So Bratislava is a stone’s throw Vienna… and well, it’s a place that has been our collective social group’s popular imagination since the movie, Eurotrip came out several years ago and the main characters ended up in Bratislava instead of Berlin. Which is why I guess it ended up on my List? Who knows? It was only a 50km drive, so off we went. Good timing as it turns out; Austria and Slovakia did away with their hard border in 2023, so no BS coming and going from the Schengen countries. Small win, we’ll take it!
Back to German speed limits, sweet… Austria put a bit of a harsh on our German autobahn buzz as they have stricter speed limits and severe penalties – up to like, €7,500 for high infringements, and strict hooning laws that can see vehicles confiscated and surrendered. Freedom…!
Immediately the architecture changes – feels like we are back in Bulgaria, or anywhere in the Balkans really. Vienna feels very much all fancy and Baroque and Rococo even in the ‘burbs; here there’s definitely more of a 60s Soviet toilet block vibe going on.
One of Bratislava’s famous landmarks – a revolving restaurant high above a highway? Colour me confused. Why would you want to have dinner above a highway? And where exactly do patrons park to dine here?
This whole trip, I was taking for granted just how much I was able to read directions, signs and advertising in German – now I might as well be in Greece. Can’t read a thing… though thanks to American capitalism, you can’t mistake this shit:
The Námestie Slobody or Freedom Square. This fountain was installed in 2023 to reinvigorate what was a rather depressed, run down area full of government buildings. We were here around 10am, and there were loads of people running about in the fountain in their bathers enjoying the sun and the water… and not just kids either. Don’t they know it’s too cold for these sorts of shenanigans?
The Slovak National Theatre is the main centre for opera, ballet and theatre. The building was designed in the late 1776 and renovated in the late 1800s, so maybe the city isn’t entirely made of Soviet 60s toilet block architecture.
The pedestrian area of the town turned out to be really kinda cute and artsy. Even the touristy souvenir shops make a bit of an effort. I imagine that Bratislava was a cheap tourist destination until recent years. It is apparently becoming a prime destination for Bucks Weekends and Stag Nights for Brits, because it’s so much cheaper than Amsterdam… or at least it was. We found prices here were comparable with Germany which is to say, slightly cheaper than Austria but definitely not in line with other Balkan counties.
Weird souvenir stuffs… slingshots? What could go wrong.
Slovakia is apparently known for it’s distinctive local folk pottery – and gotta say, it ain’t my thing at all. I mean, it’s not as bad as Portmeirion pottery, but it’s a fine line.
Čumil is one of the most famous sculptures in Bratislava – arguably in the entire Slovak region to be honest. He has become one of the city’s most recognised landmarks and is one of the biggest attractions in the city centre. He is a bronze statue created by Viktor Hulík, a well known sculptor, graphic artist, academic and painter. Čumil was install in 1997 at a massive party called the Korzo Party that the city held to celebrate the completion of a major pedestrian urban city centre renewal. Apparently 30,000 people were at the Korzo Party including the President of Slovakia, Michal Kováč – which sounds kinda cool. Gotta say, kudos to the Slovaks if this urban renewal stuff has only been going strong for 20years or so… the town looks great and is a lovely place to visit.
Čumil is located outside a small local jeweller who sells overpriced amber, and who is probably totally sick to death of the tourists milling about outside his store and never coming in! He’s a bit hard to miss, and you find yourself walking past him repeatedly as you move about the city centre.
I like him! He has real character.
The Main Square and the 16thC fountain of Maximilian I.
More quirky little artsy shops and stuff.
It turned into quite a warm day and got pretty hot walking around by midday – and we weren’t musuem’ing so we were out in the sun and Angus decided to have a mango gelato (as you do!) but he meant to ask for it in a cup. When he belatedly mentioned the cup, the server just dumped it upside down in a cup for him. LOL. Efficiency, I like it.
Walking back past Čumi again, I think I caught the best shot – wonder how often some pupper lifts his leg on him!
After wandering around the town centre, doing a bit of shopping and having a bit of lunch, we went to have a look at the Bratislava Castle which apparently has, 1) really good views over the city, 2) a small local history museum which is nowhere near as fancy as the Schonbrunn or the Nymphenberg that we have seen this week, and 3) a small treasury – which we were going to go in and visit, but the people selling the tickets made it sounds so crap. ‘Er, de objects are mostly of de coppur and not very old you’no, and most of dee reel treasures are in da Vienna Musuems, and it cost you €14 to come iin, each’ and blah, blah, blah… they totally talked us out of going into the Treasury! LOL.
Bratislava Castle is a large rectangular castle with four corner towers on an isolated outcrop of the Little Carpathian mountains. It looks directly down onto the Danube River which cuts through the centre of Bratislava. It’s massive and looks over the city, so it kinda hard to miss – you see it as soon as you get near the city. The original fortress built on this site was from the 9thC, and it, like so many castles, has been rebuilt continuously up until the 18thC. It also had some major reconstruction in the 20thC.
These tall three slender bronze statues didn’t have any inscriptions – we kinda assumed they might be magi (so much religious iconography has been consumed lately!) but this is more an orthodox region, so there could be some symbology we were missing.
Entrance gate to the Castle… there are four gates in total.
The views over the city and the Danube were pretty cool.
Front forecourt to the castle – it actually looks really clean and all shiny and new… which isn’t what you expect from castles as you get closer to the Balkans.
King Svatopluk I of Moravia (840-894) on his horse out front of the castle.
Courtyard of Bratislava Castle
We had a pretty good day poking around Bratislava, absorbing the artsy vibe and doing some shopping. It felt like a short day visit off a cruise ship though, and while I don’t think you’d need more than a weekend to check out the city, we didn’t get in amongst it much… back to Vienna we went.
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.
Herta Heuwer is attributed with the invention of Currywurst when she obtained some ketchup, Worcestshire and curry powder from British soldiers just after WWII… it’s a staple on menus all over Berlin, so I found a recipe in German cookbook and translated it. Yale and I might have to try this out when I get home:
A spicy Currywurst Sauce that can be used for all types of dishes
2 large red or yellow onions chopped very finely 2 × 400 gm can of tomatoes with juice 250 ml ketchup 1 tablespoon mustard 2 tablespoons sugar 4 tablespoons Worcestershire sauce 1 tablespoon paprika powder 2 tablespoons curry powder 1/2 teaspoon chili powder salt and pepper to taste 1 tablespoon oil
Warm oil over medium heat Add the onions to pan and cook over medium heat until soft, 8 to 10 minutes Add curry powder, paprika powder, chili powder and continue to cook while stirring, for 1 to 2 minutes Add tomatoes and juice to pan, crush thoroughly and stir through Stirring add ketchup, Worcestershire sauce, sugar, mustard, salt and pepper to taste Bring to boil and lower to simmer, stirring occasionally until thickened. 20-25 minutes. Puree mixture in blender and strain through a sieve. The recipe makes at least 500 ml of sauce. Grill some sausages, slice and cover with warm sauce. Add to the sauce covered sausage you can add some additional Paprika powder, Salt, Pepper, Chili Powder, Curry Powder, Mustard, or finely chopped onion, to taste.
Serve with Fritten, or on a bun*
Guten Appetit!
* Quite a lot of places seem to serve their Currywurst with Asian fried shallots on top – Icelandic hotdog style!
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.
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.
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.
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.
He’s a bit hard to miss, and you find yourself walking past him repeatedly as you move about the city centre.
