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.
Anyway, I have this one photo taken when we saw Rammstein in 2011, and I’ve always loved it; blurry mess of non-image forming blown out highlights, that it is… myself, BigSal, Yale and DA were at the show and man, did we pity poor Tool who came on after them and seemed so completely flat and boring in comparison. Ever since, I have always wanted to go see them do a big stadium show in Europe – preferably Berlin, (but the dates just were not going to play nice – and I’m so not gonna be fussy on this one). This has literally been on my ‘Things to Do Before I Die List’, and last night I finally got to see them in Lyon, France.
Stephola and I having a few ‘no shit, here we are!’ moments when we arrived and found out that (due to language barriers) I had booked us seats in a corporate box and the view was excellent of the entire stadium! 
Spent half the night wishing I was in the mosh pit; the other half of the night thanking fuck I wasn’t! 😉 
When these huge flames leapt into the air, seemingly punctuating the music, I swear it felt like our eyebrows had been singed off! The heat was intense.
There was a small stage half way through the GA area that the support act had used earlier in the evening – a duo of pianists playing effectively, Rammstein Unplugged. It really got the crown going. The band also turned up on this stage to sing, ‘Engel’ which was beautiful, the crowd sang along (German surtitles provided) and lots of mobile phone torches made for a beautiful backdrop.
After they finished that song, they crowd surfed back to the stage on rubber dinghies. 
Caught this pic of Till Lindemann’s flaming backpack, you can see the accelerant has sprayed out, right before the streams are ignited. Way to go iPhone 13 Pro… not bad under difficult lighting.
It’s a crazy thing to do – fly 15,000 kms to go see a band, but was so totally worth it. After seeing this stadium gig, I imagine we won’t ever see anything like this in Australia. We don’t have the populace to warrant the equipment, expertise and expense of bringing this show or anything like it, Down Under.
Train stations in Berlin are nowhere near as deep as London, New York or Kyiv and definitely not as pretty as Moscow or St Petersburg – but some of them make a striking statement. At the Checkpoint Charlie end:
And copies of golden mosaics representing historical rulers of Saxony, Prussia and who knows where else, at the other end.
I haven’t managed to photograph many Berlin Bears – whenever we see them, there are usually annoying tourist standing with them for ten minutes or more trying to get that elusive perfect selfie, so we have mostly just passed by them.
Charlottenburg Palace was originally built at the end of the 17th century, and then expanded upon enormously following century. It is done in extravagant baroque and rococo styles as of course was fitting for the woman who commissioned it, Sophie Charlotte, the wife of Friedrich I who was Elector of Brandenburg at the time.
Friedrich crowned himself as King Friedrich I in Prussia in 1701 having two years earlier appointed Johann Friedrich von Eosander to be his royal architect on the extension project. Von Eosander spent a great deal of time in Italy and France studying places like Versailles, and I think that influence is fairly evident. When the royal architect returned in 1702 he put into place his plans to extend the palace to have two large wings and a courtyard in the front, and to also extend the entire length of the main building as well. Poor Sophie Charlotte died in 1705, long before it was finished and Friedrich named the palace, ‘Charlottenburg’ in her memory. Mind you, that’s him up there on that horse right out front of the place… not her.
The Orangerie off to the left side of the palace.
The dressing room to the ‘Mecklenburg Apartment’ which comprises of three rooms that were used to receive relatives from the House of Mecklenburg. The relief images above the doors are all original as are the parquetry floors, the fireplace and wooden panelling.
The Old Gallery – this was damaged considerably in 1943, so the oak panelling and the paintings are all copies. 
There is a pair of these candlesticks, but they are in vitrines so far apart that it’s nearly impossible to photograph the pair together. They were made for King Frederick William I from the Silver Buffet at the Berlin Palace. The candlesticks were entirely cast in solid silver and are the last items remaining of the Prussian royal palaces’ silver setting. Friedrich apparently placed extensive commissions with the south German master goldsmiths of Auber (more than any other German Prince) and his orders for just three years from 1730 to 1733 included 85 silver objects with a total weight of over 8 tonnes. Only six works have survived including these two (of ten) candlesticks. All the other works were melted down in the mid 1700s and early 1800s. They’re enormous – all monograms and Prussian eagles.
The aptly named, Mirror Panelled Bed Chamber was part of Sophie’s original five room apartments. The mirrors were to reflect the lavish gardens outside.
This section of the Palace too, was badly damanged in WWII and has been recreated to be a fair approximation of what was here earlier.
One of Sophie’s antechambers.
Cupid and Psyche are kinda evident everywhere.
The Long Oval Hall was an entrance and recption area before the palace was extended, after which it became one of Sophie’s private rooms, it has exceptional views out to the gardens. But again was severly damaged in WWII so has also been recreated.
As we moved through the Palace we noticed quite a few chinoiserie ceramics. There seemed to be quite a lot of them for a palace of this style/age… little did we know.
The Long Oval overlooked the formal gardens.
After Sophie’s death, Frederick used her second antechamber as a small audience chamber. The tapestries were added in 1740 by his grandson, however, all in here was also damaged so is copied or reconstructed. One of the placards I read in here said all the fireplaces had been deliberately built to have consoles for displaying porcelain.
Another audience chamber, also demonstrating their particular fondness for ceramics.
And a third audience chamber… there was little to indicate whether all these audience chambers served different purposes or were for people of varying levels of acquaintance (well nothing I saw in English anyway). However, this room indicated that it was for private audiences with intimate members of the family and the King and his guest would have chairs of equal size. It also had the most amazing ceiling that is painted on canvas and survived the war, so it is the original art.
and more porcelain of course.
Which then led into ‘the Porcelain Cabinet’
“The Porcelain Cabinet is the magnificent highlight of the 140m long flight of rooms on the palace’s garden side. However, when Sophie Charlotte died in 1705, the construction works were by no means finished and were not in fact completed until 1706. The walls have been designed in a way that shows the porcelain and figural motifs off to their best advantage. The ceiling murals painted in 1706 by Anthonie Coxie, are allegorical images glorifying the rise of the Prussian royal dynasty. The Cabinet was heavily damaged in 1943 and restored in 1967.”
My how our sensibilities of what is ‘beautiful’ has changed.
Next to the Porcelain Cabinet is the Royal Chapel – lavishly gilded and heavily ornamented.
With its own miniature pipe organ.
Portrait gallery on the way out.
You exit through a servants entrance cleverly hidden under the stairs. The tour is supposed to continue on through the upper apartments, but there is a rope telling us it is closed. This is most likely due to the fact that it is October and they don’t want to staff the entire Palace for the winter, so we missed out on another 140m of lavish apartments upstairs.
The weather had turned ‘moody’ while we were inside.
One for Leofric that I saw in the gift shop. 🙂 
We walked around the back of the palace to see the formal gardens, but without an elevated viewpoint – it’s difficult to see the impressive design.
Wild boar sausage with pierogi :
Last Russian honey cake until we go back to Russia or maybe do trans-Siberianan rail trip. 😛
After lunch, we did some masterful navigating of Berlin’s bus and train systems to go see the East Side Gallery. The East Side Gallery is an open-air art gallery which consists of a series of large murals that have been painted directly onto a remnant of the Berlin Wall. 
The paintings on Mühlenstraße started in 1990 and is over 1.3kms long making it the largest open-air art gallery in the world. There has been a lot of grafitti put on the artworks over the years, and some piece have been restored, but there is controversy over this with many artists refusing to re-do their artworks.
Today, it seems most of the art works are being left alone and not being grafitted, but there are areas of the wall where it seems grafitti is encouraged, as this is a living used space.
I love this: Moscow…walls; China… walls; Everywhere… no walls (with kangaroo!);, Berlin… walls.
This section of wall is all grafitti… the big stenciled work is not an official piece.
So we thought this was a good place to leave a small mark.
I know my photos make it look all peaceful and orderly – but of course, it wasn’t.
And it was about this time that our beautiful day with it’s 17C higher in temp then yesterday started to literally rain on our parade. So we hightailed it to the nearest train station and head back to the hotel.
And so ends our last day in Europe… for tomorrow we fly from Berlin to London to Singapore to Brisbane and all things going to plan, we arrive two days from now.