Tag Archives: Renaissance

Radim Chateau Diary

by

0

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.

Grabštejn Castle Diary

by

0

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.

House Museum Poldi Pezzoli Diary

by

0

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.

2023 Travel Diary

by

0

Amalfi Coast

Amalfi Coast

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.

Biblioteca and Pinacoteca Ambrosiana Diary

by

0

This library and art gallery in Milan is named after the patron saint of the city, Ambrose. The library harkens back to 1609, when Cardinal Federico Borromeo founded it, and the same year it opened to the public.

One of Leonardo da Vinci’s drawings of the Codex Atlanticus

The biblioteca houses the Codex Atlanticus by Leonardo da Vinci as well as many of his other manuscripts plus about 12,000 drawings by European artists, ranging from the 14th to 19th century. Raphael and Pisanello are represented in this collection of drawings, too. Many of its more than a million printed volumes hail from the 16th century. There are almost 40,000 manuscripts in numerous languages, including Italian, Latin, Greek and Arabic as well as some 22,000 engravings. Ancient maps, musical manuscripts and parchments also make up the collection. Some prominent guests included poet Lord Byron and novelist Mary Shelley.

Another of Leonardo’s drawings from the Codex Atlanticus

During World War II the library was damaged, and the opera libretti for La Scala Opera House were destroyed. The building was opened again in the early 1950s after undergoing renovations. More reconstruction took place in the 1990s.

When I visited, some of Leonardo’s works for the Codex Atlanticus, the largest collection of da Vinci’s drawings and writings, were on display in the library. The exhibition left me spellbound. I perused studies in aerodynamics and drawings of mechanical wings as well as various types of weapons. Leonardo rendered a large sling to throw stones and a machine to pump water from a well inside a building, for example.

I gazed upwards after studying the drawings by Leonardo, and I was filled with awe. I don’t know if I have ever seen such an incredible library. I just wanted to stand there all day, gazing at the wall-to-wall bookcases as I wondered about the titles and contents of each volume.

Established in 1618 with the collections of Cardinal Federico Borromeo, the pinacoteca was just as impressive as the library. The 24 rooms were dominated by Renaissance artworks but also boasted of renditions by 17th century Lombard artists, 18th century painters and 19th and early 20th century creators. I was especially struck by da Vinci’s 15th century “Portrait of a Musician” as it was the only portrait that he had painted. I noted the musical scroll in one hand of the sitter and was captivated by the detailed curly locks of hair, the musician’s brown eyes and his red cap.

Caravaggio’s insect-infested “Basket of Fruit” tells a story of diminishing beauty by displaying rotting fruit. Bramantino’s “Adoration of the Christ Child” shows the kneeling Bernardino of Siena, Francis of Assisi, Benedict of Nursia and the Virgin Mary making an understandable fuss over baby Jesus. I loved the angels playing musical instruments behind those figures. Emperor Augustus also makes an appearance.

Bergognone’s “Sacred Conversation” shows the Virgin Mary and Christ Child on a massive golden throne, baby Jesus on the Virgin Mary’s lap. Solemn angels flutter in the background. I was struck by the details of the Virgin Mary’s hair and by the material of the clothing worn by the Virgin Mary and baby Jesus. The two were surrounded by saints with captivating headwear, including Saint Ambrose and Saint Jerome.

Another painting that left me speechless was Sandro Botticelli’s “The Madonna of the Pavilion.” The artist’s meticulousness was evident. The artwork shows the Virgin and Child with much symbolism. The pavilion that two angels open to reveal the Christ Child is rich in biblical meaning both in the Old and New Testament. I could almost feel the paper of the pages making up the open book in the painting.

Raphael’s School of Athens

Raphael’s cartoon of the “School of Athens” is a study for the Italian Renaissance fresco painted in the early 1500s for the Raphael Rooms in the Vatican Museum. I recalled seeing the skillful rendition of philosophers and scientists from Ancient Greece at the Vatican on my 40th birthday as I mulled over the dominant role that perspective played in the artwork. Plato, Aristotle and Pythagoras appear in the fresco. Leonardo and Michelangelo are present as Plato and Heraclitus.

Other paintings that awed me were the fantastic landscapes of Paul Brill, whose works I had discovered some years earlier in Edinburgh. Jan Brueghel’s detailed landscapes and still lifes also are close to my heart, and I adored masterpieces from the Netherlands. I stared at these paintings, losing myself in the fantastical landscapes and details that were so masterfully rendered by both artists. I felt a special connection to these works featuring a dream-like quality as if I could be transported into a fantasy world by merely peering at the canvases.

Other paintings that captured my undivided attention had been created by Bernardino Luini (I fondly recalled his paintings in Milan’s Church of Saint Maurizio), Tizian, Jacopo Bassano, Moretto and Daniele Crespi as well as Francesco Hayez, whose works I knew well from the Brera Gallery in the same city. Andrea Bianchi had created “The Last Supper,” imitating da Vinci’s masterpiece. Tizian’s “Adoration of the Magi,” Bramantino’s “Madonna of the Towers” and the locks of hair of Lucrezia Borgia all left me awe-struck.

The sculptures and frescoes from the second to 16th century in the Sala del Bambaia are very noteworthy. The Hindu art of the Berger Collection captivated me. The Flemish and German painting from the 15th to 17th century enthralled. Ceramics also play an intriguing role in the collection.

I was so awed by this gallery and library that I visited it twice during my first trip to Milan. I peered at every painting and sculpture, trying to take in each artistic creation, feeling so blessed to be able to see all these masterpieces with my own eyes.

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

Como, Bellagio and Menaggio Diary

by

0

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.

Castelvecchio Museum Diary

by

0

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.

House Museum Palazzo Maffei Diary

by

0

My favorite sight in Verona was this house museum of remarkable art from the 14th century to contemporary times in the collection that entrepreneur Luigi Carlon amassed during a 50-year period. I love museums that have an intimate and personal quality that make them appear as private homes rather than galleries of art. In Milan I was entranced with the Pezzoli Poldi and Bagatti Valsecchi house museums that shared this trait.

In the Palazzo Maffei I appreciated that the art was not displayed in a chronological order but rather looked as if the Maffei family had designed their residence with paintings, sculpture, drawings, engravings, pottery, bronzes, ivories, frescoes, furniture and objects of decorative art. I liked the eclectic nature of the collection – it had a bit of everything, a dash of this, a dash of that.

Art by Marcel Duchamp

The collection that was opened to the public after extensive renovation in 2020 included both Italian and foreign artifacts, though the focus is on Veronese representation. While the first section resembles a private home, the second part looks more like a gallery and highlights modern and 20th century art.

Works by Canaletto, Giacomo Balla, Pablo Picasso, Marcel Duchamp, Giorgio de Chirico, Max Ernst, Andy Warhol, Umberto Boccioni, Rene Magritte, Lucio Fontana and Amedeo Modigliani play significant roles in the collection of more than 500 works. I have always been enamored by Canaletto’s Venice scenes. A slashed canvas by Lucio Fontana made me think of his avant-garde sculpture decorating a tomb in Milan’s Monumental Cemetery. I had only been introduced to Fontana’s works while touring Milan. While I am not usually so enthusiastic about contemporary art, the pieces in this museum caught my attention. The three-dimensional installation by Marcel Duchamp was of special interest.

The three-floor building itself is a masterpiece with its origin in the late Middle Ages, when Verona was governed by the Romans. Renovation in the 17th century was responsible for the remarkable façade, transformed into late Renaissance style with some Baroque features. Ionic columns, large French windows with balconies and floral adornment made the front of the building an elegant structure. Six statues of mythological deities decorated the top of the majestic edifice. A monumental spiral staircase welcomed visitors who have entered via a courtyard.

I was amazed at the poignancy of this unique collection. I felt it was meticulously organized in a dynamic way. Each work made me stop and reflect. This was my favorite of the three art museums I visited during my second visit to Verona.

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

Zbiroh Chateau Diary

by

0

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.

Museo Bagatti Valsecchi Diary

by

0

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.