So Bratislava is a stone’s throw Vienna… and well, it’s a place that has been our collective social group’s popular imagination since the movie, Eurotrip came out several years ago and the main characters ended up in Bratislava instead of Berlin. Which is why I guess it ended up on my List? Who knows? It was only a 50km drive, so off we went. Good timing as it turns out; Austria and Slovakia did away with their hard border in 2023, so no BS coming and going from the Schengen countries. Small win, we’ll take it!
Back to German speed limits, sweet… Austria put a bit of a harsh on our German autobahn buzz as they have stricter speed limits and severe penalties – up to like, €7,500 for high infringements, and strict hooning laws that can see vehicles confiscated and surrendered. Freedom…!
Immediately the architecture changes – feels like we are back in Bulgaria, or anywhere in the Balkans really. Vienna feels very much all fancy and Baroque and Rococo even in the ‘burbs; here there’s definitely more of a 60s Soviet toilet block vibe going on.
One of Bratislava’s famous landmarks – a revolving restaurant high above a highway? Colour me confused. Why would you want to have dinner above a highway? And where exactly do patrons park to dine here?
This whole trip, I was taking for granted just how much I was able to read directions, signs and advertising in German – now I might as well be in Greece. Can’t read a thing… though thanks to American capitalism, you can’t mistake this shit:
The Námestie Slobody or Freedom Square. This fountain was installed in 2023 to reinvigorate what was a rather depressed, run down area full of government buildings. We were here around 10am, and there were loads of people running about in the fountain in their bathers enjoying the sun and the water… and not just kids either. Don’t they know it’s too cold for these sorts of shenanigans?
The Slovak National Theatre is the main centre for opera, ballet and theatre. The building was designed in the late 1776 and renovated in the late 1800s, so maybe the city isn’t entirely made of Soviet 60s toilet block architecture.
The pedestrian area of the town turned out to be really kinda cute and artsy. Even the touristy souvenir shops make a bit of an effort. I imagine that Bratislava was a cheap tourist destination until recent years. It is apparently becoming a prime destination for Bucks Weekends and Stag Nights for Brits, because it’s so much cheaper than Amsterdam… or at least it was. We found prices here were comparable with Germany which is to say, slightly cheaper than Austria but definitely not in line with other Balkan counties.
Weird souvenir stuffs… slingshots? What could go wrong.
Slovakia is apparently known for it’s distinctive local folk pottery – and gotta say, it ain’t my thing at all. I mean, it’s not as bad as Portmeirion pottery, but it’s a fine line.
Čumil is one of the most famous sculptures in Bratislava – arguably in the entire Slovak region to be honest. He has become one of the city’s most recognised landmarks and is one of the biggest attractions in the city centre. He is a bronze statue created by Viktor Hulík, a well known sculptor, graphic artist, academic and painter. Čumil was install in 1997 at a massive party called the Korzo Party that the city held to celebrate the completion of a major pedestrian urban city centre renewal. Apparently 30,000 people were at the Korzo Party including the President of Slovakia, Michal Kováč – which sounds kinda cool. Gotta say, kudos to the Slovaks if this urban renewal stuff has only been going strong for 20years or so… the town looks great and is a lovely place to visit.
Čumil is located outside a small local jeweller who sells overpriced amber, and who is probably totally sick to death of the tourists milling about outside his store and never coming in! 😀 He’s a bit hard to miss, and you find yourself walking past him repeatedly as you move about the city centre.
I like him! He has real character.
The Main Square and the 16thC fountain of Maximilian I.
More quirky little artsy shops and stuff.
It turned into quite a warm day and got pretty hot walking around by midday – and we weren’t musuem’ing so we were out in the sun and Angus decided to have a mango gelato (as you do!) but he meant to ask for it in a cup. When he belatedly mentioned the cup, the server just dumped it upside down in a cup for him. LOL. Efficiency, I like it.
Walking back past Čumi again, I think I caught the best shot – wonder how often some pupper lifts his leg on him!
After wandering around the town centre, doing a bit of shopping and having a bit of lunch, we went to have a look at the Bratislava Castle which apparently has, 1) really good views over the city, 2) a small local history museum which is nowhere near as fancy as the Schonbrunn or the Nymphenberg that we have seen this week, and 3) a small treasury – which we were going to go in and visit, but the people selling the tickets made it sounds so crap. ‘Er, de objects are mostly of de coppur and not very old you’no, and most of dee reel treasures are in da Vienna Musuems, and it cost you €14 to come iin, each’ and blah, blah, blah… they totally talked us out of going into the Treasury! LOL.
Bratislava Castle is a large rectangular castle with four corner towers on an isolated outcrop of the Little Carpathian mountains. It looks directly down onto the Danube River which cuts through the centre of Bratislava. It’s massive and looks over the city, so it kinda hard to miss – you see it as soon as you get near the city. The original fortress built on this site was from the 9thC, and it, like so many castles, has been rebuilt continuously up until the 18thC. It also had some major reconstruction in the 20thC.
These tall three slender bronze statues didn’t have any inscriptions – we kinda assumed they might be magi (so much religious iconography has been consumed lately!) but this is more an orthodox region, so there could be some symbology we were missing.
Entrance gate to the Castle… there are four gates in total.
The views over the city and the Danube were pretty cool.
Front forecourt to the castle – it actually looks really clean and all shiny and new… which isn’t what you expect from castles as you get closer to the Balkans.
King Svatopluk I of Moravia (840-894) on his horse out front of the castle.
Courtyard of Bratislava Castle
We had a pretty good day poking around Bratislava, absorbing the artsy vibe and doing some shopping. It felt like a short day visit off a cruise ship though, and while I don’t think you’d need more than a weekend to check out the city, we didn’t get in amongst it much… back to Vienna we went.
The Kaiserliche Schatzkammer or the Imperial Treasury of Vienna! Where we are hoping to see all the things that we have seen copies of so far! lol For people into medieval embroidery or early medieval gold work, this place really is a treasure trove. I was super excited to be here, before we even entered the building.
Tabard of the Herald of the Princely County of Tyrol -Johann Fritz (embroider) Vienna, 1838, Silver lamé, velvet, gold, silver and silk embroidery, silver fringing braid.
From the Left: 1) Staff of the Grand Controllers – Southern German, 1600-1610. 2) Staff of the Grand Steward of the County of Gorlzia – Southern German, c.1660. 3) Staff of the Hungarian Grand Equerry – Vienna, 1700-1725. 4) Staff of the Grand Comptroller – Vienna, 1835. 5) Cane of the Grand Equerry – Vienna, 1790-1800. 6) Staff of a Master of Ceremonies – Vienna, 1800-1850. 7) Staff of a Junior Master of the Table – Vienna, 1800-1810. Staff of the Grand Master of the Table – Vienna, 1835. 8) Staff of a Master of Ceremonies – Vienna, 1800-1835. 9) Staff of a Grand Master of Ceremonies – Vienna, 1850-1900…. Wood or cane, bronze, gilded, and silver mounts.
The Hereditary Banner of Austria. Austria, c.1705. Silk, damask, embroidered with metal and silk threads.
Keys of the Imperial Chamberlain, from 1711 to 1918. As a sign of their privileged status chamberlains at the Habsburg court wore a key that symbolized their access to the ruler’s chambers. The office of chamberlain was reserved to members of the high nobility. The holders of this office belonged to the “first society” and were part of the emperor’s retinue at official ceremonies. The falconer’s gear as well as the tabards and staffs on view here are similarly the insignia of various officials or families in the hereditary lands and indicate their rank and status.
Dog Collar, Insignia of the Grand Master of the Hunt, Vienna, 1838. Velvet, leather gold embroidery. Mounts silver mounted.
Austrian Archducal Coronet of Joseph II, c.1764. Silver glided, diamonds, semi-precious stones removed. As early as the reign of Duke Rudolf IV (1339-65) the Habsburgs pursued the goal of being raised to the dignity of archduke. Their claim was finally recognized in 1453, and the archducal coronet, an insignia resembling a crown became the official symbol of Habsburg rule in the hereditary lands. Such an insignia was created for Archduke Joseph in 1764 based on medieval models. The coronet’s gold foil frame, or “carcass”, is exhibited in this room. The jewels were soon removed from the coronet to be used for other purposes.
Insignia for the Hereditary Grand Master Falconer, Vienna, 1835. Leather, velvet, gold braid, gold embroidery and feathers. Falconers pouch and two falcon’s hoods.
Tabard for the Herald of the Roman King, Vienna, 1600-1650; gold lamé, satin, gold embroidery, finger border, glass beading.
Tabard for the Herald of the Roman Emperor, Vienna, 1613 and 1719. Gold lamé, silk and glass.
Tabard for the Herald of Emperor Francis I Stephen, Vienna, 1775-1750. Velvet, satin, gold and silver lamé, gold silver and silk embroidery, gold and fringe border.
Tabard for the Herald of the King of Bohemia, Vienna, 1600-1700. Velvet, gold and silver embroidery, fringing braid, glass beading.
Tabard for the Herald of the King of Hungary, Vienna, 1600-1700. Silver lamé, gold, silver and silk embroidery, fringing braid.
Crown of Emperor Rudolf II, later crown of the Austrian Empire Jan Vermeyen goldsmith, Prague, 1602. Gold, enamel, diamonds, rubies, spinels, sapphires, pearls, velvet
Imperial orb for the crown Rudolf II. Andreas Osenbruck goldsmith, Prague, 1612-1615. Gold, enamel, diamonds, rubies, sapphire, pearls.
Sceptre for Emperor Matthias for the crown of Rudolf II. Andreas Osenbruck Goldsmith, Prague, 1615. Ainkhürn (narwhal tooth), gold, enamel, diamonds, rubies, sapphire, pearls.
Ceremonial robes of a Knight of the Hungarian Order of St Stephen, Vienna, c.1764. Velvet, fake ermine, gold and silver embroidery, gimped embroidery in gold.
Robes of a Knight of the Austrian Order of Leopold, Joseph Fisher (1769-1822), Vienna, c.1808. Gros de tours, fake ermine, gold embroidery, metal foil, ostrich feather, silk
Mantle of the Austrian Emperor, designed by Philipp von Stubenraüch (1784-1848), Vienna, c.1830. Velvet, gimped embroidery in gold, Paulette’s, gold braid, ermine and silk.
Robes of a Knight of the Austrian Order of the Cross, designer Philipp von Stubenraüch (1784-1948), Vienna 1815/16. Velvet, silver embroidery, leather silver embroidery.
Conronation vestments of the Kingdom of Lombardy and Venetia, Designer Philipp von Stubenraüch (1784-1848), Vienna, 1838. Velvet, gimped embroidery, gold, ermine, moiré, gold and silver embroidery.
The Robes worn by King of Bohemia as Elector, Vienna or Prague, c. 1625-1650… Mantle, gloves and matching ermine hat.
Jewellery Box of Empress Marie Louise, Paris, 1870, silver gilded velvet. Martin Guillaume Biennais (1764-1843) and Augustin Dupré (1748-1833).
Marie Louse, Empress of the French (1791-1847). Francois Pascal Simon Gerard, Paris, 1812, oil on canvas.
Cradle of the King of Rome, Paris, 1811. Silver gilded, gold, mother of pearl, velvet, silk, tuile, gold and silk embroidery. Designers and craftsmen: Pierre-Paul Prud’hon (1758-1823), Henri-Victor Roget (1758-1830), Jean-Baprise-Claude Odiot (1733-1850), Pierre-Philippe Thomire (1751-1843).
Ewer and Basin used for Imperial Baptisms, Spanish Master, 1571, gold and partly enamelled.
Egg Cup form the estate of King Louis XVI of France (1754-1793), Paris, c.1774/80. Silver gilded.
Family Tree showing Kings and Emperors from the House of Habsburg. Gold and chalcedonies. Tree: Vienna, 1725-30. Intaglios: Christoph Dorsch (1675-1732), Nuremberg, 1725/30/
Cameo showing the Portrait fo Emperor Franz I – Giovanni Beltrami (1777-1854). Made before 1840. Onyx, and enamelled gold.
Set of Jewels from the estate of Archduchess Sophie (1805-1872), Paris, 1809/19. Gold, silver, diamonds, emeralds, topazes.
Emerald Unguentarium, Dionysius Miseroni, Prague, c.1641. Emerald 2860 carat, enamelled gold. ‘As early as the 17th century the 2,680-carat emerald vessel was regarded as one of the most famous objects in the Imperial Treasury. The tremendous value of this unique showpiece, whose lid was cut out of the jewel’s interior, is illustrated by the story that Genoese jewellers declined to value it as security for a loan which Emperor Ferdinand III (1608-57) sought, avowing that they were not accustomed to dealing with such large pieces.’ Sadly the light in here is so bad, that I had to pluck an image off the internet.
Crown of Stefan Bocskay, Turkish, c.1605. Gold, precious stones, pearls and silk.
Case for the Crown of Stefan Bocskay, Turkish, c.1605. Fabric: Persian, c.1600, wood and silk.
The “Two Considerable Treasures” – Emperor Ferdinand I (1503-64) bequeathed to his successor, Emperor Maximilian II, two treasures of special importance: an enormous agate bowl (about 50cm across), and the “Ainkhürn” or unicorn horn. It was laid down that these two pieces would forever remain in the possession of the eldest male member of the family in perpetuity as ‘inalienable heirlooms’ and could not be sold or given as gifts.
Agate Bowl, Constantinople, 300-400AD. Carved from a single piece of agate.
“Ainkhürn”or Unicorn Horn. Ferdinand I received the “Ainkhürn” as a gift from King Sigismund II of Poland in 1540. During this age the mythical unicorn was thought to be an actual animal, which might only be captured in a virgin’s lap. The unicorn was thus regarded as an allegory of Christ, and its horn a symbol of divine power, from which secular dominion was derived. The horn, which was also thought to be an antidote to poison, was traded in Europe at tremendous prices. Only in the 17th century was it recognized that what had been believed to be unicorn’s horn was in fact the twisting tusk of the narwhal (Monodon monoceros).
Christophorus Relief, Upper Rhine, c.1475-1500, cast copper, gold-plated, glass stones.
Chalice from the Propety of Emperor Maximilian of Mexico. Circle of the Rondino Di Guerrino, Sienna, c.1375. Silver, gold plated copper, pit enamelled.
Late Gothic Chalice, Hungary, c.1500. Gold plated silver, gemstones.
Chalice with the Motto of Emperor Friedrich II, Southern Germany likely Nuremberg, 1438. Gold plated silver.
Blue Tunicella (Dalmatia), Palermo, Royal Court Workshop, 1125-1150. Silk, gold embroidery, small gold tubes, gold with cloisonné enamel, pearls, tablet weave.
The semi-circular Coronation Mantle of red silk was produced in Palermo in the 12th and early 13th centuries; with its depiction of a lion subduing a camel, the long, richly embroidered outer garments-blue tunicella and white alba-as well as shoes, stockings and gloves together with the belt reflect, (in part based on their inscriptions in part on other evidence), a connection with the Norman kings of Sicily. The overall design and elements of the decoration are derived from the court attire of Byzantine emperors. The older textiles probably came to the Empire through the Hohenstaufen emperor Henry VI. He married the Norman princess Constance in 1186 and became king of Sicily in 1194. In the empire they were apparently thought to be priestly vestments, used for coronations and complemented by additional textiles.
Coronation Mantle, Palermo, Royal Court Workshop, 1133/34. Samite silk, gold and silk embroidery, pearls, enamel, filigree, precious stones, tablet weave.
OMG… finally a chance to see this! I’ve been looking at pictures of these objects in books for nearly three decades. I can’t believe I get to see them in person.
The Eagle Dalmatic, South German, c.1330/40. Red silk twill damask, embroidery in silk, gold, small axinites.
The Stola (below) imitates a ‘loros’ an older type of textile of Byzantine or Norman origin. The six metre-long sash of yellow silk was decorated with black imperial eagles in medallions, only one of which has been preserved. Differently than the original manner of wearing the “loros”, in the medieval Holy Roman Empire the long sash was worn as a priest’s stola, that is forming a cross across the breast. This can be seen in Albrecht Dürer’s famous portrayal of Charlemagne (Room 11). The purple Dalmatic is embroidered with eagles and crowned heads. In this way the wearer of the garment is associated both with the heraldic beast of the Holy Roman Empire and his predecessors as king.
Alba, Palermo, Royal Court Workshop, c.1181 with later additions. Taffeta silk, Samite silk, fold wire embroidery, pearls, precious stones and tablet weave.
Stole, Italy, before 1328. Louise silk, gold threads, pearls, silver gilded appliqués with graduation, champlevé enamel and glass stones.
Imperial Cross, Western German, c.1030. Body: oak, precious stones, pearls, niello. Base: Prague, later additions c.1352, silver gilded enamel.
The Burse of St. Stephen, Carolingian, 800-833. Wooden body, gold, precious, stones, pearls.
Room full of extant herald’s tabards! Mostly 1700s, but just gorgeous.
Herald for the King-At-Arms and Herald of the Archduchy of Brabant, Brussels, c.1717. Embroiderer: Louis Almé. Velvet, gold lamé, appliqué, gold embroidery and fringing braid.
Herald’s Tabard for the King-At-Arms and Herald of the Duchy of Burgundy, Brussels, c.1600-1700. Velvet, silver lamê, fringing braid.
Tabard for a Herald of Maria Theresia (First King at Arms), Brussels, c.1742. Embroiderer: Eldens. Velvet, gold and silver lamé, appliqué, gold, silver and silk embroidery, gold braid.
Tabard for the First King-At-Arms of Archduke Albrecht, Sovereign of the Netherlands. Brussels, c.1599-1621. Velvet, gold and silver lamé, appliqué, gold silver and silk embroidery, fringing braid.
Emperor Maximilian I (1459-1519) – Bernhard Strigel (1460-1519), German, c.1500. Oil on Limewood.
Charles the Bold, Duke of Burgundy hoped to succeed Emperor Frederick Ill on the throne of the Holy Roman Empire. To achieve his aim, he assented to the marriage of his only daughter Mary to Archduke Maximilian, the emperor’s son and heir. The wedding, however, only took place after the duke’s death in 1477. Mary and Maximilian’s son Philip was born on 19 April 1478, ensuring the “Burgundian heritage” would ultimately remain with the House of Habsburg.
Mary, Duchess of Burgundy (1457-1482) – Francesco Terzio, Southern Germany, c. 1600 terracotta.
Tapestry Showing the arms of Emperor Charles V – weaver: Willem de Pannemaker, Brussels, c.1540. Wool, silk, gold and silver thread.
Tabard for the Stattholder First King-at-Arms, called Towson d’Or (Golden Fleece), Brussels c.1580. Velvet, gold and silver lamé, gold, silver and silk embroidery.
Order of the Golden Fleece Knight’s Chain, Burgundian-Netherlands, c.1435-1465. Gold and enamel.
Potence Chain of Arms of the Herald of the Order of the Golden Fleece, Netherlandish, c.1517. Gold and enamel.
This is one of the most beautiful heraldic objects I’ve never seen. I’ve admired it for years… never thought I’d be able o see it.
I am completely unapologetic for the amount photographs that I took and have added here!
Just when you think the Schatzkammer has delivered up all it’s treasures – the next room contains only some of *the* most famous embroidered objects ever created. I like did a double take when walking in… it was like the first time I saw the Cluny Tapestries all over again. They are so amazing and so beautifully preserved! Just fucking spectacular!
Liturgical Vestments of the Order of the Golden Fleece. Cope of the Virgin, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet. Hood depicting the virgin.
Liturgical Vestments of the Order of the Golden Fleece. Dalmatic, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls and velvet.
Liturgical Vestments of the Order of the Golden Fleece. Cope of Christ (Pluvial), Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet. Hood depicting the Almighty.
Liturgical Vestments of the Order of the Golden Fleece. Casula, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet.
Liturgical Vestments of the Order of the Golden Fleece. Cope of John the Baptist, Burgundian, c.1425-1440. Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet. Hood depicting John the Baptist.
Liturgical Vestments of the Order of the Golden Fleece. ABOVE: Antependium (rear panel), Burgundian, c.1425-1440; the Trinity, prophets and apostles. BELOW: Antependium (front panel), Burgundian, c.1425-1440; Mythical marriage of St Catherine Embroidery on linen, metal and silk threads, pearls, pastes (glass).
Phew! Man, I haven’t been a smoker since May 17th 1997… but damn, after that I need a cigarette and a good lie down. Back out in the Real World, I had to make do with some bratwurst and a Coke Zero! What an amazing visit! I think this has now officially out paced the Museé de Moyen Age as my favourite museum.
