Whenever I visit Kutná Hora, the highlight of my trip there is the Late Gothic Church of Saint Barbara, a five-nave structure dedicated to the martyr representing the mining profession. During the Middle Ages, when the building of the church began, Kutná hora had been thriving thanks to its mining of silver and minting of groschen coins.
The exterior captures my undivided attention every time thanks to its double-arched flying buttresses and gargoyles. I loved the Late Gothic style that was preserved on the outside. While some of the interior had been transformed into Baroque and Neo-Gothic style, the church still retained many Gothic elements, including frescoes from the Middle Ages.
The construction on the church, initiated in the 14th century, was carried out by Jan Parler, son of Petr Parler. Jan’s father had been one of the most prominent architects and sculptors of the Holy Roman Empire under Emperor Charles IV’s reign, when Prague was the capital. Petr’s major accomplishments included work on Saint Vitus’ Cathedral at Prague Castle and the building of the Charles Bridge. Petr also planned the New Town part of Prague. His unique architectural style can be seen on Prague’s Old Bridge Tower, too. Jan took part in the construction of Saint Vitus’ Cathedral and was the main builder of the Church of Saint Barbara in Kutná Hora.
However, the Hussite wars of the 15th century got in the way, and work was halted as the church was pillaged. Construction was interrupted for 60 years. Then, at the end of the 15th century, Master Hanuš crafted much of the magnificent vaulting and part of the triforium.
After he died in 1489, a stonemason, sculptor and architect named Matyáš Rejsek took over. A master of the Late Gothic style, Rejsek had been inspired by Petr Parler’s creations. Rejsek made Prague’s statue-decorated Powder Tower, for instance. He also built Kutná Hora’s town hall, but that structure no longer stands. A large portion of the Church of Saint Barbara’s Gothic exterior was Rejsek’s work, including the gargoyles and upper triforium. He was responsible for interior décor as well, including the tabernacle, balustrades of the choir and the awe-inspiring choir vaulting adorned with emblems of countries and guilds. During his time, the church became a true Late Gothic gem. Construction did not stop until six years after his death, in 1506.
Then in the 16th century work started again with Benedikt Rejk (sometimes called Reid) in control. I knew him best as the architect of Prague Castle’s Vladislav Hall with its magnificent vaulting. He was responsible for the main nave and the Late Gothic large vaulting with helical ribs of the Church of Saint Barbara, for example.
Baroque reconstruction took place when the Jesuits took charge. Then, from 1885 to 1905, remodeling was carried out. At this time the main altar and stained glass windows were formed. I was always particularly captivated with the windows dating from the end of the 19th century and beginning of the 20th century. The stained glass decoration portrays events in Kutná Hora and Czech history. Habsburg Emperor Franz Josef’s visit to Kutná Hora in the early 20th century makes up one scene.
One of my favorite works in the church is the statue of a miner, which hails from 1700. The miner is holding a lamp and tool in his hands as he seems ready to traverse the depths of the mines. Another gem, the statue of Our Lady Enthroned, dates from 1308.
The Minters’ Chapel is one of my favorites with 15th century frescoes that include a scene of two miners doing their job and a mallet-wielding minter making the groschen coins that Kutná Hora was famous for in the Middle Ages. In Smíšek’s Chapel visitors see the family gathered around an altar and other remarkable works. Baroque frescoes also dot the interior, including the altar of Ignatius of Loyola, which shows off the conversion of Ignatius.
The intricate woodcarving of the choir benches hails from the late 15th century. The main altar is a Neo-Gothic replica of the original Late Gothic altar with the theme of the Last Supper. The Baroque altar of Saint Agatha is home to four Baroque paintings depicting the life of Saint Wenceslas, the patron saint of the Czech lands. The impressive stone pulpit dates from 1566.
I have never grown bored of visiting the Church of Saint Barbara, even though I have been there on numerous occasions. Both the exterior and interior are astounding as this church is the highlight of any trip to Kutná Hora.
Tracy A. Burns is a writer, proofreader and editor in Prague.
Prague’s Wallenstein Riding Stables hosted a comprehensive exhibition of Josef Mánes’ portraits, genre paintings, landscapes, drawings, prints, designs and illustrations of Slav history from the Czech Romanticism and Realism eras of the 19th century. Some 400 of his creations captured my undivided attention. He also created standards, insignia and uniforms for the Sokol physical education organization, some of which were also on display.
I knew the name well because Josef Mánes had been born into an artistic family: His father, Antonín, created landscapes while his brother and two sisters also became painters. Josef – I will refer to him by his first name so readers do not confuse him with his father or siblings – grew up in the Habsburg Empire when German was the official language of the Czech lands. He spoke only German as a youth. He didn’t learn Czech until he was grown up, even though he was one of the leading figures in the Czech National Revival that promoted the Czech language.
This prominent artist was inspired by his time in Munich, where he spent three years as a young man. For many years he resided in Moravia, including at the Čechy pod Košířem Chateau. In addition to making portraits, landscapes and Second Rococo style genre paintings, Josef developed a strong interest in folk costume, rendering portraits of Czechs in traditional dress. He created many works portraying villagers and everyday life in the Hana region of Moravia.
Inspired by Prague’s Old Town, Josef created portraits of its residents and even painted two genre paintings for Prague brothels. His work also decorated much more elegant structures, such as the Žofín concert hall in the center of Prague, for instance. When I first set foot in Prague, I fell in love with the Old Town. I could sense the history of the nation on its streets and in Josef Mánes’ paintings of that historical quarter.
His portraits are stunning because they are characterized by immense psychological depth and sensitivity. The viewer almost is looking into the sitter’s soul. Each portrait told an individual story of a unique life. Before this exhibition, I had considered him to be first and foremost a portrait painter, but I learned at the Wallenstein Riding Stables that he had been much more versatile in his accomplishments.
I was most enamored by his landscapes because I was fascinated by landscape painting in general, especially by Czech art in this field. I had seen many exciting Czech landscapes in galleries throughout the country as well as in chateaus. Josef’s work utilized subtle colors and masterful brushwork that portrayed both the Czech and Slovak countryside with elements of Romanticism and Realism. He was one of my favorite landscape painters, excelling at employing light and atmosphere in his renderings of the Hana region, the Czech Paradise region, the Krkonoše Mountains and the Šumava Mountains, for instance. I had traveled extensively throughout these parts of the country. Josef’s travels in the Austrian Alps also inspired the creations of some masterful landscapes. While I had never been there in person, I always wound up gawking at the sheer power, beauty and seemingly invincibility of the Austrian Alps. In several other works, he depicted nymphs, using the Šumava Mountains and Moravia’s Čechy pod Košířem as backdrops.
On Astronomical Clock
Astronomical Clock
Perhaps Josef’s greatest achievement was creating 12 medallions for Prague’s Astronomical Clock. I recalled how so many tourists crowded around the clock to watch its hourly show in the late morning and afternoon. I always came to admire the clock in the early morning to avoid the crowds and the possibility of getting pickpocketed. Painted in 1865, the original calendar dial was on display at this exhibition. The allegories of the months of the year dealt with agriculture themes. I often had admired the calendar in the Museum of the City of Prague, where it was usually on display.
Astronomical Clock
I looked closely at the calendar dial, which consisted of circular rings. Standing for the 12 months, figures dressed in folk costume glorified Slav identity. September was represented by the ruins of Troský Castle, which I had seen on my trips numerous times. The Czech village tradition of pig-slaughtering was the focus of December. I remember one irate acquaintance telling me that he did not support the European Union because its regulations did not allow citizens to slaughter their own pigs at home.
Bezděz Castle was in the background of March. I recalled the four-kilometer walk up to the castle ruins that had fascinated me, even though I was not usually so enthusiastic about ruins. A young farmer used a plough in the foreground of the March portrayal. Josef had also painted allegories of zodiac signs. I noticed dolphins and a plump cherub for Pisces. Capricorn was represented by a cherub leading a goat. Romanesque features were evident in Josef’s pictorial work for the dial.
Designed for Sokol physical education organization
Josef’s personal life had not been so rosy, however. After he got a servant pregnant, his parents made him marry her. Josef also was plagued by mental illness from 1866, when he began to lose much weight, to pronounce words badly and behave in a strange manner. It is possible that he suffered from syphilis affecting the brain or tuberculosis. He died in 1871 at the age of 51.
The exhibition also included explanations of how Josef’s work has been perceived throughout the centuries. After his death, he achieved fame because of his work for the Czech National Revival. As the 20th century approached, Josef became known as an artistic pioneer of new trends and advancements in his field. During Communism, though, his works took on an ideological meaning. It was not until after the downfall of Communism that people interested in art could once again express the masterful skill and individuality of his paintings as his works became appreciated in the cultural sphere.
While I had seen many works by Josef throughout the country, I was overwhelmed by viewing so many in one large exhibition hall. I had not truly understood the mastery of Josef’s art and realized that he had been so talented at many genres. For a long time, I had admired the works of his siblings and father, too. Now I knew that Josef was the most skilled in his family. I was fascinated by all aspects of this exhibition.
Tracy A. Burns is a writer, proofreader and editor in Prague.
One of my favorite experiences when I am on vacation is visiting local museums. In Sorrento I was enthralled with the variety of the impressive collections in the provincial Correale Museum (Museo Correale di Terranova), especially with the landscape paintings that portrayed Italian sites. I saw archeological artifacts, ceramics, furniture, time pieces, silver, tapestries, manuscripts, paintings from the 15th to the 19th century and porcelain in 24 halls on three floors.
Opened since 1924, the museum is housed in a superb 17th century villa with a delightful garden of tropical plants and trees. A path leads to a terrace with stunning views of the sea. From the museum itself, I was able to gaze at tranquil views of the Gulf of Naples.
Furnishings from the 17th to 20th century caught my attention, especially the pieces adorned with intarsia and mosaics. The archeology section included Greek and Roman objects and ceramics as well as artifacts from the Middle Ages.
Some of my favorite places in the world are libraries. The one at this museum contained hundreds of 17th century manuscripts and volumes dealing with many subjects, from botany to archeology to Italian history.
In the porcelain collection on the uppermost floor, I admired Oriental creations from the 17th and 18th centuries as well as Meissen and Sevres pieces. The School of Capodimonte was well-represented, too. Clocks and Italian glass hailed from the 18th century. Historical tapestries added to the museum’s impressive collection.
The paintings interested me the most. I saw works by both Flemish and other foreign artists. Two of the most renowned artists represented were Peter Paul Rubens and Camille Corot. Mannerist paintings were also displayed.
Both foreign and Italian artists created the landscape paintings. I was most impressed with the Italian works of the Posillipo School style. Hailing from the second half of the 18th century, these paintings depicted picturesque scenes inspired by foreign artists who had spent time in Naples, including William Turner. I especially liked the landscapes of cliffs and the tranquil sea dotted with row boats. Horse-drawn carriages made appearances on the shore in one painting that I had admired.
Sorrento certainly did not disappoint. This museum was just one of the highlights of my time there. The diversity of the collections was a big plus, and I was very enthusiastic to learn about the Posillipo School style.
Tracy A. Burns is a writer, proofreader and editor in Prague.
I loved visiting Sorrento during the summer of 2023, and the highlight of my time there was seeing the furniture, paintings, drawings and artifacts at the Museum of Inlaid Wood, known in Italian as Museobottega della Tarsialignea or MUTA. The displays pictorially narrate the history of 19th century intarsia (inlaid wood), the objects all made by local artists who were masters at their trade. The details of the works amazed me.
I saw furniture decorated with an inlaid wood rendition of a black-and-white fluffy dog reclining in an adorable pose. Many boxes of various small sizes were decorated with intarsia. I loved the music stand adorned with a scene showing figures dancing and playing instruments on a black background with floral trim. A table depicted a scene of seated women in 19th century attire, positioned next to a columned structure that looked like it belonged in antiquity. The geometric shapes on a intarsia-decorated bench captivated me. I loved another piece of furniture that showed off a scene of three small boats in a tranquil sea. On the shore, a very steep hill was dotted with archways and structures made of geometric shapes.
Another section described life in Sorrento during the 19th century. Landscape paintings, portraits, costumes and other objects were the focus. I was especially interested in the tranquil landscapes with portrayals of the soothing sea and craggy terrain. The economy of that era is also featured in this part of the exhibition. I read the impressions of famous artists who had visited Sorrento during that era. I got to know more about the Old Town part of the city, where the museum is located, during the 19th century through these artworks. Placing the objects made with inlaid wood in historical context was one of the many major pluses of this museum. One piece of furniture that I admired in this section was a bed adorned with inlaid wood ornamentation. The headboard was exquisite.
I also saw how such beautiful objects are made as various tools and materials utilized in this trade were on display. The technique of creating works with inlaid wood was well explained. Understanding the process made me even more appreciative of the art itself because it was so painstakingly difficult to create such beauty.
In the basement there was an intriguing collection of contemporary works with intarsia. They spoke to life during the present rather than the past by using this old technique. I saw an amazing room inlaid with intarsia, too. Contemporary-designed boxes were on display, too, showing off abstract features and brightly colored designs. An inlaid cupola was another gem. A creative sideboard consisted of an upside-down black triangle with white adornment. Frames decorated with inlaid wood and modern-looking crosses also made appearances.
I liked the sculpture of a large circular face on a dark blue and light wood background. The grey at the top of the face seemed to symbolize a small amount of hair. I saw gray circles around light wood-colored eyes that featured gray pupils. The mouth was partially red and partially gray. The lips seemed to be pursed in a blank or unreadable expression. I thought of the mechanization and impersonalization of society when I saw the gray pupils and gray circles around the eyes. There were so many ways to interpret this sculpture. It fascinated me.
Indeed, all of the works at this museum fascinated me. I was thrilled to discover a unique museum in a picturesque city punctuated by seascapes, an amazing cathedral, beautiful churches and romantic streets lined with shops and cafes. This experience took place during my first day visiting the Amalfi Coast, and my trip was off to a remarkable start.
Tracy A. Burns is a proofreader, writer and editor in Prague.
Frescoes decorated the 18th century building housing the collections.
Early in 2023, I went to an exhibition of sculpture by late Croatian sculptor, architect and writer Ivan Meštrović. The art gallery at Prague’s main library hosted the intriguing show. I was familiar with the artist’s name: I had admired his villa, the Ivan Meštrović Gallery, in Split on my last trip to Croatia some years ago. It contained 86 sculptures made with various materials, showing off his dramatic, dynamic and expressive style that was both poetic and poignant. Drawings and reliefs were displayed, too. The bronze statue-dotted garden was delightful. One of my favorite things about traveling was being introduced to the works of various artists. I was enamored with Meštrović’s creations, and his unique, powerful style was forever embedded in my memory.
During Meštrović’s illustrious career that spanned six decades, he had been influenced by a number of styles ranging from Art Nouveau, Symbolism, Impressionism, Art Deco, Neoclassicism and Late Realism. Classicism played a major role in shaping his artistic style, too. Auguste Rodin’s naturalist style, which he had meticulously studied, greatly inspired him. During his extensive travels, Meštrović also saw Michelangelo’s creations, which affected his own work. poignant.
Meštrović’s subjects were diverse as well. He took on religious themes, created portrait busts, made sculptural monuments and delved into studies of figures. A firm believer in promoting Yugoslav national identity, he also presented folk themes and national myths. He fervently advocated for pan-Slavism, and some of his works represented historical events in Slav history.
The sculptor’s career took off when he exhibited his works in Vienna during 1905 as part of the Secession Group. While living in Paris for two years, he received recognition from all over the world and was very prolific. Then he spent four years in Rome, where he was lauded for his design of the Serbian Pavilion at Rome’s1911 International Exhibition. During World War I, he traveled extensively and spoke out against the Habsburg monarchy that controlled his homeland.
He returned to his homeland after the war ended and achieved much success while living in Zagreb. He even created many sculptures for King Alexander I of the Kingdom of Serbs, Croats and Slovenes. He continued to travel, even having an exhibition at the Brooklyn Museum in New York during the 1920s.
During World War II, Meštrović’s life was far from rosy. In 1941, he spent three-and-a-half months in prison. The following year his first wife died, and many of her Jewish relatives perished during the war. Thanks to the Vatican, Meštrović was let out of prison and took off to Venice and then back to Rome. He even met Pope Pius XII.
After World War II, he refused to return to Yugoslavia because the Communists were in control. He wound up in the USA during 1946, when he took a position as a professor at Syracuse University. His works were displayed at the Metropolitan Museum of New York the following year, and he was the first Croatian to do so. He continued to achieve great success and much recognition in the USA and even received the American Academy of Arts and Letters’ Gold Medal in the field of sculpture during1953. American President Dwight D. Eisenhower was so impressed with Meštrović that he gave him US citizenship. Meštrović took a job at the University of Notre Dame in Indiana soon after that. He designed monuments at Notre Dame, and his sculpture is featured in the university’s art museum.
He died in Indiana during 1962 at the age of 79 and was buried in his hometown of Otavice, though the Communists in control of Yugoslavia created many difficulties. His sculptures can be seen all over the world: in Serbia and Romania as well as in the United States, including Louisiana, Indiana, New York and Illinois.
This exhibition focused on Meštrović’s Czechoslovak connection as he had developed an affinity for Czech culture. He befriended the first democratic President of Czechoslovakia, Tomáš Garrigue Masaryk. They both had taken an anti-Habsburg stance during World War I. Also, Meštrović and Masaryk had lived in exile during the first World War. They both admired Slav history. While Meštrović wanted a united Yugoslavia of Croats, Serbs and Slovenes, Masaryk tried to forge a united Czechoslovakia of Czechs and Slovaks. Meštrović sculpted two busts of Masaryk in 1923 as well as busts of his wife Charlotte and his daughter Alice. He created these busts at the Czechoslovak President’s summer residence, Lány Chateau. I recalled spending some sunny afternoons in the park of the chateau in Lány as well as paying my respects at the Masaryk family graves.
Masaryk was by no means the only Czech Meštrović knew. For example, Meštrović was friends with Czech sculptor Bohumil Kafka and even created a portrait bust of Kafka during 1908.
Meštrović’s work was first unveiled in Prague during 1903, when the Habsburgs ruled the Czech lands. His work was included in an exhibition featuring Croatian artists at the Mánes Association in Prague. Mestrovic had another exhibition in Prague during 1933. President Masaryk was so impressed with Meštrović that he presented the Croatian sculptor with the Order of the White Lion award during 1926.
I was enthralled with the Czech connection between Meštrović and artists in Czechoslovakia. Tomáš Garrigue Masaryk was one of my heroes, and I was very interested in life during the First Republic, when Masaryk was president. I felt strong emotions when viewing Meštrović’s powerful works. I also thought back to my introduction to Meštrović’s creations in Split. What a discovery! I was glad to be reacquainted with Meštrović’s sculptures. Seeing his renditions in person was a profound experience.
Tracy A. Burns is a writer, proofreader and editor in Prague.
This past year’s travels included two trips to Italy, one to my beloved Milan and environs and the other to the Amalfi Coast, somewhere I have dreamed of going for many years. I also spent time visiting sights in the Czech Republic, such as Zbiroh and Karlova Koruna chateaus and the towns of Kutná hora and Hradec Králové. I also dined in the traditional Czech pub Hájenka in Kersko. I flew to northern Virginia to see my parents for two weeks in March and had a great time with them as well as with four friends. In Washington, D.C., I visited the National Portrait Gallery and Museum of American Art.
From Petr Brandl Exhibition
I saw many thrilling art exhibitions, including ones focused on the Baroque art of Petr Brandl and the Art Nouveau works of Alphonse Mucha. Karel Teige, Czech avant-garde artist best known for his interwar works, was the focus of an exhibition at the Museum of Czech Literature, which I visited for the first time in 2023.
Campari Tomb at Monumental Cemetery in Milan
My May trip to Italy last year saw me back in Milan, which I had visited for the first time the previous year. I went to several sights I had not seen before. I toured Milan’s Monumental Cemetery to see the architectural gems of tombstones in various styles from the 18th century to contemporary. A colossal sculptural grouping of Da Vinci’s The Last Supper, made for the Campari family, was my favorite. I also saw a structure resembling the Tower of Babel and another looking like Trajan’s Column. An Egyptian pyramid shape made up another monument. Another artistic delight was Italian artist Lucio Fontana’s design of a modern angel. The sculptural decoration throughout the cemetery was astounding.
At National Museum of Science and Technology Leonardo da Vinci in Milan
I also visited the National Museum of Science and Technology Leonardo da Vinci, where I was enamored by the 170 models of Da Vinci’s drawings of buildings, machines and weaponry. I also loved the hangars featuring planes, ships and trains. A Vega Launcher hailed from 2012. A submarine also stood outside.
Paintings lined the walls at the House Museum of Boschi Da Stefano in Milan.
The House Museum of Boschi Da Stefano, located in a posh apartment outside the city center, featured 300 works of 20th century art, mostly paintings but also drawings, furniture and sculpture. Most pieces hailed from 1900 to 1960. The walls were covered with art from top to bottom. Some artists represented were Fontana, Giorgio De Chirico, Pablo Picasso and Amadeo Modigliani.
Navigli section of Milan
I also visited the Navigli district of Milan, where two picturesque streets flanked a canal, making for a picturesque setting. The Navigli is dotted with outdoor cafes and stores, including a few intriguing bookshops.
Basilica of Saint Anastasia, Verona
I spent time outside of Milan, too. I traveled to Verona for the second time. I marveled at the Basilica of Saint Anastasia, the largest church in the city as well as the cathedral and three museums – the Castelvecchio Museum, the modern art museum and the House Museum Palace Maffei – my favorite. The Basilica of Saint Anastasia was built in the 13th century and boasted a Late Gothic façade. The main altar was made from light yellow marble while one chapel housed a famous 15th century fresco. Red and white marble columns decorated the interior. The Pelligrini Chapel included a fresco from the 14th and 15th century as well as intriguing sculpture. A fresco at the left transept had been rendered by a disciple of Giotto. A rudder of a 16th century ship added to the splendid interior decoration.
Verona, House Museum Palace Maffei
Verona, House Museum Palace Maffei
However, it was the House Museum Palace Maffei that captured my heart. Half of the Palace Maffei was designed as a luxurious home punctuated by art from various eras ranging from the 14th century to modern day. The other half was a 20th century art gallery, featuring works by Picasso, Duchamp, De Chirico, Warhol, Ernst, Modigliani, Fontana and others. Paintings, sculpture, drawings, engravings, pottery, bronzes, frescoes and furniture of both Italian and foreign origin dazzled my mind.
In the Castelvecchio Museum, Verona
The Castelvecchio Museum, established in the 14th century, included 30 halls of Italian and European painting and sculpture from the Romanesque days to the 1700s. Not only did I see many paintings but also ancient weapons, ceramics, gold objects and more. The exterior featured panoramic views of the romantic city.
A romantic lane in Bellagio
My other day trip was to Lake Como, where I visited picturesque Como, Bellagio and Mennagio. Unfortunately, it rained all day, but I still had a great time. I also saw the exterior of some noteworthy villas, such as Richard Branson’s waterfront home, the Villa Carlotta and a villa where some episodes of Succession had been filmed. I saw a hotel where Greta Garbo had acted, too. The Villa Olmo in Como had a neoclassical exterior and stunning lake views. Bellagio featured steep, cobblestoned lanes and the Romanesque Basilica of San Giacomo. Mennagio was home to several intriguing churches and had a picturesque lakefront square.
House Museum Bagatti Valsecchi, Milan
House Museum Poldi Pezzoli, Milan
In Milan I also visited beloved sights that I had first seen the previous year. I returned to the House Museum Bagatti Valsecchi with its Renaissance and Neo-Renaissance art and to the House Museum Poldi Pezzoli with its art of various eras, such as medieval triptychs, ceramics, historical pocket watches and other time pieces.
Gallery of Modern Art, Milan
Gallery of Modern Art, Milan
I visited the second floor of the Gallery of Modern Art with its Grassi and Vismara Collections. The Grassi Collection featured both Italian and foreign works ranging from the 14th century to contemporary times. Oriental art was displayed, too. The Vismara Collection concentrated on 20th century masterpieces. On that floor I saw impressive art by Manet, Picasso, Gauguin, Renoir, Van Gogh and Cezanne. Toulouse Lautrec was well-represented, too.
Museum of the Risorgimento, Milan
Brera Art Gallery, Milan, Work of Andrea Mantegna
The Museum of Risorgimento remains another of my favorites with its painting, prints, sculptures and artifacts depicting Italian historical events from 1796 to 1870. The Brera Art Gallery was another highlight, as I gawked at the Italian art from the 13th to 20th century as well as at the foreign works in the 38 vast halls. I loved the paintings from the Netherlands, including those by Peter Paul Rubens and Jacob Jordaens. Other Brera-represented artists dear to my heart included Francesco Hayez, Andrea Montegna, Tintoretto and Caravaggio. I even visited an exhibition of ancient manuscripts in the historical Baroque library. Once again, I was amazed by the 16th century frescoes by Bernardino Luini, his brothers and his son in the Renaissance Church of San Maurizio in downtown Milan.
Sorrento, Nativity Scene, Cathedral of Saints Filippo and Giacomo
During my trip with arsviva travel agency to the Amalfi Coast in June, I fell in love with Sorrento. The streets were picturesque, and the Cathedral of Saints Filippo and Giacomo was Romanesque with a Neo-Gothic façade. Three lunettes showed off beautiful frescoes while a rose window also astounded. Inside, the Latin cross interior boasted three naves with 14 pilasters. The pulpit, hailing from the 16th century, had Doric columns. Stunning frescoes on the cupola, intarsia adornment and a Baroque ceiling were other remarkable elements. The Chapel of Nativity displayed a Neapolitan Nativity scene from the 17th century.
Correale Museum, Sorrento
Museum of Intarsia, Sorrento
The Correale Museum served as a provincial art gallery, and I was enthralled by the 17th and 18th century Italian landscapes, especially those of Castellammare di Stabia, where we were staying. Greek and Roman fragments, historical furniture, clocks, ceramics and porcelain were also on display. The waterfront boasted spectacular views of the sea, which were very soothing. The highlight of my visit to Sorrento was the Museum of Intarsia, with everything from music stands to large beds showing off intarsia decoration by local artists. Some historical paintings were also on display. Downstairs, I saw the innovative, avantgarde designs of contemporary intarsia artwork.
Pompei
I also visited Pompei for a second time. Even though the day was scorching hot, I enjoyed seeing the small and big theatre, the basilica and three temples, especially the one named after Apollo with its 48 Ionic columns. The amphitheatre with a capacity of 20,000 spectators also caught my undivided attention. The wall paintings and mosaic floors of what had been luxurious homes were sights to behold as well.
Ravello, pulpit in cathedral
We moved to a nice hotel in the picturesque, tranquil town of Maiori, where I could spend time in a café or restaurant overlooking the beach or savor homemade ice cream. The town that had made it on UNESCO’s list during 1997 was a perfect place to relax after a busy day out. Before arriving at our hotel in Maiori, we saw Ravello’s Romanesque Cathedral of Saint Maria Assunta and Saint Panteleone, hailing from the 11th century. I admired the 12th century bronze doors and remarkable 13th century Pulpit of Gospels adorned with mosaics. One 16th century chapel contained an phial of blood of Saint Panteleone. The views of the sea from the hilly town were spectacular, too. Numerous famous guests, from Richard Wagner to Virginia Woolf and Greta Garbo, had graced the streets of this town.
Ravello Cathedral, bronze doors of central portal
Positano, a UNESCO-listed tourist site since 1997, was a picturesque hillside town, but, unfortunately, during this past June, it was much too crowded to enjoy. I did peek into the church, though. Its main altar showed off a Byzantine icon from the 13th century. The views of the sea were fabulous.
Cathedral of Saint Andrew, Amalfi
Cathedral of Saint Andrew, Amalfi
Another highlight of my trip was visiting the Cathedral of Saint Andrew in Amalfi, which was founded in the ninth century AD and boasted a 13th century Arab-Norman exterior with Italian Neo-Gothic elements. The mosaic adornment in the tympanum is stunning. Sixty-two steep steps led to the bronze doors of the central portal that hailed from Constantinople, made in the 11th century. A cloister included some intriguing fragments of wall paintings while the interior had Baroque features along with Gothic and Renaissance chapels. The Basilica of the Crucifix harkened back to the ninth century and served as a museum of sacral objects, including sculpture and vestments. The crypt, where the relics of Saint Andrew were held, was stunning with much ceiling and wall decoration.
Paper Museum at paper mill, Amalfi
I also was enamored with the still functioning paper mill at the Paper Museum. The Pope used paper made in Amalfi, which held the distinction of being the oldest paper manufacturer in Europe. The machines and the processes of making and drying the paper were enthralling.
Cathedral of Saint Matthew, Salerno
Salerno was a pleasant surprise. The Romanesque Cathedral of Saint Matthew hailed from the 11th century. The tower was a mixture of Byzantine and Norman styles. The central bronze door was made in Constantinople. Two Byzantine mosaic-decorated pulpits with intricate intarsia amazed in the once Romanesque interior that had been mostly transformed into Baroque style. Mosaics throughout the cathedral were stunning. Frescoes in the treasury chapels were accompanied by a silver statue of Pope Gregory VII. The Late Mannerist ceiling and wall frescoes in the crypt were remarkable, hailing from the middle of the 17th century. A reliquary of Saint Matthew’s arm was on display, too.
Diocese Museum, Salerno
I also visited the nearby Diocese Museum, which featured paintings, sculpture and objects from the Middle Ages to the 20th century. I was most drawn to the medieval altarpieces. The provincial picture gallery was small but included an eclectic array of intriguing works from the 15th to 18th century.
Cathedral of Saint Barbara, Kutná hora
Cathedral of Saint Barbara, Kutná hora
I took some day trips in the Czech Republic, too. We visited Kutná hora, the home of prosperous silver mines from the 13th to 15th century, during one stunning fall day. Saint Barbara’s Cathedral, with its Neo-Gothic exterior of buttresses and gargoyles, astounded me. Inside, I admired exquisite stained glass windows as well as remarkable late Gothic frescoes and a 16th century stone pulpit. The Gothic royal chapel with Art Nouveau decoration at the Italian Court was another remarkable gem.
Pub in Kersko
I visited Kersko twice this fall. I dreamed of owning a cottage in the tranquil, wooded village. I had lunch at the traditional Czech pub called Hájenka, where several films based on Bohumil Hrabal’s writings had been shot. Hrabal had lived in a cottage nearby for many years, feeding all the feral cats that would wander hungrily toward his home.
Zbiroh Chateau
I also toured the chateaus of Zbiroh and Karlova Koruna. Zbiroh, built before 1230, for decades served as a top-secret facility for the Czechoslovak army. Its representative rooms were open to the public only in 2005. The chateau boasted many Madonna statues and other sculpture of great interest as well as African masks, tapestries, Empire furnishings and copies of Leonardo da Vinci paintings. Alphonse Mucha had used the spectacular main hall as his studio early in the 20th century. A beautiful skylight, two Czech crystal chandeliers and impressive paintings adorned Mucha’s former studio.
Exterior of Karlova Koruna Chateau
Karlova Koruna Chateau, designed by Santini-Aichel and built during the 18th century, had a roof shaped as a crown. The chateau consisted of two stories in cylindrical shape with three one-floor wings. The interior featured paintings of horses, including the unique gold-colored horses that the Kinský family had bred as well as pictures of steeplechase races. One painting of a horse race was made of 12 pieces of deerskin.
Beneš Villa
We visited the former villa of Edvard Beneš, president of Czechoslovakia during the interwar years and a prominent member of the Czechoslovak governments-in-exile during the First World War. The stunning Neo-Spanish structure included the room where Beneš died, a dark landscape painting by Antonín Slavíček hanging over his single bed. The furnishings and artworks in the house were intriguing, to say the least. Beneš and his wife Hana were buried in a monumental tomb on the premises as well.
Sucharda’s Second Villa, Prague
In Prague I visited the second villa of sculptor and relief artist Stanislav Sucharda in the Bubeneč district. Jan Kotěra designed the structure with many architecturally intriguing elements. Much of the remarkable interior furnishings had been designed by Kotěra and Sucharda. I saw examples of Sucharda’s artwork as well as pieces by Edvard Munch, Auguste Rodin and many Czech artists.
Gallery of Modern Art, Hradec Králové, Work by Emil Filla
Gallery of Modern Art, Hradec Králové, Věra Jičínská, Brittany
I saw many impressive art exhibitions this year. I traveled to Hradec Králové, where I saw the Gallery of Modern Art with its impressive collection of works by 20th century artists including Bohumil Kubišta, Emil Filla, Jaroslav Róna, Ladislav Zívr, Quido Kočian and many others. The temporary exhibition of artist and writer Věra Jičínská’s works included paintings of her travels to Brittany and Paris. Her renderings of Paris showed off orange rooftops and the Eiffel Tower. She also created paintings inspired by folk art and dance. Her photography amazed me as well. Influenced by her work as a journalist, she created a painting dedicated to this genre.
Museum of East Bohemia, designed by Jan Kotěra, Hradec Králové
The museum devoted to the history of Hradec Králové was an architectural gem designed by Kotěra. I especially liked the furnishings and designs by Josef Gočár and Kotěra as well as the sculpture by Sucharda. The mock shops from the First Republic (1918-1938) were very intriguing as I could see goods that were sold during that era and feel the atmosphere of those times.
National Technical Museum, Prague
In Prague I saw the National Technical Museum for the first time. The cars, especially the 1935 Tatra 80 vehicle belonging to first Czechoslovak President Tomas G. Masaryk, fascinated me as did the motorcycles, bicycles and planes. The dining car of Habsburg Emperor Franz Joseph I, later used by President Masaryk, was also on display. I also was enamored by the architecture and engineering section and the display of old household items in another section. The TV studio, in use from 1997 to 2011, was another delight. Other areas of interest included astronomy, chemistry, printing, photography, time pieces, metallurgy and mining.
Museum of Czech Literature, book cover by Karel Teige
Another astounding sight in Prague was the newly-located Museum of Czech Literature, which moved to the Petschek Villa in Bubeneč during 2022. The displays cover literary developments from the 19th century National Revival movement through the 20th century. I came to appreciate the significance of the literary and art criticism periodical The Critical Monthly from the 1930s and 1940s as well as the symbolist and mystical paintings of Josef Váchal. I was most enamored by the avantgarde book covers designed by Karel Teige in the 1920s and 1930s. His unique typographical work in Vítězslav Nezval’s The Alphabet book was on display, too. A pantheon of great Czech 19th century artists included objects associated with the writers and their busts.
Karel Teige, Greetings from a Journey
A temporary exhibition focusing on Teige’s youth and early career from 1912 to 1925 was amazing, showing off his artwork, photographs, correspondence and more. I understood very well why this artist, writer, theoretician, critic, translator, book designer, typographer and photographer was considered the leading figure of the Czech avantgarde movement between the wars.
Trade Fair Palace, Prague, Fire by Josef Čapek
At The Trade Fair Palace in Prague, I saw the newly installed End of the Black-and-White Era permanent exhibition of art from 1939 to 2021 in chronological order. More than 300 works, mostly Czech, were displayed with historical context. Josef Čapek’s painting “Fire,” showing a fury of flames behind a woman, presents an anti-Nazi theme. The focus on urban life and factories as well as everyday life was highlighted with the works of Kamil Lhoták. The exhibition featured many works made during the Stalinization period of the 1950s with the style of social realism. Martin Slanský depicted Lenin in a snowy Prague. A model of the design of the monument to Stalin in Prague was on display, too.
Trade Fair Palace, Prague, The Dialogue by Karel Nepráš
The progressive movements of the 1960s made way for the red abstract figures of Karel Nepráš. From the late 1960s to early 1980s art as installation came to the forefront. Action art, performance and body art were often the focus of the times. The late 1980s triggered the impersonal postmodernism movement. After the 1989 Velvet Revolution that toppled the Communist regime in Czechoslovakia, individuality and quests for personal identity came to the fore. Some artists focused on the commercialization of society. This new exhibition was extensive and moving. I felt drawn into each historical period up to the present day. The works displayed well represented the movements expressed. I could see how society and culture kept changing and how art reflected those changes.
Saint Jerome by Petr Brandl
I went to many intriguing temporary exhibitions in Prague, too. I saw 64 religious works, genre paintings and portraits by Czech Baroque artist Petr Brandl. An extensive exhibition of Alphonse Mucha’s versatile works owned by his descendants included some originals never before put on display. Mucha’s ad posters, drawings, paintings, sculptures, photographs and jewelry all captured my undivided attention.
Sculpture by Janouch
I saw sculpture of athletes in motion and busts of illustrious Czechs by Petr Janouch in Prague’s Kooperativa Gallery. An earlier exhibition there featured Czech 19th and 20th century paintings involving water – puddles, lakes, waterfalls, streams, rivers and so on. I especially liked one painting by Josef Čapek showing a fisherman on a boat in a river. Landscapes with water themes by Slavíček and Antonín Hudeček also astounded.
Sculpture by Ivan Mestrovic
At the City Library Gallery I saw an exhibition of sculpture by Croatian Ivan Mestrovic (1883-1962). I had come across his art at his villa in Split during a vacation many years ago. Mestrovic, who had befriended first Czechoslovak President Masaryk and Czech sculptor Bohumil Kafka, had delved into a variety of styles, including Art Nouveau, Symbolism, Impressionism, Art Deco, Neoclassicism and late Realism, while preserving a Classical foundation. He focused on numerous themes – religious motifs, portraits and monumental works as well as studies of figures.
Olinka
However, shortly after I returned from the Amalfi Coast, I had to temporarily halt any traveling so I could be at home with Olinka, who was diagnosed with neurological issues that greatly affected her mobility. A MRI showed that she suffered from inflammation of the middle ear. A terrified Olinka spent a total of four nights in the hospital and was on antibiotics for ten weeks. Every two weeks we went to the vet so she could get her antibiotic shot.
Olinka
The first four days at home after three nights in the hospital she could hardly walk and was very disoriented. Those initial few days she stayed mostly in the bedroom closet, only appearing for food and the use of the litter box. She didn’t play with her toys for three weeks. Before her illness, I had been frustrated with Olinka because she always knocked everything off tables and the kitchen counter. Sometimes it felt like a never-ending battle. At the start of her illness, I came to appreciate even her most frustrating quirks. I just wanted her knocking everything off surfaces again, back to her old self. The broken glass on the screen of my mobile phone is proof that she is once again doing just that.
Olinka
I will never forget her first night back from the hospital. She somehow made her way onto the bed and reclined below my pillow. I rested next to her, my arms around her. We stayed like that for an hour or two, just spending time with each other, appreciating that she was alive and at home. I will always remember that feeling of relief and love more profoundly than any experience during my exciting travels.
Tracy A. Burns is a writer, proofreader and editor in Prague.
Olinka on Christmas Eve
From Alphonse Mucha exhibition
Municipal House, Prague, Mayor’s Hall, decoration by Alphonse Mucha
I toured the Municipal House in Prague. Once again, I was captivated by its Art Nouveau interior.
In October of 2023, I saw the comprehensive Prague exhibition “Petr Brandl: Story of a Bohemian” consisting of 64 altar paintings, portraits and genre works by Brandl (1668-1735), a masterful Czech artist during the Late Baroque period.
Self-portrait of Petr Brandl in a wig
I was well familiar with Brandl’s work. Many of the works shown at Wallenstein Palace were creations I had seen at chateaus, churches, cathedrals or monasteries throughout the Czech lands, such as at Břevnov monastery, The Cathedral of the Assumption of the Virgin Mary and Saint John in Sedlec as well as at Jindřichův Hradec Castle and Chateau. Another altar painting hailed from Church of St. John the Baptist near Manětín Chateau. Lnáře was home to another altar painting. I had visited the Baroque chateau and the cat museum in Lnáře a few years previously. The altar paintings on display had been restored over a period of two years.
Brandl was of Czech and German descent, baptized in October of 1668. At age 15, he served as an apprentice to painter Kristián Schroder, who later became custodian of Prague Castle. (Schroder’s work was also represented in this exhibition.) Brandl’s masterpieces showed a distinct influence of Karel Škréta’s dynamic and bold style, which was apparent because Škréta’s creations were displayed, too.
A friend of Brandl’s, legendary sculptor Matthias Bernard Braun utilized one of Brandl’s drawings for his design of the statue of Saint Luitgarda on the Charles Bridge. Coincidentally, Brandl had taken part in the competition to create the statues for the Charles Bridge, but Braun had been the victorious one. (I also saw examples of Braun’s work at this exhibition and couldn’t help thinking about the 24 allegorical statues of vices and virtues for former hospital Kuks in east Bohemia, rendered so masterfully by Braun.
Brandl had worked for some of the most prestigious noble families, including the Černíns, Lobkoviczes and Šporks. Brandl lived in Kuks, working under the guidance of František Antonín Špork, during 1731. The painter created a well-known portrait of his patron there.
Coincidentally, Brandl’s brother had a claim to fame as well. Working as a goldsmith, Brandl’s brother contributed to the building of the Cathedral of Saint Vitus in Prague.
To be sure, Brandl was a prolific painter. In the Church of St. John the Baptist in Manětín, Brandl had designed the painting at the main altar. At the UNESCO-listed cathedral in Sedlec, Brandl was responsible for three paintings in the chapels. I also saw four of his paintings in Lnáře. At Břevnov monastery his works dominated six side altars in the main nave. The themes of the paintings at the monastery, founded in 993 AD, included the dying Saint Benedict, Saint Vojtěch meeting with Prince Boleslav II at a spring, the murder of Saint Wenceslas and the crucified Christ.
I had always been enamored by Brandl’s strong chiaroscuro and thick, energetic brushstrokes. His paintings, dynamic and vibrant in character, told distinct stories. His portraits brought the sitters to life. Those of elderly men, such as St. Jerome, were reminiscent of Rembrandt’s works in their expressive nature. His later works took on darker tones and utilized simpler modelling of shapes.
The exhibition also highlighted Brandl’s personal life, especially his monetary problems. I read descriptions of his troubles as I gazed at his monumental works. Brandl’s marriage was rocky in part due to financial problems. He also cheated on his wife, Helena. Wed to Petr Brandl during 1693, Helen often complained that he was a spendthrift and didn’t provide enough money for the care of his three children. He also owed money to the artist’s guild and was fined accordingly. Brandl was earning money but spent it all on an extravagant lifestyle. Brandl found himself in debt his entire life and even was imprisoned twice as a debtor.
His poor health was also highlighted in the exhibition. Brandl had trouble sleeping and took pills. He had pain in his joints and digestive problems, too. Those were just a few of his many ailments.
Saint Jerome
He was very poor when he died during 1735. Brandl was buried in a church in Kutná hora, a town about an hour from Prague, where he had spent time at the end of his life.
Fire of Troy
Despite his shortcomings as a person, Brandl was my favorite Czech Baroque painter and one of my favorite Baroque painters of all-time. I was enthralled by this exhibition and came away feeling joyous that I had been able to enter Brandl’s artistic worlds.
Tracy A. Burns is a writer, proofreader and editor in Prague.
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.
One of my dreams was to visit the romantic towns on Lake Como, so I took a day trip to Como, Bellagio and Menaggio when I was in Milan during May of 2023. Unfortunately, the tour did not go to Varenna, a place I longed to see. Maybe next time. The tour only took us to one villa’s grounds, which were open to visitors. I saw the exteriors of many villas from the boat, but it was drizzling, and I was seated on the wrong side to get pictures. I hope to go back one day and visit Villa Carlotta, an architectural gem that includes a botanical garden with 150 types of azaleas, rhododendrons, tropical plants, cedars, palms and more. I heard that its interior is filled with superb art. Antonio Canova and Francesco Hayez are two of the artists represented in the villa’s art-dotted spaces. Maybe next time.
First, we visited the charming town of Como, located only 40 kilometers from the Swiss border. Our guide pointed out that former Fascist Prime Minister Benito Mussolini and his mistress had gone through Como while trying to flee to Switzerland and eventually to Spain. However, in April of 1945 he was arrested in Dingo, a town near Como and a day later shot in Giulino di Mezzegra.
Upon reaching the center, I first noticed the cathedral, dedicated to the Assumption of the Blessed Virgin Mary. It had an impressive Late Gothic façade with sculptural decoration. The construction took a considerable amount of time; in fact, it took four centuries to build. I took note of the statues of writers Pliny the Elder and Pliny the Younger, natives of Como.
Inside, the cathedral had a Latin cross configuration with three naves divided by pilasters. The Romanesque sculpture was noteworthy. Three of Bernardino Luini’s paintings from the 16th century hang inside. Stained glass windows hail from the Gothic and Renaissance eras. The stunning cupola is Rococo while the main altar harkens back to the 14th century. What impressed me the most were the nine tapestries woven in the 16th century. They focused on themes such as the Eucharist, the Sacrifice of Isaac, the Adoration of the Magi and the Pentecost, for example.
The Basilica of Saint Abbondio is another sight worth seeing in Como. This Romanesque edifice included 14th century frescoes. Como also boasted of a very unique building designed during totalitarian times, the Caso del Fascio, which was erected from 1933 to 1936. The functionalist structure lacked any ornamentation. The Caso del Fascio served as an example of Italian architecture designed during totalitarian times. The Como-based building had four geometrical and opaque facades. Designed by Guiseppe Terragni, the place was occupied by the National Fascist Party until 1945, when various political parties had their offices there. Now the Finance Police calls the curious structure home.
Walking around the center of Como, taking in the romantic atmosphere, was a real thrill. We also visited the grounds of the Villa Olmo, an impressive neoclassical structure dating from the 18th century. The lake views were outstanding, and the English style garden was beautiful.
Bellagio was next on the itinerary. I ate a delicious lunch in an costly restaurant in this charming town with steep cobblestoned lanes dotted with some expensive shops. The historic center was made up of only three streets but also sported a park and marina. I walked up one steep street that had a medieval aura and found myself on the main square looking at the Basilica of San Giacomo and a tower. The basilica hailed from the Romanesque days of the 11th and 12th centuries and featured a Romanesque cross and Gothic triptych.
While I didn’t have the chance to visit any of the villas there, the Villa Melzi with its English style garden is worth mentioning. The luxurious structure inspired many of the rich to build villas on Lake Como during the 19th century. Franz Liszt composed many piano works there, inspired by the romantic atmosphere.
We also visited the quaint town of Menaggio with its quaint waterfront square. The three-naved Church of Santo Stefano Protomartire, built on a Paleochristian site, showed off frescoes from the 16th and 17th centuries. The Chiesa di Santa Maria had a neo-Gothic façade and included an artistic rendition of Saint Ambrogio as a young man. Other churches in the town are noteworthy, too. There are many villas in Menaggio, including the neoclassical Villa Vigoni. Goethe often traveled to that villa.
I did get a look at some villas where movies and some episodes of the show Succession had been filmed, and I saw a hotel where Greta Garbo had made a movie. Unfortunately, it wasn’t possible to take good pictures due to the rain slivering down the window and the location of my seat on the boat. I did like Richard Branson’s villa with its fairy-tale appearance, though.
Even though it rained often while I was exploring the towns surrounding Lake Como, I enjoyed the romantic atmosphere that had inspired Liszt, Goethe and so many more. The towns were very crowded even on a rainy day. I could only imagine how crowded they must be in the summer on sunny days. I hope to return to Lake Como sometime, heading to Varenna or Villa Carlotta.
Tracy A. Burns is a writer, proofreader and editor in Prague.
My first stop in Verona was the Castelvecchio Museum, a sprawling edifice that looks like a medieval fortress. The Castelvecchio hails from 1354 to 1356, when it was built for Cangrande II della Scala as a defensive structure. The Della Scala family lived there for a short time. During Napoleon’s reign, from 1801 to 1806, the building was transformed into barracks, and it served this purpose until 1924. The Castelvecchio was seriously damaged during World War II, during the time when the Germans destroyed all of Verona’s bridges. From 1958 to 1974, architect Carlo Scarpa renovated the Castelvecchio, adding modern elements to the original style that harkens back to the Middle Ages.
The expansive medieval and Renaissance spaces inside house 30 halls of Italian and European painting and sculpture, dating from the Romanesque era to the 1700s. I also saw ancient weapons, ceramics, gold artifacts, bells and miniatures, for instance. I especially liked the walkways outside. They offer panoramic views of romantic Verona.
Artists represented in the collection include Pisanello, Giovanni Bellini, Jacopo Bellini, Carlo Crivelli, Andrea Mantegna, Jacopo Tintoretto and Tiepolo. Pisanello’s “Madonna of the Quail,” Jacobo Bellini’s “Madonna of Humility” and Mantegna’s “Holy Family” are a few of the highlights. The Romanesque sculpture also is impressive.
An intriguing true crime story is connected to the museum. In 2015, three thieves made off with 17 paintings, including masterpieces by Jacopo Bellini, Giovanni Bellini, Andrea Mantegna, Tintoretto, Peter Paul Rubens and Hans de Jode. The following year, the museum got the works of art back from Odessa thanks to Ukrainian border guards. It remains one of the most significant art heists to take place in Italy.
Tracy A. Burns is a writer, proofreader and editor in Prague.
Tracy's Travels 