Tag Archives: church

Goslar und Wernigerode

Posted on by
Reply

It’s Monday, in Europe… and you know what that means! Everything is closed!

So as much as was possible, we arranged for today to be a transit day between Hanover and Berlin with some drive through visits to a couple of small towns in the Hartz Mountain areas for a bit of a sticky beak knowing that we’d get to these villages and likely nothing would be open. All good – day of scenic driving it is.

First stop was the town of Goslar, which is mostly known for its super cute medieval altstadt (old town) and its half timber houses. There is also an Imperial Palace here with historic murals (Monday: closed) and a cool church St. Cosmas and Damian with some fragments of 13thC stained glass windows (Monday: open). The area is also known for its silver and copper mining in the Rammelsberg Mountains which have been operating for over 1000 years in the area (which does my head in, because *nothing* is that old at home!), and there’s a Mining Museum in the area (Monday: closed), and a cool underground railway with waterwheels and stuff (Monday: closed), but most of that will just have to wait until I come back and visit the area at some time in the future. Which I totally intend to, because this place must be so fairy-tale cool during December when the Christmas Markets are on.

The Altstadt was really beautiful – perfectly preserved, beautiful brick and timber buildings with slate roofing, and pretty little turret windows everywhere.

Most of these buildings are restaurants with small holiday accomodations above.

The cobblestone streets and squares are gorgeous to look at, but not a lot of fun when you’re having problems walking. Stupid fucking knee; can’t wait to get it sorted.

There’s civic art and then there is this ‘thing’. It’s right outside the tourist information office and beside the old church – but with no placard or explanation whatsoever. It seems really out of place. It is apparently called the “Goslar Nail Head” and no one is quite sure what it means, but I have a feeling it’s nothing good!

The market church in Goslar is a Protestant Parish church called, St Cosmas and Damians. It is named after those two saints who were early Christian doctors believed to have performed many miraculous healings of sick people in the Asia Minor region in the 3rdC AD. The two saints are considered to be the patron satins of the sick, as well as doctors and pharmacists. The church itself is first mentioned in historical documents from the 12thC but the construction of the existing church is predominantly 14th-15thC work.

This guy started playing the organ not long after we entered the church – it’s amazing listening to these enormous instruments filling the space as you visit.

These are apparently 12thC stained glass panels from the original church – which would be super impressive if I hadn’t just been in Saint Chapelle in Paris just a few weeks ago! I’m so lucky!

It is a very pretty little church to explore, but compared to the majestic cathedrals of most cities in Europe, it is a fairly quick visit.

I would definitely like to come back here in winter for the Christmas markets – the more you wander through the town centre, it has a really lovely atmosphere and every street has a beautiful old world medieval feel to it. It’s a gorgeous place.

I was remarking to Angus on how the Cologne Cathedral was built across a period of over 600 years with the same design and architecture, but spanning over generations of people all sticking fastidiously to the plan even though they would never be the people who would see the project completed… and I compared it to the difficulty you have these days getting even five people to agree on what a bus shelter should look like?! Well, apparently in Goslar they don’t have that problem – someone/s here have decided that a throne is integral to superior bus shelter design! 🙂

This cute little hotel is called the Romantix Hotel Alte Münze – and I took some pics of it because it is the perfect location and exact amount of quaint I will require for my next visit! 😀

This little train runs tourists around the town to see all the old buildings… bit Disneyeque imo, but no doubt some with young children would enjoy it.

As we were getting ready to leave – there was a parade coming through the town. We have’nt been able to ascertain what exactly it was to celebrate/honour, but there was a drummer and lots of flautists and a fair bit of prideful pomp and costume.

Love me some good heraldic banners!

After this it was back on our scenic route to Berlin via Wernigerode.

We passed many ‘unsightly’ windmills that were no doubt killing birds and upsetting whales or whatever the fuck that ridiculous orange-cockwaffle keeps saying about renewable wind energy equipment. :/

We also went through loads of beautiful countryside with corn fields, wheat field and (because, Germany and beer!), fields filled with hops!

Wernigerode is another village which has a fabled timber housed old town, including a cool medieval Town Hall or ‘Rat Haus’ (Monday: closed) and a well known, leaning old Crooked House. There’s also the Wernigerode Castle (Monday: closed), and a wee musuem (Monday: closed), which has views to the town, but we didn’t drive up as everything is shut up there. You gotta be somewhere on a Monday when you’re travelling and being on a drive may as well be it, but it’s sad to be so close to lots of cool stuff and it’s shut. We did see the Drei Annen Hohne train station, where the Brockenbahn steam trains run to Mt. Brocken, and this was open, but we didn’t really have time to go tootling around on steam trains for the entire afternoon… not when we were chasing some food, having skipped breakfast, and still had to make it to Berlin (and preferably before peak hour!). 🙂

This fountain was a little hard to decipher – apparently that is the Branch of the Past which has witches and Roman gods on it (there were witch trials held in the Hartz Mountain areas, so there are witch motifs all over here and Goslar – on food labels, on souvenirs, everything), and on the other side is this weird dude who represents the future and he has a frog apparently, though Lord knows why? Might need to dig into that a bit later at some other time!

The Marktplaz… and (closed) Rat Haus.

So many restaurants to choose from – but as you get closer to them, you discover most of them are cake and coffee shops, designed to sit and watch the world go by. The ‘world going by’ was notably rather quiet today – because MONDAY!

The very empty town square which must get extremely busy in full Christmas season also.

We ended up at the Wernigerode Brauhaus for lunch – and we got a very quizzical and confused look from the publican when neither of us ordered a beer! Upon looking around, everyone was sitting in front of a large stein of something. Oh well… neither of us particularly like beer, so it’s all so thoroughly wasted on the two of us. Instead, it was schnitzels and burgers for our main meal of the day, and skipping dinner tonight I think. I can’t seem to order a meal without pommes frites so usually ended up sending back a plate full of fries.

This is the tourist information office in Wernigerode. What a cool little building.

I like these – I think Brisbane needs one. Wait, we might have one somewhere, I’d never know! Never played tourist in Brisbane because I think of it as somewhere ‘with no cool shit to see’. 😛

The castle overlooking the town with an ominous sky… after a brief wander around and a stop for lunch we hit the road to head to BERLIN!

Berliner Dom – I’ve been here before, but it’s on the agenda for Angus to visit tomorrow.

Berlin is a very beautiful city full of gorgeous old buildings – which never fails to boggle the mind when I consider how heavily bombed the city was in WWII. The efforts and funds involved in rebuilding are phenomenal. Because we are here for three nights, have work to do while we are here, and I felt we had probably had enough of the pokiest of pokey hotel rooms in the Altstadt s for a while – I had booked us a larger room at the Radisson Park Inn. Seems to have been a good call. We have a proper desk to work at and a couch space for a change so no need to sit on the bed and work on laptops.

View front he 35th floor – very cool. This is the only really tall building around for some reason…? Tomorrow we hunt out security and infrastructure overlay information surrounding the EuroCup and then hopefully hit up a museum if we have time.

Paderbornerdom

Posted on by
Reply

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

Posted on by
Reply

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.

Processional Cross – Silver, copper, gilded, enamel and precious stones.
Enamel plates: Limoges c.1200.
Setting: Cologne, c.1220.

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!

Aachen

Posted on by
Reply

Aachen was I think originally a spa town? It is mostly known now for the stunning Aachen Cathedral and its Domschatzkammer (treasury). I’ve wanted to see both for years now, so was glad of the opportunity to break up our drive to Cologne with a stop through Aachen.

On first inspection, the cathedral looks pretty ‘normal’ on the outside, but the interior is unlike any other medieval cathedral in central Europe.

Charlemagne began the construction of Aachen Cathedral in approximately 796 AD. The design and construction is credited to Carolingian architect Odo of Metz. The date it was finished isn’t exactly known, but it was consecrated by Pope Leo III in 805 AD. Charlemagne was buried in the chapel in 814. The chapel has a storied history of pilgrims, and damage… including significant damage during a Viking raid in 881 and subsequent restoration in 983AD.

The Aachen Pilgrimage is one of the great Christian pilgrimages – comparable to those of Jerusalem, Rome and the Santiago de Compostela. Four significant relics are believed to reside in the Aachen Cathedral, which ave drawn pilgrims since 1239AD… including, the swaddling cloths of the baby Jesus, the loincloth of Jesus, a dress worn by the Virgin Mary and the decapitation cloth of John the Baptist! That’ll get them medieval tourists a running!

The mosaic ceilings in here are incredible!

During World War II, Aachen and the cathedral were heavily damaged by allied bombing attacks and artillery fire. Thankfully most of the cathedral’s artistic objects had been removed for more secure storage during the war, and the underlying basic structure of the building survived the bombings. Large parts of the 14thC choir hall and altar were destroyed beyond repair. A reconstruction effort was undertaken and over the next 30 years, an estimated modern day €40 million was spent to restore the cathedral.

The octagonal central nave of the cathedral was erected as the chapel of the nearby Palace of Aachen. It was built c. 796-805 and was modelled on other contemporary Byzantine style buildings – like the Little Hagia Sophia in (then) Constantinople. The design influence is very recognisable. The span and height of the Charlemagne’s chapel remained the largest of its kind in Northern Europe for over 200 years.

The intricate mosaics are simply breathtaking!

In the centre of the octagonal chapel hangs the Barbarossa Chandelier, which was made c. 1165-1170, on the order of Emperor Frederick I and his wife, Beatrice. The chandleries was a sacerdotal offering from these patrons in honour of Mary, Mother of God, and simultaneously represented a tribute to Charlemagne.

Looking up from the floor through the Barbarossa Chandelier…

This cathedral isn’t as large as many other grand cathedrals, but everywhere you look there is intricate mosaics and gorgeous designs adorning the walls, ceilings and even the floors. It’s visually quite arresting.

The Cathedral’s main chapel with its Golden Altar piece – known as the Pala D’Oro, which was built in 1020.

The golden Pala d’Ora today forms the antependium of the high altar and has 17 gold panels with reliefs completed using repoussé techniques. The centre has Christ as the centre of the world, and he is flanked by Mary and the Archangel Michael.

The Marienschrein (the Shrine of Mary) is the primary reliquary in the centre of the main chapel. It was bestowed upon the Cathedral around 1220 and consecrated in 1239. This is where we are told the objects believed to be ‘contact relics’, are housed – the swaddling clothes of the baby Jesus, the loincloth of Jesus, a dress of Mary’s and the decapitation cloth of John the Baptist. The Marieschrein is one of the most important goldsmith’s works of the 13thC and records indicate it became an object of great interest and pilgrimage almost immediately. The casket has been variously handled by many pilgrims, and used in many processions sustaining quite a bit of damage over the centuries… it was refurbished in 2000 and has been en vitrine ever since (bar a yearly inspection and cleaning).

The fabulously golden pulpit is called the ‘Ambon of Henry II’. It is in a shape built by Henry II, Holy Roman Emperor and is heavily decorated with antique bowls, ivory carvings, chess figures, reliefs of various evangelists. The ambon was moved from the octagon to its present place in 1414. It is considered a significant artwork of the Ottonian period. I love it when there are lots of information plaques about – you can learn so much, but it does make me wonder how much I’m missing at sites with less info.

So shiny! And stuffed full of large gems.

The Shrine of Charlemagne is located in the rear of the main cathedral. Ever since 1215 this shrine has held the mortal remains of Charlemagne (who karked it in, like, 814 and was canonised in 1165). The emperor’s bones are surrounded by depictions of 16 of his successors.

Everywhere you look there are beautiful motifs and decorations… pelican. 🙂

St Nicholas’ Chapel built c.1474 – it is two stories high and contains a large rosary window.

Stepping outside the cathedral, it takes a while for your eyes to adjust to the light – and also there’s a slight disbelief that this outwardly innocuous building could contain such amazing decorative arts. It’s somewhat surreal.

Around the corner (literally) is the Aachen Domschatzkammer – the Aachen Treasury, where all their lavish and famous artefacts are housed. The Aachen Cathedral Treasury houses one Europe’s most renowned church treasuries – a unique collection of precious works collected across the long history of Aachen Cathedral. There are objects from the late classical period, the Carolingian, Ottonian, Saturnian and high gothic periods.

Left: Charlemagne with a miniature of Our Lady of Aachen Cathedral, Rheinland, Aachen c.1460., oil on wood. With the rise of heraldry in the 12thC, Charlemagne is depicted wearing the heraldry of France and Germany, even though such devices would not have been in use during his lifetime.
Right: Charlemagne, by Wilhelm Schmitz, Aachen 1886, painted wood sculpture. Wearing Frankish clothing, a crown, orb and sword – this figure originally adorned the Altar of St Peter.

Charlemagne from the Ambon of Henry II, Master goldsmith Franz Anton Cremer, Aachen 1816/17. The relief is designed on a copperplate engraving from 1632 after the original Ottonian Ambon was damaged during French Occupation (1794-1814).

Vessel for Holy Water bearing designs of ecclesiastical and secular dignitaries. Ivory, precious stones and gilded silver, silver and bronze. West German/Lorraine, c.1000 with later handle added in 1863.

Golden Book Cover, depicting the Virgin Mary with Child and scenes from Jesus’ life. Ivory panel Byzantine, 10thC. Rhineland production – gold, precious stones, enamel, antique engraving, gems and ivory.

Winged Altarpice, with the Mass of St Gregory flanked by saints and the Virgin Mary and Child.
Central Shrine of oak, sculptures lime or poplar. Hildensheim, c.1525.

Cope brooch depicting patron saints Anthony and Mark. Gilded silver, pearls, precious stones, enamel.
Hans von Reutlingen, Aachen, prior to 1520.

Ostensories. Guilded copper.
Hans von Reutlingen, Aachen 16thC.

Reliquary, guilded silver and rock crystal. Hans von Reutlingen c. 1515.

Chalice and Paten. Silver-gilt and engraved. Aachen, 15thC.

Monstance, gilded silver, with diamants. Hans von Reutlingen, Aix-la-Chapelle c.1520.

Winged Altarpiece depicting a Passion of Christ.
Master of the Aachen Altar, Cologne, c.1515-1520. oil on oak.

Pouring Vessels – aquamantile in the shape of a lion. Cast bronze, Rhein-Meuse region, c. 1170-1180

Pouring vessel – aquamanile in the shape of a wreathed bust. Case bronze, gilded.
Aachen, c.1170-1180.

Altarpiece depicting the Crucifixion of Christ and a kneeling benefactor, Count of Sayn.
Master of the Legend of Georg, Cologne, c.1460.

Enamel panel with Christ in his Majesty. Guilded copper and enamel.
Meuse Region, c.1180, converted into a Cope Brooch with he addition of filigree work in 1870.

Crux Gremmata- Cross of Lothair.
Wooden core, gold, gilded silver, precious stones, pearls, enamel.
Rheinland – possibly Cologne? – last quarter of the 10thC. Pedestal added later c.1370-1399

Relief Panel with Jesus’ birth, baptism in the River Jordan. Ivory, Meuse region c.1100.

Chapel Reliquary with the Virgin Mary and child, Charlemagne and St Catherine.
Silver, mostly gilded, pearls, previous stones and enamel. Aachen mid 14thC.

Reliquary Bust of Charlemagne with Crown. Contains a piece of the skullcap of Charlemagne.
Partially gilded silver, precious stones, antique engraved gems, enamel crown.
Crown: Possibly Prague (?) prior to 1349.
Bust: Aachen, after 1349.

Chapel Reliquary with Christ together with the Saints John the Baptist and Stephanus.
Gilded silver, precious stones, enamel. Aachen c.1370-1390.

Arm Reliquary of Charlemagne – contains the ulna and radius from the right arm of Charlemagne.
gilded silver, enamel. Lyon, France, 1481.

Hunting Horn of Charlemagne – signalling horn.
Horn: Ivory, gilded silver. Egyptian 11thC.
Carrying Strap: velvet with stitched-on device. 14th & 17th additions.

Dagger – Hunting Knife of Charlemagne
Knife: pattern-welded irony, wooden handle with brass fittings. Anglo-Saxon/Scandinavian 8thC
Sheath: leather, gold, previous stones, glass, 11thC.

Reliquary Pendant – Pectoral Cross of Charlemagne.
Gilded silver, precious stones and pearls. Liege, Belgium, 12thC.

Lucas Madonna, pilgrims token – casting stone and cast. 17thC.

Proserpina Sarcophagus – depicting the abduction of Proserpina.
Marble, first quarter of the 3rdC AD.

Capps Leonie – Cope and Coronation Robe.
Silver velvet, silk, gold and silver thread. Gilded silver rosettes, 100 silver bells without clappers, pearls and precious stones. Location unknown, constructed prior to 1349, altered 1520.

Chasuble of Saint Bernard of Clairvaux – Priest’s Garment.
Blue silk, pearls, embroidery, gold/silver embroidery. Aachen c. 1170/80. Ground fabric renewed 17thC.

Cupboard Panels c.1881-1918. Oil on timber.
Left: Saint Victorious was a Roman military offical – depicted with a crown sceptre and imperial orb.
Centre: Saint Wenceslas (903-935) promoter of the church and consolidated Christianity in Bohemia.
Right: Saint Leonardus, lived c.500AD. Depicted as an abbot with a tonsure, chasuble and crosier.

Silk embroidery – Virgin of Mercy, depicting benefactors of Mary of Burgundy and Emperor Maximilian I of Austria. Silk, gold and silver embroidery on linen. Brussels before 1473.

Crown of Margaret of York. Glides silver, pearls, enamel, precious stones. England. C.1461.

Icon, Virgin Mary with Child. Tempura on wood. Andreas Ritzos, Crete, early 16thC.

Statuette Reliquary – Virgin Mary with Child, silver, partially gilded, amethyst. Aachen c.1280.

Cope Brooch, with the Annunciation to the Virgin Mary. Gilded silver. Aachen early 15thC.

Adoration of hate Child Jesus in the holiday night.
Lucas Cranach the Elder, c. 1520, oil/tempura on wood.

Cope Brooch with the Annunciaton to the Virgin Mary and the Saints Christoper and Cornelius and kneeling benefactor. Gilded silver, pearls and enamel. Aachen or Cologne – c.1360-1370.

Life of the Virgin Mary of Aachen – Eight panel paintings with depictions of the life of the Virgin Mary.
Master of the Life of the Virgin Mary of Aachen, Cologne, c. 1485. Oil on oak.

Ornamental Necklace.
Necklace: gilded silver, enamel, pearls. Pendant: gold, enamel. Paris or Burgundy, c.1400-1450.

Altar of Fralkenstein – winged altarpiece with Virgin Mary and Child, the saints Mathew, Erasmus, Mary of Egypt and on wings, benefactors Kuno and Werner of Kalkenstein being commended to Saints Peter and Paul. Tempera on canvas covered wood. Aachen, early 15thC.

Enthroned Virgin Mary with Child, wooden sculpture – oak with 19thC painting.
Rhine-Meuse region, early 14thC.

Reliquaries : rock crystal, precious sonnets, antique sardonyx, cut onyx, translucid enamel
All from Prague, c.1360
Left: Reliquary for a Girdle of Christ
Centre: Reliquary for a Girdle of the Virgin Mary
Right: Reliquary for the Scourge of Christ.

Disc Reliquary with relics and scenes of the Passion of Christ.
Gilded silver, pearls, rock crystal, precious stones, translucid enamel. Vienna c. 1340-1350.

Simeon Reliquary – Reliquary with the Presentaiton of Jesus at the Temple.
Gilded silver, precious stones, enamel, stone cuttings. Aachen, c.1330-1340.

Shring of Saint Spec – Relic Chest with relics of Saint Spes/Speus. Wooden chest, ivory, gilded copper, gilded silver. Southern Italy c.11th-12thC. Metal straps: Aachen, c.1165-1170.

Shrine of Saint Felix – relic chest with relics of St Felix.
Wood, silver, enamel. Italy, 11thC.

Reliquary of Saint Anastasius- Reliquary for the skull of Saint Anastasius.
Partially gilded silver, niello. Antioch, c.969-970.

Heraldic Chest of Richard of Cornwall – Wooden chest with 40 enamel medallions.
Cedar with red glaze, gilded copper and enamel medallions. Limoges, France, c.1258.

Chalices, gilded silver, filigree, corals. Hungary, 16thC.

Koormantelgespen – Cope brooches. Silver, gilded silver, and silver enamel. Hungary, before 1367.

Reliquary Chalices, gilded silver, filigree, corals. Hungary, 16thC.

Painting in gold work frame. Virgin Mary with Child in an Eastern Orthodox style.
Painting: Tempura on wood. Frame: Gilded silver, enamel and previous stones. Hungary, c.1367.

Wow, Aachen sure delivers on the fine medieval decorative art pieces. I loved every bit of it… yes, I am aware no one else is going to want to read through all this, but one day I’ll go back through it all.

Metz, Metz.

Posted on by
Reply

We chose to go to Luxembourg today via Metz. Two reasons really, 1) I wanted to see the Metz Cathedral which is supposed to be quite something and 2), Angus has never been to France, so he wanted to stick his toes onto the other side of the border.

Metz Cathedral is the main seat of the bishopric of Metz, Catholic, and is dedicated to Saint Stephen. The Catholic Church in this area dates back to the 4thC, but the current cathedral was *only* built in the early 14thC – *only*? Like that is a short time ago! Hello?! Australians here, buildings, architecture and artworks are never more than 200 years old where we come from! Six hundred year old cathedrals aren’t *only* anything, in our minds.

It has a gorgeous stone facade.

The Portal of Christ entrance, which was the main entrance to the Cathedral until the 18thC. This was originally a Gothic designed entrance, but over time it languished unmaintained, until the 1700s when it was completely redesigned and rebuilt in a later style.

Metz Cathedral has a distinctive yellow coloured stone, that is mined locally. It is called Jaumont stone and is rich in iron oxide, which gives the stone a glorious golden hue. It is said that even in foul weather, the Cathedral photographs well due to the warm yellow limestone used in its construction.

The Portal of the Virgin is an entrance facing the Place d’Artmes and was used as the main entrance of the cathedral until the 18thC. It was built in 1225, and had become quite dilapidated and covered over (presumably by vegetation… the brochure didn’t make it very clear what had covered it over?). The sculptures were created by Augusta Dujardin and were restored in 1885; apparently recent research has found pigments in trace amounts that show the sculptures were painted in red and green, orange and blue hues. It sounds like it was extremely colourful and would probably have been really garish to our modern sensibilities.

Just above head height are these delightful details in the stone work… love them! The pelican looks more like an eagle, but c’est la vie. 🙂

The Nave of Metz Cathedral one of the tallest in France (3rd tallest or something), and it is all done in a fabulous Gothic style – finished between 1486 and 1520. The cathedral has long been nicknamed “The Good Lord’s Lantern”, (La Lanterne du Bon Dieu) due to it’s simply enormous square footage of stained glass which comes in at a whopping 69,920square feet of glass! Or 6,498sqm for those not using ‘Murican Freedom units.

It’s hard to make it out – but the entire walls leading up to this stunning vaulted ceiling appear about 50% stained glass.

The bulk of the glass is done in Gothic and Renaissance styles by master glass makers Hermann von Munster, Valentin Bousch and Theobald of Lixheim… or no doubt, designed by them dudes and actually executed by a bunch of their forever nameless apprentices.

A Roman 3rdC bath holds pride of place just inside the main doors and it is primarily used for baptisms.

So much glass!

The walls of the church are lined with these discreet, heavily carved timber confessionals.

In keeping with the Good Lord’s Lantern theme of the church – there is also more modern artistic glass work here done by Charles Laurent Marechal (Romantics period), Roger Bissier (a Tashist), Jacques Villon (Cubist… yuk!) and Marc Chagall and Kimsooja. It’s truly spectacular how they’ve tied in all this beautiful old work with these creations with modern artist.

It’s weird to see such modern decorative art techniques side by side with obviously medieval design elements, but the overall atmosphere of the cathedral is really stunning. The construction itself was a huge and very long undertaking…

Sadly, the famous Metz covered markets were closed today. Mondays in Europe, suck.

After the Cathedral, we wanted to see some of La Cour D’Or Museum, which is supposed to house some of Metz’s most interesting local Merovingian artefacts. We ran into some immediate hiccoughs; the museum is created in an old monastery and the curators/designers decided that the medieval collections belonged in the medieval cellars under the buildings (at least four floors down and back up again – not in the least bit accessible and my bung knee hated so many flights of stairs). And we also had a lot of info lost-in-translation… mainly because there were none. Translations that is. I’ve tried to record what I could, but a lot of this is just going to remain vague.

The Gallo-Roman galleries were particularly poorly labelled, nothing that wasn’t in French and many objects with no placard at all! From what I could read these objects ranged from 1stC BC to 3rdC AD… which looks about right to my exisiting knowledge base.

House gravestones, all found locally from Roman periods.

House Gravestone, limestone, c.3rdC BCE, local origin.

No idea, not a sign, plaque or info sheet in this room.

From what I could gather this room was curated to centre on representations of various Roman gods, but given the eroded state of the pieces, it was difficult to make out which gods were being depicted.

Altar to Mogontia, Gallic goddess and healer of springs, limestone 1st-3rdC AD.

Mithra’s Relief, Gallo-Roman period, limestone.
The large Mithraism relief was designed as an architectural decoration in which the framing of small layered scenes plays a key role around the central scene. Gods and a sacrifice scene in the centre.

Below: Metalworking has existed in Lorraine (the region Metz is located in), since the Iron Age. While the Gauls worshipped Belisama, the goddess of metal craftsmanship, in Rome, the cult of Vulcan, god of fire and patron of blacksmiths, was growing in this area. Some metal deposits were found in the Vosges, north of Lorraine and the southern Sarre region. Minerals were extracted and processed in workshops from ingots. There were around a a dozen of these workshops in Gallo-Roman times in the Mediomatrici region.

Remains

Merovingian beads, most of the of indeterminate provenance. 🙁

Round Cloisonnee fibula. 6thC, silver and garnet. Houdreville.

Merovingian Belt buckle.

Merovingian belt buckles.

Bucket, Merovingian style. Modern reproduction.

Merovingian beads.

Reliquary box, lid lost. 10th-11thC, cetacean bone.

Saint-Arnoul Elk Horn, c.1000AD (possibly older).


Reputed to have come from the ancient Saint-Arnoul Abbey in Metz, (subsequently owned by a Metz collector, a Parisian antique dealer, a Russian Prince, Tsar Alexander III, then a Dutch Banker), the elk is carved with a frieze incorporating lions, snakes, dragons and hybrid vcreatures in intricate scrollwork. According to Metz historians, the elk horn was believed to have been suspended from the vault of the funeral chapel of Emperor Louis the Pious (814-840), and believed to have been a symbol of power for the son and successor of Charlemagne.

The museum is built into a sprawling old monastery, it is enormous to get around.

Relief map of the city of Metz, c.1829-1850.

Underground cellar space housing GalleoRoman sculpture, sarcophagi and carvings.

After our wander through the museum, we had to find some lunch – at a French cafe of course.

Angus choosing a Poulet Cordon Bleu, and I went for the Steak Tartare! And of course, when in France, champagne with lunch. ❤️

The Cathedral dominates the town here, every direction you turn, you get another amazing view of it’s beautiful yellow limestone facades.

Stopped for a baguette (so Angus could make himself a proper jambon beurre later) and saw these cute chocolates – didn’t buy any, because chocolate, but thought they were cute.

Fort de Queuleu

Memorial to the Resistance and Deportation, inaugurated on 20 November 1977, when the fort became the property of the city of Metz.

Fort de Queuleu was built in 1868 when Lorraine was still under French rule, as part of a fortification system southeast of Metz. While construction was interrupted during the Franco-Prussian War (1870-71), it was continued and improved by the German Empire between 1872-1875 after they conquered the area and renamed it, Fort Goeben. It was then part of the first line of ring defence in the fortifications of Metz. It wasn’t operational during WWI as it had no strategic purpose and saw no military action at that time, but it was repurposed as a detention centre during WWII to house, detain and interrogate members of the French Resistance.

When the local Moselle valley was under German control during WWII the fort was being used by German occupiers as an internment camp (S Slonderlager) to house members of the French Resistance. The fort was called the “Hell of Queuleu” and while it wasn’t a concentration camp per se, it was used as an interrogation/torture centre for captures and arrested members of the Resistance.

Between 1500 and 1800 people were detained at Queuleu, and put under the command of one, Schutzstaffel Hauptscharfuhrer Georg Friedrich Hempen. 36 people died at the fort, and only four managed to escape via a ventilation shaft. Many well known resistance prisoners were held there – Joseph Derhan, Jean Burger and company. Almost all of the prisoners that were held there were transferred to concentration camps as the American forces approached Metz in 1944, and the fort was evacuated entirely by 17 August 1944, with people moved to Ravensbruck, Struthoh or Schirmeck.

This appeared to be a (rather disturbing) art project from a local school. It’s a Jewish child cuddling a teddy bear made entirely out of bullet casings.

Outside, Fort Queuleu now seems primarily repurposed as, dare I say it, some sort of summer camp where school kids come to recreate and get a bit of uncomfortable history smashed into them. There are accomodations here, hiking trials, playgrounds and all sorts.

Thus endeth out day in Metz, and onwards to Luxembourg we went.