2025 Travel Diary

Horšovský Týn Castle and Chateau, Gothic chapel

This past year marked more day trips, some with friends and others with travel agencies. Of course, chateaus were high on my list, so I will start with those.

Bečov nad Teplou Castle and Chateau, Reliquary of Saint Maurus

At Bečov nad Teplou Castle and Chateau, the group admired the reliquary of Saint Maurus, one of the most precious objects in the country. The remarkable Romanesque artifact contained the remains of saints and hailed from 1225 to 1230. Its exterior featured 12 reliefs, 14 statuettes in silver, about 200 semi-precious and precious stones, gems and other masterful goldsmith works. During World War II it was hidden under the chapel floor. The reliquary was only discovered again in the 1980s. For a long time its location was a mindboggling mystery.

Stránov Chateau

Stránov Chateau

With my best friend I visited Stránov Chateau for the first time. The Neo-Renaissance wonder featured a Gothic tower and splendid arcades in a courtyard punctuated by a beautiful fountain. The Šimonek family had lived there during the First Republic, which was the chateau’s heyday, as well as in later years, until the Communists kicked them out during 1950. They were forced to leave with only several suitcases. While there wasn’t much original furniture, the descendants had commissioned interiors that resembled those from the First Republic’s days of democratic Czechoslovakia. Seeing the chateau for the first time was exciting, to say the least.

Krásný Dvůr Chateau

Krásný Dvůr Chateau, interior

The luxury of the 18th and 19th century nobility was evident at Krásný Dvůr Chateau, partially under reconstruction when we were there on this occasion. The exquisite furnishings from 18th and 19th century periods punctuated the visit. Unique historic portraits of dogs and horses caught my attention as the horses were rendered without tails, for instance. The Meissen porcelain, gilded clocks, ancient jewel chests, decorative wall painting and various intriguing canvases in the chateau gallery all exuded the grandeur of old times. Even the upholstery of the chairs was admirable. The Černín family had this chateau designed by well-known architect František Maxmilián Kaňka from 1720 to 1724. The Černín dynasty would hold onto the chateau until World War II.

Horšovský Týn Castle and Chateau, interior

Horšovský Týn Castle and Chateau, Gothic chapel, main altarpiece

Horšovský Týn Castle and Chateau offered numerous tours. This time I went with a travel agency on one tour; in the past I had been there with my best friend on both the castle and chateau main tours. Once again, I was most impressed with the early Gothic chapel, its stunning wall painting and magnificent altarpiece. The early Gothic arch welcoming visitors to the chapel was a splendid architectural specimen. I saw much intriguing furniture from the Renaissance. A cassette ceiling hailed from the 16th century, and a superb tapestry dated from that century as well. Paintings from the Venetian School and splendid wall painting decorated another space. The Dancing Hall featured Rococo painting and a unique piano. In the Small Dining Room, I was surprised to see Edison light bulbs from 1906. The library included 15,000 volumes.

Doudleby Chateau

Doudleby Chateau

Doudleby Chateau

My good friend and I traveled with a travel agency to Častolovice and Doudleby chateaus, places to which I yearned to return for some years. Doudleby Chateau had undergone main reconstruction. It was stunning with its early Baroque wall and ceiling frescoes. Some were mythological, others religious and yet others symbolic. The lunettes of emblems with French writing were spectacular, too. I saw a parrot’s nest, flowers in a circle and a boat with a partially submerged oar, for instance. Finished in 1590, the chateau’s exterior includes unique sgraffito, open arcades and Tuscan columns. I was very impressed.

Elegant exterior of Častolovice Chateau

Častolovice Chateau exterior

The fantastic park at Častolovice Chateau

Častolovice hailed from the 13th century and boasted an extensive English park, one of the most beautiful, in my opinion. Furnishings hailed from Renaissance, Baroque, Empire and Biedermeier periods. A Renaissance cassette ceiling dated back to 1600. In the vast Knights’ Hall, I admired paintings of 24 scenes from the Old Testament. The collection of portraits showing Czech rulers was extremely impressive, too. The Renaissance arcades and distinctive fountain plus aviaries outside were noteworthy as well. There was a small zoo, but I saw an irate turkey coming my way and decided not to pay admission. The park was punctuated by peacocks and other animals as well as ponds and fantastic flora, among other attributes.

Jaroměříce Chateau interior

Interior of Jaroměřice Chateau

Jaroměřice Chateau

With a travel agency I made a very memorable trip to Jaroměřice nad Rokytnou Chateau, the biggest Baroque chateau in the country. I hadn’t been there since the late 1990s. The Ancestors’ Hall amazed with a fabulous frescoed ceiling and masterfully carved wood paneling. The ceiling and wall painting in the Ballroom was just as exquisite. The Chinese Cabinet also made a great impression.

Church of Saint Markéta, Jaroměřice

Cupola of Church of Saint Markéta

Decoration on walls of Church of Saint Markéta

Yet that was not all there was to Jaroměřice. The town had much more to offer. Nearby was the Church of Saint Markéta, measuring 450 m2 with a splendid frescoed ceiling. Pictures of the Evangelists and Roman gods decorated the walls. The main altar, celebrating Saint Markéta and the creation of light, did not disappoint, either. Our guide even played for us the impressive historic organ.

Otakar Březina

Museum of Otakar Březina, art by František Bílek

Museum of Otakar Březina

The Museum of Otakar Březina was another highlight of Jaroměřice. Březina had been a poet who was in the running for the Nobel Prize eight times. In the apartment where Březina had lived from 1913 until his death in 1929, I saw not only editions of his many books and childhood photos but also fascinating works of art by his close friend František Bílek, whose villas I had visited in Prague and in south Bohemia. Březina had promoted democracy as he had developed steadfast friendships with Czech writer Karel Čapek and President of the First Republic Tomáš G. Masaryk.

Garden of Symbols, Museum of Otakar Březina

Garden at Museum of Otakar Březina

Garden outside Museum of Otakar Březina

The garden outside the home was unique and symbolic just like Březina’s poetry. Parts of the garden were dedicated to Karel Čapek, Bílek and the most influential owner of Jaroměřice Chateau, Jan Adam Questenberk. Many flowers, plants and small trees graced the well-kept garden. One section of this Garden of Symbols represented immortality because Březina had believed that death was not an end but rather a new beginning.

Museum of Otakar Březina

Garden of Museum of Otakar Březina

Yet there was more. We visited Březina’s grave, designed by Bílek, as well as an extensive garden center established in 1901. Karel Čapek had been a devoted customer during the 1920s and 1930s. I could imagine Čapek enthusiastically picking out plants as I perused all the interesting specimens and gazed at the cats who lounged around the center without disturbing the plants.

Museum of Otakar Březina, artwork by František Bílek

Museum of Otakar Březina, art by František Bílek

With a master’s degree in Czech literature, I was always enthusiastic to learn more about Czech writers, especially poets whose works I had never read. Březina’s writing was so complex and symbolic that I had always feared I would not understand it. Visiting writers’ museums was always a big thrill for me in any country but especially in the Czech Republic. It never failed to open up new worlds.

Radim Chateau, ceiling in main hall

Radim Chateau, dining room cabinet

Radim Chateau, historical globe

Another chateau that I visited for the first time was called Radim, not far from Prague. Built in 1610, it had served as a Renaissance countryside seat of nobles, and, while it did not contain many original furnishings, the owners had amassed a great deal of impressive artifacts from various periods, especially the Renaissance. Exquisite tapestries lined a hallway. I saw a Neo-Gothic throne and an altar in the same style, both masterfully carved. Renaissance furniture also was prominent. A decorated coffered ceiling from the early 17th century and wall painting filled me with awe. The decorative main hall certainly did not disappoint.

Radim Chateau art gallery, painting of Kampa Island

Painting in Radim Chateau art gallery

Radim Chateau art gallery ceiling

What enamored me the most about this chateau was not the first floor interior, though, but the amazing art collection the owner had put together. The owner proudly showed me his impressive collection. I  saw a hallway lined with landscapes, paintings of Kampa Island and the Charles Bridge as well as the Berounka river and the Pilsen countryside region. Landscape after landscape from various parts of the country amazed me. I gazed with awe at works by Otakar Nejedlý, Vlastimil Toman, Otto Stein, Vojtěch Hyněk Popelka and many others.

Religious art in Radim Chateau gallery

Russian icon, Radim Chateau art gallery

Yet that was not all the art to be seen. In another space there was a fascinating collection of religious works, including a copy of a Titian painting and a Russian icon. Visiting Radim Chateau was a double thrill for me – I loved the furnishings and painted ceilings as well as the art gallery. The entire chateau exuded charm and splendor.

Březnice Chateau interior

Březnice Chateau ceiling

I went back to Březnice Chateau, which I had not visited for some years. The Renaissance chateau from the 16th century featured a former library with well-preserved ceiling and wall painting hailing from Renaissance days. The chateau showed off various styles – Renaissance, Baroque, Empire and Biedermeier. The Baroque chapel was stunning. The Renaissance dining room was full of historic grandeur. The armory was impressive, too.

Hluboká nad Vltavou Chateau exterior

One of my most favorites chateau was in Hluboká nad Vltavou, one of the most popular in the country, and I loved gazing at its masterful Neo-Gothic exterior. The wood-paneling with remarkable furnishings and the 57 tapestries from Brussels astounded. The library with 12,000 volumes and the armory were more than stunning. This chateau could never disappoint.

Domažlice Castle Museum, folk style wardrobe

Historical painting in Domažlice Castle Museum

I saw a castle museum in Domažlice, where I learned about the region. The other castle museum was in Kadaň, where there were displays of the history of the town and fortress-like edifice. In Domažlice the folk costumes of the area were prominently on display as were the beautiful ceramics notable for the region. Holy Roman Emperor Charles IV’s visit to Kadaň and the years the castle spent as a barracks as well as the dark Nazi period were elaborated upon during that tour.

Sculpture in Kadaň

Kadaň scenery

Yet there was more to Kadaň and Domažlice than merely their castles. We saw picturesque squares, churches, town halls, a monastery and much more in those towns. The path from the center of Kadaň to the castle was surrounded by lush flowers and plants as well as unique grotesque sandstone statues. The narrowest street in the country, Katova Street, is located in Kadaň. The monastery in Kadaň with its Gothic wall painting and other splendors was a real treat, too.

Town Hall in České Budějovice, main square

Sculpture in České Budějovice

Komerční Bank sculptural decoration

Another city sans chateau or castle that I visited was České Budějovice, one of the gems of south Bohemia for its unique and stunning architecture. Previously, I had only admired the vast main square of the city with its delightful Renaissance buildings and prominent town hall.

Former salt house in České Budějovice

Gothic wall painting in church in České Budějovice

Wall painting in church in České Budějovice

This time I saw the entire downtown area and soon learned that there was much more to the city than merely its picturesque square. The main church with Gothic (13th century) and Baroque wall painting as well as a Neo-Gothic main altar was incredible. The former salt house’s unique roof was one to remember. A large bank’s sculptural decoration was more than impressive. Other buildings were architectural gems, too. Some boasted religious paintings on the exteriors. Narrow and romantic Panská Street was another highlight of the city. The architecture throughout the city was truly breathtaking.

Firetruck museum in Constantine Spa

We also visited a small enclave called Constantine Spa. On the charming small square was a claustrophobic museum of fire trucks hailing from 1900 to 1912. Each had one ladder, and they had once been driven by horses. While it was raining during our time in the spa town, we did see some beautiful greenery as we walked to a café with delicious desserts.

Votice Monastery, town museum, painting of region

Vladimír Kaska painting in Votice Monastery

Fresco on wall and ceiling of Votice Monastery

In addition to the monastery in Kadaň, I toured two other monasteries – Votice and Teplá. Displays narrated Votice’s turbulent history during Nazism and Communism. I admired the town museum at Votice monastery. Paintings of the town in decades past caught my undivided attention. The 17th century frescoes on one wall and ceiling section at Votice were astounding. I also was amazed at the modern paintings of a local artist, Vladimír Kaska. His grotesque, playful, symbolic and colorful renditions delighted me. His works were so vibrant and dynamic. Discovering an artist whose works I did not know was one highlight of my trip there.

At Teplá Monastery

Teplá Monastery was founded in 1193, and King Václav I participated in the first mass. The Baroque church had been rebuilt in the 18th century by a prestigious architect – Kryštof Dientzenhofer. Poignant wooden statues by Ignác Platzer stood out in the church as did astounding Baroque frescoes. The church, 62.5 meters long, also featured a Rococo altar decorated with Baroque paintings.

Teplá Monastery

Still, the library that contained about 100,000 volumes in Latin, German and Czech was for me the highlight of Teplá. The two floors of masterfully carved bookcases featured an elaborate balustrade. The fabulous fresco on the ceiling represented monks and angels celebrating with religious figures, including the Evangelists. The ceiling painting was so beautiful that it almost made me dizzy with delight.

Chovojen church

Medieval wall painting in Chovojen church

I also toured a small church in Chovojen, surrounded by fields and offering a view of nearby Konopiště Chateau. The Romanesque elements of the small church were noteworthy. The rare medieval frescoes amazed me. I even saw a painting showing the medieval solar system with the Earth at the center. So many amazing artifacts located in a small church filled me with awe.

Outside altar at Holy Mountain

Holy Mountain entrance

Another religious site that I toured with my best friend was Holy Mountain, which included a church featuring a pure silver altar and nine open chapels with spectacular biblical wall and ceiling painting. The unique attraction was breathtaking. I had been there many times, but showing it to my best friend was a highlight for me.

Sculpture in garden of Janoušek studio villa

Inspired by Japanese playing cards, created by Vladimír Janoušek

I was excited to discover the studio of the Janoušek couple, 20th century artists whose workplace had been designed in the Brussels style of the 1950s and 1960s. They had used the architecturally unique studio from 1964 to 1986. In the garden stood several monumental sculptures, such as enormous figures in metal. During the tour I saw abstract sculpture from diverse periods of the artistic couple’s lives. Věra had made exquisite collages and tapestries as well as astounding sculptures of metal figures utilizing kitchen utensils and pans. Very colorful, these creations fascinated me. I had never seen anything like them.

Věra Janoušková sculpture made of kitchen utensils and pans

Věra Janoušková, tapestry

Vladimír’s work included a stunning large metal sculpture depicting the Fall of Icarus as well as a unique statue of Perseus. His combination of mythological themes and the abstract amazed me. I also was captivated by Vladimír’s creation of Japanese playing cards, so different from his monumental metal renditions. Various creations by both artists decorated shelves and showed how their styles had evolved. Panels on one wall showed photos of the two and their studio throughout the years and narrated the history of the couple’s accomplishments in a clear fashion. The studio was not without a charming library, either.

Sculpture in garden of Janoušek studio villa

I had never heard of the Janoušek artists before coming across an ad on the GoOut ticket site several months before my visit to the Smíchov house, mostly hidden from the street by garden greenery. Once again, I was excited to see an architectural wonder for the first time and learn about the couple’s unique abstract art.

Arnold Villa, reconstructed, in Brno

View from garden of Arnold Villa

Mahen Theatre in Brno

Another place I toured for the first time was the Arnold Villa in Brno, the capital of Moravia. Recently reconstructed, it hailed from 1862 and had been situated in the first colony of villas in Brno, very close to the famous Tugendhat Villa. While the original furnishings were long gone, the architect did a valiant job, including a film about the lives and times of the owners and a small collection of Jewish historical objects. Photos of the people who had lived there and in nearby villas gave the place a personal, intimate feel. While in Brno, I also toured the Mahen Theatre, the first electrified theatre in Europe. Its ceiling painting and exquisite chandelier astounded.

Kersko, sculptures of cats

My favorite restaurant, Hájenka Pivnice in Kersko

Ceramic cats made in Kersko shop I love

Of course, I visited Kersko with my best friend once again. It was one of our rituals. We ate at the rustic restaurant Hájenka, where a film based on one of Bohumil Hrabal’s books played in the background. The traditional Czech food was always delicious. We also bought coconut cookies – I hated coconut except for that in these cookies – at the local shop, which featured homemade ceramic cats inspired by legendary Czech writer Hrabal’s stray felines, revered and fed at his nearby cottage for so many decades. This wooded village brought me serenity in a poignant way that no place in Prague ever could. Hájenka was my favorite restaurant of all-time, and Kersko would always be a place close to my heart.

Interior at Přerov nad Labem architectural museum

Cottage in Přerov nad Labem museum

19th century schoolhouse in Přerov nad Labem museum

Přerov nad Labem, an open-air architectural museum, was another attraction to which I returned after many years. I admired the 18th and 19th century cottages and buildings with mannequins often dressed in the folk costumes of the eras. I loved folk style art – the furniture, ceramics and hand-painted glass as well as the clothing enamored me. It was hard to believe that so many people had lived in such small spaces. I also saw a one-room school where boys sat on one side, girls on the other. A shoemaker’s and a blacksmith’s were two other intriguing attractions.

Porcelain puppet theatre at Stránov Chateau

Medieval painting at church in České Budějovice

These travels took me to places I had treasured for years and to places I was visiting for the first time. I learned about Otakar Březina and the Janoušek artists. I marveled at the Neo-Gothic exterior and exquisite furnishings of Stránov Chateau for the first time. Votice Monastery was also new to me, and I learned much about its tragic history. I hadn’t been in Kadaň before 2025 and found the town charming with many sights. I finally saw the entire center area of České Budějovice and greatly appreciated its immense beauty. I thought I had known Brno well, but I was at the Arnold Villa and inside the Mahen Theatre for the first time in my life. The Church of Saint Markéta in Jaroměřice was for me another new attraction. There were so many firsts for me this past year. I was so grateful I had discovered Radim Chateau and Stránov. I also visited the Barberini Museum in Potsdam twice, which was a first for me, though I had been in Potsdam during 1992.

Hluboká nad Vltavou Chateau, exterior

18th century tiled stove in Březnice Chateau

Returning to so many places also brought me great comfort – Hluboká nad Vltavou, Krásný Dvůr, Březnice, Teplá, Jaroměřice Chateau, Holy Mountain, Chovojen, Kersko, Častolovice, Doudleby, Přerov nad Labem, Horšovský Týn, Kersko. While I only had time to go on day trips in 2025, I was astounded, as usual, by all the sights the Czech Republic has to offer as well as three one-day trips abroad, to museums in Potsdam and Vienna. After almost 30 years here, I was still discovering new places. Going on these trips made me realize that the world, though at times cruel and ruthless, is also full of wonder and delight.

Domažlice Castle Museum folk painting

Horšovský Týn Castle and Chateau chandelier

Garden center established in 1901, cat relaxing in basket near cash register

Marc Chagall Exhibition in the Albertina Photo Diary

I admired Marc Chagall’s works at the Albertina venue in Vienna, Austria during late October of 2024. I have always loved going to exhibitions in the Albertina. I recalled a comprehensive show of works by Durer at that venue some years ago. A long-time fan of Chagall, I loved his use of bright colors and atmosphere of playfulness in his paintings that had a dreamy, fantasy-filled quality. I was enamored with his mastery of color to express various emotions and to create new worlds. I loved his renditions of Paris, the Eiffel Tower often dominating his creations.

Before this show I hadn’t realized how strongly his Jewish background had influenced his art. Chagall’s paintings were punctuated with Jewish folklore and motifs. I saw a painting of a synagogue and portraits of rabbis, for instance. Many paintings boasted biblical themes. I also hadn’t realized how often he had rendered his hometown, both sadness and joy intermingled in the memories. His yearning to return to his hometown was extremely visible in his art.

The symbolic nature of his artistic creations also enamored me as I noted the many violinists, animals, half-human creatures, wooden houses, circus characters, roosters and floating married couples as well as beautiful floral arrangements. Because I had visited an exhibition in Prague’s Wallenstein Riding Stables about the interwar years of the École de Paris movement, I knew he had been associated with that era during his Paris sojourn.

The exhibition allowed me to become better acquainted with the artist’s life. Marc Chagall (1887-1985)was born as Moishe Shagal on July 6, 1885 into a Hasidic Jewish family in Vitebsk, located in today’s Belarus. During the late 19th century the town was situated in the Russian Empire. His impressive, varied resume includes paintings, drawings, book illustrations, ceramics, prints, tapestries, stained glass and stage sets, but this vast exhibition focused solely on his paintings.

While he spent World War I in his hometown, he went to Paris before the war broke out, moving there in 1910 when he was 23 years old. In France he made friends with Guillaume Apollinaire, Ferdinand Léger and others creating avant-garde works. He often depicted Jewish themes and also evoked Paris in many paintings. During World War I, back in Vitebsk, he married Bella and held exhibitions in Russia as the war made it impossible for him to leave the empire. He founded an arts college in his hometown, too. However, he was in dire financial straits during the Russian Civil War. After World War I, much of his work was Moscow-based.

Following the Bolshevik Revolution, he moved to Paris for the second time, but fled during World War II after the Germans took control of France. The Nazis in occupied France took away Chagall’s French citizenship, and he and his wife were arrested. However, with the help of others, he and his wife found a way to escape to the USA. He felt like an outsider and didn’t speak English.

While he was in New York City, tragedy struck his hometown of Vitebsk, which was destroyed by the Nazis. Things would get even worse. Bela passed in1944 because it was not possible to get her any penicillin. It was no surprise then that Chagall’s late spouse appeared in many of his paintings. In 1948, though, he returned to Paris, and there his paintings focused on Jewish themes and his yearning for the existence of his hometown. Also, he would marry two more times.

He devoted much time to other fields as well. Some of his accomplishments included creating stained glass decoration in the cathedral in Reims and at the Art Institute in Chicago. He also made stained glass adornment for places in Switzerland and Israel. He became even better known for his ceiling painting of the Paris Opera. I remembered gazing in awe at this ceiling several decades ago. It was an experience I will never forget, even though I saw it so long ago. He also made sculpture and ceramics as well as tapestries.

Chagall died at the age of 97 on March 28, 1985 at the age of 97. He is buried with his third wife in a cemetery in Saint Paul-de-Vence, located in the Provence region.

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

House Museum Poldi Pezzoli Diary

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.

Museum of Ancient Art and Arms at Sforza Castle Diary

The Sforza Castle in Milan was built for Galeazzo II Visconti in the second half of the 14th century. It was destroyed in the 15th century, but Francesco Sforza rebuilt it. Then the Sforza family used it as a residence. The end of the 1400s was a time of splendor. During the 15th century, Leonardo da Vinci and Bramante created frescoes in the castle. The castle became one of the largest in Europe in the 16th century.

Later, the castle was changed into a citadel. The ducal apartments were used as barracks and stables under Spanish, Austrian, French and again Austrian rule. An armory was for a time also on the premises. At the end of the 1800s, the castle became the property of the city of Milan. When Italy was unified, the castle was in a very dilapidated state, but the complex to be reconstructed and made into a museum. The castle took on the appearance it had when it had been under Sforza control. Though the central tower is not original, it is made to look like it had when built in 1521.

During World War II, the complex suffered much damage but was reconstructed. Now the castle includes museums and cultural institutes.

The collection of the Museum of Ancient Art and Arms features sculpture from the fifth to the 16th century, some from Lombardy and others from Tuscany. Some rooms are decorated with stunning frescoes. An armory containing European weapons from the end of the 14th to the 19th century and an impressive room of tapestries also make up the exhibition. Sixteenth century Flemish tapestries intrigued me. Saint Ambrose dominates another tapestry. Two medieval portals and tombstones are also on display.

Visitors walk through the ducal apartments decorated by Galeazzo Maria Sforza. I was especially impressed with the ducal chapel. Leonardo da Vinci designed and frescoed the Sala delle Asse (Room of Wooden Boards), which was being restored when I was there. I read that the walls and vaulted ceiling of this room are painted with trompe l‘oeil. The vault shows off branches leaves and berries that give the illusion that the space is outside instead of in a castle. In other rooms the Spanish domination is highlighted with sculpture and the remarkable funerary monument of Gaston de Foix, created from 1517 to 1522.

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

Museo del Duomo in Milan Diary

When I visited the Cathedral Museum in Milan, I didn’t expect it to be so big. The museum measured 2,000 meters square, and there were 26 rooms. Set up in chronological order, the artifacts included stained glass windows, paintings, tapestries, architectural models, sculpture, bronze doors, goldsmithing artifacts and more. The museum, located on the ground floor of the Palazzo Reale, allowed me to see the various phases of construction from its foundation in 1386 to the 20th century. The museum dates back to 1953. Ten more rooms were added in 1960, and it was reopened in 1973. It underwent major renovation during this century, too.

Placed in the museum during 2013 after renovation was completed, the Treasures of the Cathedral are on display in two rooms and feature liturgical objects from the 5th to the 17th century. I saw the Cross of Chiaravalle, a masterpiece of Romanesque goldsmithing art. The Cross of San Carlo was another goldsmithing object that amazed. It was made in Mannerist style during the 1500s. The cross is even used in cathedral ceremonies new archbishops are inaugurated. La Pace di Pio V, dated around 1565, utilized lapis lazuli decoration on columns and a sarcophagus. The cross was studded with diamonds. Gold decoration added to its beauty. Il Calice delle Arti Liberali is a chalice placed on a copper gilded frame. Made in Milan during the 1500s, the chalice has enamel decoration.

Perhaps my favorite part of the museum was the section with the stained-glass windows. I was enthusiastic about having the opportunity to see stained-glass windows up close. These panels depicting scenes from the Old Testament had been created by artists from Lombardy, France, Germany and the Netherlands. I loved stained-glass windows, and they were my favorite part of the cathedral’s interior. I spent so much time staring at those windows when I was inside the cathedral.

The sculpture was another delight. The marble Late Gothic figures hailed from the first 50 years of the cathedral’s construction. There were also statues made of terracotta from the Mannerist and Baroque eras. A few of the noteworthy sculptures featured Saint Agnes, Saint George and Galeazzo Maria Sforza. The Sforza noble family had had a vast influence on the city’s development and politics. I also was amazed by the gargoyles. I was thrilled that I had the chance to see them close up.

A model of the entire cathedral comprised three centuries of work and was made at a scale of 1:20. Another model that caught my attention was an early 16th century wooden rendition of the cathedral, made by Bernardino Zenale from Treviglio. This model provided insights into the structural development of the various sections of the cathedral, such as the apse, transept and tiberium.

I found the objects in the museum stunning. I was flabbergasted by their beauty. I had expected a small museum of liturgical items, not such an amazing array of artifacts. I had learned how the cathedral had been constructed in various eras and about the main players in the history of the structure.

Leaving the Museo del Duomo, I was very satisfied with my visit and ready for the temporary Titian exhibition in the Palazzo Reale.

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

MUSÉE DE CLUNY DIARY

Sorry the photos do not always show the objects described in the text.

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The chapel of the Musée de Cluny

One of my favorite museums in Paris is the Musée de Cluny, which houses a treasure trove of medieval art. Converted in 1843 to a museum, it is situated on the site of the former baths of Lutetia, a Gallo-Roman site. At one time, it was also home to abbots of Cluny.

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The baths of Lutetia are situated on three levels. They were most likely constructed in late 1 AD and served this function for 200 years. In 1862, they were recognized as a historical monument.  The townhouse that once was the residence of the abbots is another architectural delight. The huge inner courtyard includes an external spiral staircase. The facades are adorned with many Gothic sculptures. The decoration of an oriel amazes, too. Renaissance and Gothic art features prominently there.

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The museum isn’t only a showcase for medieval art. I also found Byzantine and Romanesque artifacts as well as metalwork and enamelware made in Limoges workshops. These included crosses, altarpieces and reliquaries, such as the reliquary of the murdered archbishop of Canterbury, Thomas Beckett (1170). The gold votive crowns from Visigoth Spain hailed from the seventh century and served as prime examples of early Western art.

However, what fascinated me the most was the Gothic art. I loved the stained glass windows from Sainte Chapelle, a must for me every time I visited Paris. These windows dated from the middle of the 13th century. Three of the Apostle statues from Sainte-Chapelle were also on display. I loved the detailed drapery of the religious figures.

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I also saw the Virgin and Child, dating from 1240 to 1250, carved out of elephant ivory with the detailed folds of drapery on both figures. The Virgin was in the midst of making a gesture with one hand. Her hand looked as though it was in motion. The other hand held onto Jesus so gently, so lovingly. The smile on Jesus’ face was so bright, cheerful and contagious.

The objects from 15th century France tended to be morbid in nature. Indeed, even pictures of decaying corpses were on display. These figures were mostly comprised of reliquaries, statues, small altarpieces and stained glass.

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A winged vase was covered in brown and blue decoration on a white background and had a dynamic flair. Coats-of-arms adorned the central part of the vase. It hailed from Valencia, dating from 1465 to 1469.

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However, my favorite items in the museum were the six panels of the Lady and the Unicorn tapestries, in which the unicorn and a lady of noble stature were the protagonists. The six tapestries were created in Flanders around 1500 from wool and silk. They are considered some of the premiere works of art made during the Middle Ages. Five of the six panels evoked the senses while the meaning of the sixth one remains a mystery.

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In the sixth tapestry, a unicorn standing on two legs and a lion flanked the lady and her servant, a tent and trees behind them. In front of the tent, I saw French words that could be translated as “love desires only the beauty of the soul.” In the pictorial narrative, the servant was holding an open chest while the smiling lady put a necklace that she was wearing in the other tapestries into the chest. It was notable that the lady is smiling; in the other five tapestries, she was not. The background was made up of flowers and animals. The tapestry could have a spiritual or moral theme or could stand for love and understanding.

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Other tapestries on display that astounded me included three scenes from the life of the Virgin Mary (1499) and the Tapestry of Saint Stephen (1500). The Grape Harvest tapestry, hailing from the Netherlands in the 16th century, showed figures with detailed clothing making precise gestures as some picked grapes and other pressed them. I recalled all the amazing tapestries I had seen in the Vatican Museums while I stared, in awe, at the many tapestries in the Cluny Museum.

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I also loved the altarpieces and triptychs. The triptych of The Mass of Saint Gregory hailed from Westphalia in the late 15th century. It depicts the Pope seeing the apparition of Christ. The Presentation in the Temple is a triptych made in France during the third quarter of the 15th century. I liked the child’s wooden horse and the Gothic vaulting of the temple. The Life or the Virgin Mary was a gem of painted terracotta with much detail, created by Arnt von Zwolle in 1483. The Altarpiece of the Passion came from the Netherlands and Champagne in the early 16th century. Those are just a few examples.

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I left the museum with a much more poignant perspective on medieval art. I can’t wait to go back there someday – hopefully, someday soon. . . .

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

Museum of Decorative Arts in Berlin Diary

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Located next to the Gemaldegalerie of painting masterpieces, the Museum of Decorative Arts(Kunstgewerbemuseum) in the Kulturforum complex holds a very underrated and impressive collection of top-notch exhibits in fashion, design and object art from the Middle Ages through the Art Deco period. I was particularly impressed with the monumental Renaissance tapestries.

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To be sure, the medieval and Renaissance art was astounding, especially the Guelph Treasure from the 12th century. Objects from the Baroque era also stood out, including furnishings and a cabinet of curiosities from that era. Rococo porcelain, such as Meissen, is well-represented, too. The Art Nouveau and Art Deco collection spans from 1900 to 1920. I was drawn to the Art Deco vases and the furniture in both styles.

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On the lower level, there is an intriguing exhibition of chairs from the 19th century to the present. It was fascinating to see how chair design had developed through the ages. One chair was made of what looked like wire; I could not imagine how painful it would be to sit on it. Another resembled an ice cream cone in a playful yellow with white color combination.

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Normally, I am not interested in fashion at all, but this collection caught my undivided attention. I loved the stunning evening dresses plus the older fashions from 1700 to 1850. I could never wear a corset! This museum outdid my expectations, and I came away with a fonder appreciation of fashion, design and art in general.

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