National Museum of Ireland, Dublin

Posted on 15 February 2025 by boryssnorc

Somewhat wet and miserable day in Dublin… what to do, what to do? Find the National museum of course. Took a couple of Ubers via the First Chapter coffee shop, to avoid the cold and wet – worth it!

Wow! What an amazing building! The entry/vestibule is so impressive with its gorgeous domed ceiling and beautiful mosaiced floor. I do wish England/Ireland hadn’t embraced this trend for forgoing cloakrooms and/or lockers though. What a pain in the arse to have to carry your coat, scarf and outer layers for a couple of hours through a museum. :/ Europe is still insisting you cloak your shit – anything bigger than a handbag – into a locker it goes, I much prefer it tbh.

Most of the descriptions here are literally copied and pasted from the object’s description plaques, hence the lack of form guide in listing dates, and the weird capitalisation. I could re-type it all, but when you’re travelling and writing on an iPad, time is limited!

Bronze bells, St Mary’s Abbey, Howth, Co. Dublin. Late medieval period.

DECORATED STONE, Youghal, Co. Cork. 2500-1700 В.С.

A necklace of gold beads
Perhaps the most mysterious of all the gold ornaments of the Late Bronze Age are the hollow gold beads found at Tumna, Co. Roscommon in 1834. Eleven beads are said to have been found when a group of men were tilling land near Tumna church beside the Shannon River. Each bead is made in two sections which are fused together. They are perforated which suggests that they were intended to be strung together. The graduated size of the beads also suggests a necklace of massive size. After the discovery the beads were divided amongst various collectors. Gradually over a period of about 150 years nine of the original eleven were acquired by the Royal Irish Academy and the National Museum of Ireland, one is in the collections of the British Museum but the whereabouts of the one remaining bead are unknown.

HOARD CONTAINING A GOLD BRACELET, A GOLD DRESS FASTENER, TWO BRONZE RINGS AND AN AMBER NECKLACE. Meenwaun, [Banagher], Co. Offaly. c. 800-700 B.C.

GOLD AND AMBER BEADS. Cruttenclough, Co. Kilkenny. Later Bronze Age

Part of a hoard of gold ornaments consisting of collars, bracelets, two neck rings, and a double ring.
Mooghaun North, Co. Clare. с. 800-700 В.С.

14. Amber bead. Unknown locality. 900-500BC
Amber Nekclaces C. Cavan. 900-500BC

Bronze chain-link collar. Near O’Connor’s Castle, Co.Rosecommon. c900-500BC.

Collection of swords, Dowris Hoard. Doors sheath, Co.Offaly, c.900-500BC

Selection of horns and other objects of the Dowris Hoard. Doorosheath, Co. Offaly, 900-500BC.

Enamelled bronze belt buckles, Louth Gara, Co. Sligo. Late 7th-early 8thC AD

Penannular bronze brooch, Arthurstown, Co. Kildare, 6th-7thC AD.

Bronze mount with enamel and millefiori, Big Island Lugacaha, Co. Westmeath 6-7thC AD.

Bronze fibula with enamel insets Lough Ree, Co. Longford, 1stC AD.

Enamelled bronze mount, Coolure Demesne, Co. Westmeath, 7th-8thC AD.

Gilt bronze harness mounts, Athlumney Navan, Co. Meath, 8-9thC AD.

Ogham script is the earliest form of writing known in Ireland.
It is a system of linear symbols cut on either side of, or across, a baseline. Ogham is modelled on the Roman alphabet and consists of 20 letters. The key to ogham script is recorded in the Book of Ballymote, a later medieval text. More than 300 inscriptions survive on stone. They are particularly common in the southwest of Ireland and date to between the 4th and 6th centuries AD. Ogham stones surviving in parts of England, Scotland and Wales are a testament to Irish presence in these areas. The majority of inscriptions record personal names and can be considered commemorative inscriptions or perhaps boundary markers.

The Cross of Cong is one of the greatest treasures of the era. It was made to enshrine a portion of the True Cross acquired in AD 1122 by Toirrdelbach Ua Conchobair, High King of Ireland. An inscription records the names of Ua Conchobair, two high-ranking clerics and the craftsmen who made it.
The cross is made of oak covered with plain sheets of bronze. Panels decorated with animal interlace overlay these plain sheets. The relic, now missing, would have been visible behind the rock crystal at the centre of the cross-arms. A staff could be inserted at the base to enable the cross to be carried in procession. The shape of the cross-arms recalls the Tully Lough Cross, made almost four centuries earlier, but the decoration is in the late Scandinavian Urnes style. The glass and enamel studs are characteristic of Irish Romanesque metalwork.

The llth and 12th centuries witnessed the production of a large number of highly decorated religious objects. Croziers, which were used by abbots and bishops, are the commonest type of church metalwork from this period, but enshrined bells and books also survive. These items were symbols of power and authority. Inscriptions on some of these treasures name royal patrons and important churchmen and suggest that the commissioning of such objects was as much a political statement as it was a religious act. Political power in 12th-century Ireland was held by a small number of provincial kings who were generous patrons of the Church. A major reform of the Irish church at this time shifted power from the monasteries to bishops who controlled dioceses. Rivalries ensued as competing groups attempted to lay claim to these new centres of power. The production of ornate church treasures inscribed with the names of key political figures can be seen as a reflex of these power struggles.

Shrine of St. Lachtin’s Arm. Donaghmore, Co. Cork, c. AD 1120.

Saint Patrick’s Bell and Shrine, Armagh Co. Armagh, 6th-8th century AD and AD 1100.

Silver chalice, Reerasta, Ardagh, Co. Limerick, 8th century

Tomb shaped shrine, River Shannon, 8-9thC AD

The Golden Age of Irish Art.
Metal artefacts of the period show unparalleled skill and artistry. Ornamentation
on metal, on stone and on illuminated manuscripts shows close links in style and symbolism. Contacts with Pictish Scotland, Anglo-Saxon England, Germanic Europe and the Mediterranean region exposed Irish craftsmen to new metalworking techniques and art styles. Irish craftsmen blended these styles with native late Celtic ornament to produce a distinctive new style. The greatest artistic achievements of the new style date to between the late 7th and the early 9th centuries, a period often described as the Golden Age of early Irish art. The Church was a major patron of the arts and it enjoyed the support of important political families. Secular artefacts, such as the Tara brooch, also survive.

The Tara Brooch, Bettystown, Co. Meath, 8th century AD

Silver paten and bronze stand, Derrynaflan, Co. Tipperary, 8th century AD

Gold ribbon torc, near Belfast, Co. Antrim, 3rdC BC to 3rdC AD.

The Broighter Hoard
The hoard of gold objects from Broighter, Co. Derry, is the most exceptional find of Iron Age metalwork in Ireland. The tubular collar, miniature boat and cauldron, two neck chains and pair of twisted collars (torcs), which date to the Ist century BC, were found on the ancient shore of Lough Foyle in Co. Derry. The sea god Manannán mac Lir was associated with Lough Foyle and the place-name Broighter (from the Irish Brú lochtair) may be a reference to his underwater residence. Most notable is the model gold boat with its mast, rowing benches, oars and other fittings that can be regarded as an appropriate offering to a sea god. The decoration on the tubular collar appears to include a highly stylised horse, an animal that is especially associated with Manannán mac Lir.

DECORATED LEATHER BOTTLE, Found feet deep in bog, Cloonclose, Co. Leitrim, Early Medieval.

Replica of Gokstad Faering
The battle of Clontarf was fought on the shores of Dublin Bay and a fleet of Viking ships played a significant part. This boat is a replica of one found in 1880 in a burial mound at Gokstad, Norway, where a Norse lord had been buried in a great Viking ship dating to c. 900AD. Accompanying the ship was a smaller fishing boat, crewed by two oarsmen, known as a faering, which is in many respects a miniature Viking ship. It shares many of the same features and techniques – such as the clinker-built oak planking and the side rudder.

The Dunmore Cave hoard – This hoard was hidden in Dunmore Cave around 965-70.
The most interesting objects are sixteen hollow cones, woven from fine silver wire in three sizes. They were probably connected to a knitted fringe of exceptionally delicate coiled silver wire. The fringe, in turn, was probably attached to an imported silk cloth, of which a tiny fragment survived. There is also a decorated buckle and matching strap-end, whose form and decoration suggests that they were made in Dublin and this may also be true for the silver cones.

Skave Chain, Near Strokestown, Co. Rosecommon.
This fearsome chain and collar for a slave or hostage was found in Dublin and may possibly have been made there. It was found mid19-thC possibly on a crannog.

The shrine of the ‘Stowe Missal’, c.1030
This shrine held an 8th-century mass-book for the monastery of Lorrha. An inscription on the base requests prayers for the ‘king of Ireland, Donnchad, son of Brian and Gormlaith. Donnchad reigned for many years after Clontarf but was never generally recognised as king of Ireland. Lorrha, Co. Tipperary.

9th Century Viking cemeteries at Kalmainham and Irelandbridge, Dublin.
The Vikings in Ireland as elsewhere in Europe were not Christianised until the late 10thC. Their burial customs were pagan and the wealthiest were buried with their person: possessions. The cemeteries associated with the earliest, 9thC, Viking settlement at Dublin were located on a ridge overlooking the Liffey in the area now occupied by the modern suburbs of Kilmainham and Islandbridge. One of these cemeteries was located on the site of an earlier Irish monastery at Kilmainham. It is believed that the first Viking fortified encampment at Dublin, established in 841, may have been located nearby.
Most of the objects were recovered in the course of grave digging and in the building of the railway line in the 1840s, 50s and 60s. The presence of weapons, tools and brooches among the finds indicate that both men and women were buried there. The finds recovered represent at least fifty burials, and it is the largest known Viking cemetery outside

Eight iron swords, 10th-11thC.

Copper alloy buckles, belt ends and pins. 9thC.

Roasting spit? 9thC

Three pairs of copper alloy brooches with strings of glass beads.
Oval brooches are typical finds in women’s graves of the Viking Age and indicate that women of importance were also buried there. Spinning and weaving were tasks carried out by women and objects such as the whalebone ‘ironing board’, spindle whorls and bronze needle case are further evidence of female burials. The presence of a number of folding weighing scales, purses and weights indicates that some of the Viking settlers in ninth century Dublin were merchants while the iron tongs and hammers suggest the presence of smiths. Some of the brooches and pins from these burials are of Irish manufacture and indicate that the Vikings of Dublin, as elsewhere, adopted Irish fashions of jewellery and, perhaps dress.

Copper alloy balance scales, 9thC AD. With lead alloy weights.

One pair of Oval brooches, Finglas, Co. Dublin.

Museum replicas of Irish viking costumes.

Pair of copper alloy oval brooches and chain from a burial ot Arklow, Co. Wicklow. The chain is curiously Baltic in origin, it is possible the wearer may have been gifted the chain to wear with the locally made brooches, or herself came from that region.

Silver sword fitting – no known locality.

Ballinderry Crannog, Co. Westneath, c850-1000
The crannog, or artificial lake dwelling at Ballinderry, excavated in 1932, provides the most complete picture of life in a rural settlement between the late 9th and early 11th centuries. Its size and the variety and richness of the objects found suggest that it was the homestead of a prosperous farmer or a local king. The fields and pasture lands were probably located on nearby dry land, reached by hollowed oak longboats or canoes.

Wooden stave-built bucket, c.850-1000 AD.

Wooden gaming board, c.850-1000AD

Leather shoe, Carrigallen, Co. Leitrim, c.9-10thC.

16 SILVER ARM-RINGS – These arm-rings, made of thick bars of silver, are decorated with a variety of stamped patterns. They were current between the late 9th and early 10th centuries and over sixty examples are known from Ireland. They were manufactured in Ireland, probably in the Viking settlements and some have been found in hoards in Scotland, England and Norway.

GOLD ARM-RING – This simple but massive arm-ring, made of three twisted rods of gold, is the largest surviving Viking Age gold ornament from Ireland, weighing 375 g. The heaviest gold hoard from the Viking Age was also found in Ireland at Hare Island, Lough Ree in 1802 and consisted of ten gold arm-rings weighing approximately 5kg. Unfortunately, that hoard was melted down shortly after its discovery.

7 – silver ring ingot, part of a hoard from Derrynahich, Co. Kilkenny.
8 – silver brooch with gold filigree, Mohill, Co. Leitrim.
9 – Ring of silver penannular brooch in two pieces – location unknown.
10 – Head of silver kite brooch – location unknown.
11 – head of a silver thistle brooch – location unknown.
12 – Two silver rod arm-ring fragments, – location unknown.

WOODEN BUCKETS, Cloonarragh, Co. Roscommon, 10th-11 th century
Found together with a third, stave-built vessel in a bog. The stave-built vessel shown here is secured by a pair of wooden hoops, the other vessel is carved from a single block.

WOODEN BOWL, Cuillard, Co. Roscommon, 8th- 9th century, The bowl contained butter when it was discovered, indicating that the storage of butter in bogs was one way of keeping surplus food.

Inlaid glass beads, Clough Co. Antrim, Tristernagh. Glass bracelets and strings, c.8-9thC

Four lead alloy disc brooches, High St, Christchurch Place, Winetavern, c.8-9thC

Copper alloy buckles, belt and strap ends, High St, Winetavern, c.8th-9thC

Model of a typical Viking settlement in Ireland, c.8th-9thC

DUBLIN – Amber, glass, jet and Lignite.
Amber was brought to Dublin in lumps probably having been collected along the shores of the Baltic Sea, mainly in Denmark. These lumps were converted to beads, pendants, earrings and finger rings. An amber worker’s house was identified at Fishamble Street where the floor was strewn with several hundred waste flakes and tiny spicules. Jet was probably brought from Yorkshire, and was used mainly in the production of bracelets, finger rings and earrings. It too appears to been worked in Dublin as was glass, possibly from imported pieces of old Roman glass.

Amber pendants, finger rings, unfinished amber beads, necklaces beads and fragments. Fishamble St, c.8-9thC.

Glass beads, discs and spindles. Some unfinished. Fishamble St. c.8-9thC.
It is likely that some glass beads were made locally from pieces of broken glass imported from old Roman towns in England, such as Chester and York.

Antler and bone were used for knife handles, gaming pieces, buckles, and as panels for boxes. Bone was used for spindle whorls, spindles and weaving tablets. Whale bone was used for clamps or hand-vices as well as for caulking spatulas. Walrus tusk were also used for gaming pieces and pendants.

Decorated bone and antler plaques, and antler combs, Christchurch Place, Fishamble St. c.8-9thC.

Decorated antler strap ends. High St, Fishamble St.

Motif pieces, antler and bone. High St, Fishamble St. c.8-9thC

Weapons and Luxury Goods – 11th to 12th Centuries. Weapons, tableware and sets of gaming pieces were among the most prized possessions of kings and nobles in the early medieval period. Most of our knowledge of weapons from the later Viking Age comes from stray finds of objects lost in rivers and lakes. Shallow drinking bowls of copper alloy and silver were imported from the Continent. In some cases these imported bowls were adapted to Irish taste by the addition of enamelled hooks of local manufacture. Gaming boards and gaming pieces are known from the tenth century onwards. The game of chess, however, was not introduced to Europe from the Islamic world until some time in the eleventh century.

Copper alloy sword pommels, gilt copper alloy swords, Iron swords, locations unknown.
Iron axe head with wooden handle, River Robe, Ballinrobe, Co.Mayo. C11th.

Bronze bells, Donoghmore, Co Tyrone. 11-15thC

MANCHAN’S SHRINE (REPLICA), Lemanaghan, Co. Offaly, 12thC
The original shrine, made to contain the bones of St Manchan, was most likely produced by the same individual that produced the Cross of Cong. Its ornament, known as the Hiberno-Urnes style, is a blending of a late Viking art style with native Irish art. This nineteenth-century replica, which is a restored version of the original; made by Alexander Carte for Dr John Lentaigne.

Inscribed Grave Marker, Clonmacnoise, Co, Offaly. 9th-10thC.
One of several hundred memorial slabs from the cemetery of Clonmacnoise. It bears the name ‘Sechnasach’ along with a cross and some geometric ornament. It is unusual in that it is made from a reused mill or quern.

Shring, copper alloy, gilt and enamelled, early 11th C. Drum lane, Co, Cavan.

Leather satchel, 15th C, Drumlane Co. Cavan – to house the shrine.

Knight Jug. Wine jug decorated with figures of armoured knights and monkeys. It was imported from pottery kilns at Ham Green, near Bristol. Pottery, 13thC. Found High St, Dublin.

Wooden, two to four handed mether tankards. Carved from single pieces of alder, c.14thC. Co. Donegal.

Various precious and semi precious jewelled items.

Gilt silver cross pendant, c.1500. Provence not listed.

Gold finger ring, c.14thC. Provenance not listed.

Knitted cap, 16thC AD. Ballybunnion, Co. Kerry.
This knitted wooden cap was found in Co. Kerry in 1847. This style of cap was fashioned up to the 1580s and made from expensive materials. Often decorated with jewels and feathers. Traditional records that when it was found, the cap had a gold band around the crown.

Often overlooked, I love that the building this collection is housed in is somewhat of a work of art itself.

Bronze laver, believed to be Flemish, c.1425.

Cross Pendant, obverse is engraved with an image of the Crucifixion and symbols of four Evangelists.
Silver gilt with glass and garnet settings, c.1500. Near Callan Co. Kilkenny.

Rock crystal with silver mounting, 15thC.

Reliquary Cross, T-shapedor Tau cross indicates it was designed to protect the wearer from disease known as St Anthony’s Fire, whose symptoms included burning sensations. Contains a cavity to hold a reliquary. Gilt silver, c.1500.

Seal ring with a central image of a human figure inside the doorway to a turret castle. Flanked by engraved images of the Virgin and Child and Holy Trinity. Gold, 15thC, Girley, Co.Mealth.

Shrine of the Cathach. Made to contain a 7thC manuscript believed to be written by Columba himself. The Cathach (battler) was one of the chief treasures of the O’Donnells throughout the Middle Ages. They carried it into battle to bring good luck. IT’s keeepers were the Magroarty family, one of whom was killed when the shrine was captured in 1497. Wood with gilt silver, silver fittings, rock crystal. Late 11th-14thC, Ballynagroarty, Co. Donegal.

Shrine of Patrick’s Trail. This is a complex piece made up of portions of different objects. It’s a purse shaped form dates to the mid-14thC when it was covered at the request of Thomas Birmingham, Lord of Athenry. The shrine was used in the early 19thC for curing sick animals. St John, the Virgin Mary and figures of Irish Saints flank the figure of Christ on the front.

Bell, copper alloy, silver inlay. 11th-12thC. Scattery Island, Co.Clare.

Overall, this musuem on Kildare Street was well worth a visit. It has some fabulously obscure objects – though I did find the curation had more of a focus on *where* something was found rather then where is was created/made. Sometimes that info was a bit buried under the lead.

Hakone – Part I

Posted on 2 November 2024 by boryssnorc

Driving from Yugawara to Hakone proper today, up some beautiful winding mountain roads. I noticed from my last trip to Japan that when you’re out and about in a car, and you encounter gorgeous scenery, there are rarely places to pull over and enjoy the view. In Australia, lookouts seem to be everywhere there’s even a slight elevation in the road, along with some big board of information to tell you what you are looking at. Here they seem very few and far between.

Looking back towards Tokyo.

The elusive Mt Fuji! Sadly, without any snow on top… apparently it’s the first time in 130 years there has been no snow on Mt Fuji in October. Signs of rapid climate change are all around us. The hovering low cloud is reminiscent of so many iconic Japanese prints and artworks.

These guys pulled up in their car and at first I was like, ‘Hey! Way to block the view!’, but they have a cute little K-car so we forgive them.

When we arrived in Hakone, we did a quick scout out of the Hakone Checkpoint area. The Hakone Checkpoint was originally an inspection facility during the Edo period (1603-1868) and was dedicated to keeping the city of Edo (Tokyo as was) safe. There were up to 50 checkpoints scattering across the country during this era but most were abandoned when the Edo Period ended. From what I’ve read the Hakone Checkpoint is the only one that has been restored. It was rebuilt and renovated in 2007, using the traditional building tools and techniques from the Edo Period. I am planning on coming back this way in a couple of weeks to visit the site – but so not going near it on a public holiday weekend!

The little shopping street leading up the Checkpoint has many craftsman who create the traditional ‘Yosegi Zaiku’ workwork that has its origins in the mountains of Hakone. The craft has hundreds of years of history and is designated as a special Japanese cultural treasure, and utilises naturally different coloured timber laid out in intricate geometrical designs and patterns to make complex and beautiful timber products.

Hakone Karakuri Musuem – showcases the techniques used to make the Yozegi Zaiku masterpieces. There is a small museum which displays how the history of the techniques date back to the Edo period, and it was as much as 1000 years ago that local craftsmen began to gather in Hakone to take advantage of the wide varieties of wood available in the mountains here. Initially, the timbers were used to create furniture, but around 200 years ago a noted craftsman named Jinbei Ishikawa developed a technique of co-mingling different colours and grains of woods to make boards and then cut them into thin slices of timber veneer. These thin boards containing the intricate designs are then glued to various boxes, trays, coasters and what have you, to create these beautiful marquetry pieces.

Planes used to create the thin slices of timber decorations.

The work is so beautiful, and showcases some serious woodworking talent.

After checking out the marquetry and resisting buying anything to carry around for the rest of the trip, we sought out something fishy for lunch. We found a sushi restaurant near the Checkpoint, called Daimasa Honten. It was rated 4.2 on the Googles, which is damn near impossible in Japan. The Japanese are notoriously harsh on rating restaurants, they will never complain about food they are served, but they have very high standards and seem to often feel, ‘things can always be better!’ Which seems to sit with the Japanese ideals of perfectionism quite nicely. Anyway, if you’re in Tokyo and see a restaurant with over 4 stars aggregate reviews on Google, just know that’s damn near impossible – and you should go there, the food will be amazing. This place however, could just be lucky enough to have lots of western tourists visiting who are more free and easy with their praise!

I chose a unagi and tuna rice bowl, that is supposed to look like a dragon.. and while the picture on the menu was sort of dragon like if you squint at it from the right – mind did not!
Nevermind though, it was super fresh and really tasty. So all is good with the world.

Yale ordered a donburi set full of all good things. All up, a delicious meal and for a fairly reasonable price (compared to what we would pay for similar in Australia, though admittedly kinda touristy priced for Japan).

After lunch, we took a drive to get to Kitanozake Saryou, and made a quick detour to a photo point on a small side road near the “Old Tokaidō ROad, Ancient Cedar Avenue”. We managed to get some beautiful views of Lake Ashi towards the famous Hakone Tori Gate, and Mt Fuji in the background. As luck would have it, one of the very touristy and famous pirate ships was coming past and made for some beautiful iconic Japanese photos.

Togendai Station – where the ships come in.

Had to do a quick stop at the konbini for some saké… and I’m always amused at the strangeness available at the local shop. Spam nigiri? Hotdog in a bun complete with ketchup and mustard, and how long has that been sitting in that bag? Yikes!

Yale found this enormous chocolate waffle ice cream monstrosity… don’t let the Yale for scale throw you off, this thing was easily as big as my hand!

While in the area for a few days, we took the opportunity to visit the Hakone Venetian Glass Musuem also known as the Hakone Glass Forest or the Ukai. It is located in Sengokuhara in the Ashigarashimo District and I thought the idea of a Venetian glass museum in Japan was going to be something seriously odd… and well, I always love me a bit of absurdity in the morning.

And all these objects are before you even enter.

This is an Insta-famous archway is made entirely of crystals. It is quite striking when the sun hits it, but today it was quite overcast.

I saw this curly white glass sculpture in the middle of the lake and was immediately reminded of Dale Chihuly’s work… but didn’t think that likely as it was a Venetian glass collection, yes? Only to walk around the corner and find a plaque confirming that yes, it is actually a Chihuly.

The Venetian Art Glass Musuem.

I don’t know what this cascade of glass flowers is called or when it was made – but it was interesting.

Glass perfume bottle in the carriage – Italy, c.1860.

Compote bowl and lid in filigrana a reticello techniques. Italian, undated.

Wine glass in filigrana a reticello. Italy, c. 17thC

Glass ship hot work. 18thC Venice.

Mosaic of Doge Niccolo Marcello. This mosaic has a portrait of Niccolo Marcello, who was Doge (admiral) from 1473 to 1474, in the centre. Marcello Marcello’s portrait was repeatedly painted by Venetian painters such as Gentile Bellini and Titian in the 15th and 16th centuries. This mosaic was probably modeled on a portrait painted in a Venetian workshop.

Bottle in rock crystal with two handles, c.16th.

Cave a parfum. c.1870.

Glass rose water sprinkler, 18-19th C.

Insense burner with painting cicada and chrysanthemums, c.1840.

Bottle enameled with figures parading, c. 1500 AD.

Core-formed glass fragrant oil bottle “arybollos” c.6thC.

Flask in opaque-white glass (lattimo), c. 16thC,

Porcelain perfume bottle decorated with florid motif. C. 1760.

Black figure aryballos fragrant oil bottle, c.6thC.

Glass bottle with decoration, c.1C AD.

Toilet bottle, c.1stC AD.

Double head glass flask, c.1stC AD.

Porlain perfume bottle with enamels, c.1891-1920.

Glass perfume bottle “boy hon Fleur’s de Pommies”, c.1919.

Pair of glass perfume bottles in an enamel case, c.1770. This portable perfume set, which was popular at the court during the reign of King Louis XVI, is an extremely elegant case made of octagonal gold with beveled corners and decorated with a tortoiseshell pattern of scattered gold stars. It contains two glass perfume bottles with gold caps. The small gold funnel in the center is used to pour the blended perfume into the bottle. This piece was made as a special order for a French aristocrat.

Set of four glass perfume bottles with ornament case. Italy 19thC.

Mirror in glass mosaics, c.19thC.

Pommander, c.1630… is this made of glass??? I’m not seeing it.

Lamps in Millefiori glass, c.1910.

The Venetian Glass Rose Garden…

All the roses are made in glass… it’s really quite pretty and unfortunately very Insta-worthy. It took some patience to get some photos without the selfie crowd about!

’Le Tre Grazie’, c.1996 : Three bubbles inside the sphere emit rainbows when exposed to light – a eulogy to purity and feminine grace.

’Compenetrazione Dinamica’, 1998. Livid Seguso, glass, marble stone.

The indoor, Chilhuly ‘Form from Light’ exhibit.

The gardens are really pretty and when the sun did peak out from behind the clouds, the sparkling in the glass forest was truly striking.

Onions and Reeds Installation, Dale Chihuly, c.1941.

Such a striking sculpture, and from the ‘40s – it’s hard to believe it’s as old as it is given the nature of the medium.

We also had a chance to go for a walk at the Hakone Open Air Museum. I am not super fond of modern art, but I think expected things to be a little less out of place than the Venetian glass!

”Sphere Mesh” – Francois Morellet, 1962-63, stainless steel.

“Tree Man” – Taro Okamoto, 1971. FRP and paint.

”Grand Striptease” – Giacomo Manzu, 1967, bronze.

“The Weeper” – Francois-Xavier and Claude Lalanne, 1986, Trani stone. Sadly her pond was empty and she wasn’t weeping today.

”my sky hole 84” – Bukichi Inoue, 1984, stainless steel.

I couldn’t find a description of these – there were four of them, and they seemed like kami to me. I will have to look them up when I find some time.

”Big Hand” – Rainer Kriester (German), 1973, aluminium.

“Girl with Rooster” – Shin Hongo (Japanese), 1962, bronze.

”Grandson of the General” – Seibo Kitamura (Japanese), 1918, bronze.

”Eva” – Francesco Messina (Italian), 1949, bronze.

”Pavillion Sculpture” – Max Bill (Swiss), 1969, white granite.

“Van Gogh Walking Through the Fields” – Ossip Zadkine (Russian/French), 1956, bronze.
As I approached this piece, I saw the worn face and the heavy accoutrement and assumed it was going to be a heavily laden fighter with weaponry, it was only as I got closer I could see it wasn’t guns he was carry, and wasn’t until I saw the plaque that it was like, ‘Oh wow, did I read that wrong.’

”Great Prophet” – Pablo Gargallo (Spanish), 1933, bronze.

There is a world famous Picasso museum here, which is full of paintings, ceramics and even tapestries – most of which is created by Picasso himself, and some of which is inspired by the movement. To be honest, I’m not a huge fan. I can understand and appreciate the intent and important of most modern art; it’s just not that appealing to me, personally. Also – no photos. Sad panda face ensues.

”Fairy Chapel” – Satoru Okamoto and Nsenda Lukumwena, 2005, stainless tell, float glass.

Symphonic Sculpture (below) – Gabriel Loire is an 18-meter-tall tower covered entirely in stained glass made from shards of thick glass broken by hand with a hammer. “The intricate designs and patterns allow the outside light to pass through it in complex refracting motions, creating a beautiful, fantastical world.” Oddly, we have perfect weather for this – bright contrast outside makes photographing stained glass tricky.

It’s pretty spectacular… but no Saint Chapelle!!

”Two Piece Reclining Figure: Points” – Henry Moore (British), 1968-70, bronze.

”Family Group” – Henry Moore (British), 1948-49, bronze.

”Miss Black Power” – Niki de Saint Phalle (French), 1968, polyester resin, paint.

“Close III” – Anthony Gormley (British), 1993, iron. I LOVE this piece! It’s so simple and yet speaks to me. The artist’s statement, not so much, but the figure itself. ‘The artist recreated his body in iron. The rotatation and orbital revolution of the Earth produces centrifugal force and gravity binding it to the ground.’ Sure… but to me it speaks of years of exhaustion and chronic fatigue and pain.

”The Boxing Ones” – Barry Flanagan.

“Two Eggs” – ??? I have a note here somewhere…

”A Grand Story” – Giuliano Vango (Italian), 2004, Carrara marble.

“Intersecting Space Construction” – Ryoji Goto (Japanese), 1978. FRP, iron and paint – inspired by wire mesh and in praise of human connections.

“Sturm (Storm)” – Matschinksy Denninghoff (German), 1980, stainless steel.

”Spatial Dynamics No. 22” – Nicholas Schöffer (Hungarian/French), 1954-1980, stainless steel.

”Arborescence” – Jean Dubuffet (French), 1971, epoxy resin and paint.

Hakone is lovely, and slightly odd… I look forward to coming back in a couple of weeks.

Vienna – Schönbrunn Palace

Posted on 11 July 2024 by boryssnorc

Our itinerary for Vienna (outside of Eurocup stuff) was to check out as many museums as possible; but it felt very much like you can’t take a trip to Vienna without going to the Schönbrunn.

Commissioned by Leopold I in 1696, it was designed and built to the preferred baroque architectural style at that time, it is heavy and ornate with large sweeping staircases and colonnades. It was intended as a summer palace and hunting lodge not far from the River Wein, and had several halting stages of construction (due to the lack of funds resultant from war with Spain among other Hapsburg trials). Emperor Charles VI gave it to his daughter Maria Theresia who was apparently particularly fond of the place, and it was she who left the largest mark on the estate.

I remember the palace really well from visiting here in 1995 and mostly remember that it was huge, ornate and we had a very cool guide showing us around. It was also a rather quiet place without too many tourists and not a lot of ropes or glass stopping you from interacting with the space (unlike my memories of Versailles that same trip). Everything was about the Empress Maria Theresia, her investment and design decisions regarding the estate and her prolific offspring that were wed to the various royal houses on the continent leading to her being named, the ‘Grandmother of Europe’. Her name was uttered with a thick Austrian accent numerous times in every single room!

Jesus has this place changed… thanks to the Netflix TV services, “Empress”, the entire palace now is all about Elizabeth – also known as, ‘Sisi’, who was married to the Emperor Franz Josef some one hundred years after Maria Theresia. Seriously, you could could be forgiven for leaving here thinking that Sisi built the place and was the only royal to have lived here! The free roaming tour with polite ‘please don’t touch the velvet wallpaper’ signs are gone, and in it’s place is a rigid, timed and structured audio tour keeping you in glass walkways well away from the artefacts. The palace was packed with visitors… though given it was late afternoon, I imagine it is even worse in the mornings.

Oh, and nice overpriced touristy carriage rides on offer around the grounds.

Still it is a lovely building and there is a lot to see here; having recently seen the over the top Nymphemberg Palace, among others, it does all start to feel a bit same-same, though.

The Billiard Room – ‘Franz Jospeh saw himself first and foremost as an officer of his army. Appropriately, the subject of the large format paintings in this room is the Military Order of Maria Theresa, the highest military order of merit of of the Habsburg Monarchy.’ Which was pointed out on the audio-tour… but possibly ignored as everyone is here to hear about Sisi!

Audience Chamber – Here the various emperors received individuals who had been granted a private audience with the monarch. Members of the government, high ranking military officers and court officials were also summoned here several times a week to deliver their reports.

Emperor Franz Joseph’s (aka Sisi’s husband) Study – A host of personal pictures and photographs bear witness to the style of interior favoured by the emperor in his private quarters. Over the course of his long life he amassed in this room a wealth of mementos of his wife Elisabeth (Sisi), their four children and thirteen grandchildren.’

Ketterl Room – the concealed door in the back wall of the study leads into the valet de chambre’s rooms. I’m not sure what a Ketterl is…

Franz Joseph’s Bedroom – the emperor’s bedroom was also where he died on November 21, 1916. The brown is a bit… meh.

Stairs Cabinet – the Stairs Cabinet served Empress Elisabeth as a writing room. Here she wrote her letters, journals and her poetry. The bookcase still contains part of her personal library apparently.

Dressing Room – immediately adjacent to the bedroom, the dressing room was the innermost and most private room in the empress’s apartments. Sisi was known to have a strict diet and beauty regimen to maintain her girlish figure and look after her ankle length hair.

Imperial Couple’s Bedroom – the bedroom in the Italian style that was shared by Franz Joseph and Sisi was furnished and decorated as we see it now, for their marriage in 1854.

Salon of Empress Elisabeth – this was Sisi’s primary reception room. “The Rococo Revival interior is a typical example of the furnishing and decoration of a state room at the Viennese court during the reign of Emperor Franz Joseph.”… and is way too chintzy for me.

Marie Antoinette Room – during the time when Elisabeth occupied these apartments, the Marie Antoinette Room was used as the family dining room for small dinners in the immediate family circle and attended by the imperial couple and their children, and later on their daughter and sons-in-law and grandchildren. So, like a casual breakfast nook really.

Yellow Salon – the Yellow Salon is the first room in the apartments facing the palace gardens. From the windows of these rooms one has a stunning view of the main parterre with the Gloriette as the lofty termination of the vista. <- I did not write that.

Balcony Room – continuing numerous pictures of Maria Theresa and her numerous children. The portraits are from the the studio of court painter Martin van Meytens. This was quite a nice room actually.

Breakfast Cabinet – this little corner room owes its ‘pleasing character’ (according to the audio) to the textile flower pictures set into the wall panelling in gilt frames. It’s lovely, but so delicate and feminine. I think trying to relax in these spaces would just put me on edge.

Salon of the Arch Duchess Portraits – this room is done in a Rococo Revival decor and once belonged to the apartments occupied by Empress Elizabeth. Today it contains the famous portraits of Maria Theresa’s daughters, and is therefore also sometimes known as the Children’s Room.

Large Rosa Room – the three Rosa Rooms are named after the artist Joseph Rosa, who executed fifteen landscaping paintings for the ensemble at the behest of Maria Theresa in the 1760s. See, Maria Theresa did all the work, and somehow Sisi is now the belle of the ball!

Second Small Rosa Room – consisting of one large room and two adjoining smaller room, the Rosa Rooms form an ensemble with a cohesive decor plan.

Great Gallery – Okay, this is pretty great still. It is 43 metres long, and just shy of 10 metres wide, the Great Gallery was the used as an ideal setting for courtly events. The interior is dripping with magnificent gilt stucco decorations and ceiling frescos represents the epitome of Rococo art – which is fabulous, if you like that sort of thing.

Okay, I love the chandeliers! Want one at home, though it may be hard to manoeuvre around given the high ceiling in my house is only about 14’.

Round Chinese Cabinet – half concealed to either side of the Small Gallery lie two highlights among the historic state rooms of the palace; two cabinets lying opposite each other in mirror-image, both decorated with a rich array of works of art from China and Japan… though it ends up being subtlely chinoiserie, as it’s all surrounded in those heavy Rococo frames.

Small Gallery – crossing the central axis of the palace, the Small Gallery, together with the two smaller rooms on either side, made for small salons used for intimate courtly entertainment. I still can’t imagine living in a place like this, how do you decide which room is appropriate for a game of Code Names?

Oval Chinese Cabinet:

Hall of Ceremonies – at the court of Maria Theresa the Hall of Ceremonies served as the Second or Great Antechamber. Here, enthroned under a canopy of state, she received her guests in audience. Today this place is occupied by probably the most famous portrait of Maria Theresa, showing her as the ‘First Lady of Europe’ in a sumptuous gown of Brabant lace. Sumptuous – good word.

Vieux Laque Room – in terms of its art-historical significance, the Vieux Laque Room is apparently among the most important interiors of the Schönbrunn. The black lacquer panels from China lend the room an impression of decadence and magnificence.

Needs more gilt…

Napoleon Room – known today as the Napoleon Room, the room was refurbished several times during the 19thC. When it was restored in 2007 the decision was taken to highlight various phases of its past decoration and make this visible to visitors. I don’t know why it’s called the Napoleon Room, they didn’t say?!

Porcelain Room – this small room served as Maria Theresa’s private writing room. It has a particularly private character and was decorated to her personal tastes apparently. The decor not only displays the empress’s love of the chinoiserie fashion of the times but was partly made by members of her family – it interestingly the most monochromatic area in the entire place, but still full of baroque clutter. .

Millions Rooms – the interior of the Millions Room (named for the Indo-Persian works attached to the walls) is particularly extravagant. In the ceremonial sequence of rooms prescribed for the Viennese court, Maria Theresa used this room, originally known as the Mirrors Room, to receive guests for private audiences. Okay, so the house is definitely all still about Maria Theresa – so why is the advertising, posters, website and gift shop all about Sisi?

Gobelin Salon – both the walls and the armchairs in this room are covered in valuable tapestries; the backs of the seats of the six chairs each show representations together with the signs of the Zodiac… it’s pretty flash.

Red Salon – known today as the Red Salon, this room is decorated in the style typical of the later years of Emperor Franz Jospeh’s reign. The room is characterised by the wall hangings and upholstery in ‘court damask’, a red silk damask with a design based on a pineapple like central motif.

Rich Room.
The Rich Room does its name full justice, on display here is Maria Theresa’s state bed with its lavishly embroidered covers and hanging. Love it!

Salon of Archduke Franz Karl – a glass door allows a view into the corner salon, which is decorated with life-size portraits of Maria Theresa’s children.

I didn’t take a lot of photos of the corridors and staircases (I say staircases for there are several!), but there are plenty of statuary placed around the common areas of the palace, much of which doesn’t have any plaques informing visitors of the artist or the content. Though this one is most likely Hercules defeating the Lion.

All up a cool, slightly confusing visit to the Shönbrunn… I wish I had taken some pictures of the gift shop and the posters around the palace that were all, ‘Sisi this, Sisi that!’ Poor Maria Theresa, how was she to know she would need a better post humours PR machine 300 years after her death. Netflix, you have a lot to answer for!

Saint Florian, Austria

Posted on 11 July 2024 by boryssnorc

En route to Vienna today we decided to take a small detour to the town of St Florian to have a quick look at the St Florian Monastery and Collegiate Basilica. It stands out across the landscape from the highway into town.

Gothic representation of the St Florian Monastery.

Both the monastery and the market town of St Florian owe their names to Austria’s earliest named saint. Florian was the chief official to the Roman Governor, Aquiline at Lauriacum, about five kilometres from the Roman Capital of Ufernoricum. When Christian persecution broke out under Emperor Diocletian, Florian and forty unknown Christians were imprisoned for their faith. Despite intense torture, Florian remained steadfast. Finally, in the year 304, he was weighted with a stone and thrown into the River Enns to drown. His companions died in the dungeons.

Legend has it that Florian’s corpse was washed ashore and found by a woman named Valeria who carried it away on an ox art. His body was buried on the spot where the Monastery of St Florian stands today.

During excavation work in the crypt of the collegiate basilica in 1952/53, wall fragments, Roman roof tiles and traces of fires dating back to Roman periods were found, confirming that the building activity on this site dated back to Roman occupation. There is no historical documentation of St Florian during the time of the Barbarian invasions, but records tell of a small wooden church built over Florian’s grave. This church may have been destroyed by the Avars and replaced by one made of stone. It is not known exactly when or by whom the Monastery of St Florian was founded.

The earliest indications of the monastery have been found in books and documents dating back to around the year 800AD. Magyar invasion and material hardship caused repeated difficulty for the small community of monks here in the 9th and 10th centuries. Thus in 1002, encouraged by the Empress Kunigunde, Emperor Henry II donated a ‘hide of land’ to alleviate the brothers’ needs at the monastery. The original document of this bestowal of land is persevered in the monastery archives.

In 1071, Bishop Altman of Passat (1065 – 1091) ushered in a new era for the monastery when he committed it to the Augustinian order that was held in high regard rafter the reformation had begun at the Cluny Abbey in Burgundy. The main occupations of the community became collective prayer, the solemn celebration of divine office, the caring for and curing of souls, and the cultivation of art and science. After the destruction of the monastery by the Hungarians, Bishop Altman had the wall and roof of the church renovated. It was later severely damaged by fire in 1235; a fire that was alleged to have been caused by the negligence of the retinue of Bishop Rudiger of Passat (1233 – 1250).

His successor Provost Bernhard (1224-1240) oversaw the restoration of the church to its former state as well as enlarged the crypt (closed today). The chancel above was vaulted in a new style that gave the nave a flat ceiling. Many of the community were dismayed by the flat ceiling and for good reason… in 1250, the chancel (after fifteen years of work), collapsed tearing sections of the walls down with it.

As a result of this, the canons wanted to abandon the church and vacate the monastery. But Wibirg, a female hermit who had been living ‘a saintly life’ secluded in a cell near the church for 41 years, convinced the community of monks to stay and rebuild the church. It wasn’t until around 1275 that the canons found the will and funds to begin rebuilding the Gothic collegiate church into dimensions that largely correspond to those of the Baroque church here today.

The hermit Wibirg didn’t live to see the re-consecration of the church. She died on December 11th, 1289.. As the patroness of the monastery she is still venerated and invoked by the community of monks today; her remains are in a sarcophagus in the crypt of the collegiate basilica.

The organs in these churches are usually off limits, but this was accessible today as there was a large crew of people setting up for a musical performance…

Views down into the nave from the organ loft.

The consecration of the Gothic collegiate church occurred on June 15th 1291 by Bishop Bernhard of Passau (1285 – 1313). An enormous medieval church feast was held to celebrate and records indicate that tens of thousands of the faithful from all over the entire diocese of Passau attended. The tower was only built after the church was completed in 1320. The four bells were cast in 1313 and 1319 and are still in use today.

The Gothic church has been the religious centre of the monastic community for more than 800 years. It has been the destination of innumerable pilgrims from far and wide who sought the sanctuary of St. Florian; the highly venerated saint is a protector of borders and the patron saint for protection against fire and floods.

The Sacrament Chapel:

Baroque representation of the Monastery of St Florian.

Very sadly… and I mean *very sadly*, we didn’t have time to go through the entire monastery and as such we missed the opportunity to see one of the most beautiful libraries in the entire world.

Hanover and Landesmusuem

Posted on 30 June 2024 by boryssnorc

Literally around the corner from our hotel was Hanover’s famous art museum, the Landesmuseum. Naturally, we knew we could spend a few hours there checking out numerous artworks, the likes of which would get an entire wing dedicated to them should even one of these pieces be in a museum back home!

St Peter,
Evert van Roden (attributed)
Münster, c 1460

Madonna Enthroned
Lower Saxony, c. 1180 Linden wood, originally painted.

Death of Mary, Lower Saxony, c.1300/1310, Oak
The altarpiece from the former Augustinian convent in Wennigsen has only a few surviving panel paintings from the early 14thC. The apostles and a bishop have gathered at Mary’s deathbed. In the middle appears Christ, who has descended from heaven to collect Mary’s soul in the form of a small, white-clad figure.

Ten Commandments panel. Master of the Göttingen Jacobi Church Altar, c.1400. Oak.
The wings of this work, were originally mounted on both sides of the central panel, have been lost. Therefore, only six of the ten commandments can be seen. They are recited by God, who appears in a rainbow, and illustrated using stories from the Old Testament.

Christ with the Wise and Foolish Virgins, Lower Saxony, c. 1310-1320, Oak.
The heavenly judge turns to five expectant women with burning lamps. The ladies on the other side, however, are denied the kingdom of heaven. They had managed their finances poorly, and the oil in their lamps had run out before the longed-for bridegroom appeared in the night. The panel admonished the women in the Isenhagen monastery to live a life pleasing to God in preparation for the Last Judgement.

Childhood and Passion of Christ, Lower Saxony or Westphalia, c,1390, oak.
The two panels acquired from the Aegidienkirche in Hanover Münden once formed the wings of an altarpiece, the middle of which has been lost. When opened, the work was almost eight meters wide. The scenes from the life of Jesus are separated from one another by an artfully painted decorative architecture. A differentiated color scheme and a special interest in costume details characterize the painting.

Panel 2

Annunciation to Mary and Coronation of Mary, Masster Bertram Minden, c.1340-1414/14, Hamburg, oak.
The panels formed the outside of the altar on the left. The Annunciation to Mary and her coronation in heaven highlight the importance of the Mother of God in the salvation process. The robes, halos, crowns and angel wings once shimmered in gold and silver, the lions identify Mary as the Queen of Heaven.

Passion Altar, Master Bertram Minden, c. 1340 – 1414/15 Hamburg, Oak.
It is rare to be able to link the painters mentioned in the written reports with surviving works. In northern Germany, Master Bertram is the exception: he came from Westphalia, was familiar with the art of the imperial court in Prague and with the latest painting in the Netherlands, and ran a successful workshop in Hamburg. The altarpiece was probably created in his studio.
Inv.

The Gottingen Barfusseraltar, Gottingen, c.1424, oak and spruce.
St Francis of Assisi’s followers were committed to poverty, as itinerant preachers in towns and cities, they walked barefoot or clad in simple sandals, for that reason they were also know as ‘barefoot friars’ (German: Barfuss).

The Golden Panel
Lüneburg, c. 1420-1430, Oak

The ‘back’ or outside of the Golden Panel… simply stunning.

Arm reliquaries of Saints Valerius and Pancras, Lower Saxony, c. 1150/1175, Lime wood.

Reliquary bust: 1 of the 11,000 virgins Depicted as St Ursula, Lower Saxony (Lüneburg?), c.1300, oak.

Two reliquary busts of the 11,000 virgins, Lower Saxony (Lüneburg?), c.1432, lime wood, silver-plated.

Reliquary box, Lüneburg, 15th, Wood, silver-plated and gold-plated.

Reliquary box, Lüneburg, 15th, Wood, silver-plated and gold-plated.

Reliquary in the form of a book/ ivory tablet from the Romanos group
Lower Saxony, 14th/15th century / Constantinople, around 950, wood, linen fabric, parchment / ivory

Cross base with the resurrected Adam, West Germany, 11th/12th century Bronze, remains of gilding

Two ivory boxes, Sicily or southern Italy, 12th/14th century.

Cain and Abel chest, Lower Saxony, Westphalia, 11th century… c. 1230, oak core,

Enamelled reliquary box, Lower Saxony, Rhineland, Maas region, 12th-13th century, wood, copper, pit enamel, brown varnish

Abraham casket, West Germany, Lower Saxony, c.1025-1050, oak, copper-gilt fittings.

Two bowls for washing hands, Limoges, late 12thC, copper, enamelled, gold-plated
The magnificent bowls bear the coat of arms of the French ruling dynasty of the Plantagenêt. They were originally used for washing hands during courtly table ceremonies. They probably came to Lüneburg via Richard the Lionheart. HOLY SHIT!!!

Leather box, Lower Saxony, around 1300 wood, leather-covered, stamped and then painted.

Portable Triptych Relics, German, c.1432, wood, painted, horn discs.
According to the inscription and coat of arms, the triptych belongs to the foundation of Duke Bernhard I of Brunswick-Lüneburg. A large number of relics are kept behind transparent horn discs, for example pieces of the the Holy Cross, from James the Elder and from the Holy Sepulchre.

Octagonal container,
Italy, 14th C
Leather, parchment, pastiglia

The container covered with colored parchment strips is an extremely rare and beautiful piece. Before it was converted into a reliquary, it may have served as a cover for a drinking cup.

Lambert Altar, Master of the so-called Hildesheim, 12 panels of a Passion Altarpiece, c.1420/30, Oak

Diptych, Lower Saxony (Hildesheim), c.1420, Lime wood

The Tree of Life, c.1400, Master of the Richardson Triptych active in Sama (1370-1418), poplar wood.

Crucifixion Altar c.1506, Hans Raphon (1460-1512), Göttingen or Northeim, lime wood.

Mercy Altar, c,1510/1520, Tilman Riemenschneider (and workshop operating 1460-1531), Heiligenstadt/Eichsfeld, Würzburg, Lime wood.

Family altar, Lower Saxony, c. 1500/1510, Lime wood (?)
St. Anne, Mary’s mother, was particularly popular in the late Middle Ages. A chapel was dedicated to her in the Hanover Kreuzkirche, for which the winged altar was created. Her daughters, grandchildren, husbands and sons-in-law have gathered around the saint. On the wings there are various scenes from her life on the left, and the birth of Mary on the right.

Mother of God Altar c.1510 to 1515,, Hans Raphon, Göttingen or Northeim c,1460-1512 and Bartold Kastrop, Northeim c.1465-1531/1532 Göttingen, oak wood.
The Madonna is based on a copperplate engraving by Albrecht Dürer. His works of art printed on paper quickly spread and were often used as templates by other artists. The altarpiece was created for the Einbeck collegiate church of St. Alexandri,

Rosary altar, c. 1500, South Lower Saxony (Einbeck), oak.
The center of this winged altar is occupied by the Mother of God accompanied by angels.
Mary stands on a crescent moon and is surrounded by a halo of rays; the crown also identifies her as the Queen of Heaven. (I love the facial expression on the guy in the bottom right image)

Christ and Mary on Golgotha, c.1505, Hans Holbein the Elder, Augsburg, (1465- 1524), lime wood.
The thorn-crowned Christ sits on the cross and is mourned by Mary. A moment of pause is captured on Mount Golgotha, which Holbein characterizes as a hilly landscape and makes recognizable by skulls and bones.

John the Ev. and Jacob the Elder, c. 1510, oak
The two saints are deceptively realistic painted sculptures set in a stone architecture made of reddish marble. Such painted sculptures were particularly popular in the Netherlands. They were usually found on the outside of the winged altars, which then unfolded their full splendor of color when opened.

Portrait of a Man, Jakob Elsner, c.1507.
Nuremberg 1460/1465-1517 Nuremberg, Parchment or paper on oak.

Portrait of the Astronmer Johann Schöner, c.1528, Master of the Neudörfer Portraits active in Nuremberg around 1500-1530, Linden wood.

Female Saint, c.1510, Tilman Riemenschneider, Heiligenstadt/Eichsfeld, active 1460-1531, Würzburg,
Limewood, painted in color – the figure is carved from limewood, a material that can be worked in many different ways. The garments form a delicate relief. The carver has masterfully crafted the turban-like headdress, the veil and the wavy hair. Originally a standing figure an early collector sawed off the bottom of the work and converted it into a bust.

John the Baptist and Mary Magdalene, c. 1515, Hans Suess von Kulmbach (1470 – 1522),
Nuremberg, lime wood

The Saints Sebastian and Rochus, c.1518, Hans Suess von Kulmbach, (1470-1522),
Nuremberg, linden wood.

Venus with Cupid, c. 1515-1520, Lucas Cranach the Elder
Kronach 1472-1553 Weimar, transferred to plywood
The painting corresponds entirely to the Renaissance’s renewed interest in the female nude.
Venus appears life-sized. Her skin color and posture are reminiscent of ancient sculptures.

Lucrezia, c.1525, Lucas Cranach the Elder, Kronach 1472-1553 Weimar. Beechwood.

Martin Luther and Katharine von Bora, c.1528, Lucas Cranach the Elder (1472-1553) Weimar, beechwood
In 1525, the former Augustinian monk, Martin Luther married the nun, Katharina von Bora. By marrying, both broke their church vow of celibacy. The portraits became so popular at the time that numerous replicas were soon created.

The martyrdom of the seven sons of Felicitas c. 1530/1535, Lucas Cranach the Elder (1472-1553), Weimar, Oak wood.

Salvator Mundi panel, c.1537, Hans Kemmer (1495- 1561) Lübeck, oak wood.
The woman’s jewelry helps to identify the couple praying to the Savior: it is quite likely that her shoulder amulet shows the heraldic animal of the Lübeck merchant Carsten Timmermann. The couple probably commissioned the painting in memory of a deceased child. It was executed by Cranach’s student Hans Kemmer, who was the leading painter in Lübeck since the Reformation.
Inv.

Portraits of a Donor Couple, c.1520, Bartholomäus Bruyn the Elder (1493-1544), Cologne, oak.

Lucrezia, c.1510, Sodoma (actually Giovanni Antonio Bazzi) Vercelli, 1477- 1549 Siena, poplar wood.

Portrait bust of Grand Ducke Fernando I de Medici, c.158790,
Pietro Francavilla Cambrai (1548 – 1615), Paris, marble.
In antique idealization, the portrait bust shows the third ruler of the younger Medici line, Ferdinando I (1549-1609). Under his leadership, the House of Medici achieved its greatest power and significant influence throughout Europe.

Annunciation to Mary, c.1500/15150, Sandro Botticelli (workshop), Florence 1445 – 1510 Florence, poplar wood. Once developed, compositions were used more frequently in Sandro Botticelli’s studio. The Annunciation angel resembles a painting in the Uffizi in Florence, and the Virgin Mary resembles a painting now kept in London. The work was created for the private devotion of the woman kneeling in front; the black robe and white bonnet identify her as a widow.

St Peter in a wreath of fruit, c.1470-80. Pietro Perugino, (1448-1524), Fontignano, poplar

Adoration of the Child with the Infant Saint John, c.1490.
Sandro Botticelli (workshop), Florence 1445 – 1510, poplar wood.

Portrait of Francesco Alunno, c.1510.
Lorenzo di Credi, Florence 1459-1537 Florence, poplar wood.
The art writer Giorgio Vasari (1511-1574) praised Lorenzo di Credi’s painting style highly: It shows a finesse that surpasses any other painting. This alludes to the smooth texture of the oil painting, which also characterizes the charming portrait of the young scholar. An inscription identifies the person depicted as the lexicographer Francesco Alunno from Ferrara.

The Arrival of Aeneas at Dido’s c. 1460
Apollonio di Giovanni, Florence 1415/1417-1465, poplar wood.
In the 15th century, a bride was led to her new home in a wedding procession. Chests were carried along and used as furniture. The love story of Dido and Aeneas is shown on the chest front. Above, Aeneas arrives in Carthage; on the right, Dido welcomes him in the hall of a temple.

The Banquet and the hunt of Dido, c. 1460
The second chest front shows further events from the Aeneid by the ancient poet Virgil (70-90 BC). On the left, a banquet is being prepared for Aeneas, on the right, the company goes hunting. There, Dido and Aeneas are surprised by a thunderstorm. They flee into a cave, the scene of their night of love.

I can’t believe that I got all the way through adding these photos in, and translating descriptions and adding those in too – and totally forgot the one thing I made a mental note about while I was in the musuem! There are sensors EVERYWHERE in these galleries – and when you step too close to the artworks, a recording comes on, (with music) saying, (in English) quite loud, “STOP IN THE NAME OF ART! Before you break some art!” Kinda to the tune of the song, “Stop in the Name of Love!”, which was equal parts initially alarming, then amusing and eventually annoying. Wouldn’t have been so bad if you only heard it once or twice, but it was going off constantly – and you know why? Because the information plaques are so close to each of the artworks, and some as much as 30cm BEHIND artworks that stood proud of walls, meaning every time some old biddy leaned into to read the descriptions, or some finickity history nerd like me leaned in to take a photo of the descriptions, the damn sensors were triggered and the hideous recording went off. Again and again. It must have been set off over 50 times for the couple of hours we were in there. Never seen such an obnoxious security system in a museum before (unless you count the overly stern and officious ‘Shushhh’ing Nuns of The Vatican Museum’ – those women are seriously obnoxious but unsurprisingly, very efficient!

Aaaanyway… after checking out the medieval galleries of the Landesmuseum, we decided to take a wander through the Maschpark, Historical Garden. Gotta say, Hanover has loads of beautiful green spaces and feels like a very liveable city.