Author Archives: Tracy's Travels

Museo Nazionale Scienza e Tecnologia Leonardo da Vinci

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I visited the National Museum of Science and Technology dedicated to Leonardo da Vinci on my last trip to Milan, and, quite frankly, I didn’t expect I would be too enthusiastic because neither science nor technology is my cup of tea. However, the museum was fascinating. I especially was excited by the models made from drawings of Leonardo da Vinci. They showed machines and buildings he had designed on paper as well as his version of the ideal city. I also was enthralled with the hangars containing planes, ships and trains.

Opened in 1953, the museum is one of the largest scientific and technological museums in Europe. It is located in an ancient monastery not far from the Chiesa di Santa Maria delle Grazie, where I had seen Da Vinci’s Last Supper. Covering science and technology in Italy from the 19th century to the present, the museum holds the biggest collections of models of machines from designs by Leonardo da Vinci found anywhere. It includes 2,500 pictures, designs, sculptures, medals and artistic objects. There are seven sections, including materials, energy, communication, transport, food and science for young people as well as the Leonardo da Vinci Art and Science department. Musical instruments, clocks and jewelry are on display in this part.

The Leonardo da Vinci galleries display 170 military and civilian models, pieces of art and other objects. The models of buildings based on his drawings are architectural gems. Machines made from his drawings also impressed me. I saw a hydraulic saw, a flying machine and a spinning machine, for instance. I was awed with Da Vinci’s vast knowledge of anatomy, physics, mathematics, botany, geology and cartography.

The transport department includes air, rail and water. The trains are located in a pavilion originally built for the 1906 Expo. A façade resembling a 19th century structure has been added to the historic building. One train that caught my attention was the GR 552 036 locomotive from 1900. It had towed the Indian Mail train from Bardonecchia to Brindisi on its journey from London to Bombay. A horse-powered omnibus from 1885 was another delight.

One of the top exhibits is the submarine S 506 Enrico Toti, the first submarine to be constructed in Italy after World War II. It began operation in 1968 and was roaming the seas for 30 years. During the Cold War, it searched for Soviet submarines.

The Vega Launcher from 2012 is a model of the first Vega made by the European Space Agency. It has a height of 30 meters and weighs 37 tons. The Vega can release satellites that weigh up to 2,000 kilograms.

The ships also intrigued me. One of the largest ships in the museum, the Ebe Schooner from 1921 was initially used by merchants to transport their wares through the Mediterranean. In the 1950s it became a training ship. The ballroom and bridge of the Conte Biancamano ocean liner also are worth seeing. They date from 1925. It has traveled extensively, making the journey from Genoa to Naples to New York and also going to South America and the Far East. During World War II it was used by American soldiers.

The planes were enthralling. I especially liked the Macchi MC 205 V from 1943. It made a name for itself during World War II. The plane has two machine guns and two cannons. Modern military planes and a modern helicopter also are on display.

Enrico Forlanini’s experimental helicopter from 1877 has the distinction of being the first object to fly. Pilotless, it has a steam engine and two counter-rotating propellors. During its flight, the helicopter rose about 13 meters and stayed in the air for 20 seconds. It also made an impressive landing.

I saw other intriguing exhibits. The Regina Margherita Thermoelectric plant had once provided lighting plus electrical power for 1,800 looms. Even King Umberto I and Margherita of Savoy were present for the opening ceremony. It hails from 1895.

Computers made up a significant part of the collections. I saw the Olivetti Programma 101 from the 1960s, the first personal computer. It was a programmable calculator that was small enough to fit on a desk. NASA utilized this contraption for calculating the Moon landing.

Space is another theme on which the museum focuses. I saw a moonrock that is 3.7 billion years old. Astronauts on Apollo 17 brought it back to Earth in 1972. Another exhibit showed space coveralls from 2014 and 2019. Astronomy plays a role, too. Two 17th century globes and telescopes are on display. Giovanni Schiaparelli used a telescope made in 1866 to study the surface of Mars. Schiaparelli peered through another telescope, this one hailing from 1774, when he discovered the asteroid 69 Hesperia and was able to describe what goes on with falling stars.

The diverse exhibits were a big thrill to see. I was so surprised that I had been so interested in the museum. Unfortunately, it was very crowded, so I didn’t get to peruse everything as well as I would have liked. The museum was definitely a popular destination for tourists and Milan dwellers alike. I could certainly understand why.

Tracy A. Burns is a writer, proofreader and editor in Prague.

Caso Museo Boschi Di Stefano Diary

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I regretted not having time to visit the house museum Boschi Di Stefano the first time I visited Milan. It was far from the center, where I spent much of my introductory days in the city. During my second visit the following year, I made sure I did not miss this museum.

I got off the metro at the Lima station, in which felt to me like a dangerous area. Yet, five minutes from the metro, I walked down a street lined with elegant buildings, which gave off an altogether different atmosphere – one of calmness and grandeur. The museum was on the second floor of a majestic building built between 1929 and 1931 by Piero Portaluppi, whose name was familiar to me because he had designed Milan’s Villa Necchi Campiglio, a former home with dazzling Art Deco adornment inside. I recalled the works by Pablo Picasso and the lush garden with pool and tennis courts at the Villa Necchi, one of the highlights of my first visit to this remarkable city.

I loved house museums because they had a more intimate quality than bigger, impersonal art spaces. I could sense that these house museums had once been somebody’s home. Trials and tribulations of daily life had taken place here. Private conversations had been voiced here. This particular house museum had once been the home of Antonio Boschi and Marieda Di Stefano, a married couple who had amassed a collection of some 2,000 pieces of art, mostly Italian in origin. They tied the knot in 1927 as Boschi, a veteran of World War I, went on to become a successful engineer. Marieda was an artist herself who had an affinity for ceramics. Many of her artistic creations can be seen here, too. A school of ceramics was situated a floor below.

The Caso Museo Boschi Di Stefano includes 11 spaces and focuses on 20th century art dated from 1900 to 1960 – mostly paintings but also drawings, sculpture and furniture. About 300 works are on display. The museum has been open to the public since 2003.

I felt overwhelmed as I contemplated the paintings that covered the entirety of the walls from the bottom all the way to the top. I was almost dizzy with delight, gazing at all the paintings, some falling into the category of modern art while others showed off a contemporary style. The works were displayed in a chronological fashion, so I could see how styles developed during those 60 years.

I recognized paintings by Giorgio De Chirico, Pablo Picasso, Amadeo Modigliana, Lucio Fontana and Raoul Dufy. Other pictorial treasures included 66 works by Roberto Crippa; 129 renditions by Gianni Dova; and 57 creations by Cesare Peverelli. Giuseppe Ajmone, Piero Manzoni, Arturo Martini and Sandro Martini, among others, were also represented there. I recognized Joe Columbo’s distinct style from an exhibition at the Museum of Modern Art in Milan the previous year.

What once was a guest room is now filled with furnishings for a study, the pieces dating from the 1930s. The dining room was a delight, too. I was fascinated with the Agena ceiling light, a unique round structure with what look like yellow cups protruding from the ball-like form. I didn’t understand what the style of the ceiling light meant, but it was fascinating to see it with my own eyes.

I went through the flat twice to try to take in all the art that surrounded me. It was a mesmerizing and breathtaking experience. The development of 20th century art was on display, each work speaking volumes about artistic creations during a time period in which I had not lived but could now better appreciate.

Tracy A. Burns is a writer, proofreader and editor in Prague.

Prague’s National Technical Museum Diary

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I visited Prague’s National Technical Museum for the first time in 2023, even though I have been living in Prague for more than 25 years. I am not a big technology fan and didn’t think I would be very interested in the exhibits.

I couldn’t have been more wrong. The museum includes sections on astronomy; chemistry; sugar and chocolate; transportation; printing; household items; photography; the measurement of time; architecture, civil engineering and design; metallurgy and mining, for instance.  A TV studio used by Czech television from 1997 to 2011 allows visitors to sit behind a news desk and see how the TV technology works. A mock mine from the 1950s makes up another exposition. In this post I will concentrate on my two favorite parts – transportation and architecture, civil engineering and design.

Television studio in National Technical Museum

The history of the museum itself is intriguing. Vojtěch Náprstek, a Czech patriot and world-traveler, established the Czech Industrial Museum in 1862. While many exhibits from this museum are now in the Náprstek Museum, some pieces in the collection found their way to the National Technical Museum, which was founded in 1908. Two years later, the museum opened in Prague’s Schwarzenberg Palace near the Castle. After Czechoslovakia was founded in 1918, it moved to the Letná district of Prague, where it is situated today. Construction took place from 1938 to 1941, but, during the Nazi Occupation, the building was used as the ministry of the postal service. After World War II, the museum was located on Letná again, though it was not allocated the entire building. In 1951, new expositions were created, such as transportation, mining, astronomy and photography.

Wicker seat for passengers from Czechoslovak Aria BH-25 airliner, 1920

After the Velvet Revolution that had brought democracy to Czechoslovakia, the museum was able to utilize the entire building. However, there were difficult times ahead. During the 2002 floods, the museum’s depository in the Karlín district was heavily damaged, and some of the artifacts were ruined. Reconstruction started in 2003. In 2011, five expositions were opened. Still, construction wasn’t totally finished until 2013.

Masaryk’s presidential car

Zigmund and Hazelka’s car in which they traveled throughout Africa and South America

The main hall housing the transportation section is vast and overwhelming. Automobiles, a train dining car, planes, a boat, motorcycles and bicycles all make up the breathtaking exhibition. I liked the Tatra 80 car from 1935, the automobile of the first president of democratic Czechoslovakia, Tomáš Garrigue Masaryk, because I was interested in the First Republic era from 1918 to 1938. I also was excited to see the Tatra 87 car of world travelers Jiří Hanzelka and Miroslav Zigmund. They traveled around Africa and South America in that car from 1947 to 1950 and did more than 700 reports for radio broadcasts about their trips. The two had been the dynamic duo of travel: They visited more than 100 countries. They also made films, mostly documentaries, and wrote books together.

The dining car of Habsburg Emperor Franz Joseph I and later of President Masaryk

I was enamored by the dining car of Habsburg Emperor Franz Joseph I, which in 1923 became part of Masaryk’s presidential train. When President Edvard Beneš returned to his homeland from exile after the war in 1945, this dining car was part of his train. The dining car was put out of commission in 1959.

A sailing boat called Nike was on display, too. Czech Richard Kankolski had sailed around the world in it during 1972, and, at that time, it earned the distinction of being the second smallest boat to sail around the world.

British Spitfire

Three planes that saw action in World War I also are displayed, including an American one. Dating from 1911, the plane manned by the first Czech pilot Jan Kašpar is part of the exhibition. I was drawn to the British Spitfire that members of a Czechoslovak squadron of the RAF had flown during World War II.

Germans drove this kind of motorcycle when they occupied Czechoslovakia in 1939.

I was very interested in the various bicycles and motorcycles, too, even though I vow never to ride either of them. A bamboo-made Slavia bike hails from 1905. The BMW R11 from 1932 caught my undivided attention because the Germans had driven these motorcycles when they occupied Czechoslovakia on March 15, 1939. I tried to imagine seeing so many of these motorcycles at Prague Castle with the flag of the Third Reich fluttering from the flagpole. The very thought was chilling.

Milan Špinka’s bike

The first series-manufactured motorcycle in the world

I also saw the Jawa 500 – 891 from 1973. While the Soviet Union had excelled on ice speedway competitions, this is the motorcycle on which Czech Milan Špinka defeated the USSR in the world championships of 1974. Another motorcycle that interested me was the Hildebrand & Wolfmuller from 1894. It was the first series-manufactured motorcycle in the world. The one on display is the first motorcycle manufactured for the Austro-Hungarian Empire.

Indian brand, 1915, manufactured in America

Czechoslovak observation balloon, 1934

The architectural part of the museum covers the developments in the Czech lands from the second half of the 19th century to the present. Styles of historicism, secession, cubism, constructivism, functionalism and socialist realism as well as modern works are all represented. I loved the architectural models, especially those of villas in Prague, the Czech Pavilion at Expo 58 in Brussels and the Czechoslovak exhibition pavilion at the World Arts and Technology Exhibition in Paris during 1936. I loved to take walks through the villa-dotted sections of Prague’s Baba, Ořechovka and Hanspaulka quarters. In this museum, I saw models of famous villas in the Hodkovičky, Podolí and Troja districts of Prague, for instance.

Czechoslovak World Arts and Technology pavilion, Paris, 1936

Director Martin Frič’s villa in Hodkovičky, 1934-35

Top: Stýblo’s villa in Podolí quarter of Prague, 1935-36, Bottom: Villa of film director Věra Chytilová in Troja quarter of Prague, 1970-75

I liked the model of the column with lantern in front of Our Lady of the Snows Church in Prague because it was unique, Cubist in style. I also took notice of the Cubist Petrof BB upright piano. The model of the television transmitter and hotel on Ještěd Hill in Liberec brought back memories of the magnificent views from the observation point at the restaurant and hotel. Some models showed off designs by masterful Czech architect Jan Kotěra, including the East Bohemia Museum in Hradec Králové, which had extremely impressed me about a month previously, and the reconstruction of Saint George’s Church in Doubravka near Pilsen in west Bohemia. The museum in Hradec Králové was constructed from 1906 to 1913 while the church hails from 1899. Architectural plans and photography rounded out the exposition.

Ještěd Hill Hotel and Restaurant

Cubist column in front of church – top photo, Cubist piano – bottom photo

I was glad I had finally visited this museum that offers valuable insights into the technical world. The main hall with various exhibits of transportation was amazing, and my interest in architecture compelled me to take a close look at the exhibits in that section. Overall, it was a day well spent.

Tracy A. Burns is a writer, proofreader and editor in Prague.

Museum of East Bohemia designed by Jan Kotěra

St. George’s Church designed by Jan Kotěra

The Last Century – Twenty Artists Exhibition Diary

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This permanent exhibition at the Gallery of Modern Art in Hradec Králové showcases the works of some of the most influential Czech artists of the 20th century. I liked the fact that the works were organized by person with commentary about the artists’ backgrounds and styles. I will highlight the creations that most influenced me, although all the painters and sculptors are important.

First, about the building housing the Gallery of Modern Art: Like many edifices in Hradec Králové, the museum is an architectural gem. Facing the town’s main square, the building that was completed in 1912 by Osvald Polívka is impressive with two statues flanking the façade. These sculptures were made by Ladislav Šaloun in 1908 and show allegories of commerce and the harvest. Reliefs of atlases with dogs at their feet also make up the external ornamentation. Polívka’s Art Nouveau designs can be found in Prague’s Municipal House, which he decorated from 1905 to 1912. I tell everyone coming to Prague to tour the Art Nouveau Municipal House, as it is certain to be a highlight of any visit. Šaloun created the statue of Jan Hus that dominates Prague’s Old Town Square.

Several banks were housed in this building before and during the First Republic. For many years under Communism, the Cotton Industry Association and an agricultural company called the place home. Renovations took place in the late 1960s. In 1987, the totalitarian regime transformed the building into the Museum of Revolutionary Traditions. This totalitarian exhibition was closed after the 1989 Velvet Revolution that freed Czechoslovakia from Communist control.

In 1990, the Gallery of Modern Art took up residence there. From 2014 to 2016, both the interior and exterior underwent a vast renovation. A walkway was formed around the central atrium, for example. The interior boasts geometric shapes, floral designs and Art Nouveau-styled adornment of garlands and cherubs. I especially liked the stained glass window decoration.

Here are some of my favorite artists represented in this exhibition:

Fate of the Artist, 1909

Quido Kocián

The expressive sculpture of Quido Kocián was influenced by symbolism and Art Nouveau. I love how he was able to express basic emotions like love and suffering. I went to a superb exhibition of his work about 15 years ago on Husova Street in Prague. In some statues I could see the turmoil and anguish of the persons depicted. Other sculptures triggered feelings of happiness and fulfillment. Kocián had a knack for depicting various psychological states and the depths of the human soul. He studied under legendary artist Josef Václav Myslbek but wound up rebelling against Myslbek’s traditional style, opting for expressiveness instead. Kocián’s works were not fully appreciated in the Czech art history sphere for a long time.

Ladislav Zívr

Surgeon, 1961

A member of the artist Group 42, Zívr focused on everyday life, a feature that is dear to me in all art forms. Inspired by Cubism and the creations of Otto Gutfreund, he made sculptures that have machine-like qualities as well as human traits. He had a penchant for surrealism. After the world wars, Zívr was influenced by nature, and his works portrayed strong symbolism. I liked the way he was able to express a person’s soul through primitive forms.

Jiří Kolář

I had been to a large exhibition of Kolář’s works in Prague’s Kinský Palace some years ago and was very familiar with his collages that included cut out images and words from publications. (See my article about the exhibition in a much earlier post called Jiří Kolář Exhibition Diary) He was a poet and prose writer as well as a fierce critic of Communism. Kolář emigrated to Paris in 1979. He often used phrases from books or created his own poems in his collages. His works lingered on the border of the dream realm and reality, a trait I found very intriguing. A staunch supporter of democracy, Kolář was also one of the first Czechs to sign Charter 77, a document written by dissidents to promote human rights in the normalization era of Communist Czechoslovakia. He played a major role in publishing literature banned by the regime. Kolář was also one of the founders of the influential Group 42.

Jaroslav Róna

Scene by the Fire, 1984

I know Róna’s sculptures well, but I was not familiar with his paintings. Róna designed the abstract Franz Kafka Monument in Prague’s Jewish Quarter, an important sculpture to see in the Jewish Town. He is, indeed, a man of many talents: He has also worked as a painter, illustrator, screenwriter, author of books, actor, singer and educator. His works have a certain dynamic energy. He has been inspired by the Expressionism style of Edvard Munch, Oskar Kokoschka, Max Beckmann, Egon Schiele and Pablo Picasso. A supporter of democracy, he drew brochures for the Velvet Revolution during 1989. Rona is also an avid traveler. His sculptures can be found at Prague Castle as well as on the island of Crete and in many other places.

Josef Váchal

Sacrifice, undated

I liked the mystical quality in Váchal’s works. He was a graphic designer, wood engraver, bookmaker, writer and painter who excelled in all those genres. Váchal was inspired by expressionism. His works featured symbolism, naturalism and Art Nouveau tendencies. A soldier during World War I, he fought in 12 battles. The Communist coup brought hard times for Váchal, who remained isolated after 1948. People did not show much interest in his work then. In the 1960s, he received some acclaim. Much later people recognized that Váchal had created some of the most significant works of Czech graphic design in the 20th century.

Augusta Nekolová

Four Seasons, 1914

Because Nekolová was female, she had limited educational opportunities during the 19th and early 20th century. She did, however, study unofficially under the prominent Czech artist, Jan Preisler. Nekolová worked as a painter, illustrator and graphic artist. She steered away from representations of modern life in her works. She was known for her landscapes and for her emphasis on motherhood. Nekolová strove to promote the national identity of the Slav nation. She developed a strong interest in folk culture. At the end of World War I, Nekolová was hospitalized. She died in 1919 at the age of 29.

Bohumil Kubišta

In the Kitchen, 1908

Café, 1910

A prominent avant-garde artist, Kubišta helped found the Expressionist group the Osma (The Eight). He was a painter, graphic designer and theoretician and is considered to be the founder of Czech modern painting. His works dealt with existential issues. Kubišta’s expressionism was inspired by Munch. He was also influenced by Braque and Picasso’s Cubism. Kubišta analyzed the works of Eugene Delacroix and Vincent Van Gogh. His works also contain elements of Futurism and Fauvism. Kubišta often explored themes dealing with modern technology and nature. While serving in the Austrian army during World War I, he won the distinguished Leopold Order. He died of the Spanish flu at the age of 34 in 1918.

Emil Filla

Dance of Salome, 1911

Hej hore háj, Folk Song, 1948

Along with Kubišta, Filla established the Osma group. He also was known for his writings about art theory. During his early artistic endeavors, he drew inspiration from Edvard Munch’s Expressionism. Later he took up Cubism, influenced by Picasso and Braque. He also was captivated by Baroque still lifes by Dutch painters. El Greco and his symbolism fascinated Filla. In the 1930s, he became enthralled with surrealism. His landscapes demonstrate his knowledge of Chinese calligraphy. My favorite trait in his paintings involves his use of a harmony of colors.

Repression (Anxiety) by Josef Wagner – temporary exhibition

I especially liked the exhibition’s pieces of art influenced by Expressionism and Cubism. The colors and shapes in Kubišta’s and Filla’s works caught my undivided attention. I was introduced to Nekolová’s art and intriguing background at this exhibition. I was fascinated how Quido Kocián captured the emotions of the human soul in his sculptures while Zívr concentrated on simple forms to create profound meaning. Kolář’s collages were a sort of visual poetry. Váchal and Róna’s creations displayed impressive energy.

Moscow Diary, 1989 by Anna Daučíková

It was my first visit to Hradec Králové, except for brief stops at the train station and bus station. The Gallery of Modern Art with its poignant exterior and interior decoration and use of space was one of the most impressive buildings I saw.

Tracy A. Burns is a writer, proofreader and editor in Prague.

Landscape, 1962 by Vladimír Boudník

Apollo and Dionysus, 2013 by Anna Hulačová

The gallery also has an impressive collection of contemporary art.

Beach in Crimea (In A Small Bay), 1936 by Věra Jičínská, temporary exhibition

See my post Věra Jičínská Exhibition Diary for more information on this temporary show.

Věra Jičínská Exhibition Diary

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Věra Jičínská – On the Terrace, 1934. Photo from webpages of Gallery of Modern Art, Hradec Králové.

What I like most about visiting Czech museums outside of Prague is that I often find an exhibition dedicated to an artist who is underrated and has been overlooked by the capital city’s art scene.I was in luck when I visited the Gallery of Modern Art in east Bohemia’s Hradec Králové because I came across an exhibition dedicated to the late artist and writer Věra Jičínská, who had made a name for herself in Europe during the interwar years. While she is best known as a painter, the thrilling show also emphasized her penchant for traveling and her talent as a journalist, photographer and designer. Back then, women were not expected to have careers but rather to dedicate their lives to raising a family. Jičínská demonstrated her independence by concentrating on an artistic career, smoking and sporting short hair.

Beach in Crimea (In a Small Bay), 1936.

Jičínská grew up near Brno and later studied in Prague at the School of Decorative Arts. She spent the following years living abroad, exhibiting her art during a seven-year sojourn in Paris after spending two years in Munich. In Paris she became steadfast friends with Czech painter Jan Zrzavý and composer Bohuslav Martinů. Her early career was influenced by Purism and Cubism, but during 1925 she developed a Neoclassical style. By the 1930s, her works were imbued with bright colors.

Parisian rooftops, 1923-24.

The exhibition’s display of paintings inspired by her travels was my favorite section. Jičínská’s paintings of Brittany’s landscape and fishing tradition captured my attention. That was one place I longed to see. Her romantic rendition of Paris’ rooftops and the Eiffel Tower brought back memories of my visits to the French capital. I went up the Eiffel Tower for the first time when I was a junior in college.  As my friend and I enjoyed the sights from early morning until night every day, we drew energy from the electric atmosphere of the city and its many wonders. Her works showing places in Hungary and Czechoslovakia also captured my attention.

The Eiffel Tower, 1927.

Jičínská also became known for painting female nudes, a subject that, up until then, only had been taken up by male artists. She celebrated the female body in her works, even painting pregnant women. Dance was another theme she dealt with. The bright colors of her painting “Alexander Sakharov in a Fantastic Burlesque” captured the vibrancy of the dance. She was fascinated by folk culture. Her “Girl in Folk Costume” emphasized the beauty of the people, their costumes and folk traditions. Some of her art focused on Hindu dance themes, too.

Journalism by Věra Jičínská

In the early 1930s, she took up journalism. Her articles examined modern culture – theatre, film and architecture, for instance. The profession of journalism was also the theme of some of her paintings. I had spent time as a culture writer for various publications, and her thirst for knowledge in the cultural sphere made me feel a certain kinship.

In 1930 she married a former classmate. The following year the couple moved to Prague, though her work was still exhibited throughout Europe. Together, the two trekked to Slovakia during 1933 and 1934, and she documented her trip with masterful photographs. Her pictures from Slovakia brought out the character of the people photographed. There was no exaggeration or embellishment to the photos. She emphasized everyday activities in her snapshots. This feature made me think of my favorite Czech writer, Bohumil Hrabal, who, in his fiction, stressed the beauty of everyday life. Ever since I read his books, I have become more appreciative of the little things in life that, up until that time, I would often take for granted, the small joys that take on so much meaning when they are gone.

Gulls, 1933.

Still, the one photograph that impressed me the most featured gulls swooping around Prague Castle. I was reminded of one of the many views that had made me fall in love with the city – Prague Castle from several of the bridges, Prague Castle from the Vltava embankment, Prague Castle from the window of a flat I had rented long ago. After the attacks on September 11, 2001, I found great solace in that postcard perfect view from the apartment where I was living at the time. It helped me deal with the tragedy of that day, which would be forever etched in so many minds. Jičínská also took poignant photos during trips to Poland, Russia and Ukraine.

Brittany, 1928.

In 1937, her life changed again. Jičínská gave birth to a daughter whom she named Dana. While she devoted much time to motherhood, she did not give up her career. She even exhibited works during World War II. By 1941, she was concentrating on working with pastels to create a colorful dynamic and rendering many landscapes. In 1946, the couple bought a cottage in Říčky, a village nestled in the Orlické Mountains. Jičínská often painted there, and  many Czech artists visited the couple during the 1950s.

The Communist coup of 1948 had had a devastating effect on Jičínská and her family. Her husband’s publishing house was nationalized, and he was no longer the boss but rather one of the employees. Her parents had lived in a villa in Brno, but the Communists only let them occupy several rooms. To make matters worse, her father saw his pension dwindle.

Girl in Folk Costume, 1929.

Due to the financial hardships, Jičínská branched out into more artistic fields. She designed postcards and became a designer who often worked with ceramics. In 1952 she was restoring a ceiling fresco at the Czechoslovak Academy of Arts and Sciences when the scaffolding collapsed. She was severely injured and could not continue as a painter. She focused on her work as a designer. On March 27, 1961, a year after her daughter married, Jičínská died in Prague.

Before this exhibition I had not even heard of Věra Jičínská. After seeing her works, I appreciated the obstacles she must have come across pursuing a career as a female artist, journalist and traveler during the interwar years. I grew up playing baseball and ice hockey with boys, and I often was the only girl in the baseball league. But that was nothing compared to what Jičínská had accomplished as a woman breaking down barriers and living an independent life the way she chose to live it, not allowing herself to be dictated by society’s norms.

Alexander Sakharov in a Fantastic Burlesque, 1932.

The Gallery of Modern Art’s permanent exhibitions were also fascinating, and I will write about that in a separate post. Twenty artists from the last century were featured in one section, and contemporary art played a role in the collections, too. But what stood out most for me was the exhibition of Věra Jičínská’s artistic accomplishments.  

Tracy A. Burns is a writer, proofreader and editor in Prague.  

Ladislav Janouch Exhibition Diary

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I love visiting the exhibitions at the Kooperativa Gallery in Prague’s Karlín district. Kooperativa, an insurance company with headquarters in Vienna, created spaces for a café and gallery in its Prague office building during 2012, when it moved there. The exhibitions are free and very intriguing.

I went to an exhibition of Ladislav Janouch’s passionate sculptures in April of 2023. Previously, I had been enthralled by an exhibition showcasing Czech Impressionist art. The works by Janouch certainly did not disappoint.

Born during 1944 in Prague, Janouch has created not only expressive sculptures but also drawings and sketches. After graduating from the Academy of Decorative Arts in Prague during 1973, he has devoted much of his time to sculpture, participating in 25 individual exhibitions. He studied in Italy on a scholarship during 1980. The materials he has utilized include wood, stone, marble, bronze and metal.

Janouch’s works focus on the human figure. Janouch’s poignant sculptures include mothers with their children, female nudes, mythological figures, athletes and busts of famous Czech personalities. The figures are in various positions – some seated, some standing, some lying down. He takes on mythological themes with his creations of Prometheus and Icarus, for example. Sports enthusiasts will take special notice of the discus thrower captured perfectly in motion. I could almost see the athlete’s twisting torso moving because the work is so vivid.

Karel Kryl

He has sculpted many busts, including those of professors. His busts reveal not only facial features but also character traits in an emphatic way. Each bust tells a different tale. My favorite, though, is that of the late singer, songwriter and poet Karel Kryl, whose music I listen to often. Kryl’s songs, made up of poignant poetry, protest against the Communist regime.

Kryl emigrated to Germany in September of 1969, during the strict Communist period of Normalization. After the Prague Spring invasion during August of 1968, the Communists had begun their Normalization era of rigid rules. I remember where I was when I heard Kryl unexpectedly had died of a heart attack on March 3,1994 at the age of 49. A waiter in the Na Rybárně Restaurant near Václav Havel’s embankment apartment had told me, and I had shared his sorrow. Kryl had only been in Prague two days before his sudden death; he passed away in Munich. Kryl died shortly after I had discovered his music. I bought all his cassettes and listened to them religiously, scrutinizing the Czech language in poetic form, too. I could feel Kryl’s penchant for protest and devotion to democracy in the face of his bust.

Ladislav Janouch also created busts of his father and grandfather, who had played roles in the Czech literary world. His father, Jaroslav Janouch, had been a writer, editor and translator. His grandfather had made a name for himself as a writer of humorous stories in numerous magazines and six books. (Two were published posthumously.) He had used the pseudonym Jaroslav Choltický. Ladislav’s son is a sculptor, too. In 2020 Ladislav exhibited his works alongside his son’s creations in Kadaň.

I was very glad to familiarize myself with Janouch’s sculptures. I liked the expressiveness in his human forms. His renditions of athletes gave me the most joy. The tender relationship between mother and child was another meaningful feature. I also was especially moved by the busts as each face told a unique story.

Tracy A. Burns is a writer, editor and proofreader.

Zbiroh Chateau Diary

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I was very excited to visit Zbiroh Chateau because, even though it had been open to the public since 2005, I was visiting for the first time. It wasn’t far from Prague, either. I knew that the chateau served as a hotel, but I hadn’t realized that there also were tours of the representative spaces. After a steep incline, I approached the two lavish statues of lions that guarded the entrance. The entrance gate seeped with grandeur. Both features hailed from a 19th century renovation.

Czech King Přemysl Otakar II, photo from Turistický denník

I learned about the fascinating history of Zbiroh on the tour. It was built before some time before 1230. In the late 13th century, Czech King Přemysl Otakar II conquered Zbiroh. The Přemysl dynasty of Czech rulers was legendary in the Czech lands. Přemysl Otakar II built many towns, among other accomplishments.

Holy Roman Emperor Charles IV, photo from Medieval Histories

In the 1330s, the future Holy Roman Emperor Charles IV gained control of the property. Charles IV would become perhaps the most prominent figure in Czech history. who had controlled the castle after he returned from fighting in France. Charles IV established towns, churches and castles, for instance. He created Prague’s New Town district, what is now called the Charles Bridge and the first university in Prague. He also had Prague’s Saint Vitus’ Cathedral built.

Emperor Sigismund, photo from Quora

During the 14th century, Petr of Rosenberg owned the castle, and it would stay in his family for about 100 years. Emperor Sigismund, the son of Emperor Charles IV, bought the castle from the Rosenbergs during the 15th century. Other famous royal dynasties would take over the chateau from the time of the Hussite wars in the 15th century – first the Kolowrats, then the Lobkowiczes, then the Sternbergs. During the Hussite wars of the 15th century, Zbiroh was not damaged, a fate that did not behold many other Czech monuments.

Emperor Rudolf II, photo from Kalendar.beda.cz

Emperor Rudolf II as Vertumnus, painted by Arcimboldo, photo from Heureka.cz

At the end of the 16th century, Holy Roman Emperor Rudolf II acquired Zbiroh, and he would have a momentous effect on the castle’s history. Emperor Rudolf II had made Prague the center of the Habsburg monarchy. A lover of art, Rudolf II bought many paintings, and, thanks to him, Prague flourish as a cultural center. He made many changes to the Gothic castle, transforming it into a Renaissance chateau. He liked to hunt on the property.

However, this golden age would come to an end. After the Battle of White Mountain, which the Catholics won against the Protestants in November of 1620, the castle was turned into a prison for the defeated soldiers. During the Thirty Years’ War, Swedish troops damaged and pillaged the chateau Until the middle of the 19th century, the chateau was dilapidated.

Baron Henry Bethel Strousberg and family, photo from Epochplus.cz

That’s when European entrepreneur Baron Henry Bethel Strousberg came along. He made a name for himself throughout Europe as the owner of iron and coal mines, factories and property, among other things. After he purchased the chateau, he made it a representative seat and modernized it. He envisioned making Zbiroh an industrial center focusing on extracting iron ore and wood coal. However, the ore had phosphorous in it, and the project, thankfully, had to be abandoned. Baron Strousberg wound up going bankrupt. He fled to Russia, where he was incarcerated for two years. Then Strousberg went back to Berlin. His family fled to London. The once influential and wealthy Strousberg called an attic flat owned by his former cook home. He died there, penniless.

The lavish arch built during Strousberg’s tenure at Zbiroh

The next owner of the chateau was Duke Joseph Coloredo-Mansfeld. He rented it to legendary Art Nouveau artist Alphonse Mucha. While residing at Zbiroh, Mucha created some of his most important paintings, such as the 20 Slav Epic depictions that celebrate Slav identity.

View from the terrace at Zbiroh

The Mansfelds hung onto the chateau until the Nazis came and turned the place into a SS headquarters. At the end of the war, the Nazis hid their secret documents in the bottom of the chateau’s well – at 163 meters it was the deepest in Europe. Then they covered it with a metal plate at the 150-meter mark so that their documents would be difficult to retrieve.

View of Zbiroh from postcard

The Czechoslovak army took control after the war, in 1945. Zbiroh was taken off the map as a top-secret facility was placed there. Czechoslovakia gathered information about NATO armies. The soldiers did not take care of the chateau. They even used the unique well as an ashtray. The army didn’t leave until 2004, when a private company bought the chateau and Zbiroh was put back on the map. It was open to the public in 2005. Zbiroh’s history is also connected to the Teutonic Knights as the current owner is a member.

The tour was fascinating. In the first room I liked the collection of African masks on the wall. Remnants of some of the documents the Nazis had tried to destroy in the well were on display in another space. My favorite artifacts were the Madonna statues dotting the representative rooms, some hailing as far back as the Romanesque and Gothic eras. A 650-year old Madonna was the most valuable artifact in the chateau. The Christ child appeared jovial and curious while the Virgin Mary looked like a proud mother. In a Late Gothic Virgin Mary sculpture from the 15th century, the Christ Child was smiling, about to break out in laughter. The Virgin Mary donned an elegant, simple crown. An ivory statue of Saint Nickolas also caught my attention. It hailed from the 14th century.

I saw a masterfully carved 13th century Romanesque chest, too. Chamber tiles from the 15th century showed Saint George battling the dragon. I saw many copies of works by Leonardo DaVinci, including the Mona Lisa, a self-portrait of the painter and a portrait of Mary Magdalene. Even though they were reproductions, these paintings were very impressive. A life-size carving of Saint Vitus from the 18th century was another delight.

On the lavish dining room table gilded silverware hailed from the era of Empress Maria Theresa. The napkins were shaped in the form of a lily, a royal symbol. I also saw a detailed map of Bohemia from 1702. The Empire furnishings bought in the mid-19th century were ravishing, too.

Alphonse Mucha created posters for actress Sarah Bernhardt and achieved worldwide acclaim. Photo taken at Mucha exhibition in Wallenstein Riding Stables, 2022.

Mucha’s Rooms were another highlight. I had been a fan of Mucha’s Art Nouveau works for a long time. I had visited the Mucha Museum in Prague and only months before this visit, I had seen the comprehensive Mucha exhibition in the Wallenstein Riding Stables in Prague. In these spaces, I saw a portrait of Mucha featuring Masonic symbols because he had been a Mason. Also, Masonic medals owned by Mucha were on display. I was entranced by Mucha’s historical painting “Master John of Rokycany at the Council of Basel” from 1933. On one wall, Mucha’s students had painted female figures in their teacher’s style.

From Mucha’s Slav Epic paintings, photo taken at Mucha exhibition in Wallenstein Riding Stables, 2022.

The ballroom was the most beautiful space. This was once Mucha’s studio while the balcony had served as a dark room for his photographs. The large room was built in the second half of the 19th century. It featured a skylight with glazed glass and two elegant crystal chandeliers. I spotted Zbiroh Chateau behind what looked like blue mist in a painting by Mucha. The yellow, blue and red decorative wall painting enthralled me as well.

Another masterpiece by Alphonse Mucha, photo taken at Mucha exhibition at Wallenstein Riding Stables, Prague, 2022

Then we walked down a long hallway with Renaissance, Gothic and Baroque tapestries and armors of knights from various eras. As the tour ended, I was very glad I had finally discovered this gem. The history of the chateau was riveting, and the artifacts in the representative spaces were amazing.

It was time to get something to eat. In the parking lot, I noticed the beech trees that surrounded the chateau and listened to the sound of silence. It was so quiet and tranquil, such a relief from the hustle and bustle of daily life.

Tracy A. Burns is a writer, editor and proofreader in Prague.

Sucharda’s Second Villa Diary

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The second Sucharda Villa

I had waited months for the tour of Stanislav Sucharda’s second villa. The first time I had had to cancel due to illness. I had seen the exterior of the Sucharda Villa on Slavíčkova Street for the first time on a tour of Bubeneč in Prague’s sixth district. Constructed for sculptor, designer and medallist Stanislav Sucharda from 1904 to 1907 by architect Jan Kotěra, the villa is shaped like a cube and features a mansard roof, polygonal bay windows and half-timbered gables. To say I was impressed is an understatement.

The studio of the Sucharda Villa, now a separate building

A large studio building, influenced by Cubism, stood next to what was Sucharda’s second villa. A knight figure is featured on its steep roof. This had once been Sucharda’s atelier but now was owned by the government for administrative purposes. Sucharda had needed a large studio after he won the competition for the colossal monument to František Palacký, the founder of Czech historiography as well as a prominent politician. Palacký’s nickname was the Father of the Nation.

Jan Kotěra – Photo from Kralovehradecký architektonický manual

Kotěra received accolades not only as an architect but also as a theoretician of architecture, a furniture designer and a painter. He designed all the interior furnishings for this villa. I was familiar with Kotěra’s National Building in Prostějov, Moravia. The two-winged, L-shaped building in Prostějov was clearly divided into sections for a hall, restaurant and cafes. Kotěra had also designed half of the complex for the Law Faculty of what is now Charles University, which I had often passed on foot or on the tram.

Decoration on Sucharda’s first villa

As I have already pointed out, this was Sucharda’s second villa in Bubeneč. The first one is also on Slavíčkova Street. It is a neo-Renaissance structure that he and his family had inhabited for 10 years. An exquisite painting of the bishop Božetěch is featured on the exterior of this villa. Stanislav sold this building to his brother Vojtěch, who had made a name for himself as an artist, too.

Mašek’s Villa on Slavíčková Street

Indeed, Slavíčkova Street is dotted with villas built for artists, including architect Jan Koula and painter Karel Vítězslav Mašek. The prominent villas on this street were built from 1895 to 1907. On Mašek’s villa there is floral decoration with a painting of the Virgin Mary with Child. Both the Koula and Mašek villas feature motifs of white pigeons. The painting on one side of Koula’s villa is outstanding.

Koula’s Villa on Slavíčkova Street

Back to Stanislav Sucharda: Family members have taken up artistic professions for at least 250 years. Stanislav was brought up in Nová Paka, where his father, Antonín Sucharda, had created and restored sculptures. The five children helped out in their father’s workshop and would continue to pursue artistic careers.

Stanislav Sucharda

Stanislav attended the School of Decorative Arts in Prague, where he studied under the greatest Czech sculptor of the 19th and 20th century, Josef Václav Myslbek. Every Praguer knows Myslbek’s equestrian statue of Saint Wenceslas at the top of Wenceslas Square. I vividly remember the statue being decorated with votive candles and pictures of Václav Havel shortly after the former president and former dissident died in 2011. The sight had made an unforgettable impression of me and filled me with an immense feeling of loss. Many demonstrations have taken place around the statue, too, even under Communism.  

Bust of František Palacký from Maleč Chateau, where Palacky had resided.

Myslbek had been very influenced by the Czech National Revival that promoted Czech culture and the Czech language. I was familiar with Myslbek’s sculptural portrait of František Palacký, who had supported the Czech National Revival, on Palacký’s former home in the street named after him.

Postcard of Sucharda’s Prague and Vltava (1902) printed by Museum of Stanislav Sucharda

It is not surprising that Sucharda’s early creations were greatly influenced by Myslbek’s realism. Sucharda became known for his creations of Czech historical figures and the Slavonic themes in his work, which are two of the reasons his works appeal to me. I love Czech history and studied it in graduate school. After a Prague exhibition of Auguste Rodin’s sculpture in 1902, however, Sucharda’s style became more vibrant and underwent some changes.

Postcard of Sucharda’s Liliana (1909), printed by Museum of Stanislav Sucharda

Sucharda is best known for his sculptural grouping of the monument to Palacký on Palacký Square in Prague’s second district. Many years ago, Palacký’s statue had greeted me every time I took the Metro at the square or rode by on a tram. I had become very interested in Palacký’s work during graduate studies in Czech history, and I found that having a monument dedicated to him near my apartment was refreshing and soothing. The bronze statues of the monument brought to mind the revitalization of Czech history and culture during the Czech National Revival.

Palacký monument on Palacký Square in Prague

The monument also made me think of the Czech nation finally gaining independence after World War I with the creation of Czechoslovakia, even though Palacký had not been alive to see that. I thought of the Czech nation breaking free from the Germanization of the Austro-Hungarian Empire whenever I passed by that sculptural grouping.

A cast of Palacký’s hand by Myslbek

In the same district as his villa, Sucharda had created a monument to composer Karel Bendl. He also built monuments to Czech historical figures Jan Amos Komenský (Comenius in English) and martyr Jan Hus, for instance. Other designs include sculpture for the study of the mayor of Prague from 1907 to 1909.

Sucharda also authored many reliefs, medals and plaques, and his medal designs were highly praised. His medal works even received international recognition. Stanislav became professor of the first Department of Medal Design of the Academy of Fine Arts in Prague after spending two decades as a professor at the School of Decorative Arts. He had also served for seven years as the chairperson of the Mánes Union of Fine Arts, which organized many influential exhibitions in Prague and was an important promoter of modern art.

Sokol membership card from 1912. Photo from aukro.cz

For Sucharda there was more to life than artistry. He was an avid member of the legendary Sokol physical education organization, even working as an instructor there. His entire family was involved with this prominent Czech organization.

Then fate intervened. Stanislav served in the military during World War I and did battle on the eastern front. Wounded in the war, he died after returning to the Czech lands in 1916, a year after being chosen to head the medal design department of the Academy of Fine Arts. I thought it was such a shame that he did not get to see the establishment of independent Czechoslovakia with Tomáš Garrigue Masaryk at the helm.

Sucharda’s Second Villa as seen from the garden

The tour of the two-story villa was very impressive as Sucharda’s granddaughter told the group about her father’s work, the pieces of art in the building and the history of the villa. A professional guide was insightful, too. The interior consisted of an English style hall with stained glass decoration on high windows and sculptures, reliefs and paintings. The British architecture of the hall reminded me a bit of Staircase Hall in the Moravian villa of Slovak architect Dušan Jurkovič, who had been inspired by the English Arts and Crafts movement.

Jurkovič’s Villa in Moravia

We saw works by Edvard Munch and Rodin as well as many Czech creations. Small statues and other artworks decorated the top of an elegant decorative fireplace. Behind plush red seating shaped in a semi-circle was a beautiful stained glass window. I especially liked a large relief by Sucharda in the entrance hall and a life-size statue.

In the narrow hallway there was a fountain with sculptural decoration that employed religious motifs. We also saw the dining room with its paintings, statues, busts and ceramics. Works by Stanislav’s daughter were very impressive. The woodcarving of Kotěra furnishings was masterful. A small conservatory was adjoined to the dining room. Intriguing artifacts decorated the piano, and outstanding paintings decorated the walls. I especially liked a rendition of the Roman Forum by Cyril Bouda. It brought to mind my passion for Italy and the time I had showed my parents the Roman Forum

The garden had an intimate feel. I could imagine sitting there, reading a good book and relaxing on a sunny day.

The Muller Villa in Prague

Visiting villas in Prague was one of my favorite pastimes. I recalled touring the František Bílek Villa, the Muller Villa, the Winternitz Villa and the Rothmayer Villa in the capital city. I had also toured several intriguing villas in Brno and the Bauer Villa in central Bohemia. I would definitely recommend touring these villas. I was glad I was able to get to know Stanislav Sucharda better via his villa and the art within it. I developed a much stronger appreciation of Sucharda’s contribution to modern art. The tour was even more impressive than I had imagined it would be.

Tracy A. Burns is a writer, proofreader and editor in Prague. 

Museo Bagatti Valsecchi Diary

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This museum of Renaissance and neo-Renaissance decorated apartments in a palace is one of my favorite sights in Milan. It is big enough to include many treasures but yet small enough to have an intimate feel. Because the exhibition focuses on the Renaissance and neo-Renaissance, I didn’t feel overwhelmed as I often do when displays include many styles from numerous eras. 

The history of the museum is enthralling. In the second half of the 19th century, Fausto and Giuseppe Bagatti Valsecchi furnished their palace located from via Gesu to via Santo Spirito in Milan with works of Renaissance and Neo-Renaissance art – tapestries, paintings, sculpture and weapons, for example. The furniture hails from Italy, Britain, Japan, France, Germany and Spain. Even though the apartments were transformed into a museum during 1974, the public wasn’t able to view them until 1994.

Giuseppe lived in his apartment with his wife. His five children lived on another floor with their nanny. Fausto had his own apartment on the same floor as Giuseppe. While they managed various charities and traveled, they also had some intriguing hobbies. Fausto enjoyed riding in hot-air balloons and Giuseppe was one of the first to ride a velocipede. They used their Renaissance-furnished apartments for daily activities rather than treating the spaces as a museum. Even though it was decorated to look like the Renaissance, the brothers had installed modern amenities, including hot and cold water and electricity. In fact, this palace made a name for itself as one of the first private homes in the world to install electricity.

I especially liked the coffered ceilings and Latin inscriptions throughout the flats. Throughout the palace I saw the distinguished family crests of lily and eagle. The Neo-Renaissance frames used to display Renaissance art were appealing, fusing the old with the new or newer.

Many spaces captured my attention, including the Fresco Room, where15th century frescoes make a fascinating appearance. The Bevilacqua Room showed off the Madonna and Child by the artist after which the space is named. I took a good look at this innovative work from the 15th century. It was made of glass stones, silver thread, velvet and gold. A coffered ceiling and gold-and-red silk wall coverings added to the elegance of the space.

I have always loved libraries, and this library was no exception. On the 16th century terrestrial globe in the library, North America is labeled as “Unknown Territory.”

The largest room was the Grand Salon with a coffered ceiling adorned with pine cone images. Family crests made an appearance as did Latin inscriptions. The frieze featured a theme from Greek mythology and included 16th century frescoes. The red-and-gold décor gave the room a special sense of grandeur. The six stained glass windows were exquisite.

The living room of Giuseppe and Carolina included 16th century decorated paneling, red furniture with velvet upholstery and a piano. The Red Room, which served as the couple’s bedroom, showed off a coffered ceiling and 15th and 16th century paintings as well as a canopied bed with red covering. A door in this room leads to the children’s floor, so the children never had to walk through the Renaissance-decorated apartments.

The Dining Room was elegant, too. The wall coverings showed the story of Persian king Cyrus. The majolica plates showed scenes from Alexander the Great’s life.

The bed in Fausto’s Bedroom was adorned with head and foot boards sporting 16th century reliefs. The decorated Neo-Renaissance coffered ceiling was another highlight. A 15th century altarpiece also enthralled. I noticed a clock and a lamp shaped like skulls, too.

I noticed the 16th century ceiling decorated with the two family crests and a Latin inscription in Giuseppe’s Bedroom, called “the Green Room.” The headboard showed off a Pieta scene.

The armory was a long and narrow room with helmets, armor, swords and shields. While I am not especially interested in weaponry, it was impressive.

I liked the Bagatti Valsecchi Room where visitors can open drawers and see photos of the two brothers and some of their personal belongings. One photo that captivated me showed the palace after a section was bombed during the second world war. On another photograph, I saw Giuseppe on a velocipede.

After my visit, I decide that this was my favorite museum in Milan because there was so much to appreciate and yet the flats had an intimacy that larger museums lack. The apartments brought the Renaissance to life with its artifacts. The photos of the two brothers made the apartments feel even more intimate. I was given the chance of having a glimpse of their lives, of getting to know them. That the flat was used for daily life and hadn’t been a museum when the brothers were alive made it all the more appealing. The painted coffered ceilings, the elegant beds with canopies and the 15th and 16th century paintings and frescoes throughout made great impressions on me.

I finally left, knowing someday I would be back because this was a museum I could go back to again and again, greatly enriching my life with each visit.

Tracy A. Burns is a writer, proofreader and editor in Prague.

Museum of the Risorgimento in Milan Diary

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Museum of the Risorgimento in Milan Diary 

After visiting the Brera Art Gallery in Milan, I walked to the nearby Museo del Risorgimento, which featured 14 rooms of paintings, prints, sculptures and artifacts depicting Italian historical events from 1796 to 1870 as well as arms. It traces the periods from the call for Italian independence to Italian unification. I learned about Napoleon’s reign in Italy as well as the Austrian monarchy’s control. I noticed how prominent Milan’s role had been during the Five Days of Milan, the nickname of the 1848 uprising against the Austrians.

I saw paintings depicting Italian King Victor Emmanuel II, who took the throne in 1861 and reigned until his death in 1878. Two of the paintings were created by Gerolamo Induno. Nicknamed the Father of the Fatherland, Victor Emmanuel II had the distinction of being the first king of a unified Italy since the sixth century. He was born the eldest son of Habsburg Empress Maria Theresa of Austria and made a name for himself in the First Italian War of Independence during 1848-49 before being crowned king.

I spent a lot of time staring at the photos of soldiers in the Album of the Thousands, the volunteers in the Expedition of the Thousand, a campaign that took place in 1860. The group of volunteers armed only with out-of-date muskets defeated the more powerful navy of the Kingdom of the Two Sicilies. Portraits of the 1,089 soldiers in business card format made up this album. I saw the volunteers as individuals rather than as a group of soldiers who conquered Bourbon rule in south Italy. Looking at their portraits, I felt as if I could see the personalities of the men.

Giuseppe Garibaldi, one of the most prominent generals in modern history, guided the volunteers in the Expedition of the Thousand. Their uniforms were made up of red shirts and grey pants. In the exposition I saw the actual poncho and red shirt donned by Garibaldi, who also had military successes in South Africa and elsewhere in Europe.

I loved the paintings and sculptures most of all. These collections were especially noteworthy. The collection of paintings depicting the Imperial period from 1804 to 1814 was perhaps the most poignant of all eras represented by this genre. Francesco Hayez, whose works I had seen in the Brera, had depicted Emperor Ferdinand I of Austria in a moving portrait. Also, powerful canvases of the Five Days of Milan had been rendered by Carlo Canelli, Carlo Bossoli and Pietro Bouvier, for example. Gerolamo Induno and Domenico Induno contributed to the paintings depicting the Second War of Independence. The original Italian flag that flew over the Duomo in Milan on March 20, 1848 was another highlight. The cloak and regal insignia from Napoleon’s coronation as King of Italy were also enthralling.

The 18th century Palazzo Moriggio that houses the museum had an intriguing history as well. The museum had been situated there since 1951. Under Napoleon’s reign the Ministry of Foreign Affairs and then the Ministry of Defense had been located in the palace.

This museum really opened my eyes to many events in Italian history. I had known only very basic information about this museum before my visit. It wasn’t on my list of most important places to see. I learned so much about the time periods in which the Risorgimento took place. I had never been a big fan of battle scenes, but I was struck by the details and by the historical significance of these paintings. While the museum is relatively small, it allows visitors to develop much knowledge about poignant eras in Italian history. In this museum I could actually feel the history come to life. Each artifact tells a story.

Tracy Burns is a writer, proofreader and editor in Prague.