was used as the family dining room for small dinners in the immediate family circle and attended by the imperial couple and their children, and later on their daughter and sons-in-law and grandchildren. So, like a casual breakfast nook really.
Yellow Salon – the Yellow Salon is the first room in the apartments facing the palace gardens. From the windows of these rooms one has a stunning view of the main parterre with the Gloriette as the lofty termination of the vista. <- I did not write that.
Balcony Room – continuing numerous pictures of Maria Theresa and her numerous children. The portraits are from the the studio of court painter Martin van Meytens. This was quite a nice room actually.
Breakfast Cabinet – this little corner room owes its ‘pleasing character’ (according to the audio) to the textile flower pictures set into the wall panelling in gilt frames. It’s lovely, but so delicate and feminine. I think trying to relax in these spaces would just put me on edge.
Salon of the Arch Duchess Portraits – this room is done in a Rococo Revival decor and once belonged to the apartments occupied by Empress Elizabeth. Today it contains the famous portraits of Maria Theresa’s daughters, and is therefore also sometimes known as the Children’s Room.
Large Rosa Room – the three Rosa Rooms are named after the artist Joseph Rosa, who executed fifteen landscaping paintings for the ensemble at the behest of Maria Theresa in the 1760s. See, Maria Theresa did all the work, and somehow Sisi is now the belle of the ball!
Second Small Rosa Room – consisting of one large room and two adjoining smaller room, the Rosa Rooms form an ensemble with a cohesive decor plan.
Great Gallery – Okay, this is pretty great still. It is 43 metres long, and just shy of 10 metres wide, the Great Gallery was the used as an ideal setting for courtly events. The interior is dripping with magnificent gilt stucco decorations and ceiling frescos represents the epitome of Rococo art – which is fabulous, if you like that sort of thing.
Okay, I love the chandeliers! Want one at home, though it may be hard to manoeuvre around given the high ceiling in my house is only about 14’.
Round Chinese Cabinet – half concealed to either side of the Small Gallery lie two highlights among the historic state rooms of the palace; two cabinets lying opposite each other in mirror-image, both decorated with a rich array of works of art from China and Japan… though it ends up being subtlely chinoiserie, as it’s all surrounded in those heavy Rococo frames.
Small Gallery – crossing the central axis of the palace, the Small Gallery, together with the two smaller rooms on either side, made for small salons used for intimate courtly entertainment. I still can’t imagine living in a place like this, how do you decide which room is appropriate for a game of Code Names?
Oval Chinese Cabinet:
Hall of Ceremonies – at the court of Maria Theresa the Hall of Ceremonies served as the Second or Great Antechamber. Here, enthroned under a canopy of state, she received her guests in audience. Today this place is occupied by probably the most famous portrait of Maria Theresa, showing her as the ‘First Lady of Europe’ in a sumptuous gown of Brabant lace. Sumptuous – good word.
Vieux Laque Room – in terms of its art-historical significance, the Vieux Laque Room is apparently among the most important interiors of the Schönbrunn. The black lacquer panels from China lend the room an impression of decadence and magnificence.
Needs more gilt…
Napoleon Room – known today as the Napoleon Room, the room was refurbished several times during the 19thC. When it was restored in 2007 the decision was taken to highlight various phases of its past decoration and make this visible to visitors. I don’t know why it’s called the Napoleon Room, they didn’t say?!
Porcelain Room – this small room served as Maria Theresa’s private writing room. It has a particularly private character and was decorated to her personal tastes apparently. The decor not only displays the empress’s love of the chinoiserie fashion of the times but was partly made by members of her family – it interestingly the most monochromatic area in the entire place, but still full of baroque clutter. .
Millions Rooms – the interior of the Millions Room (named for the Indo-Persian works attached to the walls) is particularly extravagant. In the ceremonial sequence of rooms prescribed for the Viennese court, Maria Theresa used this room, originally known as the Mirrors Room, to receive guests for private audiences. Okay, so the house is definitely all still about Maria Theresa – so why is the advertising, posters, website and gift shop all about Sisi?
Gobelin Salon – both the walls and the armchairs in this room are covered in valuable tapestries; the backs of the seats of the six chairs each show representations together with the signs of the Zodiac… it’s pretty flash.
Red Salon – known today as the Red Salon, this room is decorated in the style typical of the later years of Emperor Franz Jospeh’s reign. The room is characterised by the wall hangings and upholstery in ‘court damask’, a red silk damask with a design based on a pineapple like central motif.
Rich Room. The Rich Room does its name full justice, on display here is Maria Theresa’s state bed with its lavishly embroidered covers and hanging. Love it!
Salon of Archduke Franz Karl – a glass door allows a view into the corner salon, which is decorated with life-size portraits of Maria Theresa’s children.
I didn’t take a lot of photos of the corridors and staircases (I say staircases for there are several!), but there are plenty of statuary placed around the common areas of the palace, much of which doesn’t have any plaques informing visitors of the artist or the content. Though this one is most likely Hercules defeating the Lion.
All up a cool, slightly confusing visit to the Shönbrunn… I wish I had taken some pictures of the gift shop and the posters around the palace that were all, ‘Sisi this, Sisi that!’ Poor Maria Theresa, how was she to know she would need a better post humours PR machine 300 years after her death. Netflix, you have a lot to answer for!
En route to Vienna today we decided to take a small detour to the town of St Florian to have a quick look at the St Florian Monastery and Collegiate Basilica. It stands out across the landscape from the highway into town.
Gothic representation of the St Florian Monastery.
Both the monastery and the market town of St Florian owe their names to Austria’s earliest named saint. Florian was the chief official to the Roman Governor, Aquiline at Lauriacum, about five kilometres from the Roman Capital of Ufernoricum. When Christian persecution broke out under Emperor Diocletian, Florian and forty unknown Christians were imprisoned for their faith. Despite intense torture, Florian remained steadfast. Finally, in the year 304, he was weighted with a stone and thrown into the River Enns to drown. His companions died in the dungeons.
Legend has it that Florian’s corpse was washed ashore and found by a woman named Valeria who carried it away on an ox art. His body was buried on the spot where the Monastery of St Florian stands today.
During excavation work in the crypt of the collegiate basilica in 1952/53, wall fragments, Roman roof tiles and traces of fires dating back to Roman periods were found, confirming that the building activity on this site dated back to Roman occupation. There is no historical documentation of St Florian during the time of the Barbarian invasions, but records tell of a small wooden church built over Florian’s grave. This church may have been destroyed by the Avars and replaced by one made of stone. It is not known exactly when or by whom the Monastery of St Florian was founded.
The earliest indications of the monastery have been found in books and documents dating back to around the year 800AD. Magyar invasion and material hardship caused repeated difficulty for the small community of monks here in the 9th and 10th centuries. Thus in 1002, encouraged by the Empress Kunigunde, Emperor Henry II donated a ‘hide of land’ to alleviate the brothers’ needs at the monastery. The original document of this bestowal of land is persevered in the monastery archives.
In 1071, Bishop Altman of Passat (1065 – 1091) ushered in a new era for the monastery when he committed it to the Augustinian order that was held in high regard rafter the reformation had begun at the Cluny Abbey in Burgundy. The main occupations of the community became collective prayer, the solemn celebration of divine office, the caring for and curing of souls, and the cultivation of art and science. After the destruction of the monastery by the Hungarians, Bishop Altman had the wall and roof of the church renovated. It was later severely damaged by fire in 1235; a fire that was alleged to have been caused by the negligence of the retinue of Bishop Rudiger of Passat (1233 – 1250).
His successor Provost Bernhard (1224-1240) oversaw the restoration of the church to its former state as well as enlarged the crypt (closed today). The chancel above was vaulted in a new style that gave the nave a flat ceiling. Many of the community were dismayed by the flat ceiling and for good reason… in 1250, the chancel (after fifteen years of work), collapsed tearing sections of the walls down with it.
As a result of this, the canons wanted to abandon the church and vacate the monastery. But Wibirg, a female hermit who had been living ‘a saintly life’ secluded in a cell near the church for 41 years, convinced the community of monks to stay and rebuild the church. It wasn’t until around 1275 that the canons found the will and funds to begin rebuilding the Gothic collegiate church into dimensions that largely correspond to those of the Baroque church here today.
The hermit Wibirg didn’t live to see the re-consecration of the church. She died on December 11th, 1289.. As the patroness of the monastery she is still venerated and invoked by the community of monks today; her remains are in a sarcophagus in the crypt of the collegiate basilica.
The organs in these churches are usually off limits, but this was accessible today as there was a large crew of people setting up for a musical performance…
Views down into the nave from the organ loft.
The consecration of the Gothic collegiate church occurred on June 15th 1291 by Bishop Bernhard of Passau (1285 – 1313). An enormous medieval church feast was held to celebrate and records indicate that tens of thousands of the faithful from all over the entire diocese of Passau attended. The tower was only built after the church was completed in 1320. The four bells were cast in 1313 and 1319 and are still in use today.
The Gothic church has been the religious centre of the monastic community for more than 800 years. It has been the destination of innumerable pilgrims from far and wide who sought the sanctuary of St. Florian; the highly venerated saint is a protector of borders and the patron saint for protection against fire and floods.
The Sacrament Chapel:
Baroque representation of the Monastery of St Florian.
Very sadly… and I mean *very sadly*, we didn’t have time to go through the entire monastery and as such we missed the opportunity to see one of the most beautiful libraries in the entire world.
‘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.
