Being in Germany for the last month, the news that has permeated the zeitgeist (and the language barrier) most readily was Spain prevailing over England in the World Cup. But there has been a LOT going on globally and I’ve been catching up on the past month’s news over the last 24 hours since I got home. Over the last couple of weeks: the UK booted out their conservative government, France also rejected right wing extremism, there was an assignation attempt on Trump, J.D. Vance was announced as Trump’s running mate, Israel’s occupation over Gaza has been declared illegal, Crowdstrike and Microsoft demonstrated some stunning global IT vulnerabilities, Biden withdrew his candidacy, Harris has emerged as the presumptive Democratic nominee and is steaming ahead with a record breaking campaign (in terms of donors and volunteers). I have no idea what’s been happing in Australia, haven’t got that far yet… other than Gina Whatsherfart and Dutton deciding they like nuclear power a couple of weeks ago (?), but I’ll get into that later.
Any way, one thing I saw stood out a LOT, even among all this noise, was these signs at the fascism-fest that was the Republican National Convention…
Yeessss… subtle they are not! They are fucking huge alarm bells going off.
A couple of weeks ago I was at the Jewish Museum in Berlin and was struck by a room that was lined on both walls with displays of the chronology of legislation that was enacted to slowly restricted the freedoms and rights of the Jewish people under the Third Reich. It started in 1933 and it showed how the lives of the Jewish people in Nazi Germany and eventually Nazi occupied Europe, were slowly and steadily having their rights eroded.
One week, it was Jewish lawyers losing the rights to practice law, the next it’s Jewish student teachers being sacked. The following week Jewish people can’t serve in the civil service, then Jewish doctors can’t treat non-Jewish patients, then Jewish tax accountants had their licences revoked, then civil servants can’t be married to Jewish people. And so on and so forth, until the edicts were codifying that Jewish people can only live in certain parts of various cities, that the property of Jewish people will be forfeited to the state, then Jewish people will be deported and they end up in walled and patrolled ghettos, then they get pushed out of the ghettos to concentration camps, and we all know where this tragic history ended up going.
(If you want to know more about how and when these insidious and pervasive laws were rolled out click HERE.)
The Jewish people in Nazi Europe were frogs in a boiling pot – slowly but inevitably having their rights and humanity stripped away from them, and if they (and the global community) had known where it was going from the outset, history might have turned out completely different.
It is not alarmist to say the Trumpian vision of the US is on the same trajectory – only they’re not planning on boiling that frog slowly. Trump and his advisors are stating unequivocally that they plan to forcibly remove ‘illegal immigrants’ from the United States via forced expulsion and deportation camps. DEPORTATION CAMPS. They are promising to remove 20 million ‘illegal immigrants’; this is a number that far exceeds the estimated number of undocumented residents currently living in the United States, many of whom have been born in the US and have never seen the countries they would be theoretically deported to… And if anyone thinks these deportation camps would be run with any administrative rigour or with any humane consideration whatsoever – just remember the family separation policy that was instituted under the last Trump administration. From April 2018 to June 2018, families arriving at the border saw adults prosecuted and held by in federal jails and subsequently deported, and their children were placed under the supervision and control of the US Department of Health and Human Services. This resulted in over 5,500 children being removed from their parents and the short lived ‘children in cages’ media outrage. No one is talking about it anymore, but as at March 2024, this year – just four months ago! – there are still 2000 children that haven’t been able to be reunited with their families.
“MASS DEPORTATIONS NOW!” is not a slogan for a slow and inexorable removal of rights for people who land on the wrong side of Trump’s bigotry… it is a massive red flag heralding the systematic xenophobic persecution of immigrants based on the ultra conservative values outlined in the Project 2025 manifesto. Trump has stirred and stoked the worst type of fear in these people with his asinine assertions that migrants are ruining their lives. Crime is statistically much lower than during his tenure, but he’s at those rallies and on Fox News bleating about ‘migrant crime’ and, ’Biden migrant crime’ and it’s feeding the worst impulses in his followers.
The pot is already boiling. The whole world can see where this is going… I find myself hoping that the average American is more decent than deplorable, but whenever I think about it too long I worry that most of them are largely apathetic.
The Kaiserliche Schatzkammer or the Imperial Treasury of Vienna! Where we are hoping to see all the things that we have seen copies of so far! lol For people into medieval embroidery or early medieval gold work, this place really is a treasure trove. I was super excited to be here, before we even entered the building.
Tabard of the Herald of the Princely County of Tyrol -Johann Fritz (embroider) Vienna, 1838, Silver lamé, velvet, gold, silver and silk embroidery, silver fringing braid.
From the Left: 1) Staff of the Grand Controllers – Southern German, 1600-1610. 2) Staff of the Grand Steward of the County of Gorlzia – Southern German, c.1660. 3) Staff of the Hungarian Grand Equerry – Vienna, 1700-1725. 4) Staff of the Grand Comptroller – Vienna, 1835. 5) Cane of the Grand Equerry – Vienna, 1790-1800. 6) Staff of a Master of Ceremonies – Vienna, 1800-1850. 7) Staff of a Junior Master of the Table – Vienna, 1800-1810. Staff of the Grand Master of the Table – Vienna, 1835. 8) Staff of a Master of Ceremonies – Vienna, 1800-1835. 9) Staff of a Grand Master of Ceremonies – Vienna, 1850-1900…. Wood or cane, bronze, gilded, and silver mounts.
The Hereditary Banner of Austria. Austria, c.1705. Silk, damask, embroidered with metal and silk threads.
Keys of the Imperial Chamberlain, from 1711 to 1918. As a sign of their privileged status chamberlains at the Habsburg court wore a key that symbolized their access to the ruler’s chambers. The office of chamberlain was reserved to members of the high nobility. The holders of this office belonged to the “first society” and were part of the emperor’s retinue at official ceremonies. The falconer’s gear as well as the tabards and staffs on view here are similarly the insignia of various officials or families in the hereditary lands and indicate their rank and status.
Dog Collar, Insignia of the Grand Master of the Hunt, Vienna, 1838. Velvet, leather gold embroidery. Mounts silver mounted.
Austrian Archducal Coronet of Joseph II, c.1764. Silver glided, diamonds, semi-precious stones removed. As early as the reign of Duke Rudolf IV (1339-65) the Habsburgs pursued the goal of being raised to the dignity of archduke. Their claim was finally recognized in 1453, and the archducal coronet, an insignia resembling a crown became the official symbol of Habsburg rule in the hereditary lands. Such an insignia was created for Archduke Joseph in 1764 based on medieval models. The coronet’s gold foil frame, or “carcass”, is exhibited in this room. The jewels were soon removed from the coronet to be used for other purposes.
Insignia for the Hereditary Grand Master Falconer, Vienna, 1835. Leather, velvet, gold braid, gold embroidery and feathers. Falconers pouch and two falcon’s hoods.
Tabard for the Herald of the Roman King, Vienna, 1600-1650; gold lamé, satin, gold embroidery, finger border, glass beading.
Tabard for the Herald of the Roman Emperor, Vienna, 1613 and 1719. Gold lamé, silk and glass.
Tabard for the Herald of Emperor Francis I Stephen, Vienna, 1775-1750. Velvet, satin, gold and silver lamé, gold silver and silk embroidery, gold and fringe border.
Tabard for the Herald of the King of Bohemia, Vienna, 1600-1700. Velvet, gold and silver embroidery, fringing braid, glass beading.
Tabard for the Herald of the King of Hungary, Vienna, 1600-1700. Silver lamé, gold, silver and silk embroidery, fringing braid.
Crown of Emperor Rudolf II, later crown of the Austrian Empire Jan Vermeyen goldsmith, Prague, 1602. Gold, enamel, diamonds, rubies, spinels, sapphires, pearls, velvet
Imperial orb for the crown Rudolf II. Andreas Osenbruck goldsmith, Prague, 1612-1615. Gold, enamel, diamonds, rubies, sapphire, pearls.
Sceptre for Emperor Matthias for the crown of Rudolf II. Andreas Osenbruck Goldsmith, Prague, 1615. Ainkhürn (narwhal tooth), gold, enamel, diamonds, rubies, sapphire, pearls.
Ceremonial robes of a Knight of the Hungarian Order of St Stephen, Vienna, c.1764. Velvet, fake ermine, gold and silver embroidery, gimped embroidery in gold.
Robes of a Knight of the Austrian Order of Leopold, Joseph Fisher (1769-1822), Vienna, c.1808. Gros de tours, fake ermine, gold embroidery, metal foil, ostrich feather, silk
Mantle of the Austrian Emperor, designed by Philipp von Stubenraüch (1784-1848), Vienna, c.1830. Velvet, gimped embroidery in gold, Paulette’s, gold braid, ermine and silk.
Robes of a Knight of the Austrian Order of the Cross, designer Philipp von Stubenraüch (1784-1948), Vienna 1815/16. Velvet, silver embroidery, leather silver embroidery.
Conronation vestments of the Kingdom of Lombardy and Venetia, Designer Philipp von Stubenraüch (1784-1848), Vienna, 1838. Velvet, gimped embroidery, gold, ermine, moiré, gold and silver embroidery.
The Robes worn by King of Bohemia as Elector, Vienna or Prague, c. 1625-1650… Mantle, gloves and matching ermine hat.
Jewellery Box of Empress Marie Louise, Paris, 1870, silver gilded velvet. Martin Guillaume Biennais (1764-1843) and Augustin Dupré (1748-1833).
Marie Louse, Empress of the French (1791-1847). Francois Pascal Simon Gerard, Paris, 1812, oil on canvas.
Cradle of the King of Rome, Paris, 1811. Silver gilded, gold, mother of pearl, velvet, silk, tuile, gold and silk embroidery. Designers and craftsmen: Pierre-Paul Prud’hon (1758-1823), Henri-Victor Roget (1758-1830), Jean-Baprise-Claude Odiot (1733-1850), Pierre-Philippe Thomire (1751-1843).
Ewer and Basin used for Imperial Baptisms, Spanish Master, 1571, gold and partly enamelled.
Egg Cup form the estate of King Louis XVI of France (1754-1793), Paris, c.1774/80. Silver gilded.
Family Tree showing Kings and Emperors from the House of Habsburg. Gold and chalcedonies. Tree: Vienna, 1725-30. Intaglios: Christoph Dorsch (1675-1732), Nuremberg, 1725/30/
Cameo showing the Portrait fo Emperor Franz I – Giovanni Beltrami (1777-1854). Made before 1840. Onyx, and enamelled gold.
Set of Jewels from the estate of Archduchess Sophie (1805-1872), Paris, 1809/19. Gold, silver, diamonds, emeralds, topazes.
Emerald Unguentarium, Dionysius Miseroni, Prague, c.1641. Emerald 2860 carat, enamelled gold. ‘As early as the 17th century the 2,680-carat emerald vessel was regarded as one of the most famous objects in the Imperial Treasury. The tremendous value of this unique showpiece, whose lid was cut out of the jewel’s interior, is illustrated by the story that Genoese jewellers declined to value it as security for a loan which Emperor Ferdinand III (1608-57) sought, avowing that they were not accustomed to dealing with such large pieces.’ Sadly the light in here is so bad, that I had to pluck an image off the internet.
Crown of Stefan Bocskay, Turkish, c.1605. Gold, precious stones, pearls and silk.
Case for the Crown of Stefan Bocskay, Turkish, c.1605. Fabric: Persian, c.1600, wood and silk.
The “Two Considerable Treasures” – Emperor Ferdinand I (1503-64) bequeathed to his successor, Emperor Maximilian II, two treasures of special importance: an enormous agate bowl (about 50cm across), and the “Ainkhürn” or unicorn horn. It was laid down that these two pieces would forever remain in the possession of the eldest male member of the family in perpetuity as ‘inalienable heirlooms’ and could not be sold or given as gifts.
Agate Bowl, Constantinople, 300-400AD. Carved from a single piece of agate.
“Ainkhürn”or Unicorn Horn. Ferdinand I received the “Ainkhürn” as a gift from King Sigismund II of Poland in 1540. During this age the mythical unicorn was thought to be an actual animal, which might only be captured in a virgin’s lap. The unicorn was thus regarded as an allegory of Christ, and its horn a symbol of divine power, from which secular dominion was derived. The horn, which was also thought to be an antidote to poison, was traded in Europe at tremendous prices. Only in the 17th century was it recognized that what had been believed to be unicorn’s horn was in fact the twisting tusk of the narwhal (Monodon monoceros).
Christophorus Relief, Upper Rhine, c.1475-1500, cast copper, gold-plated, glass stones.
Chalice from the Propety of Emperor Maximilian of Mexico. Circle of the Rondino Di Guerrino, Sienna, c.1375. Silver, gold plated copper, pit enamelled.
Late Gothic Chalice, Hungary, c.1500. Gold plated silver, gemstones.
Chalice with the Motto of Emperor Friedrich II, Southern Germany likely Nuremberg, 1438. Gold plated silver.
Blue Tunicella (Dalmatia), Palermo, Royal Court Workshop, 1125-1150. Silk, gold embroidery, small gold tubes, gold with cloisonné enamel, pearls, tablet weave.
The semi-circular Coronation Mantle of red silk was produced in Palermo in the 12th and early 13th centuries; with its depiction of a lion subduing a camel, the long, richly embroidered outer garments-blue tunicella and white alba-as well as shoes, stockings and gloves together with the belt reflect, (in part based on their inscriptions in part on other evidence), a connection with the Norman kings of Sicily. The overall design and elements of the decoration are derived from the court attire of Byzantine emperors. The older textiles probably came to the Empire through the Hohenstaufen emperor Henry VI. He married the Norman princess Constance in 1186 and became king of Sicily in 1194. In the empire they were apparently thought to be priestly vestments, used for coronations and complemented by additional textiles.
Coronation Mantle, Palermo, Royal Court Workshop, 1133/34. Samite silk, gold and silk embroidery, pearls, enamel, filigree, precious stones, tablet weave.
OMG… finally a chance to see this! I’ve been looking at pictures of these objects in books for nearly three decades. I can’t believe I get to see them in person.
The Eagle Dalmatic, South German, c.1330/40. Red silk twill damask, embroidery in silk, gold, small axinites.
The Stola (below) imitates a ‘loros’ an older type of textile of Byzantine or Norman origin. The six metre-long sash of yellow silk was decorated with black imperial eagles in medallions, only one of which has been preserved. Differently than the original manner of wearing the “loros”, in the medieval Holy Roman Empire the long sash was worn as a priest’s stola, that is forming a cross across the breast. This can be seen in Albrecht Dürer’s famous portrayal of Charlemagne (Room 11). The purple Dalmatic is embroidered with eagles and crowned heads. In this way the wearer of the garment is associated both with the heraldic beast of the Holy Roman Empire and his predecessors as king.
Alba, Palermo, Royal Court Workshop, c.1181 with later additions. Taffeta silk, Samite silk, fold wire embroidery, pearls, precious stones and tablet weave.
Stole, Italy, before 1328. Louise silk, gold threads, pearls, silver gilded appliqués with graduation, champlevé enamel and glass stones.
Imperial Cross, Western German, c.1030. Body: oak, precious stones, pearls, niello. Base: Prague, later additions c.1352, silver gilded enamel.
The Burse of St. Stephen, Carolingian, 800-833. Wooden body, gold, precious, stones, pearls.
Room full of extant herald’s tabards! Mostly 1700s, but just gorgeous.
Herald for the King-At-Arms and Herald of the Archduchy of Brabant, Brussels, c.1717. Embroiderer: Louis Almé. Velvet, gold lamé, appliqué, gold embroidery and fringing braid.
Herald’s Tabard for the King-At-Arms and Herald of the Duchy of Burgundy, Brussels, c.1600-1700. Velvet, silver lamê, fringing braid.
Tabard for a Herald of Maria Theresia (First King at Arms), Brussels, c.1742. Embroiderer: Eldens. Velvet, gold and silver lamé, appliqué, gold, silver and silk embroidery, gold braid.
Tabard for the First King-At-Arms of Archduke Albrecht, Sovereign of the Netherlands. Brussels, c.1599-1621. Velvet, gold and silver lamé, appliqué, gold silver and silk embroidery, fringing braid.
Emperor Maximilian I (1459-1519) – Bernhard Strigel (1460-1519), German, c.1500. Oil on Limewood.
Charles the Bold, Duke of Burgundy hoped to succeed Emperor Frederick Ill on the throne of the Holy Roman Empire. To achieve his aim, he assented to the marriage of his only daughter Mary to Archduke Maximilian, the emperor’s son and heir. The wedding, however, only took place after the duke’s death in 1477. Mary and Maximilian’s son Philip was born on 19 April 1478, ensuring the “Burgundian heritage” would ultimately remain with the House of Habsburg.
Mary, Duchess of Burgundy (1457-1482) – Francesco Terzio, Southern Germany, c. 1600 terracotta.
Tapestry Showing the arms of Emperor Charles V – weaver: Willem de Pannemaker, Brussels, c.1540. Wool, silk, gold and silver thread.
Tabard for the Stattholder First King-at-Arms, called Towson d’Or (Golden Fleece), Brussels c.1580. Velvet, gold and silver lamé, gold, silver and silk embroidery.
Order of the Golden Fleece Knight’s Chain, Burgundian-Netherlands, c.1435-1465. Gold and enamel.
Potence Chain of Arms of the Herald of the Order of the Golden Fleece, Netherlandish, c.1517. Gold and enamel.
This is one of the most beautiful heraldic objects I’ve never seen. I’ve admired it for years… never thought I’d be able o see it.
I am completely unapologetic for the amount photographs that I took and have added here!
Just when you think the Schatzkammer has delivered up all it’s treasures – the next room contains only some of *the* most famous embroidered objects ever created. I like did a double take when walking in… it was like the first time I saw the Cluny Tapestries all over again. They are so amazing and so beautifully preserved! Just fucking spectacular!
Liturgical Vestments of the Order of the Golden Fleece. Cope of the Virgin, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet. Hood depicting the virgin.
Liturgical Vestments of the Order of the Golden Fleece. Dalmatic, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls and velvet.
Liturgical Vestments of the Order of the Golden Fleece. Cope of Christ (Pluvial), Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet. Hood depicting the Almighty.
Liturgical Vestments of the Order of the Golden Fleece. Casula, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet.
Liturgical Vestments of the Order of the Golden Fleece. Cope of John the Baptist, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet. Hood depicting John the Baptist.
Liturgical Vestments of the Order of the Golden Fleece. ABOVE: Antependium (rear panel), Burgundian, c.1425-1440; the Trinity, prophets and apostles. BELOW: Antependium (front panel), Burgundian, c.1425-1440; Mythical marriage of St Catherine Embroidery on linen, metal and silk threads, pearls, pastes (glass).
Phew! Man, I haven’t been a smoker since May 17th 1997… but damn, after that I need a cigarette and a good lie down. Back out in the Real World, I had to make do with some bratwurst and a Coke Zero! What an amazing visit! I think this has now officially out paced the Museé de Moyen Age as my favourite museum.
Paderborn in a small town on the way to Hanover. It’s known for its beautiful Catholic cathedral – The High Cathedral of St Mary, St Liborious and St Kilian belonging to the archdiocese of Paderborn. The church is built in the late Romanesque and Gothic styles and is at the centre of the town above some springs, called the Pader Springs.. and well, you gotta stop for lunch somewhere! So why not choose a town with a famous medeival cathedral!
The cathedral is dedicated to three saints – namely, the Vigin Mary, St Kilian and St Liborious of Le Mans. Liborious is also the first patron of the city and his bones were brought from France to Paderborn in 836 by Emperor Louis the Pious – as part of what was a traditional relic dispersion. Relics were sent to various regional diocese to provide places/things for parishioners to pay homage and tribute to, and to make pilgrimages to see. I find it rather interesting that the remains of revered saints and religious personages were taken and scattered all over the countryside; the only other group of people who had their remains separated and sent to the four corners of any given kingdom in the medieval period were traitors and high criminals. Figure that one out!
Paradise Portal, done in the Romanesque style, c.1160.
The Paradise vestibule and Paradise portal are in the southern extension of the church. Built in the second half of the 12thC it is now twice as large today as it was in the 1860s. It has been used as a resting space for pilgrims on their way to the Santiago de Compostela, and there are many similar porches on French churches and cathedrals at other pilgrimage churches en route to Santiago.
The Cathedral was rebuilt from the 11thC, along with the Ottonian Imperal place in the region with large vaulted ceilings. The vaults of the Paderborn Cathedral are surprisingly uniform, given its window configuration doesn’t appear to possess the same symmetry… there’s some architectural trickery going on here.
Sadly, there wasn’t a lot of information around the church to explain objects to visitors. But on the other hand, it’s possibly because it’s more of a working cathedral and not a heavily toursited area, so that’s a bonus for the locals.
A decidedly non-medieval looking pulpit. Fair guess to say it was a later addition.
A Bishop Badurad had a crypt built into Paderborn Cathedral, which dates back the 1100AD. Although it was redesigned in the 13thC it remains on of the largest hall crypts in Germany – which is surprising because it doesn’t seem overly large compared to the sorts of crypts you see in France and Italy?
Under the altar of the crypt is an ebony shrine containing the relics of Saint Liborious (in the small box above – we couldn’t access that area).
On the opposite side of the crypt is an anteroom to the Bishop’s Crypt, which is decorated with mosaics from 1935. Though modern, the mosaics create a beautiful space around a gravestone which contains the replics of a Bishop Meinwerk; past the anteroom is the actual crypt of all the Paderborn Bishops. It is this unusually mosaic’d crypt that attracts most visitors to Paderbornerdom. It is actually quite beautiful, and has a decidedly art deco style to it.
At the centre of the Bishops’ Crypt is a Pieta, which is flanked left and right with two enormous bronze plates listing all the names of the Paderborn bishops right up to the 20thC. The bronze plates start with names of Bishops all the way back to the 900s, and the bones of all the previous bishops rest in a collective grave in the floor. It’s incredible to see this historical record going so far back.
The Chapel of St Joseph dates to the 14thC and was initially dedicated to the Three Magi.
The town of Paderborn is really quite cute and very sleepy. The centre of the Marktplaz has a fountain called the Neptunebrunnen Fountain, reminiscent of the Neptune fountain in the centre of Gdańsk. This fountain was originally built in 1730 by Johann Theordor Axer and reconstructed in 1979 by Joseph Rokis.
I love the details in medieval buildings surrounding the Marktplaz… very cool medieval rainbow mosaic.
Onward to Hanover…
Checked into our hotel and immediately went looking for a beer hall… we had decided to skip lunch as we spent too much time in the Cathedral, which put us on the hunt for Hanover’s best currywurst and jagerschnitzel!
Angus was very happy with his wash – my schnitzel was nice, the mushroom sauce was good, but not Heidelberg good… I am going to get mightily sick of the piles of fried potato that comes with every meal (I don’t eat them). Thankfully, we are here smack dab in the middle of erdbereen season – so there’s fresh strawberries everywhere for very cheap! They tasted even better than they looked if that is possible.
We are headed to work in Brussels tomorrow and decided to go via the city of Tournai and the Battlefields of Waterloo. Tournai is a cool little town of about 70,000 people, and it lies in the westernmost reaches of Wallonia, (a province of Belgium which rests right against the French border). It is actually far closer to the French cities of Lille and Roubaix, than it is any other major Belgian city and the primary language spoken in Tournai is French.
Tournai also has the distinction of being the oldest city in Belgium, alongside Tongeren. Surprisingly, its heritage stretches as far back as the 1stC BC. For much of its history, the city of Tournai belonged to France, from the Merovingian kings to the Hundred Years War.
Clovis I, who created France(TM) originated from Tournai and made Tournai as his capital city. Having said that, Tournai’s glory days were in the late Middle Ages when it prospered as a centre for culture and trade.
The Grand Place is the central square (or in this case, triangle) of the town. It is surrounded by gorgeous old buildings that housed the many guilds and merchants of medieval Tournai.
Christine de Lalaing, a governess who rose up and led the people in the defence of the city, against Parma in 1581.
The Notre Dame Cathedral of Tournai is a UNESCO World Heritage listed building, constructed in a high Gothic architectural style. Like many cathedrals that were built and expanded upon in the 12thC-14C, it was built on top of early Roman church ruins.
The building has seen much better days – I think being in such an obscure little town, it has been left to decay over many centuries. There are renovation efforts underway at the moment, and it looks like they’ve been at it for well over a decade – but there are some things that are going to be near impossible to ever restore to their former glory.
Inside, we arrived just after a morning service. Many parishioners were just leaving the church and we noticed there were gas heaters throughout to keep them comfortable – it is about 14-15 degrees Celsius outside, but I swear a good 7-8 colder than that inside.
An interesting model, showing the cathedral’s five famous spires.
This gorgeous pulpit looked like like it could have been carved from a single piece of timber, but there is no information plaques in this church, except for those that were giving a small bit of information about the Roman crypts being worked on at the moment .
The church also contains a beautiful organ in front of this stunning stained glass rose window. All up, well worth popping in to have a look at, especially as we had the place almost entirely to ourselves one the congregants left.
Outside in a footpath, I found this pilgrim’s mark… I’ll have to keep an eye out to see if there are more in town.
The Belfry at the centre of the Square… you can normally go up the belfry, but not today as the visitor entrance was closed by midday.
We found a local place to stop for lunch – have to keep my driver watered. I managed to dazzle the serveurse with my spectacularly bad French! But it was adequate enough to ascertain that yes, the kitchen was open, and to order us some drinks and meals, so … mission accomplished, I guess.
The Parc du Jardin de la Reine… freshly green as the spring brings fresh foliage .
Across from the Parc is the beautiful Pont des Trous – or Bridge of Holes. It is a medieval bridge built in the late 13thC over the River Scheldt and is a typical example of medieval military architecture from that period. I had seen images of it before – and was expecting darkened stones, all covered in moss – seems the town has cleaned it up and I fear it’s lost a lot of its character!
After heading out of Tournai, we drove the 20-odd kms to get to the Waterloo Battlefields. The Domaine of the Battlefields covers
The Lion’s Mound is a monument that stands 40 metres high and was erected between 1824 and 1826 by William I, King of the Netherlands, to commemorate the spot where Prince William of Orange, heir to his throne, is thought to have been wounded while he served as Commander in Chief to the first Corps of Wellington’s army.
The Panorama is a vast, circular building that contains a huge canvas painted in 1912 by Louis Dumoulin, a renowned professional painter whose ‘Panorama du Tour du Monde’ (voyage around the world) was originally presented at the Universal Exhibition in Paris in 1900, before being housed here.
There is a stairway with 226 steps that lead to the top of the Mound, from where the entire battlefield domaine can be see. The lion is protecting a globe, representing the earth and symbolising the return of peace to Europe. Weirdly, it is designed such that you can’t actually see the lion once you are up there.
The panorama has seen better days…
From the top, you can see the entire Battlefield, and markers show were the British, French and Prussian troops were positioned.
There is a very large 2000sqm underground museum, that has been built into the landscape in such a way as to not disturb the important lay of the land above where thousands of soldiers fought and died. This model was created by a civilian who spent 30 years faithfully creating a representation of the battlefield and troop placements.
Inside the museum were many multimedia displays designed to acquaint newcomers (?) to the major players in the political landscape at the time.
Of course – Mr Napoleon was quite prevalent.
There were also displays of pistols, rifles and sabres from the period. I am reminded of Becky Sharp sending her husband off to Waterloo, and him dressed in his least-best uniform with his second best pistol, so she could sell his more costly things if something should happen to him.
Of course, a museum around the Imperial French couldn’t be complete with out a discussion on the revolution and the guillotine’s part in that.
There is so much written on Waterloo – documentaries, novels, TV shows, movies… I’m not going to re-hash it all here, when Wikipedia has everything anyone might want in a neat TL;DR.
This era of history just doesn’t interest me as much as the medieval period… Sean Bean would be disappointed, but there it is.
Some cool political cartoons…
And then suddenly … there was this. *blink blink* An unexpected temporary exhibition of ‘50 Years of ABBA from Waterloo to the World’. Interesting long bow drawn there, but… okay. Whatever. *shrug*
These look like some of the same costumes that I saw at the ABBA Museum in Stockholm – I wonder if they’re on loan or they just made some more… we’d never know!
Poor Agnetha – not looking too good here. :/
Much memories, so cool.
Woo-hoo! Back in the late 70s, we thought those little knitted caps were all the rage. Image the complete lack of stage presence an old ABBA video would feel like it has these days.
I still don’t know why they were so huge in Australia… but it is kinda like the P!nk phenomena. Huge down under, way bigger than in Europe or the US. There must be something distinctly Australian that these two diverse performers have tapped into.
More tacky outfits.
And a section on the huge revival in the late 80s, early 90s with the use of so many fabulous ABBA tunes in movies and musicals for the stage. Fun… completely out of place here, but fun.
I’ve been to exactly one salt mine before (in Poland) and that was a fantastic visit. The underground caverns were huge and the place was set up to teach visitors about the history of salt mining in Europe and how prized it was as a commodity, as well as how it was actually extracted to the surface. This mine was somewhat different.
Salt was first extracted at Salina Turda since antiquity, and the mine continuously provided table salt from the Middle Ages (apparently first documented mentions of this salt mine date back to the 10th and 11th centuries) and was still in use in the early 20th century until 1932.
There are several different chambers open to the public the first of which are the two entrance tunnels – one ‘the OLD tunnel’ is about 700m long and accessed from a small car park and is called the Franz Josef Tunnel. The other is the cunningly named, NEW tunnel which is accessed from a larger newer car park and visitor facility and has only a 180m access tunnel. Yes, bet you can guess which one our hapless guide took us to. :/ To be fair though, he and the driver had never been here before, so I guess we were all pretty chuffed they found the place at all.
One of the main points of interest is the octagonal shaped, ‘Crivac’ room, which houses an enormous which called a ‘crivac’ or sometimes a ‘gepel’. It was pretty rudimentary machinery that was used to lift salt rocks to the surface – the one here presently was built in 1880-1881. This particularly machine is labeled as being the only one of its kind remaining in situ in a salt mine in Romania and possibly in all of Europe. .From the access tunnels, you traverse down some flights of steps to the Franz Joseph Gallery (I can’t see the words Franz Joseph ever written without hearing a thickly accented Austrian art gallery guide at the Kunsthistoiriches also mentioning the Empress Maria Terr-issa!) The steps are old and odd heights and not for the long of foot. This is a conical mine (bell mine). Salt mining in this type of room left behind underground halls of impressive dimensions: 90 metres (300 ft) height and 87 metres (285 ft) diameter. The depth from the mouth of the shafts to the base of the mine is 112 metres (367 ft). A “cascade of salt”, an underground lake, stalactites, and salt efflorescences complete the inert equilibrium of the giant bell. The underground lake is between 0.5 and 8 metres (1.6 and 26.2 ft) deep and occupies about 80 percent of the operating room hearth area. In the center of the lake there is an island formed from residual low-grade salt deposited until the late 19th C.
Now, it houses an odd amusement park having been refurbished to be a tourist centre in 2010 at a cost of $5.6M Euros.
The view from the Franz Joseph Gallery. At the far end you can see the 187 steps in 13 flights of stairs that are required to access the lower areas of the Rudolph mine.
Looking down at the paddle boats from the Gallery… weird. There is even a Ferris wheel down here, an art gallery, a cafe and a gift shop (of course!)Thankfully there is also a lift / elevator – if you do find the stairs difficult (and ffs when there is 187 of them, who doesn’t?) you can wait in line for the lift. The lift takes about 35 seconds to get from bottom to top and vice versa and fits only 7 people at a time, so during busy times you could have quite a wait. Thankfully for us, it wasn’t particularly busy this morning and the wait was barely two minutes. There is no mention on Trip Advisor or the website or any bloody google-able page as the existence of this lift… it’s kinda alluded to, but in a ‘you might be able to use it?’ kinda way. So it wasn’t until we got here that I discovered I’d actually be able to go in.
Worryingly… there is a disclaimer by the elevator saying that the management takes no responsibility if the lift stops working! It’s hard to get a feel for the vast size of this space. The enormous Rudolf Mine is 42 metres deep, 50 metres wide, and 80 metres long. It is the last place in the mine where salt was extracted in Turda. Rudolf mine is the last place where salt was mined in Turda.
On the northwestern ceiling, you can see enormous salt stalactites that are as much as 3m long… though you can’t get that from these photos at all.
Well worth a visit in my opinion and was certainly something different from the usual church tours we’ve been doing in each town.
After the salt mine it was back on the bus – to be sure tours like this involve plenty of bus trips, but I’m honestly not sure how many more bus trips I can spend in close proximity to the particularly odious Annoying American we have in this small group. Ten is a great group size to travel with, not too big, but when you’re on a small commuter bus, suddenly ten feels way too small and you can’t get away from each other. AA has this habit of listening to her music and singing along (no, she can not sing, but that isn’t what is so offensive, it’s just the disjointed noises of someone trying to sing along when they obviously don’t know the words that is so annoying). And when she’s not singing she’s watching comedy videos and laughing out loud at full voice… honestly this woman has no inside voice, no inner monologue and if I have to hear her saying “I need to go potty, Mr G?”, one more time, I’m going to go stark raving mad. She’s just so damn inconsiderate. At the salt mines, she just fucked off – didn’t tell anyone where she was going and when we were all ready to leave we were stood around like idiots wondering where the hell she was… several jokes about 10% attrition was considered industry norm were bandied about. But it turns out she whipped in and out of the mine super quick and the decided to go looking for local shops – without telling anyone and not replying to the WhatsApp group messages. 😐 Several of the young people on the tour had already had more than their fair share of her bullish behaviour and complaint emails have already been sent by several to the tour office to try and have her reprimanded or something as it seemed Georgi was none too keen to be confronting her. Me? I’m just biding my time until it’s my turn to write a letter – and we all know how those go. 🙂
Anyway, where was I? Back on the bus and off to Hunedoara to see the famous castle variously called Corvin’s Castle, Hunyadi Castle or Hunedoara Castle (I know not why). This castle is one of *the* largest castles in Europe. It is considered one of the ‘Seven Wonders of Romania’ – though apparently so are the salt mines, so two in one day is pretty good going.
It sure looks pretty – pretty fantastical that is. The castle was originally designed for this site in the mid-15thC and was partially built between 1440-1446. Building continued on it in 1458-1480 and then there was a huge building spurt on the place in the 17th century and even more done in the 19th century – the result of which is a hodge-podge of ‘architectural improvements’ rather than any determined or cohesive intent to keep building a 15thC castle. There were the obligatory dungeons complete with torture implements which were very easily accessible right at the front of the castle, being directly off the portcullis entrance tower. I don’t know what it is about seeing dummies in medieval castles that immediately sets your expectations for a less than informative visit. That and people dressed in medjieval clothing – which this place had (one guy in Rus pants, a 14thC men’s shirt, a 15th Burgundian pouch and a seax on his belt… should have nabbed his photo). Anyway, it was still fun even if I knew the entire place had burned down in 1876 and the current castle is effectively a fanciful recreation of some modern architect’s idea of what it should look like. Gothic-Renaissance castle bits ahoy…Turrets and gargoyles…
The Legend of the Well
It is said that the well was dug by three Turkish prisoners, to whom lvan of Hunedoara promised their freedom if they found water. Hoping to be free, the prisoners dug in rock for 15 years and at 28 meters deep they manage to find the precious water. In the mean time lvan of Hunedoara had died and his wife, Elisabeth Szilagyi decided not to respect her husband’s word, and instead decided to kill the three
prisoners. As a final wish the three Turks asked the permission to write on a piece of stone in the well an inseription
that said: “You may have water, but you have no soul”, as a reproach for a promise given but not kept. It’s lovely in here and I imagine it’d be great to hold events etc., but it is so bothersome looking around and knowing very little of it is original or even in keeping with the original plan for the castle. Now this looks like a perfectly SCA throne.
After wandering through the castle we all congregated near the long drawbridge, with was out timed collection point – only to find once more that fucking AA had fucked the fuck right off. No one knew where she had gone, where she was or when she’d be back. We stood around getting crosser by the moment knowing this would cut into our time in Sibiu tonight. When she eventually resurfaced, not even an apology just a ‘Oh I went for a walk down by that creek (the moat) and laid down and had a nap. I feel so much better after having my nap, you guys!’ Well, you can imagine the deadpan reception that declaration received and the guide, he just kinda stammered through a ‘Emily, you really shouldn’t wander off like that.’, and quickly shuffled us all onto the bus. Jesus – if that was me and that was my job I’d be giving her both barrels… as it was I pointedly said to her, ‘Thank you for keeping us all waiting, no one knew where you were – you could have been dead in a ditch.’ *mutter mutter*
Anyway, after visiting our fantasy castle we had another drive to Sibiu where we were staying for the night. Now in Sibiu we were supposed to be going to the Brukenthal Palace (which is a museum), the City Square , the Holy Trinity Cathedral, of the Holy Apostles Peter and Paul Church – all of which were closed by the time we arrived… So we checked into our hotel and AA must have been wondering why no one messaged her to make a dinner plan with her, here. Cos OMG did the little turd have a massive dummy spit on the group chat! Wheedling, cajoling, then abusing everyone and attempting to gaslight everyone. Without coordinating anything and without being aware of what the others were doing – it turns out nearly everyone on the tour wrote complaints about her that night (and Georgi didn’t get off Scott free either – it’s his job to herd the cats and he most certainly was failing to herd that one!)
There is even a Ferris wheel down here, an art gallery, a cafe and a gift shop (of course!)
Thankfully there is also a lift / elevator – if you do find the stairs difficult (and ffs when there is 187 of them, who doesn’t?) you can wait in line for the lift. The lift takes about 35 seconds to get from bottom to top and vice versa and fits only 7 people at a time, so during busy times you could have quite a wait. Thankfully for us, it wasn’t particularly busy this morning and the wait was barely two minutes. There is no mention on Trip Advisor or the website or any bloody google-able page as the existence of this lift… it’s kinda alluded to, but in a ‘you might be able to use it?’ kinda way. So it wasn’t until we got here that I discovered I’d actually be able to go in.
It sure looks pretty – pretty fantastical that is. The castle was originally designed for this site in the mid-15thC and was partially built between 1440-1446. Building continued on it in 1458-1480 and then there was a huge building spurt on the place in the 17th century and even more done in the 19th century – the result of which is a hodge-podge of ‘architectural improvements’ rather than any determined or cohesive intent to keep building a 15thC castle. 
There were the obligatory dungeons complete with torture implements which were very easily accessible right at the front of the castle, being directly off the portcullis entrance tower. 
I don’t know what it is about seeing dummies in medieval castles that immediately sets your expectations for a less than informative visit. That and people dressed in medjieval clothing – which this place had (one guy in Rus pants, a 14thC men’s shirt, a 15th Burgundian pouch and a seax on his belt… should have nabbed his photo). Anyway, it was still fun even if I knew the entire place had burned down in 1876 and the current castle is effectively a fanciful recreation of some modern architect’s idea of what it should look like. 
Gothic-Renaissance castle bits ahoy…
Turrets and gargoyles…
It’s lovely in here and I imagine it’d be great to hold events etc., but it is so bothersome looking around and knowing very little of it is original or even in keeping with the original plan for the castle. 
Now this looks like a perfectly SCA throne. 
