As I made my way from the grassy parking lot to the chateau, I wondered why I had only heard of Stránov that year, in 2025. After all, Stránov had been open to the public since 2004, even though reconstruction was in progress back then. The chateau looked impressive and romantic with a Neo-Renaissance appearance thanks to a 19th century transformation.
I walked into the café/box office to buy my ticket. The room was quaint with dark paneling. Then I walked into the courtyard dotted with white tables and chairs, and I gazed at the elegant Neo-Renaissance arcades. A distinctive sandstone fountain also caught my attention. From the courtyard I could see a narrow garden area below. People were seated at the white chairs and small tables in the garden. The plant species and flowers were colorful and enthralling.
The guide explained that a Gothic castle had been built on the site in the 15th century, replacing a fortress. Indeed, a Gothic tower still was a dominant feature of the chateau. It was even possible to climb it and take in the views. At the end of the 16th century, the castle got a Renaissance makeover and became a chateau for residential living. During the 18th century, more reconstruction was carried out – this time the chateau turned into a Baroque gem. The garden was also created during this period. The following century Stránov was made into the Neo-Renaissance structure that it is today.
However, the most important time in the chateau’s history began in 1917, when Josef Šimonek, a senator and entrepreneur with the Škoda auto manufacturer, purchased it. He had been so successful and well-respected in the business world that a noble title had been bestowed upon him.
During the First Republic, when Czechoslovakia was a democratic country under the guidance of President Tomáš Garrigue Masaryk, Šimonek, his wife Božena and their two sons, Jaromír and Jiří, made the chateau their home. Black-and-white photographs of the family dotted the rooms as did a group photograph of a joyous acting ensemble that had shot a film there long ago. I saw artifacts from the sons’ childhood – a sled made in 1929 and well-worn miniature toy cars. A children’s theater stage with figures of a skeleton, king and queen caught my attention. The decoration on it was exquisitely hand-painted. The father even created a small zoo for the children.
Although Šimonek retired from Škoda Auto in 1918, he remained a senator in Parliament until he died in 1934. His son František resided there with his family until the Communists forced them to flee in 1950. František’s mother, Božena, left with her husband’s urn in a basket, never to return. She found shelter in a parish house without running water. She lived there until her death in 1976. I saw the suitcases members of the family had carried when they had to leave their home.
Once nationalized, the chateau became an orphanage. The Šimonek family didn’t get the chateau back until 2003. Before the arrival of the Communists in 1950, there had been 750 pieces of furnishings and objects. Returned to the family in the early 2000s were only 35 of those. Stránov was open it to the public during 2004 even though reconstruction was taking place.
Photo of acting ensemble that shot a film at the chateau many decades ago
Another relative also named Jaromír Šimonek, born in 1945, had called the nearby chateau Lobeč home for five years before being forced out with his family by the Communists in 1950. Growing up, he had his hopes set on studying about machines in Mladá Boleslav, a nearby town. However, the Communists did not permit him to study for his desired profession. He did, though, wind up learning how to repair agricultural machines and took a serious interest in mechanics. Later, he followed in his family’s footsteps and went to work at Škoda Auto. Eventually, he became the mayor of Lobeč. He died in 2021.
The interior of the chateau harkened back to the First Republic. The current owner had furnishings made to look like they had been created during that era, my favorite period of Czechoslovak history. There were a few original furnishings that had been preserved for use in the orphanage.
The interior was cozy with an atmosphere that made me want to open a good book and relax there. In one room with wine red-upholstered chairs and a table with a tea service, I could imagine having a cup of Earl Grey on a wintry evening while discussing the Čapeks’ latest play. I could imagine people seated in armchairs or at tables there, talking animatedly about what was new with Masaryk’s politics, Karel Čapek’s books and Josef Čapek’s artwork. While some of the paintings on the wall were for sale, others harkened back to past eras. The dining room chairs looked elegant with the family coat-of-arms decorating the backs. A beautiful piano also was on display.
In the large space used for weddings, I saw red upholstered chairs with tables complementing the red and gold striped curtains that gave the place an elegant look. I wanted to fall into the quaint wine red leather couch. I noticed the beautiful Bohemian crystal chandelier. On the wall a painting caught my eye. The tranquil landscape featured a calm river with homes dotting the embankment.
The chateau included a toy museum with old objects donated by a private collector. I saw early 20th century dolls of girls in folk costumes and once much loved teddy bears of various sizes. Children’s baby carriages and dolls of various sizes graced the exhibition room. A rocking horse was also on display. I loved the miniature furniture, such as a cabinet filled with plates and tea cups. I also peered in one hallway at original folk costumes, exquisitely made.
I came away from the tour with a warm feeling for my favorite period in Czechoslovak history. I imagined raucous boys playing with miniature cars in the rooms as their father told them to keep the noise down while he read Lidové noviny. The furnishings had brought the chateau to life, giving it a distinct family atmosphere.
Tracy A. Burns is a writer, proofreader and editor in Prague.
Original armchairs made for Josef Šimonek during the First Republic
Peering at the paintings in the third floor art gallery and the furnishings on the first floor representative rooms, I came quickly to the conclusion that Radim Chateau was a hidden gem among sights near Prague. While there were not numerous spaces to visit, the ones viewed on tours of the representative rooms were outstanding in their content and beauty. Everywhere I looked in the gallery and on the representative floor, I saw magnificent artwork. Even the 19th century tapestries and Romantized furnishings in the hallways told intriguing stories of centuries gone by.
I was stunned by the masterful artistry of Radim Chateau during my first visit in 2025. This Renaissance chateau in central Bohemia was built next to a fortress that was first mentioned in writing during the early 14th century. The fortress had various owners. Then Karel Záruba from Hustířan had the chateau constructed in the early 17th century. The two-floor structure was ready for use by nobles in 1610. However, Karel passed two years later, and the property became the possession of his son Jan, who took the side of the defeated Protestants during the Thirty Years’ War. Because the Catholics triumphed, the chateau was confiscated, and Jan had to flee the country. However, when Adam the Younger of Wallenstein took over the chateau and property, he returned it to Jan Záruba. Soon it was purchased by the legendary Šternberk clan. At that time, Radim became an administrative seat where clerks rather than nobles occupied the chateau.
Several owners came and went after 1634. Then, in 1685, the well-known Gallas family took over Radim and held onto it until the 18th century. I thought back to the Clam-Gallas Palace in Prague, where the ceiling frescoes and ballroom with crystal chandeliers are superb. Getting back to Radim history: The next owner was a notable pioneer in the Czech publishing industry, the knighted František Jan Brahier. He printed breaking news in German. When Brahier died in 1721, he did not leave any heirs.
That is when the Kinský family came into the picture. A family that had had so much influence on horse breeding and horseracing, the Kinskýs sold the chateau to Prince Alois Josef Lichtenstein in 1783. This was an important purchase because the chateau stayed in this family for 143 years. During the Lichtenstein reign, the chateau once again served administrative purposes for a significant period of time.
A momentous occasion could have taken place in 1791, if fate had not gotten in the way. The Czech king Leopold II was returning to Vienna from his coronation in Prague and wanted to see Radim Chateau and take in some hunting there. However, plans had to be changed as Leopold II had to hurry back to Vienna without a hunting break. In the early 19th century, there was much reconstruction.
The Lichtenstein’s parted ways with Radim in 1927, when Dr. Jaroslav Bukovský took charge. Many changes took place as he used the chateau for representative purposes. Electricity was added to the chateau, and what was once a French park came to flourish in English style.
During the Nazi Occupation, the German army used the premises, although the owner’s wife, Mrs. Bukovská, was still allowed to have a small apartment there. After May of 1945, the Russian military took control of the chateau. The Communists held it from 1950, when Mrs. Bukovská was still permitted to reside on the premises in a tiny abode. Most of the chateau was changed into offices, and a few apartments were installed. District offices remained in the chateau until the 1990s. Then in restitution the Bukovský family got the chateau back. After selling the chateau in 2005 to Antonín Dotlačil, much reconstruction took place.
The chateau was sold again, this time to the present owner, Bohuslav Opatrý, who is a music and art lover, having restored many of the paintings in his third floor collection. The park and garden underwent reconstruction as did part of the chateau. It was not until this century that Radim Chateau was open to the public.
While most of the furnishings are not original due to the Nazi occupation of the chateau and the dereliction that occurred during socialist times, it does boast original 19th century flooring in the main hall. To be sure, the Communists destroyed most of the chateau interior. Yet, decades later, Radim would be resurrected by painstaking efforts that made it into the gem it is today. The painted ceilings in the bedroom, main hall and gallery have been preserved to a great extent. The painted decoration on several ceilings, such as a lobster and a horse, hails from 1607 to 1610.
In the bedroom that we entered first, I was intriguing by the Baroque bed with exquisite carving. In the dining room, I was speechless at the sight of low Renaissance chairs around a Renaissance table. In other rooms, I saw many Gothic chairs, often Romanticized into 19th century style. A Mannerist cabinet with exquisite woodwork of figures and columns was a delight in one space. I spotted a portrait of Rudolf II among the pictures of rulers that decorated a high wall in the bedroom. I also saw in one space a 18th century globe decorated with allegorical figures of zodiac signs instead of continents. The ceiling decoration of a green-and-white pattern in the bedroom also awed me. So delicate and so much attention to detail.
In the administrative office of the Lichtensteins, I saw pictures of Austro-Hungarian generals. In the study, portraits of past owners as well as the current owner hung on the walls. I recognized Adam the Younger Wallenstein as well as Adam Kinský. There was even a portrait of Octavian Kinský, who was never the owner of this chateau but had made a name for himself with that clan, specifically in horse breeding and horseracing. Work related to his successes could be seen in Karlova Koruna Chateau, which I had visited several times. A more modern likeness of the current owner also decorated one wall. In an isolated space, I peered at a Neo-Gothic altar with medieval elements. Tapestries from the 19th century were present throughout the chateau’s first floor and hallways.
The main hall, often used for weddings, was one highlight of the tour. The painted ceiling featured various objects and animals in bright colors. A 19th century Petrov Grand piano also adorned the space. Paintings from various periods added to the décor.
Close-ups of the Mannerist cabinet
On a tour of the cellar places it was possible to see a Black Kitchen that was still functional as well as an armory and some bedrooms once used by princesses. This was another intriguing tour.
Portrait of Austrian general
However, the biggest highlight for this art lover was the gallery on the third floor. Nineteenth and early 20th century landscapes dotted the hallway. I saw images of the slowly flowing Berounka River, the snow-covered Alps, charming cottages tucked into woodlands, the tranquil landscape in the Pilsen region, sights of Prague, portrayals of sheep, folk dancing figures and haymakers doing laborious work in the fields, mystical forests and other scenes. I was enamored by each painting as landscapes from this time period were my favorite. While most of the paintings were authored by lesser known artists who deserved much praise, one work was painted by the well-known Otakar Nejedlý.
Landscape with Berounka River, not by Nejedlý
This renowned Czech painter lived from 1883 to 1957. He was a pupil of the master landscape artist Antonín Slavíček. His travels to India greatly influenced his works. During World War I, he was mobilized to France where he painted places the Czech legionnaires had fought. After the war, he became an esteemed professor in Prague. He adored the south Bohemian countryside and was inspired by Romanticism, Impressionism and Expressionism.
Painting of sheep by Popelka
Vojtěch Hyněk Popelka created the renditions of moving sheep, and it was no surprise that he specialized in painting animals. He brought to life landscapes and animals in his works during the early 20th century.
Painter Otto Stein, who also was an accomplished graphic artist, lived from 1877 to 1958. Several of his works were displayed in this gallery. After studying in Prague and settling in Munich, he took part in Munich New Secession exhibitions in the early 20th century. During the war, he painted material used to promote the Austro-Hungarian Army. After the war, he became part of the Berlin Secession, having to move to that city. In 1922 his renditions were on display in Prague’s Rudolfinum. He gained acclaim in Germany and the USA.
In 1942 tragedy struck, and he and his family were deported to the Terezín concentration camp. He toiled in the technical department there and bided his free time with drawing. Miraculously, he and his entire family were spared, and, after the war, he moved to Prague. Then he went to live in the north Bohemian countryside, where he did a great deal of painting. He died there in 1958.
The German painter Adrian Ludwig Richter also had works on display in this gallery. He lived from 1803 to 1884 and also succeeded as a illustrator. His paintings featured the Romanticist style, inspired by Caspar David Friedrich. He was especially enamored with the countryside of north Bohemia and the ruins of Střekov Castle in that region. Richter also made 3,000 creations out of wood.
Vlastimil Toman (1930 – 2015) was a painter, graphic artist, illustrator, poet and photographer as well as professor. Several of his landscapes were represented in the gallery. He worked mainly in Třebíč, painting the Vyšocany and Moravian countryside. In the 1960s, he explored the styles of cubism, fauvism, expressionism and lyrical realism. In total, he had 24 solo exhibitions in Třebíč plus 50 collective exhibitions around the country.
Prague Castle in the distance
Čertovka on Kampa Island, Prague
My favorites were the renditions of Prague. One painting featured Prague Castle in the horizon, another showed the Charles Bridge. Yet another displayed the Judith Bridge, which preceded the Charles Bridge. One portrayed Čertovka on Kampa Island.
But there was more. A rather large space featured religious art. I saw numerous madonnas, scenes from the Bible and pictures of saints here as well as Gothic furniture. There was a range of styles, and works hailed from various eras, though none were modern. My head was swimming with this immersion into religious art.
From the third floor, it was easy to read the motto of Saint Benedict on the balustrade. “Tempora matuntur et nos matumar cum illus,” it read. It meant that times change, and we change with them. Other black-painted letters read “Ora et labora,” which translates from the Latin into “Pray and work.” The ceiling on the third floor was richly decorated with depictions of objects and animals.
Not only had I peered at masterfully carved furnishings and other notable objects in the representative rooms but I had also viewed numerous paintings in my preferred landscape genre. The religious art was very impressive, too. While the chateau’s representative spaces are not large, it is worth seeing for those interested in Czech history and sights with artifacts from various eras. Art enthusiasts are sure to love the third floor displays.
On that day there was a wedding, and the café offered various cakes and pastries outside as well as sausages that were cooked over a fire. Delicious bread was available, too.
I went to lunch at U Marka restaurant in Pecky, a small town nearby. The rustic interior was suitable for the delicious Czech food, which cost so much less than that in Prague. I had had a great day.
Tracy A. Burns is a writer, proofreader and editor in Prague.
I visited Grabštejn Castle for the third time in 2024. Situated in north Bohemia near the Polish border, Grabštejn has come a long way since my first two visits some 20 years ago, when only a few rooms were open to the public because major reconstruction was taking place. Back then, I had seen Grabštejn Castle as a place with much potential, but I wondered if I would ever see the upper and lower castle with more than several spaces open to the public.
The first thing I noticed was that there was no scaffolding near the entrance to the castle perched on a rocky hill, where it dominated the scenic landscape. I read that there were two tour routes available and many rooms on display.
I recalled the history of Grabštejn, which was originally a 13th century Gothic castle, first mentioned in writing during 1286. It was transformed into a Renaissance chateau during the 16th century and still has many Renaissance features. During that Renaissance transformation, the Chapel of Saint Barbara was constructed. It became an architectural gem due to its superb vaulting as well as exquisite wall and ceiling painting. The chapel was consecrated to Saint Barbara, the patron saint of miners, because miners worked on the Grabštejn property. The chapel’s décor included a masterfully crafted statue of that saint.
Things fell apart during the Thirty Year’s War, when the Swedes conquered the castle. After Grabštejn was sold to Jan Václav Gallas in 1704, reconstruction work was carried out. Then the castle was used as an administrative seat instead of a residence. In 1781 a fire destroyed the castle, but Filip Josef Gallas restored Grabštejn’s impressive appearance. The chateau was again used for administrative work.
Elephant foot used as trash can
When Kristián Kryštof Clam-Gallas became owner, he rebuilt the administrative building as a Classicist chateau. His family used Grabštejn as a summer seat. In 1843, lightning hit the castle, causing a large fire. The damage was repaired, though.
Marie Clam-Gallas set up a small family museum in the castle after World War I, and during 1934, Grabštejn was open to the public while the family also used the premises. However, the castle was nationalized in 1945, after World War II. The Clam-Gallas family that had contributed so much to the development of the castle was forced to leave in a cattle wagon.
During 1953, the Czechoslovak army took over the castle, which was already in poor condition. The army stayed there until after the Velvet Revolution, exiting for good in 1990. Vandalized, the castle was in ruins. Major repairs took place until 2010, and reconstruction even continues today. The public has been allowed to visit since 1993. It was possible to preserve a section of the Renaissance sgraffito that decorates Grabštejn’s western façade. The original statue of Saint Barbara was restored. The installation of the interior lighting ended in 2023 while the cobblestones in the main courtyard were repaired during 2024.
Clerk’s office at the castle
The tours show rooms from the 16th to 19th century as well as the spaces dedicated to the Clam-Gallas museum. I saw the administrative offices of the 18th century as well as rooms made for nobility. The clerks’ offices displayed quills, large historical maps, portraits and shelves with document-filled cubby holes. It was intriguing to see rooms used for administrative purposes at a castle. I learned about the clerks’ work during that time period. Usually, I only saw rooms decorated for nobility.
The highlight of the tour was the Renaissance Chapel of Saint Barbara. I admired the superb vaulting and the wall and ceiling paintings, one of which showed a 13th apostle with no attributes. Whom the image represented was unclear. I noticed a poignant Last Judgment scene on the ceiling as well as an exquisite rendition of the Last Supper. The statue of Saint Barbara was breathtaking in its original form. The Renaissance altar painting showed Jesus squirming on Mary’s lap. I noted the splendid blue drapery of the Virgin Mary and the lush green landscape in the background. The wooden pulpit was truly unique.
In the castle rooms devoted to the nobility, I saw old photographs of the Clam-Gallas family. The photos reminded me that Grabštejn had once been a busy family home, full of vitality. I saw many paintings of nobles on horseback as well as landscapes. A gigantic wall painting was stunning. It showed lush chateau-like gardens with a monumental fountain as nobles strolled by. I noticed that the fountain in the painting dazzled with a gilded statue of Poseidon.
I also admired black-and-white graphic art. A tapestry depicted idyllic scenery. The masterfully carved, wine red canopied bed was striking. I loved the trash can made out of an elephant’s foot and the elegant, gilded grandfather clock.
It was intriguing to see part of a castle as an 18th century work space for clerks and another section as home for a noble family. The various styles of furnishings from the 16th century to the 19th century made Grabštejn’s interiors refreshingly eclectic. The chapel was an architectural and artistic gem in Renaissance style. The detailed painting, the vaulting, the impressive altarpiece and the well-preserved statue of Saint Barbara were only some of the astounding features of this breathtaking space. The decoration throughout was stunning.
I was so surprised that Grabštejn Castle had gone through a major transformation since my first two visits. The exterior was just as imposing, and the interiors were captivating. I also spent some time on the castle grounds, staring at breathtaking views into Poland and Germany.
Tracy A. Burns is a writer, proofreader and editor in Prague.
One of Milan’s four house museums, the Poldi Pezzoli was a highlight of my two trips to the city I love so much. The variety of art exhibited made this a top attraction for me. The collections include paintings, sculpture, weapons, tapestries, furniture, glass, ceramics, watches, clocks, goldsmiths’ work and jewelry, for instance. Artists whose works are represented include Andrea Mantegna, Giovanni Bellini, Sandro Botticelli, Michelangelo Buonarroti, Canaletto, Francesco Hayez and Lucas Cranach the Elder.
I favored the medieval paintings, but each space had something extraordinary to offer. The Golden Room with its 15th century collection enamored me as did the elaborate, superb furnishings of the Dante Room. The Black Room had six masterfully crafted mahogany and walnut doors. The Lombard Room dazzled with north Italian Renaissance paintings.
The collections were amassed during the 19th century by Gian Giacomo Poldi Pezzoli, who had inherited much money. The Austrians exiled Gian Giacomo from Milan for one year after he supported the revolutionaries during a Risorgimento battle in Milan. He spent that year traveling, but then returned to Milan. Sadly, Gian Giacomo’s life was cut short in 1879, when, at the age of 57, he passed away in the palace’s Dante Study. The museum was opened to the public in 1881. During World War Two the palace was severely damaged. For example, the Neo-Gothic armory was destroyed. Many artifacts were lost. The museum underwent much restoration, not opening its doors again until 1951. The new armory opened much later, in 2000.
Numerous artworks enthralled me, but I would like to concentrate on several of the many that were remarkable. Some paintings that caught my undivided attention included Sandra Botticelli’s The Virgin and Child (the Madonna of the Book), dating from 1482-83. Showing the Virgin and Child reading, the painting reminded me of how important reading and literature have been in my life. The scene had a mystical appearance due to the superb lighting. I could understand how the act of reading has a sort of mystical power. The painting also exuded elegance.
Another religious rendition that left me in awe was The Madonna of Humility with Musician Angels by Zanobi Strozzi, hailing from 1448 to 1450. In this painting the Christ Child is seated on the Virgin’s lap as I can almost hear the musicians playing a sorrowful tune. Strozzi masterfully portrayed the texture of the clothing, such as Virgin’s red garment with its green lining and blue mantle. I felt as if I could touch the fabric of the veil on the Virgin’s head as it was also superbly rendered. The background was dominated by a stunning gold material.
My admiration of medieval art in the Poldi Pezzoli continued as I became enthralled with Filippo Lippi’s The Pieta (1440) in which the Virgin and Saint John the Evangelist hold up the limp Christ figure who has a gray complexion reminiscent of death. In the distance I saw a mountainous landscape.
Antonio Vivarini and his brother-in-law Giovanni D’Alemagna captivated me with their work, The Virgin and Child Enthroned with Two Angels. In this painting, perhaps part of a polyptych, the Madonna and Child’s throne is pleasantly situated in a garden, giving off a tranquil vibe. The late Gothic and Renaissance features of the throne, figures and landscape were striking.
A sculpture that particularly caught my attention was labelled The Virgin and Child, a Florentine masterpiece from 1280 with many Byzantine elements. While Jesus’ body parts aren’t all proportional, the two figures are nevertheless masterfully sculpted.
I was also enthusiastic about the tapestries. For instance, I saw the Tapestry with Esther Presented to Ahasuerus, made in Brussels in the late 15th and early 16th century. The stunning fabrics included wool, silk, silver and gold. One of the most significant Flemish tapestries in Italy, the masterful work takes its theme from the Old Testament. I noted the characters’ luxurious costumes, especially the king’s extravagant hat. The variety of colors also caught my attention.
I also admired the Canaletto landscapes of Padua and Venice with all the architectural features of the cities. Looking at Canaletto’s works gave me a sense of Italian history as if I could go back in time and look deep into the painting as a witness of the scene portrayed. I fondly recalled the extensive exhibition of Canaletto’s work I had seen in Aux-en-Provence a number of years ago.
The armory, refurbished in 2000, included many 16th century weapons, such as a Borromeo helmet from the 16th century. Its exquisite gilded decoration was made up of designs of a unicorn and Saint Justine. The Gonzaga Helmet, also from the 16th century, was also gilded and showed off adornment of a crescent moon, leaves and flowers. I loved the meticulousness and precision of the designs.
I admired the many stunning pieces of furniture, including the cabinets. One cabinet from the mid-17th century was made of ebony, bronze, silver and semi-precious stones. The small drawers were exquisitely decorated.
My favorite piece of porcelain was a Meissen called The Tooth-Puller from 1750. The woman looked terrified as the evil man held her jaw in an almost violent manner. The facial expressions of terror and evil were well-crafted. I liked the use of the color purple in the designs: the wig-clad tooth-puller was dressed in purple, and the woman wore a purple jacket. Her white skirt was decorated with a purple floral design. The collection included over 80 European porcelain pieces from the 18th century.
I also admired the decorations on the watches hailing from the 16th to 18th centuries and the various designs of the many clocks and sundials. The jewelry and Murano glassware also captured my undivided attention.
This museum housed such a wide array of stunning artifacts in an intimate setting. I loved the house museums in Milan, and visiting the Poldi Pezzoli was certainly one of my most treasured memories of the Italian city that I hold so dear to my heart.
Tracy A. Burns is a writer, proofreader and editor in Prague.
Whenever I visit Kutná Hora, the highlight of my trip there is the Late Gothic Church of Saint Barbara, a five-nave structure dedicated to the martyr representing the mining profession. During the Middle Ages, when the building of the church began, Kutná hora had been thriving thanks to its mining of silver and minting of groschen coins.
The exterior captures my undivided attention every time thanks to its double-arched flying buttresses and gargoyles. I loved the Late Gothic style that was preserved on the outside. While some of the interior had been transformed into Baroque and Neo-Gothic style, the church still retained many Gothic elements, including frescoes from the Middle Ages.
The construction on the church, initiated in the 14th century, was carried out by Jan Parler, son of Petr Parler. Jan’s father had been one of the most prominent architects and sculptors of the Holy Roman Empire under Emperor Charles IV’s reign, when Prague was the capital. Petr’s major accomplishments included work on Saint Vitus’ Cathedral at Prague Castle and the building of the Charles Bridge. Petr also planned the New Town part of Prague. His unique architectural style can be seen on Prague’s Old Bridge Tower, too. Jan took part in the construction of Saint Vitus’ Cathedral and was the main builder of the Church of Saint Barbara in Kutná Hora.
However, the Hussite wars of the 15th century got in the way, and work was halted as the church was pillaged. Construction was interrupted for 60 years. Then, at the end of the 15th century, Master Hanuš crafted much of the magnificent vaulting and part of the triforium.
After he died in 1489, a stonemason, sculptor and architect named Matyáš Rejsek took over. A master of the Late Gothic style, Rejsek had been inspired by Petr Parler’s creations. Rejsek made Prague’s statue-decorated Powder Tower, for instance. He also built Kutná Hora’s town hall, but that structure no longer stands. A large portion of the Church of Saint Barbara’s Gothic exterior was Rejsek’s work, including the gargoyles and upper triforium. He was responsible for interior décor as well, including the tabernacle, balustrades of the choir and the awe-inspiring choir vaulting adorned with emblems of countries and guilds. During his time, the church became a true Late Gothic gem. Construction did not stop until six years after his death, in 1506.
Then in the 16th century work started again with Benedikt Rejk (sometimes called Reid) in control. I knew him best as the architect of Prague Castle’s Vladislav Hall with its magnificent vaulting. He was responsible for the main nave and the Late Gothic large vaulting with helical ribs of the Church of Saint Barbara, for example.
Baroque reconstruction took place when the Jesuits took charge. Then, from 1885 to 1905, remodeling was carried out. At this time the main altar and stained glass windows were formed. I was always particularly captivated with the windows dating from the end of the 19th century and beginning of the 20th century. The stained glass decoration portrays events in Kutná Hora and Czech history. Habsburg Emperor Franz Josef’s visit to Kutná Hora in the early 20th century makes up one scene.
One of my favorite works in the church is the statue of a miner, which hails from 1700. The miner is holding a lamp and tool in his hands as he seems ready to traverse the depths of the mines. Another gem, the statue of Our Lady Enthroned, dates from 1308.
The Minters’ Chapel is one of my favorites with 15th century frescoes that include a scene of two miners doing their job and a mallet-wielding minter making the groschen coins that Kutná Hora was famous for in the Middle Ages. In Smíšek’s Chapel visitors see the family gathered around an altar and other remarkable works. Baroque frescoes also dot the interior, including the altar of Ignatius of Loyola, which shows off the conversion of Ignatius.
The intricate woodcarving of the choir benches hails from the late 15th century. The main altar is a Neo-Gothic replica of the original Late Gothic altar with the theme of the Last Supper. The Baroque altar of Saint Agatha is home to four Baroque paintings depicting the life of Saint Wenceslas, the patron saint of the Czech lands. The impressive stone pulpit dates from 1566.
I have never grown bored of visiting the Church of Saint Barbara, even though I have been there on numerous occasions. Both the exterior and interior are astounding as this church is the highlight of any trip to Kutná Hora.
Tracy A. Burns is a writer, proofreader and editor in Prague.
This past year’s travels included two trips to Italy, one to my beloved Milan and environs and the other to the Amalfi Coast, somewhere I have dreamed of going for many years. I also spent time visiting sights in the Czech Republic, such as Zbiroh and Karlova Koruna chateaus and the towns of Kutná hora and Hradec Králové. I also dined in the traditional Czech pub Hájenka in Kersko. I flew to northern Virginia to see my parents for two weeks in March and had a great time with them as well as with four friends. In Washington, D.C., I visited the National Portrait Gallery and Museum of American Art.
From Petr Brandl Exhibition
I saw many thrilling art exhibitions, including ones focused on the Baroque art of Petr Brandl and the Art Nouveau works of Alphonse Mucha. Karel Teige, Czech avant-garde artist best known for his interwar works, was the focus of an exhibition at the Museum of Czech Literature, which I visited for the first time in 2023.
Campari Tomb at Monumental Cemetery in Milan
My May trip to Italy last year saw me back in Milan, which I had visited for the first time the previous year. I went to several sights I had not seen before. I toured Milan’s Monumental Cemetery to see the architectural gems of tombstones in various styles from the 18th century to contemporary. A colossal sculptural grouping of Da Vinci’s The Last Supper, made for the Campari family, was my favorite. I also saw a structure resembling the Tower of Babel and another looking like Trajan’s Column. An Egyptian pyramid shape made up another monument. Another artistic delight was Italian artist Lucio Fontana’s design of a modern angel. The sculptural decoration throughout the cemetery was astounding.
At National Museum of Science and Technology Leonardo da Vinci in Milan
I also visited the National Museum of Science and Technology Leonardo da Vinci, where I was enamored by the 170 models of Da Vinci’s drawings of buildings, machines and weaponry. I also loved the hangars featuring planes, ships and trains. A Vega Launcher hailed from 2012. A submarine also stood outside.
Paintings lined the walls at the House Museum of Boschi Da Stefano in Milan.
The House Museum of Boschi Da Stefano, located in a posh apartment outside the city center, featured 300 works of 20th century art, mostly paintings but also drawings, furniture and sculpture. Most pieces hailed from 1900 to 1960. The walls were covered with art from top to bottom. Some artists represented were Fontana, Giorgio De Chirico, Pablo Picasso and Amadeo Modigliani.
Navigli section of Milan
I also visited the Navigli district of Milan, where two picturesque streets flanked a canal, making for a picturesque setting. The Navigli is dotted with outdoor cafes and stores, including a few intriguing bookshops.
Basilica of Saint Anastasia, Verona
I spent time outside of Milan, too. I traveled to Verona for the second time. I marveled at the Basilica of Saint Anastasia, the largest church in the city as well as the cathedral and three museums – the Castelvecchio Museum, the modern art museum and the House Museum Palace Maffei – my favorite. The Basilica of Saint Anastasia was built in the 13th century and boasted a Late Gothic façade. The main altar was made from light yellow marble while one chapel housed a famous 15th century fresco. Red and white marble columns decorated the interior. The Pelligrini Chapel included a fresco from the 14th and 15th century as well as intriguing sculpture. A fresco at the left transept had been rendered by a disciple of Giotto. A rudder of a 16th century ship added to the splendid interior decoration.
Verona, House Museum Palace Maffei
Verona, House Museum Palace Maffei
However, it was the House Museum Palace Maffei that captured my heart. Half of the Palace Maffei was designed as a luxurious home punctuated by art from various eras ranging from the 14th century to modern day. The other half was a 20th century art gallery, featuring works by Picasso, Duchamp, De Chirico, Warhol, Ernst, Modigliani, Fontana and others. Paintings, sculpture, drawings, engravings, pottery, bronzes, frescoes and furniture of both Italian and foreign origin dazzled my mind.
In the Castelvecchio Museum, Verona
The Castelvecchio Museum, established in the 14th century, included 30 halls of Italian and European painting and sculpture from the Romanesque days to the 1700s. Not only did I see many paintings but also ancient weapons, ceramics, gold objects and more. The exterior featured panoramic views of the romantic city.
A romantic lane in Bellagio
My other day trip was to Lake Como, where I visited picturesque Como, Bellagio and Mennagio. Unfortunately, it rained all day, but I still had a great time. I also saw the exterior of some noteworthy villas, such as Richard Branson’s waterfront home, the Villa Carlotta and a villa where some episodes of Succession had been filmed. I saw a hotel where Greta Garbo had acted, too. The Villa Olmo in Como had a neoclassical exterior and stunning lake views. Bellagio featured steep, cobblestoned lanes and the Romanesque Basilica of San Giacomo. Mennagio was home to several intriguing churches and had a picturesque lakefront square.
House Museum Bagatti Valsecchi, Milan
House Museum Poldi Pezzoli, Milan
In Milan I also visited beloved sights that I had first seen the previous year. I returned to the House Museum Bagatti Valsecchi with its Renaissance and Neo-Renaissance art and to the House Museum Poldi Pezzoli with its art of various eras, such as medieval triptychs, ceramics, historical pocket watches and other time pieces.
Gallery of Modern Art, Milan
Gallery of Modern Art, Milan
I visited the second floor of the Gallery of Modern Art with its Grassi and Vismara Collections. The Grassi Collection featured both Italian and foreign works ranging from the 14th century to contemporary times. Oriental art was displayed, too. The Vismara Collection concentrated on 20th century masterpieces. On that floor I saw impressive art by Manet, Picasso, Gauguin, Renoir, Van Gogh and Cezanne. Toulouse Lautrec was well-represented, too.
Museum of the Risorgimento, Milan
Brera Art Gallery, Milan, Work of Andrea Mantegna
The Museum of Risorgimento remains another of my favorites with its painting, prints, sculptures and artifacts depicting Italian historical events from 1796 to 1870. The Brera Art Gallery was another highlight, as I gawked at the Italian art from the 13th to 20th century as well as at the foreign works in the 38 vast halls. I loved the paintings from the Netherlands, including those by Peter Paul Rubens and Jacob Jordaens. Other Brera-represented artists dear to my heart included Francesco Hayez, Andrea Montegna, Tintoretto and Caravaggio. I even visited an exhibition of ancient manuscripts in the historical Baroque library. Once again, I was amazed by the 16th century frescoes by Bernardino Luini, his brothers and his son in the Renaissance Church of San Maurizio in downtown Milan.
Sorrento, Nativity Scene, Cathedral of Saints Filippo and Giacomo
During my trip with arsviva travel agency to the Amalfi Coast in June, I fell in love with Sorrento. The streets were picturesque, and the Cathedral of Saints Filippo and Giacomo was Romanesque with a Neo-Gothic façade. Three lunettes showed off beautiful frescoes while a rose window also astounded. Inside, the Latin cross interior boasted three naves with 14 pilasters. The pulpit, hailing from the 16th century, had Doric columns. Stunning frescoes on the cupola, intarsia adornment and a Baroque ceiling were other remarkable elements. The Chapel of Nativity displayed a Neapolitan Nativity scene from the 17th century.
Correale Museum, Sorrento
Museum of Intarsia, Sorrento
The Correale Museum served as a provincial art gallery, and I was enthralled by the 17th and 18th century Italian landscapes, especially those of Castellammare di Stabia, where we were staying. Greek and Roman fragments, historical furniture, clocks, ceramics and porcelain were also on display. The waterfront boasted spectacular views of the sea, which were very soothing. The highlight of my visit to Sorrento was the Museum of Intarsia, with everything from music stands to large beds showing off intarsia decoration by local artists. Some historical paintings were also on display. Downstairs, I saw the innovative, avantgarde designs of contemporary intarsia artwork.
Pompei
I also visited Pompei for a second time. Even though the day was scorching hot, I enjoyed seeing the small and big theatre, the basilica and three temples, especially the one named after Apollo with its 48 Ionic columns. The amphitheatre with a capacity of 20,000 spectators also caught my undivided attention. The wall paintings and mosaic floors of what had been luxurious homes were sights to behold as well.
Ravello, pulpit in cathedral
We moved to a nice hotel in the picturesque, tranquil town of Maiori, where I could spend time in a café or restaurant overlooking the beach or savor homemade ice cream. The town that had made it on UNESCO’s list during 1997 was a perfect place to relax after a busy day out. Before arriving at our hotel in Maiori, we saw Ravello’s Romanesque Cathedral of Saint Maria Assunta and Saint Panteleone, hailing from the 11th century. I admired the 12th century bronze doors and remarkable 13th century Pulpit of Gospels adorned with mosaics. One 16th century chapel contained an phial of blood of Saint Panteleone. The views of the sea from the hilly town were spectacular, too. Numerous famous guests, from Richard Wagner to Virginia Woolf and Greta Garbo, had graced the streets of this town.
Ravello Cathedral, bronze doors of central portal
Positano, a UNESCO-listed tourist site since 1997, was a picturesque hillside town, but, unfortunately, during this past June, it was much too crowded to enjoy. I did peek into the church, though. Its main altar showed off a Byzantine icon from the 13th century. The views of the sea were fabulous.
Cathedral of Saint Andrew, Amalfi
Cathedral of Saint Andrew, Amalfi
Another highlight of my trip was visiting the Cathedral of Saint Andrew in Amalfi, which was founded in the ninth century AD and boasted a 13th century Arab-Norman exterior with Italian Neo-Gothic elements. The mosaic adornment in the tympanum is stunning. Sixty-two steep steps led to the bronze doors of the central portal that hailed from Constantinople, made in the 11th century. A cloister included some intriguing fragments of wall paintings while the interior had Baroque features along with Gothic and Renaissance chapels. The Basilica of the Crucifix harkened back to the ninth century and served as a museum of sacral objects, including sculpture and vestments. The crypt, where the relics of Saint Andrew were held, was stunning with much ceiling and wall decoration.
Paper Museum at paper mill, Amalfi
I also was enamored with the still functioning paper mill at the Paper Museum. The Pope used paper made in Amalfi, which held the distinction of being the oldest paper manufacturer in Europe. The machines and the processes of making and drying the paper were enthralling.
Cathedral of Saint Matthew, Salerno
Salerno was a pleasant surprise. The Romanesque Cathedral of Saint Matthew hailed from the 11th century. The tower was a mixture of Byzantine and Norman styles. The central bronze door was made in Constantinople. Two Byzantine mosaic-decorated pulpits with intricate intarsia amazed in the once Romanesque interior that had been mostly transformed into Baroque style. Mosaics throughout the cathedral were stunning. Frescoes in the treasury chapels were accompanied by a silver statue of Pope Gregory VII. The Late Mannerist ceiling and wall frescoes in the crypt were remarkable, hailing from the middle of the 17th century. A reliquary of Saint Matthew’s arm was on display, too.
Diocese Museum, Salerno
I also visited the nearby Diocese Museum, which featured paintings, sculpture and objects from the Middle Ages to the 20th century. I was most drawn to the medieval altarpieces. The provincial picture gallery was small but included an eclectic array of intriguing works from the 15th to 18th century.
Cathedral of Saint Barbara, Kutná hora
Cathedral of Saint Barbara, Kutná hora
I took some day trips in the Czech Republic, too. We visited Kutná hora, the home of prosperous silver mines from the 13th to 15th century, during one stunning fall day. Saint Barbara’s Cathedral, with its Neo-Gothic exterior of buttresses and gargoyles, astounded me. Inside, I admired exquisite stained glass windows as well as remarkable late Gothic frescoes and a 16th century stone pulpit. The Gothic royal chapel with Art Nouveau decoration at the Italian Court was another remarkable gem.
Pub in Kersko
I visited Kersko twice this fall. I dreamed of owning a cottage in the tranquil, wooded village. I had lunch at the traditional Czech pub called Hájenka, where several films based on Bohumil Hrabal’s writings had been shot. Hrabal had lived in a cottage nearby for many years, feeding all the feral cats that would wander hungrily toward his home.
Zbiroh Chateau
I also toured the chateaus of Zbiroh and Karlova Koruna. Zbiroh, built before 1230, for decades served as a top-secret facility for the Czechoslovak army. Its representative rooms were open to the public only in 2005. The chateau boasted many Madonna statues and other sculpture of great interest as well as African masks, tapestries, Empire furnishings and copies of Leonardo da Vinci paintings. Alphonse Mucha had used the spectacular main hall as his studio early in the 20th century. A beautiful skylight, two Czech crystal chandeliers and impressive paintings adorned Mucha’s former studio.
Exterior of Karlova Koruna Chateau
Karlova Koruna Chateau, designed by Santini-Aichel and built during the 18th century, had a roof shaped as a crown. The chateau consisted of two stories in cylindrical shape with three one-floor wings. The interior featured paintings of horses, including the unique gold-colored horses that the Kinský family had bred as well as pictures of steeplechase races. One painting of a horse race was made of 12 pieces of deerskin.
Beneš Villa
We visited the former villa of Edvard Beneš, president of Czechoslovakia during the interwar years and a prominent member of the Czechoslovak governments-in-exile during the First World War. The stunning Neo-Spanish structure included the room where Beneš died, a dark landscape painting by Antonín Slavíček hanging over his single bed. The furnishings and artworks in the house were intriguing, to say the least. Beneš and his wife Hana were buried in a monumental tomb on the premises as well.
Sucharda’s Second Villa, Prague
In Prague I visited the second villa of sculptor and relief artist Stanislav Sucharda in the Bubeneč district. Jan Kotěra designed the structure with many architecturally intriguing elements. Much of the remarkable interior furnishings had been designed by Kotěra and Sucharda. I saw examples of Sucharda’s artwork as well as pieces by Edvard Munch, Auguste Rodin and many Czech artists.
Gallery of Modern Art, Hradec Králové, Work by Emil Filla
Gallery of Modern Art, Hradec Králové, Věra Jičínská, Brittany
I saw many impressive art exhibitions this year. I traveled to Hradec Králové, where I saw the Gallery of Modern Art with its impressive collection of works by 20th century artists including Bohumil Kubišta, Emil Filla, Jaroslav Róna, Ladislav Zívr, Quido Kočian and many others. The temporary exhibition of artist and writer Věra Jičínská’s works included paintings of her travels to Brittany and Paris. Her renderings of Paris showed off orange rooftops and the Eiffel Tower. She also created paintings inspired by folk art and dance. Her photography amazed me as well. Influenced by her work as a journalist, she created a painting dedicated to this genre.
Museum of East Bohemia, designed by Jan Kotěra, Hradec Králové
The museum devoted to the history of Hradec Králové was an architectural gem designed by Kotěra. I especially liked the furnishings and designs by Josef Gočár and Kotěra as well as the sculpture by Sucharda. The mock shops from the First Republic (1918-1938) were very intriguing as I could see goods that were sold during that era and feel the atmosphere of those times.
National Technical Museum, Prague
In Prague I saw the National Technical Museum for the first time. The cars, especially the 1935 Tatra 80 vehicle belonging to first Czechoslovak President Tomas G. Masaryk, fascinated me as did the motorcycles, bicycles and planes. The dining car of Habsburg Emperor Franz Joseph I, later used by President Masaryk, was also on display. I also was enamored by the architecture and engineering section and the display of old household items in another section. The TV studio, in use from 1997 to 2011, was another delight. Other areas of interest included astronomy, chemistry, printing, photography, time pieces, metallurgy and mining.
Museum of Czech Literature, book cover by Karel Teige
Another astounding sight in Prague was the newly-located Museum of Czech Literature, which moved to the Petschek Villa in Bubeneč during 2022. The displays cover literary developments from the 19th century National Revival movement through the 20th century. I came to appreciate the significance of the literary and art criticism periodical The Critical Monthly from the 1930s and 1940s as well as the symbolist and mystical paintings of Josef Váchal. I was most enamored by the avantgarde book covers designed by Karel Teige in the 1920s and 1930s. His unique typographical work in Vítězslav Nezval’s The Alphabet book was on display, too. A pantheon of great Czech 19th century artists included objects associated with the writers and their busts.
Karel Teige, Greetings from a Journey
A temporary exhibition focusing on Teige’s youth and early career from 1912 to 1925 was amazing, showing off his artwork, photographs, correspondence and more. I understood very well why this artist, writer, theoretician, critic, translator, book designer, typographer and photographer was considered the leading figure of the Czech avantgarde movement between the wars.
Trade Fair Palace, Prague, Fire by Josef Čapek
At The Trade Fair Palace in Prague, I saw the newly installed End of the Black-and-White Era permanent exhibition of art from 1939 to 2021 in chronological order. More than 300 works, mostly Czech, were displayed with historical context. Josef Čapek’s painting “Fire,” showing a fury of flames behind a woman, presents an anti-Nazi theme. The focus on urban life and factories as well as everyday life was highlighted with the works of Kamil Lhoták. The exhibition featured many works made during the Stalinization period of the 1950s with the style of social realism. Martin Slanský depicted Lenin in a snowy Prague. A model of the design of the monument to Stalin in Prague was on display, too.
Trade Fair Palace, Prague, The Dialogue by Karel Nepráš
The progressive movements of the 1960s made way for the red abstract figures of Karel Nepráš. From the late 1960s to early 1980s art as installation came to the forefront. Action art, performance and body art were often the focus of the times. The late 1980s triggered the impersonal postmodernism movement. After the 1989 Velvet Revolution that toppled the Communist regime in Czechoslovakia, individuality and quests for personal identity came to the fore. Some artists focused on the commercialization of society. This new exhibition was extensive and moving. I felt drawn into each historical period up to the present day. The works displayed well represented the movements expressed. I could see how society and culture kept changing and how art reflected those changes.
Saint Jerome by Petr Brandl
I went to many intriguing temporary exhibitions in Prague, too. I saw 64 religious works, genre paintings and portraits by Czech Baroque artist Petr Brandl. An extensive exhibition of Alphonse Mucha’s versatile works owned by his descendants included some originals never before put on display. Mucha’s ad posters, drawings, paintings, sculptures, photographs and jewelry all captured my undivided attention.
Sculpture by Janouch
I saw sculpture of athletes in motion and busts of illustrious Czechs by Petr Janouch in Prague’s Kooperativa Gallery. An earlier exhibition there featured Czech 19th and 20th century paintings involving water – puddles, lakes, waterfalls, streams, rivers and so on. I especially liked one painting by Josef Čapek showing a fisherman on a boat in a river. Landscapes with water themes by Slavíček and Antonín Hudeček also astounded.
Sculpture by Ivan Mestrovic
At the City Library Gallery I saw an exhibition of sculpture by Croatian Ivan Mestrovic (1883-1962). I had come across his art at his villa in Split during a vacation many years ago. Mestrovic, who had befriended first Czechoslovak President Masaryk and Czech sculptor Bohumil Kafka, had delved into a variety of styles, including Art Nouveau, Symbolism, Impressionism, Art Deco, Neoclassicism and late Realism, while preserving a Classical foundation. He focused on numerous themes – religious motifs, portraits and monumental works as well as studies of figures.
Olinka
However, shortly after I returned from the Amalfi Coast, I had to temporarily halt any traveling so I could be at home with Olinka, who was diagnosed with neurological issues that greatly affected her mobility. A MRI showed that she suffered from inflammation of the middle ear. A terrified Olinka spent a total of four nights in the hospital and was on antibiotics for ten weeks. Every two weeks we went to the vet so she could get her antibiotic shot.
Olinka
The first four days at home after three nights in the hospital she could hardly walk and was very disoriented. Those initial few days she stayed mostly in the bedroom closet, only appearing for food and the use of the litter box. She didn’t play with her toys for three weeks. Before her illness, I had been frustrated with Olinka because she always knocked everything off tables and the kitchen counter. Sometimes it felt like a never-ending battle. At the start of her illness, I came to appreciate even her most frustrating quirks. I just wanted her knocking everything off surfaces again, back to her old self. The broken glass on the screen of my mobile phone is proof that she is once again doing just that.
Olinka
I will never forget her first night back from the hospital. She somehow made her way onto the bed and reclined below my pillow. I rested next to her, my arms around her. We stayed like that for an hour or two, just spending time with each other, appreciating that she was alive and at home. I will always remember that feeling of relief and love more profoundly than any experience during my exciting travels.
Tracy A. Burns is a writer, proofreader and editor in Prague.
Olinka on Christmas Eve
From Alphonse Mucha exhibition
Municipal House, Prague, Mayor’s Hall, decoration by Alphonse Mucha
I toured the Municipal House in Prague. Once again, I was captivated by its Art Nouveau interior.
One of my dreams was to visit the romantic towns on Lake Como, so I took a day trip to Como, Bellagio and Menaggio when I was in Milan during May of 2023. Unfortunately, the tour did not go to Varenna, a place I longed to see. Maybe next time. The tour only took us to one villa’s grounds, which were open to visitors. I saw the exteriors of many villas from the boat, but it was drizzling, and I was seated on the wrong side to get pictures. I hope to go back one day and visit Villa Carlotta, an architectural gem that includes a botanical garden with 150 types of azaleas, rhododendrons, tropical plants, cedars, palms and more. I heard that its interior is filled with superb art. Antonio Canova and Francesco Hayez are two of the artists represented in the villa’s art-dotted spaces. Maybe next time.
First, we visited the charming town of Como, located only 40 kilometers from the Swiss border. Our guide pointed out that former Fascist Prime Minister Benito Mussolini and his mistress had gone through Como while trying to flee to Switzerland and eventually to Spain. However, in April of 1945 he was arrested in Dingo, a town near Como and a day later shot in Giulino di Mezzegra.
Upon reaching the center, I first noticed the cathedral, dedicated to the Assumption of the Blessed Virgin Mary. It had an impressive Late Gothic façade with sculptural decoration. The construction took a considerable amount of time; in fact, it took four centuries to build. I took note of the statues of writers Pliny the Elder and Pliny the Younger, natives of Como.
Inside, the cathedral had a Latin cross configuration with three naves divided by pilasters. The Romanesque sculpture was noteworthy. Three of Bernardino Luini’s paintings from the 16th century hang inside. Stained glass windows hail from the Gothic and Renaissance eras. The stunning cupola is Rococo while the main altar harkens back to the 14th century. What impressed me the most were the nine tapestries woven in the 16th century. They focused on themes such as the Eucharist, the Sacrifice of Isaac, the Adoration of the Magi and the Pentecost, for example.
The Basilica of Saint Abbondio is another sight worth seeing in Como. This Romanesque edifice included 14th century frescoes. Como also boasted of a very unique building designed during totalitarian times, the Caso del Fascio, which was erected from 1933 to 1936. The functionalist structure lacked any ornamentation. The Caso del Fascio served as an example of Italian architecture designed during totalitarian times. The Como-based building had four geometrical and opaque facades. Designed by Guiseppe Terragni, the place was occupied by the National Fascist Party until 1945, when various political parties had their offices there. Now the Finance Police calls the curious structure home.
Walking around the center of Como, taking in the romantic atmosphere, was a real thrill. We also visited the grounds of the Villa Olmo, an impressive neoclassical structure dating from the 18th century. The lake views were outstanding, and the English style garden was beautiful.
Bellagio was next on the itinerary. I ate a delicious lunch in an costly restaurant in this charming town with steep cobblestoned lanes dotted with some expensive shops. The historic center was made up of only three streets but also sported a park and marina. I walked up one steep street that had a medieval aura and found myself on the main square looking at the Basilica of San Giacomo and a tower. The basilica hailed from the Romanesque days of the 11th and 12th centuries and featured a Romanesque cross and Gothic triptych.
While I didn’t have the chance to visit any of the villas there, the Villa Melzi with its English style garden is worth mentioning. The luxurious structure inspired many of the rich to build villas on Lake Como during the 19th century. Franz Liszt composed many piano works there, inspired by the romantic atmosphere.
We also visited the quaint town of Menaggio with its quaint waterfront square. The three-naved Church of Santo Stefano Protomartire, built on a Paleochristian site, showed off frescoes from the 16th and 17th centuries. The Chiesa di Santa Maria had a neo-Gothic façade and included an artistic rendition of Saint Ambrogio as a young man. Other churches in the town are noteworthy, too. There are many villas in Menaggio, including the neoclassical Villa Vigoni. Goethe often traveled to that villa.
I did get a look at some villas where movies and some episodes of the show Succession had been filmed, and I saw a hotel where Greta Garbo had made a movie. Unfortunately, it wasn’t possible to take good pictures due to the rain slivering down the window and the location of my seat on the boat. I did like Richard Branson’s villa with its fairy-tale appearance, though.
Even though it rained often while I was exploring the towns surrounding Lake Como, I enjoyed the romantic atmosphere that had inspired Liszt, Goethe and so many more. The towns were very crowded even on a rainy day. I could only imagine how crowded they must be in the summer on sunny days. I hope to return to Lake Como sometime, heading to Varenna or Villa Carlotta.
Tracy A. Burns is a writer, proofreader and editor in Prague.
My first stop in Verona was the Castelvecchio Museum, a sprawling edifice that looks like a medieval fortress. The Castelvecchio hails from 1354 to 1356, when it was built for Cangrande II della Scala as a defensive structure. The Della Scala family lived there for a short time. During Napoleon’s reign, from 1801 to 1806, the building was transformed into barracks, and it served this purpose until 1924. The Castelvecchio was seriously damaged during World War II, during the time when the Germans destroyed all of Verona’s bridges. From 1958 to 1974, architect Carlo Scarpa renovated the Castelvecchio, adding modern elements to the original style that harkens back to the Middle Ages.
The expansive medieval and Renaissance spaces inside house 30 halls of Italian and European painting and sculpture, dating from the Romanesque era to the 1700s. I also saw ancient weapons, ceramics, gold artifacts, bells and miniatures, for instance. I especially liked the walkways outside. They offer panoramic views of romantic Verona.
Artists represented in the collection include Pisanello, Giovanni Bellini, Jacopo Bellini, Carlo Crivelli, Andrea Mantegna, Jacopo Tintoretto and Tiepolo. Pisanello’s “Madonna of the Quail,” Jacobo Bellini’s “Madonna of Humility” and Mantegna’s “Holy Family” are a few of the highlights. The Romanesque sculpture also is impressive.
An intriguing true crime story is connected to the museum. In 2015, three thieves made off with 17 paintings, including masterpieces by Jacopo Bellini, Giovanni Bellini, Andrea Mantegna, Tintoretto, Peter Paul Rubens and Hans de Jode. The following year, the museum got the works of art back from Odessa thanks to Ukrainian border guards. It remains one of the most significant art heists to take place in Italy.
Tracy A. Burns is a writer, proofreader and editor in Prague.
When I arrived at the Duomo in Milan with my camera, it was about six am. I hadn’t been able to sleep because I was so anxious about my exciting itinerary for my first full day in the city. The large square was almost empty, though an occasional jogger passed through. I spent at least an hour walking around the cathedral, gazing at the exterior decoration – the spires, the large windows, the flying buttresses, the rich sculptural adornment, the gargoyles and more.
The Duomo is an architectural gem with a dominating Gothic exterior. It is the symbol of the city I would grow quickly to love. The Milan Cathedral ranks as the largest church in the country, though St. Peter’s Basilica in the Vatican is bigger. The cathedral is one of the largest in the world. Construction started in 1386 and didn’t end until 1965, spanning six centuries. It has 135 spires, the first finished in 1404. Some of its150 gargoyles harken back to the 14th century.
While the style of the cathedral does not correspond to only one type, many features are in French Gothic style, such as the flying buttresses and rib vault. The statuary on the exterior stems from various eras. Some statues were created from 1418 to the middle of the 16th century, placed in niches of capitals of pillars. Many more were created in the 18th century in Late Baroque style. External statuary of the prophets and apostles are in Neo-Classical style. New stained-glass windows were installed in 1470. The construction of the façade started in 1590 in late Mannerist style and was finished in Neo-Gothic style under the guidance of Napoleon Bonaparte’s reign in the 1800s. Using the art of painting on glass, new stained-glass windows were made from 1829 to 1858. During the 19th century more spires were constructed, and the roof terraces were finished. Flying buttresses also appeared as did more statues.
Bombing during August of 1943 damaged the structure, but it was reconstructed. The wooden doors were replaced with bronze ones. The main façade was renovated from 2003 to 2009 in Candoglia marble.
Because the cathedral was not yet open, I was able to study its closed bronze doors. One showed the history of life of Mary with floral reliefs. Another depicted the history of Milan and yet another the history of the cathedral itself. The reliefs on the doors were incredible. I saw the Assumption, the Sacrifice of Cain, David with the Head of Goliath, the Tower of Babel and other biblical pictorial renditions. The floral and animal decoration on the central door was outstanding, too. The tympanium was worth noting, too. The one in the central portal showed off the Creation of Eve.
Later that morning, I walked on the sloping terraces of the roof with its pinnacles and spires on flying buttresses. Gazing at the sheer beauty of the cathedral’s exterior from high up was astounding. I spotted the octagonal lantern from the 15th century with its Madonnina statue from 1769. The Madonnina reaches more than four meters high. The total height of the cathedral is 108.5 meters. The view of the city and spires was phenomenal. It was calming and soothing seeing all the people so far below. Up there I didn’t have a reason to rush or worry. It made me think of how we have to open ourselves to new perspectives when traveling. This applies in daily life as well. Whenever I had a pessimistic attitude, I had to try to see the problem from a fresh perspective that would give me a more positive outlook.
After my visit to the roof terraces, it was time to take a look inside the cathedral. I had expected the cathedral to impress me, even to overwhelm me with its beauty, and it had done just that. I made my way down the narrow spiral staircase to the ground floor, certain I would continue to be amazed at the beauty of such an architectural gem.
Tracy A. Burns is a writer, proofreader and editor in Prague.
I have been a fan of Alphonse Mucha’s Art Nouveau works ever since I came to Prague in the 1990s. While he is best known for his exhilarating posters of actress Sarah Bernhardt, Mucha was a very versatile artist – as is evidenced in this comprehensive exhibition of creations owned by his descendants. The first extensive showing of his works in 30 years is housed at Prague’s Waldstein Palace. The exhibition highlights not only the advertising posters but also his drawings, paintings, sculptures, photos and jewelry, for instance. The family displays some originals to the public for the first time.
Family portraits evoking Mucha’s childhood add an intimate feel to the exhibition. Born in Ivančice, Moravia, Mucha called home a building that also included the town jail. The Czech lands were under Austrian rule when Mucha grew up. They were part of the Habsburg Empire in which German was the official language. Yet, during that era, the Czech National Revival took place, when Czech nationalists promoted Czech culture and the Czech language.
At the end of 1894, Mucha became a star overnight when he designed a poster for Bernhardt’s production of Gismonda. The following year he created posters that decorated calendars, postcards and menus as well as theatre programs. His work would find enthusiastic audiences in Vienna, Prague, Budapest, Munich, London, New York and other cities during subsequent years.
I loved how, in his advertising posters, Mucha utilized folk features not only found in Czech art but also in Byzantine, Islamic, Japanese, Gothic, Judaic, Celtic and Rococo works. Much of this genre focuses on beautiful, young women with an optimistic and cheerful flair. They are wearing flowing robes in pastel colors. I loved the touches of floral and plant ornamentation plus arabesques and naturalistic elements, too.
The exhibition boasted family portraits and photos, such as those of his friends Paul Gaugin and Auguste Rodin. Gaugin even was Mucha’s housemate for a while. During the Paris Exposition Universalle of 1900, Mucha represented Austria-Hungary as the show focused on the accomplishments of the past century. I had not known that in 1899 Mucha had designed a jewelry collection that was featured at this major show. One of the jewelry pieces on display at the exhibition features a snake-shaped broach that Bernhardt wore during her portrayal as Medusa. I also was captivated by Mucha’s decorations for a German theatre in the USA. He would wind up making three trips to the United States, hailed by The New York Daily News as “the world’s greatest decorative artist.”
Works in the exhibition illustrated how mysticism had influenced him. His philosophy is also apparent in his creations. For example, he believed in beauty, truth and love to guide him on the spiritual path. For a monument he created a triptych called The Age of Reason, the Age of Wisdom and the Age of Love, fusing these three characteristics into one piece of art. Unfortunately, Mucha didn’t get the chance to finish it.
Perhaps what always captivates me the most about Mucha’s art is his emphasis on Slav identity. Indeed, his phenomenal Slav Epic paintings feature the heroic tales of the Slavs in 20 historical, symbolic canvases. Several reproductions of these works at the exhibition reinforced Mucha’s identity as a Czech and Slav patriot.
I saw panels devoted to Mucha’s decorations in the Municipal House, for which he designed numerous pieces – three wall panels, a ceiling painting depicting prominent Czech personalities, eight pendentives and furnishings. I remember seeing these for myself on tours of the Art Nouveau Municipal House, something I recommend to every Prague visitor. It is notable that, while Mucha’s works often were rooted in Slav identity in the past, he also looked to the future for a prosperous Czech nation.
I was enamored by the reproductions of his stained-glass window designs. The originals decorate the interior of Saint Vitus’ Cathedral at Prague Castle. In 1931 he portrayed Saint Wenceslas, the nation’s patron saint, as a child with his grandmother Saint Ludmila in a central panel along with other panels featuring the lives and work of Saints Cyril and Methodius. Seeing examples of his colorful and vibrant stained glass renditions close-up was for me one of the highlights of this exhibition.
Mucha’s life was cut short by the arrival of the Nazis in Prague, where they set up the Protectorate of Bohemia and Moravia during March of 1939. The 79-year-old Mucha, riddled with health problems, was targeted by the Gestapo. Mucha was a Freemason, Judeophile and a promoter of democratic Czechoslovakia. He was one of the first to be interrogated by the Nazis. Mucha was stricken with pneumonia due to the strain from grueling interrogations and died in Prague 10 days short of his 79th birthday on July 14th, 1939. He is now buried in Prague’s Vyšehrad Cemetery along with other prominent Czechs.
This exhibition takes museumgoers on a unique and unforgettable journey from his childhood roots in Moravia to his time as an outsider in Paris to his experiences in the democratic Czechoslovakia until his untimely death. It stresses his identity as a Moravian, as a Czech, as a Slav and as a European. It shows his accomplishments in the art scene by displaying an eclectic collection of his creations that profoundly punctuated the artistic world.
Tracy A. Burns is a writer, proofreader and editor in Prague.
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