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Danube River Cruise, June 2023

Prague – Charles Bridge and Old Town, June 25, 2023

At the end of our Sunday morning tour of Mala Strana we arrived at the Charles Bridge, which spans the Vltava River from Mala Strana to the Old Town of Prague.

While writing this post, I learned that my lifelong friend Charles (Chuck) Mattox had passed away in Bend, Oregon. I had known Chuck for over 60 years, since we met in 1960 while we were both at Long Beach State College (now California State University at Long Beach). After graduating from college and serving in the army, he had moved to Oregon for graduate study at the University of Oregon in Eugene, where he met Elouise Foiles; they were married in 1965, and I served as best man at their wedding. Since then we had remained in touch. I visited them in Bend whenever I could, and after Sandie and I were married in 2002, we had taken several fabulous trips along with Chuck and Elouise to view solar eclipses. A few years before, Chuck and Elouise had taken a Danube cruise very much like ours, and Chuck had stood on the Charles Bridge, just as I did on the morning of June 25, 2023. This post is dedicated to his memory.

In my last post I mentioned the Judith Bridge, which was built in 1172 and which was protected by a chain associated with the Church of Our Lady under the Chain; in 1342 that bridge was wrecked by a flood, and construction on a new bridge began in 1357, in the reign of Charles IV. The new bridge was called the Stone Bridge at first, but since 1870 it has been known as the Charles Bridge. Instead of a chain, the bridge was protected by towers, two on the Mala Strana side and one on the Old Town side. It was completed in 1402.

The Charles Bridge is 516 meters (1,693 feet) long and nearly 10 metres (33 feet) wide. Thirty sculptures line its sides, replicas of originals mostly erected from the late 17th through the 19th centuries. I tried to photograph them all; I did not succeed and got lost in the process, but I did shoot most of them. I won’t try the patience of the reader by presenting all of those I did shoot on this page, but I will show a few of the best.

It was a sunny (and hot) Sunday in June, and as one might expect, the bridge was packed with tourists like us. It was hard to get an unobstructed picture of anything, but I did my best.

In fact, I became so absorbed in taking pictures that by the time I came to the Old Town end of the bridge, I had lost touch with my tour group. I looked around for a few minutes and when I didn’t see any of them, I thought they must have left me behind. I didn’t know which way they had gone, so I just went straight ahead on Karlova (Charles) Street, which comes off the bridge. After a few blocks I hadn’t found them, so I turned back and returned to the bridge tower. It turned out that they were all there, looking for me.

So again I set off, this time together with the tour group, down Karlova Street through the Old Town of Prague. First we had to pass through Crusader Square (Křižovnické náměstí), so named because the monastery of the crusading order of the Knightly Order of the Crusaders with the Red Star, along with its associated Baroque church of St. Francis of Assisi, borders the north side of the square. Another Baroque church, that of St. Salvator, stands on the east side of the square, and on the south side is the historic and imposing Colloredo-Mansfeld Palace, formerly a residence for aristocratic families. In the middle of the square is a neo-Gothic monument to King and Emperor Charles IV, unveiled in 1851.

Karlova Street proved to be a touristy shopping district, not as high-end and snooty as Paris Street, which we had seen the day before, but more lively and affordable.

At 4 Karlova Street we passed a house where the astronomer Johannes Kepler lived from 1607 to 1612, while he was Court Astronomer to Emperor Rudolf II.

Karlova Street is full of inviting boutiques, cafes, pubs and other establishments, too numerous to catalogue. Again I could not help but marvel at how American-oriented (or Anglo-oriented, same difference) Prague has become. Many of the names and signs on the shops were in English: there was the Mad Rabbit ice-creamery, the Golden Crown jeweler, a Local Artists gallery, the Duck Boutique and my favorite, the Fat Cat pub, which had a sign (in English) advertising “Husband Day Care”.

Karlova Street twists and winds tortuously for several blocks through the heart of Old Town Prague before ending at Malé náměstí, “Little Square,” which is an adjunct to Old Town Square to its east.

Thus it was that at the end of our walking tour of Mala Strana, our Gate1 group ended up in Old Town Square, the same place where we had finished the previous day’s tour. So I had another chance to shoot some scenes in this amazing place, of which I couldn’t get enough, and I experienced a somewhat different perspective of it than on the first day. Most notably, on Sunday there was a major demonstration against the Chinese Communist Party, with placards reading “Chinese Communism is evil!”, “NO to Chinese gulags!” and “400 million Chinese quit the Communist Party!” I doubt whether the demonstrators caused much dismay for Xi Jin-ping, but I was impressed by their fervor.

Our Gate1 tour group disbanded in Old Town Square, and we were free to go our separate ways; I took the option of walking back to the Cosmopolitan Hotel to rest up and get ready for the final adventure of our visit to Prague, which was in store for Sunday afternoon.

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Danube River Cruise, June 2023

A Sunday Afternoon Motor Tour of Prague, June 25, 2023

Sandie felt poorly the entire time we were in Prague and was mostly confined to our hotel room, unable to manage the excursions, which involved a lot of walking. So for our final afternoon, I arranged for us to be taken on a two-hour motor tour. It was a bit pricey at 250 euros, but it was the only way Sandie would be able to see a bit of Prague, and I didn’t want her to miss out completely on one of the grandest and most memorable cities I’ve ever seen.

The tour outfit I booked with uses replicars for their excursions. These are replicas of vintage Mercedes-Benz, Alfa-Romeo and other classic automobiles that look like exact duplicates of the originals, but are equipped with modern engines and drive trains. Our vehicle turned out to be a copy of a 1947 Alfa-Romeo. It was completely open to the sky and the weather was sunny and warm. The driver (sadly, I’ve forgotten his name) was a jovial twenty-something fellow who spoke fluent idiomatic English (it seems that nearly everyone speaks English in Prague) and knew the city well. He appeared to have a standard itinerary but was also quite flexible and willing to entertain special requests about places to visit. He took us to some attractions that I had already seen, but Sandie hadn’t, and I wanted her to see them; but he also took us to places I hadn’t yet been on the Gate1 walking tours, which made for a rich experience for us both.

Our driver picked us up at our hotel and drove up Na Poříčí Street to Republic Square. I had seen plenty of Republic Square already, since it was near our hotel, but I was able to appreciate its sights better with the help of the driver’s comments, and we were able to add some new photos to those I had taken already.

Republic Square is the site of a number of significant attractions. The most prominent is the Powder Tower (Prašná brána), which was actually one of the original city gates of the Old Town. Its construction began in 1475, in the reign of Vladislav II (r. 1471-1516). At that time it was called simply the New Tower. In the 17th century it was used to store gunpowder, hence the current name. Coronation processions for Czech kings traditionally began at the Powder Tower and ended at Prague Castle.

Also on Republic Square is the Palladium Department Store, actually a huge indoor shopping mall, which I had explored a bit the day before. Prior to the 1990s it had been the Josef Army Barracks building. It was repurposed, rebuilt and opened as a shopping mall in 2007, and now contains 170 shops and 30 restaurants, as well as a considerable amount of office space.

Unfortunately, I unaccountably failed to notice that the Kotva Department Store, one of the examples of Brutalist architecture modeled in Holubička Park, which I had seen in Malá Strana earlier that day, is located across the street from the Palladium, so I don’t have a photo of the actual building, only the model in Holubička Park. I did get a photo of the headquarters of the Czech National Bank (Česká národní banka, abbreviated ČNB), also found on Republic Square.

Next to the Powder Tower, just to its north, stands Municipal House (Obecní dům), a splendid structure built in the Art Nouveau style in the early 20th century. It occupies the site of a vanished royal palace, where the Kings of Bohemia lived until 1485, when they moved to the Prague Castle. It was the site of the Czech Declaration of Independence in 1918. The building houses Smetana Hall, a major concert venue, as well as a ballroom, civic facilities, a café and a French restaurant. It is also adorned both inside and outside with outstanding artworks, including a mosaic called Homage to Prague over the entrance and allegorical sculpture groups on either side. Unfortunately our photos don’t do justice to these, so I’ll refer the reader to the pictures on the Municipal House website.

Prague is a veritable treasure-house of Art Nouveau, which was a great pleasure for me since it’s one of my favorite styles. From Republic Square we drove to Wenceslaus Square, and on the way we passed the Prague Main Railway Station, first built in 1871 in the Neo-Renaissance style bearing the name of Emperor Franz Josef. By the end of the 19th century it was sorely in need of expansion, so it was rebuilt in 1901-1909 in Art Nouveau style according to a design by architect Josef Fanta, and extensively decorated with statues and other works featuring Art Nouveau motifs.

Wenceslaus Square (Václavské náměstí) is named after Václav I (907-935), the patron saint of Bohemia and the subject of the Christmas Carol “Good King Wenceslaus.” He was Duke of Bohemia (which did not officially become a kingdom until 1198) from 921 to 935, and was later canonized for his good works and his martyrdom at the hands of his brother Boleslav in 935. I don’t know how the Czech name Václav became Latinized to Wenceslaus, which sounds ridiculous to me, but the square was established in 1348, during the reign of Charles IV, as a market for trading horses, so its original name was the Horse Market. It was renamed St. Wenceslaus Square in 1848. It is a very large square, 750 meters (2460 feet) long by up to 63 meters (207 feet) wide, and has been the scene of a number of key events in Czech history, most notably demonstrations against the Soviet invasion of 1968 and the inception of the Velvet Revolution of 1989.

Near Wenceslaus Square, though not actually on it, is the Prague State Opera House, originally opened in 1888 as the New German Theater, created in response to a desire for the German community in Prague for a theater of its own. Since 1992 it has been part of the National Theater of the Czech Republic, in association with the other main Prague opera house, the National Theater (Národní divadlo) located on the east bank of the Vltava River. With its magnificent auditorium and elaborate neo-rococo décor, it is considered one of the great opera houses of the world.

At the east end of Wenceslaus Square is the main building of the Czech National Museum. Established in 1818, the Museum was initially located in the palace of its founder, Count Kaspar von Sternberg, but was moved to its present location in 1891, when the building was completed. At first the focus of the museum was on natural sciences, since its founder was a botanist, mineralogist and phytopaleontologist (phytopaleontology is the branch of paleontology concerned with ancient plants). Later, however, in the 1830s and 1840s, the museum began to acquire historical and cultural objects, a reflection of the Romantic movement, which emphasized the importance of historical influences; and it became instrumental in the 19th-century revival of Czech language and culture and the ensuing growth of Czech nationalism.

The main building on Wenceslaus Square was built between 1885 and 1891 by the Czech neo-renaissance architect Josef Schulz. It was damaged by a bomb in World War II, but the collections had been moved to secure locations, so they were not harmed. However, in 1968 when the Soviet troops fired on the demonstrators in Wenceslaus Square, the museum façade was damaged by machine-gun bullets. Although repairs were made, it is said that the marks made by the bullets can still be seen, although I didn’t get close enough to notice any myself.

An equestrian statue of St. Wenceslaus created in 1912 by Josef Václav Myslbek stands in the square in front of the museum’s main building.

From Wenceslaus Square our driver took us to Charles Square, where the New Town Hall (Novoměstská radnice) is located. The oldest part of the building, the eastern wing, was built between 1377 and 1398 in Gothic style. A south wing was added after 1411. The salient feature of the hall, the tower, was built later, between 1452 and 1456. Although it is newer than the Old Town Hall, the New Town Hall was the scene of the First Prague Defenestration in 1419, which initiated the Hussite Wars. In the 16th century, modifications were made in the Renaissance style, and the western and northern wings were added. The New Town Hall served as an administrative center until 1784, when the reforms of Emperor Josef II concentrated all municipal administrative functions in the Old Town Hall. Afterward it housed the main criminal court and a prison.

Charles Square, as one might guess, was founded by Emperor Charles IV, who intended it to be the main square of the New Town of Prague. It was the largest town square of medieval Europe and is still one of the largest city squares in the world. But it was originally called the Cattle Market and was only named after its founder in 1848. The central part of Charles Square has been turned into a park, similar to Central Park in New York.

Not far from Charles Square we drove by the Quadrio shopping mall, where we saw the Head of Franz Kafka. This is a bizarre sculpture by David Cerny, 10.6 meters (35 feet) tall, depicting the head of…someone – I can’t say that I would recognize it as Franz Kafka. Anyway, the head is composed of 42 stainless steel panels which are mechanized and rotate individually, causing the head to deform and reform itself. It’s a controversial but intriguing piece and helps to maintain Prague’s reputation as a center of avant-garde art.

Our next stop was no less contentious — the Dancing House (Tančící dům) on the Rašínovo Embankment near Jiráskovo Bridge. Built on the site of an apartment house destroyed by American bombing in 1945, it was financed by a Dutch insurance company, which bought the land in 1992 and hired the Czech-Croatian architect Vlado Milunić and the Canadian-American architect Frank Gehry to design the building. The architects were given carte blanche, and the result was a structure consisting of two towers, one of glass, the other of concrete. The glass tower narrows in the middle and is supported by curved pillars; the concrete tower is straight, but features wavy moldings and out-of-alignment windows. The towers have been nicknamed Ginger and Fred, after the American dancers Ginger Rogers and Fred Astaire – Ginger represented by the glass tower and Fred by the concrete tower. The Czech-British architect Eva Jiřičná designed most of the interior of the building, which has has nine floors, with two underground. The building contains a hotel, an art gallery and a restaurant, named “Ginger and Fred,” of course. Although the Dancing House has won several awards, including a Time Magazine design prize in 1997, it has been heavily criticized as being inappropriate and outlandish in a city where most of the architecture is Gothic, Baroque, or Art Nouveau.

Next we crossed Jiráskovo Bridge and headed up to Prague Castle for a brief stop near the Powder Bridge entrance, where our tour bus had brought us the day before. The castle grounds are closed to motor traffic, so Sandie wasn’t able to see all the sights I had seen that morning, but at least she was able to get some idea of the scale and grandeur of the place.

From the Castle we continued on to the top of Petřín Hill, arriving at the colossal Great Strahov Stadium, which claims to be the world’s largest. It was not, as one might expect, a product of the Communist era but was built before World War II with the special purpose of showcasing displays of synchronized swimming. It has a capacity of 250,000, but is no longer used for competitive sports events. Instead it serves as a training ground by the Sparta Prague professional football team, and as a venue for rock concerts.

On the way up to the stadium I spotted and photographed an apparently very decrepit house on the hillside which was plastered with graffiti and looked abandoned. It appeared to have a “Hotel” sign but I’m not sure whether this was actually associated with the house or on another building above it on the hill. I haven’t able to find out any information about it, so I’ve chosen to call it the Strahov Haunted House.

We stopped for a while at Strahov Stadium to take a break, shoot some pictures and stretch our legs. The stadium is poorly maintained and rather decrepit, but the views of Prague from the hilltop are superb. Also it turned out that there is a motor vehicle tunnel running under the stadium, called the Strahov Tunnel, for which ventilation is provided by two immense towers standing next to the stadium. The control room for the tunnel and its towers is also located on the hill nearby. In fact, the hills of Prague appear to be honeycombed with vehicular tunnels and one wonders how they manage to keep the city from caving in on itself.

As we headed back down the hill to our next stop, we spotted a large tractor by the side of the road, upended with its front wheels sticking up in the air, and painted a flamboyant shade of pink. It turned out to be another David Cerny piece, the Monument to Visací Zámek. Visací zámek means padlock in Czech, and indeed one of the front wheels had been fashioned into the shape of a padlock. Visací zámek is the name of a Czech punk rock band founded in 1982, before the fall of Communism; it was highly influential in the opposition movement that led to the fall of the Husak regime in 1989. It has remained active in the years since then, and the monument was erected in 2022 to commemorate its 40th anniversary.

Returning through the Hradčany (Castle) district, we stopped at Loreta Square, where the Loreta Monastery pilgrimage site is located. The monastery was founded in 1626, but the present Baroque building with its imposing clock tower, designed by the famous father-son team of Christoph and Kilian Ignaz Dientzenhofer, dates from the early 18th century. The tower has a famous chime which consists of 30 bells and has been operating since 1695.

Across the square from the monastery we saw the Czernin Palace, largest of the Baroque palaces of Prague, built in the 1660s for the wealthy aristocrat Humprecht Jan Czernin, the Habsburg ambassador to Venice and Rome. Since the 1930s it has served as headquarters of the Czech Ministry of Foreign Affairs.

A little farther on, on Loreta Street closer to Hradcany Square, we came across a rather stark Romanesque building painted in kind of a peachy shade of yellow. This was built in the early 18th century as a residence for the ambassador of the Vatican. In the 19th century it served as a military hospital. Nowadays it serves as the barracks of the Prague Castle Guard (Hradní stráž), a special autonomous unit of the military forces whose main task is to guard and defend the seat of the President of the Czech Republic at Prague Castle. I found the site interesting mainly because of the eight-armed cast-iron gas lamppost with sculptural decoration that stands on a stone plinth in front of the building. It was one of sixteen such gas lampposts installed in the mid-19th century. At that time hundreds of less elaborate four-armed, three-armed and one-armed lampposts installed throughout the city, but they went away after the advent of electric lighting; now only three survive, two of them eight-armed and one with four arms. (The other eight-armed lamppost stands in nearby Hradcany Square, but somehow I had missed it when I was there the day before.) The eight-armed models were cast in 1867 or 1868 in the Komárovské ironworks, are 8.5 meters (feet) tall and weigh 5 tons. From the base of the lamppost, on the stone plinth, rises a column surrounded by four female figures in antique clothing; above them the eight baroque arms with lamps radiate out from the column, which rises to a height of several more feet and has an allegorical figure of Prague at the top.  

From the Castle Guard Barracks we drove up to the Military Church of St. John of Nepomuk, another Dientzenhofer masterpiece. It was built in 1729 to serve a convent of the Ursuline Order of Catholic Nuns, but the religious reforms of Joseph II shut the church down in 1784, and it was handed over to the military, which used it as a salt warehouse. But in 1861 it was reopened as a church, serving the military garrison of Prague. In 2002 it was opened to the public. Statues by the Baroque sculptor Matthias Wenzel Jäckel adorn the façade, and the interior is decorated with frescoes by Wenzel Lorenz Reiner illustrating the life of St. John of Nepomuk.

Descending the hill into Malá Strana, we were able to see some of the locations which I had visited there in the morning, as well as a few that were new to me. Sandie had to miss the Wallenstein Palace and Gardens, which are open only to pedestrians, but she was able to enjoy Malá Strana Square with its exquisite St. Nicholas Church, the supreme achievement of the Dientzenhofer father-son architect team. I was able to correct an oversight by photographing the Holy Trinity Column on the west side of the church, which I had missed that morning. It is another example of a pestsäule or plague column, erected in 1715 in gratitude for averting the plague epidemic of 1713. The column is simpler and to my mind more attractive than many of the others I had seen. It sits on a stepped plinth surrounded by a balustrade with putti and vases. On the plinth are statues of the Virgin Mary and several of the Czech saints; above them is a representation of the Trinity, and on top is a three-sided obelisk with a symbol of the Eye of God at the apex.

Of course we dropped by the Knights of Malta Commandery, the Church under the Chain, and the Lennon Wall, so Sandie would have a chance to see them. But one attraction I would never have been aware of had the driver not brought it to my attention was the street known in Czech as the  Vinárna Čertovka, and in English as the Narrowest Street in Prague. This is easy to miss because at first sight it appears to be no more than a tiny space between two buildings. But it is officially a street, though limited of course to pedestrian traffic, and so narrow that it can accommodate only one person at a time, so that traffic lights are needed to control access and ensure that people do not collide with one another.

Not more than a block away from the Narrowest Street we found the Franz Kafka Museum, which I had also not seen earlier. Dedicated to the life and work of the famous writer, it features copies of first editions of Kafka’s works and some of his correspondence. Two permanent exhibitions are focused on exploring the role of Prague in his work, which is enigmatic because he never identified the places he described in his writings, though various locations in the city are unmistakably present in the background. The designers of the museum strove to create a place in keeping with the dark and surreal atmosphere of Kafka’s works, so they created exhibits that are often outlandish and bizarre – sometimes even “goofy,” according to one reviewer – such as open file cabinets, piles of coal, even a torture machine from his Penal Colony story. I must confess that I have never properly appreciated Kafka’s works, having read only one of them, The Metamorphosis, which I was assigned to read in a college history class, and which I found repellent. (Somebody wakes up one morning to find that he has turned into a giant cockroach overnight, and nobody even wonders why?) I also started reading The Trial but found it so dreary and boring that I could not get very far in it. But I regret not having had a chance to tour the museum – we only had time to view it briefly from the street – especially because I missed the famous David Cerny statue in the courtyard of two men peeing into a pool. It is only partially visible in my photograph, and I didn’t notice it at the time I shot the picture. However, you can see a good picture of the sculpture on Wikipedia.

We did manage to see and photograph the surrealist statue of Franz Kafka by Jaroslav Róna which stands in the Jewish Quarter. It depicts Kafka riding on the shoulders of a headless (and handless) figure, an allusion to his short story “Description of a Struggle,” published in 1912.

We concluded our motor tour with drive-bys of some of the other essential Prague landmarks, such as the Rudolfinum concert hall and the National Theater (Národní divadlo) opera house. We also had our driver take pictures of us seated in the Alfa-Romeo on the riverbank near Manes Bridge, with Strakov Academy on the opposite bank of the Vltava as a backdrop.

Although in two days I had managed only to scratch the surface of all there is to see and do in Prague, and I was sad that Sandie didn’t get to see more of the city, I was nevertheless elated that I had finally managed to set foot in a place I had yearned to visit for so many years, a city of endless sights and spectacles and a monument to the immemorial human striving for liberty and enlightenment.

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Danube River Cruise, June 2023

Prague – Wallenstein Gardens, June 25, 2023

In a previous post I related the tale of the three Defenestrations of Prague, the last of which, in 1618, started the Thirty Years’ War. Following that incident, both the Catholics and the Protestants began amassing their forces for what they knew would be a hard-fought struggle. The Bohemian Estates, controlled by the Protestants, voted to depose King Ferdinand and invited a Calvinist prince, Frederick V of the Palatinate, to replace him. Frederick happened to be married to the daughter of James I, King of England, for whatever that was worth, which proved to be very little. Unwisely, and against his father-in-law’s advice, he accepted the Crown of Bohemia. He arrived in Prague in October 1619. Meanwhile Ferdinand II had been elected Holy Roman Emperor in Frankfurt.

Frederick and the Protestants appeared to be in a strong position at first. They had powerful supporters, including England, the Dutch Republic and the Protestant League of German princes, formed by Frederick’s father. Ferdinand II, by contrast, was broke and had to go begging for aid from his Spanish cousins, but they were spending all their money on trying to subdue the Dutch.

Yet the Bohemian Protestants’ advantages turned out to be illusory. The powerful Duke of Bavaria, Maximilian Wittelsbach, was no friend of Ferdinand, who had been his rival for election as Holy Roman Emperor; but he was even less a friend to Frederick or any Protestant. And in 1609 he had formed a league of Catholic princes which he now summoned to action. In 1620 the forces of the Catholic League stormed through the Protestant territories in Austria, then marched on Bohemia. In the Battle of the White Mountain near Prague, in November 1620, the Catholics routed the Bohemian forces and then entered Prague. Frederick fled. The Bohemian Protestant leaders were rounded up and 27 of them were executed on Old Town Square on June 21, 1621. This was the start of a program of what might be called the 3 Rs – retribution, re-distribution, and re-Catholicization, with Germanization thrown in for good measure. Protestant nobles were expelled en masse from Bohemia; their estates were confiscated and awarded to Catholics, mostly Germans. The German language was made an official tongue of Bohemia and was widely spoken among the aristocracy and the urban inhabitants; Czech was mostly relegated to the rural areas. Bohemia became a staunchly Catholic country and remains so today.

One of the people most instrumental in restoring Catholicism and Habsburg rule in Bohemia was a man known to history as Albrecht von Wallenstein. He was born in 1583 into a family of poor Protestant nobles, the Waldsteins (Wallenstein is a variant of the name commonly used in English-language publications), but in 1506 he converted to Catholicism, probably to enhance his prospects in Imperial service. He became wealthy by two marriages to rich heiresses. When the Bohemian Revolt began in 1618, he used his wealth to equip troops to fight on the Catholic side. The rebels confiscated his estates in Moravia, but he recovered them after the Battle of the White Mountain, in which he distinguished himself. The Emperor Ferdinand rewarded him with new estates and grandiloquent titles, including Count Palatine, Prince and Duke. In turn Wallenstein supplied the Emperor with loans and raised armies, which he commanded, to fight the Protestants. In the late 1620s Wallenstein’s armies went from one victory to another, carrying all before them, and it seemed that Ferdinand’s dream of restoring Catholicism throughout the Holy Roman Empire was on the verge of realization.

Then the Swedes struck.

Nowadays Sweden is justifiably thought of as a peaceful, democratic country, having been neutral in two world wars. But in the 17th century Sweden was the terror of Northern Europe. Its king from 1611 to 1632, Gustav Adolf, was something of a military genius. In 1630 he invaded Germany in support of the Protestant cause and won a series of victories that completely reversed the balance of power in the Thirty Years’ War.

However, even before this development Ferdinand II had already begun to have doubts about Wallenstein, who was becoming something of an over-mighty subject. In September 1630 he dismissed Wallenstein, who retired to his estates. But the Swedish victories soon forced Ferdinand to recall Wallenstein. In November 1632, the Swedish and Imperial armies met in the climactic battle of Lützen. The result was a tactical victory for the Swedes, but a strategic defeat, for King Gustav Adolf was killed. Again the balance of power had changed, this time favorably for the Habsburgs.

Yet the Swedes were not finished; they renewed the fight under other commanders, with financial support from France, and the Thirty Years’ War continued in full fury. In 1633 Ferdinand discovered that Wallenstein was negotiating with the enemies of the Habsburgs, including Sweden and France, and determined to oust him once and for all. In 1634 he had Wallenstein assassinated. Ferdinand II himself died in 1637, but the Thirty Years’ War raged on. Peace was not concluded until 1648.

In the years of his ascendancy, between 1623 and 1630, Wallenstein had a grandiose Baroque palace built for himself in the Malá Strana district of Prague. On the last day of our stay in Prague, our Gate1 tour group began its tour of Malá Strana with a visit to the Wallenstein Palace and its extensive gardens. We debarked from our tour bus a few blocks away, at Letná Hill, an outcrop of rock dating from the Ordovician period, which lasted from 485 to 443 million years ago; it contains fossils of ancient creatures such as trilobites, brachiopods, graptolites and conodonts (early vertebrates).

Proceeding past the Kunsthalle Praha, a museum for modern art, and the Czech Geological Survey headquarters, we came to a small park, the Holubička (Dove) Park. There we found a famous statue, Girl with a Dove, by Václav Šimek (1958), as well as several models of buildings erected or planned during the years of Communist rule (1948-1989). I was intrigued by these structures, which proved to be examples of Brutalism, an architectural style that emerged during the 1950s and was characterized by minimalist constructions that showcase the bare building materials and structural elements in preference to decorative design; it makes use of exposed, unpainted concrete or brick, angular geometric shapes and a predominantly monochrome color palette. It found favor under the Communist regime, and gave rise to a number of interesting projects, but these have largely been rejected by post-1989 Czech society because of their Communist associations. Some of the planned structures were never erected, and some of those actually built have been demolished or scheduled for demolition. Despite its association with the Communist period, the term Brutalism has nothing to do with brutality, but is derived from the French word brut, meaning “rough”. Although it’s not exactly my favorite architectural style, I thought that the examples I saw in Prague were worth preserving, at least for historical reasons.

From Holubička Park, we entered the Valdštejnská zahrada, the garden of the Wallenstein Palace. The eastern side of the garden is enclosed by a large structure which was built as the Waldstein Riding School but is now part of the National Gallery of Art. Most of the east end of the garden area is occupied by a large pool, or small lake, with a circular island in the middle, on which is a sculpture of Hercules beating a dragon with a club; figures of naiads (water nymphs) decorate the banks of the island. Along the north side of the garden runs a large greenhouse. Westward from the pool run three paved walkways, lined with sculptures of figures from classical antiquity, including, including Diana, Apollo, Bacchus, and others. These are copies of original works by the famous Dutch Mannerist sculptor Adriaen de Vries (1556-1626). In 1648, while negotiations were underway for the Peace of Westphalia, which ended the Thirty Years’ War, the Swedes made one last assault on Prague, which they sacked. They looted the Wallenstein palace and gardens and carried the statues off to Sweden, where they still grace the grounds of Drottningholm Palace, the Swedish royal residence. In the twentieth century, copies of the originals were made and installed in the garden. The copies are said to be inferior to the originals, but I would not be able to distinguish between them, so I didn’t mind.

Proceeding westward toward the palace, we encountered a fountain which, unlike the others in the gardens, was unadorned with any sculptures or other decor. It was called the Středová kašna, or “Central Fountain” in Czech. However, středá, meaning “center”, also means “Wednesday” in Czech (Wednesday is after all the middle of the week), so středová kašna could also mean “Wednesday’s Fountain.” From this I deduced that the lack of decoration was possibly the result of the sculptors taking Wednesdays off. An alternative explanation could be that the Swedes stole whatever embellishment was originally associated with the fountain and it was never replaced.

Wending our way through the tall hedges, in the southwest corner of the gardens we came upon the Dripstone Wall, a unique structure consisting of roof tiles cooked in such a manner as to form artificial stalactites. The effect is striking. Integrated with the Dripstone Wall is an aviary, consisting of the same material and housing a number of exotic birds, including two pairs of Eurasian eagle owls, similar to the famous Flaco who escaped from the Central Park Zoo in 2023.

The west end of the palace gardens is dominated by the Sala Terrena, a garden pavilion (or loggia, to use the Italian term). Designed by the Italian architect Andrea Spezza in 1627, it consists of three arcades supported by double columns and is decorated with frescoes by the Florentine artist Baccio Bianco depicting scenes from Greek and Roman mythology. Wallenstein could dine there while enjoying the view of his gardens. Directly in front of the Sala Terrena he would have seen a statue of Venus accompanied by Cupid and a dolphin, adorning a bronze fountain, which he had acquired in 1626. Like the other statues in the garden, the original, which was the work of the German bronze-caster Benedikt Wurzelbauer, was looted by the Swedes in 1648; but unlike the others, it was returned by Sweden in 1890. However, the original now resides in the National Gallery, safely out of reach of Swedish tourists, while the one in the garden is a copy.

Our excursion did not include a tour of the interior of the palace, which is the seat of the Czech Senate, so from the garden we exited to Waldstein Square (Valdštejnské náměstí) in front of the palace.

From Waldstein Square we trekked down Tomášská Street, a picturesque narrow lane lined with venerable and attractive structures such as the Three Storks Hotel and the Golden Stag Townhouse, to Malá Strana Square (Malostranské náměstí).

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Danube River Cruise, June 2023

Prague – Mala Strana, June 25, 2023

After touring the Wallenstein Gardens, our Gate1 tour group made its way to Malá Strana Square. Malá Strana literally means “little side” in Czech, but this is more loosely translated as “Lesser Town.” It was originally a separate municipality, founded by King Ottokar II in 1257. Malá Strana Square is the old marketplace and the center of the district.

Dominating the square is the Church of St. Nicholas (Kostel svatého Mikuláše), an 18th-century Baroque edifice which is the masterpiece of the Bavarian architect Christoph Dientzenhofer and his son Kilián Ignác Dientzenhofer. Construction was begun in 1703 and finished in 1752 with the completion of the dome and bell tower. During the communist era, the security police used the bell tower as an observation post from which to keep tabs on the nearby embassies of the USA and other countries.

From Malá Strana Square, we headed south on Karmelitská Street, passing several inviting cafes and beer halls which I would have loved to try if there had been time. There was also a Subway sandwich shop, one of several I saw in Prague, and I could not help but marvel at how pervasive American influence has become there; many of the signs, such as the “House For Sale” sign on one building we encountered, are in both Czech and English.

As we traipsed south along Karmelitská Street, we came to an inconspicuous archway, through which our guide led us to an elongated courtyard. This was the entrance to the Vrtba Garden, one of several High Baroque gardens situated on the slopes of Petřín Hill in Malá Strana. The courtyard belongs to a company named Casus Direct Mail, which as the name implies is primarily engaged in postal and printing services but also has diversified into the operation and management of properties such as the Vrtba Garden. (Why the City of Prague, which owns the Vrtba Gardens, would have entrusted its operation to a mail services outfit is not clear to me.) The courtyard was graced with roses and other flowering plants and supervised by a black cat. In the middle of the courtyard there is an archway, on the top of which stands a statue of Atlas holding the world on his shoulders. Beyond the archway is a ticket booth and the entrance to the garden itself. Our schedule did not permit us to tour the garden, but we were able to get a good look at it from the courtyard. On the hill above the garden we could see the American flag waving from the embassy there. Like the Waldstein Garden, the Vrtba hosts a frescoed Sala Terrena, an aviary and a number of sculptures with classical motifs.

Continuing south on Karmelitská Street, we came to the Church of Our Lady Victorious and the Infant Jesus of Prague, also known as the Church of Our Lady of Victories (Kostel Panny Marie Vítězné). We were encouraged to enter the church, where services were in progress, and I was able to capture a few nice shots of both the interior and the exterior.

It was originally built in 1611 as a Lutheran church, but after the suppression of the Bohemian Revolt Emperor Ferdinand II transferred it to the Order of Discalced (barefoot) Carmelites. In 1628 Princess Polyxena von Lobkowicz donated a statue of the Infant Jesus holding a globus cruciger (orb and cross, a symbol of Christian authority) to the Carmelite order. The statue originated in Spain in the 16th century and had come into possession of the von Lobkowicz family through marriage. In 1631, during their first occupation of Prague, the Swedes plundered the Carmelite monastery and trashed the statue, but it was later recovered, restored and eventually placed in an alcove in the Church of Our Lady Victorious, where it has remained ever since. It has drawn devotees from all over the world; many copies of it have been made and exported to other countries.

Turning the corner from Karmelitská onto Prokopská Street, we passed the Napa Bar and Gallery and shortly found ourselves in Malta Square. There we found the Japanese and Danish Embassies, a venerable statue of John the Baptist created by the sculptor Ferdinand Maxmilián Brokoff (1688-1731), and several inviting eateries, including the Painters (U Malířů), which claims to have been established in 1543.

The main attraction on Malta Square, though, is the Commandery of the Order of the Knights of Malta on the east side of the square. The Knights of Malta originated in the First Crusade as a monastic brotherhood, the Sovereign Military Order of Hospitallers of Saint John, with a mission of caring for the sick as well as fighting for the faith. In time they evolved into a primarily military organization based on the island of Malta in the Mediterranean, taking its name as their own; but they also established outposts or “commanderies” in many countries throughout Europe, including Bohemia. In the 19th century they lost their stronghold in Malta, which came under British rule, but retained many of their properties in Europe.

In the 12th century the Commandery in Prague, founded by King Vaclav I, began building a Romanesque basilica in Malá Strana, as part of a fortified complex guarding the Judith bridge, a predecessor of the Charles Bridge across the Vltava River. A chain was installed nearby to control access to the bridge, so the basilica eventually became known as the Church of Our Lady under the Chain. Later the church was rebuilt in Gothic style, with twin towers, producing the façade we see today.

Next to the church stands the Grand Priory Palace, the Czech headquarters of the Knights of Malta, which nowadays operates Maltese Aid, a charitable organization providing services to the needy, especially to sick people, the disabled and the elderly.

In back of the Grand Priory complex is a small square, the Grand Priory Square (Velkopřevorské namestie), to which our guide led us next. On one side of the square is the French Embassy; on the other is the Lennon Wall.

In the 1960s, around the time of the time of reform known as the Prague Spring, which ended with the 1969 Russian invasion of Czechoslovakia, people began writing poems and short messages criticizing the Communist government on what was then an ordinary wall in a secluded area. In 1980, after the assassination of John Lennon, an anonymous artist painted a portrait of Lennon on the wall and added some of the Beatles’ lyrics, and it then became known as the Lennon wall. It was a source of considerable irritation and embarrassment to the Communist regime, which tried repeatedly to paint over the graffiti and prevent people from writing on it, but to no avail; students and others continued to use the wall as a forum for protest and anti-regime agitation. Since the fall of communism in Czechoslovakia in 1989, the Lennon Wall has continued to function as an open-air gallery and has become a major tourist attraction as well. In recent years chaos and vandalism have increased to the extent that the Knights of Malta, who own the wall, have had to take measures to mitigate abuse, such as prohibiting the use of spray cans, limiting marking to the use of pencil, markers and chalk, and monitoring the wall to prevent vandalism.

From the Lennon Wall, we set out for the Charles Bridge nearby. To get to it we had to cross the Čertovka, a narrow inlet branching off from the Vltava River. Next to the little bridge over the Čertovka is a large water wheel, 8 meters in diameter, and on the platform holding the water wheel in place sits a curious figure smoking a pipe. This is a vodnik, which in Czech means “water man”, but is usually translated as “water demon.” But I prefer to translate it more succinctly as “troll.” This troll’s name was Kabourek. Czech water demons can be benevolent or mischievous, depending on circumstances; if they are treated with respect, they are usually benign.

After crossing the Čertovka, we came to a low-lying area next to the Charles Bridge, where the Wall Pub is located. This area is subject to flooding, and over the centuries the high-water levels of each flood have been inscribed on the wall of the Pub. The highest level was reached in 2002, when the entire first floor of the Pub was underwater and the water almost breached the second floor of the building.

The Wall Pub is only a few feet from the Charles Bridge, which is about 15 feet high at that point, and two flights of steps have been thoughtfully built on the side of the bridge so that one doesn’t have to go all the way back to the start of the bridge to cross the river. The Charles Bridge is one of the most iconic places in Prague, and it would be unthinkable not to visit it. That will be the subject of the next post.

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Danube River Cruise, June 2023

Prague – The Old Town and the Jewish Quarter, June 24, 2023

Reboarding our tour bus at Prague Castle, we went on to our next stop, which proved to be on the west bank of the Vltava River, near Čech Bridge. Before leading us across the bridge, our local guide Alexandra explained to us that on the hillside directly above the end of the bridge had once stood a 15.5 meter (51 feet) granite statue of Joseph Stalin. Erected in 1955, it was the world’s largest representation of the Soviet dictator. It was demolished in 1962. The plinth on which it stood was left vacant until 1991, when a 23-meter (75-foot) tall silent metronome was erected there. The metronome was not visible from where we stood, so I didn’t get a photo of it. You can find a picture of it on its website.

The Čech bridge is named after Svatopluk Čech (21 February 1846 – 23 February 1908), a nineteenth-century Czech writer, journalist and poet. Not as famous as the Charles Bridge upstream, it is nevertheless a beautiful bridge, with elegant lighting standards on the sidewalks, and at either end pairs of soaring columns, topped with sculptures of the Roman goddess Victoria. It is also the only example of a large Art Nouveau bridge in the Czech Republic. The original design of the bridge called for sculptures of hydras and female torch-bearers to be installed with gas pipes in them so they could shoot flames on festive occasions. This feature was omitted when the bridge was built in 1908, but plans are afoot to complete its addition by 2025.

At the Čech Bridge, we were able to photograph some gorgeous views of the Vltava River and attractions on its banks. The western riverfront in this area is known as the Beneš Embankment, after the longtime president of Czechoslovakia; the eastern riverfront is called the Dvořák Embankment, after the great Czech 19th-century composer.

On the western side, near the bridge, stands the Chapel of St. Mary Magdalene, which has a rather unusual history. It was originally constructed in the 1630s as an oval rotunda, in the middle of a vineyard, according to the design of Italian architect Giovanni Battista de Barrifis. In 1648 it was captured by Swedish troops, who used it as a redoubt from which to bombard the defenders of the Old Town. Having survived that episode, it was demolished in 1783 in connection with the religious reforms of Joseph II and used as a timber yard. In 1908, when the Čech bridge was built, the site was acquired by the City of Prague, and the church was then restored to its original form. At that time it stood right in front of the entrance to the bridge. But in 1956 it was again threatened with destruction. The Communist regime had placed a gigantic statue of Joseph Stalin on the hillside above the bridge in 1955, and then decided to build a huge staircase to provide access to the statue. This in turn required clearing away the Chapel of St. Mary Magdalene so that traffic could continue to access the bridge. To stave off the demolition of the chapel, an academic named Stanislav Bechyne came up with an audacious plan to pick up the chapel and move it 30 meters upstream on the riverbank. Somehow the government was persuaded to approve this project, and we now see the chapel a bit to the left of the bridge when viewing it from the opposite bank. In my picture of the chapel you can see the tip of the Metronome protruding from the trees in Letna Park on the hillside above.

From the same location – just west of the bridge on the Dvořák Embankment – a little to the left (west) of the Chapel, is the Prague Civic Swimming Pool (Občanská Plovárna). According to its website, it was “sensitively restored to its present form” in 2019. However that may be, today it is a multi-purpose pavilion hosting a venue for many types of events such as family gatherings, business conferences and concerts. It has a restaurant, bars, a glass gallery for enjoying the river views, and boat docks for catching river cruises.

On the hill above the Municipal Swimming Pool I caught sight of an exotic structure which looked to me like a cross between a Rococo church and an Art Nouveau bower. It turned out to be neither. According to its website, it is a splendid place to have a glass of wine. It was built in 1891 in Neo-Baroque style (really?) for the Prague Jubilee Czech Exhibition, in Holešovice district, somewhere east of its present location, to which it was relocated after the exhibition ended. It was named after the owner, Prince Vilem Hanavsky, who donated it to the City of Prague upon its completion. Currently it is home to an exclusive tourist-oriented restaurant; wonderful views of Prague may be had from its location, but the food and service are reputed to be so-so. 

Farther still to the west one may discern a massive Neo-Baroque building with a green dome in the middle. This is the Straka Academy, designed by the architect Václav Roštlapil and built between 1891 and 1896 with the purpose of providing a residence for impoverished children of the Czech nobility. It is now the seat of government of the Czech Republic. From my vantage point on the Dvořák Embankment, it provided a stunning vertical montage together with the Hradschin Palace and St. Vitus Cathedral perched on the hill directly above it.

Crossing the Čech to the east bank, i.e. the Dvořák Embankment, on the left side one sees the massive bulk of the Fairmont Golden Prague Hotel, formerly known as the InterContinental Prague. The hotel was designed by a Czech architect, Karel Filsak, in Brutalist style and built by the state travel firm during the Communist era, opening in 1974. After the fall of the Communist regime it went through a number of owners and renovations, and now belongs to R2G, the investment group of Czech billionaire Oldřich Šlemr. Originally intended as a pricey luxury hotel for foreign diplomats, businessmen and celebrities, it is currently closed for still another renovation which promises to make it even more posh and pricey; it is scheduled to reopen in 2024.

To the north of the Čech Bridge is the Charles University Law School, and beyond it stands the Na Rejdišti Theater (Divadlo Na Rejdišti), a performing arts center, and the Concert Hall of the Prague Conservatory.

From the Čech Bridge, we continued southeast through Curie Square, named after Marie and Pierre Curie, the French-Polish scientists who discovered radium and won three Nobel prizes between them (two by Marie). This took us to Pařížská (Paris) Street, Prague’s most chic and expensive shopping district, but instead of continuing along that way we took a right onto Maiselov Street and plunged into the heart of the Josefov, the Old Jewish Quarter.

Maiselov Street is named after the 16th-century philanthropist and community leader Mordecai Meisel, who was so rich that he was not only able to rebuild the Prague Jewish ghetto but even to serve as Minister of Finance for the Austrian emperors and finance their wars against the Ottoman Turks. In his time the Jewish quarter reached the height of its prosperity. Conditions deteriorated in the 17th and 18th centuries. The Jews generally supported the Hapsburgs during the Thirty Years’ War, but in return for protection the emperors exacted sizeable loans from them, which depleted their wealth, and afterward, no longer needing their financial help so much, the Habsburgs turned hostile. In 1744 Maria Theresa expelled all the Jews from Prague, even though they constituted a quarter of the population there; this was so disastrous for the city’s economy that she was forced to allow them to return in 1748, but she also imposed onerous taxes and social restrictions on them. This situation began to change in 1781, with the accession of Joseph II to the Imperial throne. Joseph abrogated some restrictions on the Jews with the aim of increasing their usefulness to the state. Other strictures he left in force, though these were gradually abolished during the nineteenth century, especially in the wake of the revolution of 1848.

Following the issuance of Joseph’s Toleration Edict of 1781, the Jewish ghetto of Prague – the Židovská čtvrť – was renamed Josefov in his honor. Toward the end of the 19th century, a major civic project was initiated to remake Prague in the image of Paris. Its impact fell mainly on Josefov, where 600 dwellings were demolished to make way for a new street plan featuring a wide, tree-lined boulevard to be named after the reigning Russian Tsar, Nicholas II, who would not have been regarded as a very sympathetic personage by most of the Jews of Prague, or anywhere else. It is now known as Paris Street.

The redevelopment of Josefov, which began in 1893 and lasted until the outbreak of World War I, resulted not only in the creation of Paris Street but also the erection of numerous new and noteworthy landmarks throughout the old Jewish quarter. Maiselov Street, though not untouched, was less affected by the new construction than other streets, so to savor the atmosphere of what is left of old Josefov, one must make a detour to it.

At the north end of Maiselov, on the connector to Paris Street, stands a 7-story white tower with a red roof known as The First Redoubt (U První Reduty), home to an exclusive and well-reputed eatery called Les Moules Belgian Restaurant. The First Redoubt is the work of Bedrich Bendelmayer, a Prague architect who built edifices in the Viennese Secession spirit, an offshoot of the Art Nouveau movement. To be honest, I can’t always tell Art Nouveau from Baroque or Rococo, but the Redoubt looked quite impressive to me, and I wished I had the opportunity to try Les Moules also. Oh well, maybe next time.

When we turned the corner onto Maiselov Street, we encountered another Art Nouveau structure, though of a more restrained character. This is known simply by its address, Maiselova 41/21, and finding out more information about it wasn’t very easy. According to one source, the architecture “eschews art-nouveau floweriness for the more restrained motifs of the German ‘Biedermeyer’ style.” A team of two architects, Richard Klenka and František Weyr, were responsible for this as well as several other outstanding landmarks in Josefov, including the Old Synagogue Restaurant on Paris Street, which I missed because we detoured around it; but you can see beautiful pictures of it on the web. Maiselova 41/21 is an apartment building, completed in 1911, with lovely tile inlays featuring Jewish motifs around the windows, and a subdued but elegant entrance flanked by statues of Jewish figures, representing whom is uncertain; there is speculation that they might be Mordecai Maisel and his wife Frummet, but they both look like women to me.  

On the opposite side of Maiselov Street, there is a quiet garden with a statue of Moses (which I could not see from the street), and just to the south of the garden is the so-called Old-New Synagogue (staronová synagoga). We are now plunging into the authentic pre-modern Jewish quarter. The Old-New Synagogue was built in 1270 and is Europe’s oldest active synagogue. The name “Old-New” alludes to the existence of an older synagogue in Prague, a few blocks away on Dušní Street, which was demolished in 1867 to make way for the Spanish Synagogue. The Old-New Synagogue was one of Prague’s first Gothic buildings and is considered an architectural treasure. There is an urban legend that a rabbi of the Renaissance era, Jehud Löwa ben Bezalel (1512 – 1609), created a golem which was stored in an attic of the building, and during World War II a Nazi agent tried to enter the attic and fell victim to the golem. But there is no confirmed evidence that any Nazis tried to enter the attic, and subsequent investigations of the attic have failed to find a golem. However, those results are inconclusive because none of the investigators who went into the attic ever came out again.

Well, that last sentence is my invention. But the next landmark after the Old-New Synagogue, at the corner of Maiselov and Ĉervená Streets, is the Jewish Town Hall, also known as Maiselov’s Town Hall since he was responsible for its construction in 1577. He also financed the construction in the same year of the High Synagogue, which is located just east of the Town Hall on what is now Paris Street. The original structure was Renaissance in style, but in 1689 a fire in the Jewish quarter damaged the building, and it was subsequently reconstructed in Baroque style. In 1754, after another destructive fire, the Town Hall façade was redone in Rococo style, and this time it was joined to the building just south of it, which then became part of the Town Hall. In 1908, during the Josefov redevelopment period, the razing of old houses left the next plot to the south of the Town Hall vacant, and a new addition to the Town Hall was built on the property.

There are two clocks on the oldest section of the Town Hall. One is a traditional clock using Roman numerals to indicate the hours and is mounted on a tower atop the building. The other is a Hebrew clock, installed in the gable; it uses Hebrew letters for the hours and runs backwards from what we normally consider clockwise. The Hebrew clock was installed in 1764 and still uses the original hand-wound clock mechanism.

Continuing south, we came to the corner of Maiselov and Široká Streets, where we encountered another imposing early-20th-century Art Nouveau building. Like Maiselova 41/21, it displayed no information other than the address Široká 56/10, plus a few shop names, and it was even more difficult to find information on. I eventually was able to determine that it was built in 1906-7 and that the architect was Josef Kovařovič (1875-1941). He is almost forgotten now, but in his day he was a prolific Prague architect credited with a number of late Art Nouveau apartment houses and commercial buildings throughout the city. The Široká 56/10 building is characteristic of his earlier style, with typical Art Nouveau features such as tropical scenes with nymphs and floral decorations; but he later moved on to a more “sober” and geometric style, and began incorporating Cubist elements into his designs.

When we reached Široká Street, we ended our detour and turned left to return to Paris Street. The ritzy shopping district of Josefov is not limited to Paris Street, but extends for a block or two either side of it. Široká Street in particular is lined with high-end boutiques. Since I care nothing for Rolex watches or Gucci footwear, and am a pauper anyway, I would normally never go near these kinds of shops; and in any case it was the architecture here which was interesting, not what kind of goods were for sale. Striding down the streets of Josefov, I was overwhelmed by Late Baroque, Rococo, Art Nouveau, Cubist and other styles in the towering structures on both sides of the street. As with Maiselova 41/21, there was nothing to identify the architect or the year of completion, and there were too many elegant edifices to research even a sizeable fraction of them; so I am merely presenting my photos here without any detailed descriptions.

Walking south on Paris Street, we shortly came to its spectacular end at the Old Town Square (Staroměstské náměstí). There we passed, on our right, the Temple of St. Nicholas, a Late Baroque church built between 1732 and 1737 on the site of a 14th-century Gothic church. That church had been taken over by the Hussites, but of course it was reconverted to a Catholic church during the Thirty Years’ War. In 1689 it was ravaged by fire, and the decision was made to tear it down and build a new church, but that was delayed until the 18th century. A famous Baroque architect, the younger of the illustrious father-son team of Christoph and Kilian Ignaz Dienzenhofer, was hired for the purpose and the new church was completed in 1737. (Kilian Ignaz Dienzenhofer was also the architect of Prague’s other Church of St. Nicholas, in Mala Strana.)

In 1871 the St. Nicholas temple was transferred to the Eastern Orthodox Church, which continued to use it until 1914. The Russian Tsar donated a crystal chandelier made of fine Bohemian Harrachov Crystal to it. After World War I, in 1920, the establishment of the Hussite Church of Czechoslovakia was proclaimed there, and since then it has remained the main Hussite Church of Prague. Right where Pařížská Street ends at Old Town Square, there is a fountain formed by sculpting the intertwined bodies of three dolphins, created in 1906 by the architect Rudolf Kříženecký, and by sculptor František Hnátka, who carved the dolphins. I found it quite enchanting, and it was a harbinger of many marvels found on Old Town Square.

The centerpiece of the square is a large monument to Jan Hus, sculpted by Ladislav Šaloun. The foundation stone was laid in 1903 and the monument was finally unveiled in 1915, on the 500th anniversary of Hus’ execution, in the middle of the World War I. The government – still the Habsburg monarchy of old – forbade holding any public celebration of the event. The dominant feature of the monument is a large statue of Jan Hus facing the Church of the Virgin Mary before Týn on the east side of the square. Also depicted on the monument are other figures of the era, including Hussite leaders, people martyred or forced into exile after the Battle of the White Mountain, and a young mother who symbolizes the rebirth of the Czech nation.

The Church of the Virgin Mary before Týn, in my admittedly untutored view, is the most unusual of all the churches I saw in Prague. It is also known as the Týn Church. The phrase in the church name “before Týn” evidently refers to the immediate area in which it is situated, which used to be called the Týnské dvor or “fenced courtyard.” It would be vulgar and in bad taste to make any remarks here about Týn gods, so I won’t do that. Anyway, it is a Late Gothic church with two towers, both 80 meters (262 feet) high, with eight smaller spires arranged in two groups of four on each of the main spires, creating a thorny appearance which is what makes it so unique. There appears to be some disagreement about the identity of the designers, whether he/they were local talent or the same men who designed St. Vitus – i.e. Matthias of Arras and Peter Parler. However, they and their workshops are believed to at least have had considerable influence on the design of the church. Construction began around 1360 and was mostly completed during the reign of George of Poděbrady, i.e. sometime between 1450 and 1471, though the southern tower was finished later, in 1511. A sculpture of George of Poděbrady was installed on the gable, below a huge golden chalice, the symbol of the Hussites.  During that period the church was in fact controlled by the Hussites.

In 1626, during the re-catholicization of Bohemia, the statue of George of Poděbrady was replaced by an image of the Madonna, and the golden chalice was melted down to make a halo for the Madonna. However, these changes appear to have been rectified in modern restorations, at least it appears so to me – the chalice is definitely there, and the image above it looks more like a warrior king than a Madonna.

As with other old and venerable churches, the Týn church has suffered its share of wear and tear over the centuries, making repairs and remodeling necessary. In 1679, a lightning strike caused a terrible fire and burned out the Gothic vault of the nave, which was then replaced by a lower Baroque vault. In 1819, lightning struck the north tower and caused a fire which melted the bell there. However, neither of these mishaps, nor the various renovations, resulted in any Baroque or other non-Gothic modifications to the exterior, which has remained the same over the centuries. Baroque modifications did however invade the interior of the church; aside from the vault, these came mainly in the form of new altars and other accoutrements. From what I can gather, most of the original Gothic artwork remains in place.

Old Town Square is an overwhelming place. It would be overwhelming even without the crowds swarming over it, leaving one hardly any room to turn around. The square is lined with elegant five-story Baroque edifices that are painted in many different colors and contain all manner of establishments – banks, hotels, townhouses, museums, boutiques, bars, restaurants, cafés, souvenir shops, tour agencies, whatever. To identify and describe even a small fraction of the most memorable structures here would be a prodigious task, but fortunately it has already been done for me and the result is available online, along with many other details about the Old Town Square.

However, if you will indulge me, I’ll just highlight a few of my favorites. On its west side, Old Town Square is bordered by Míkulášská Street, where a pleasant little park is found, across the street from St. Nicholas Church on the north. There, where Míkulášská Street meets the Old Town Square, a left turn will take you onto Franz Kafka Square. At this corner also is found the Hotel Lippert, an unpretentious establishment which claims to be a small family hotel with a unique atmosphere and friendly staff. I can well believe the “unique atmosphere” claim since the hotel is just a few steps from the Old Town Hall itself (I’ll get to the Hall in due course). But I found the north side of the square next to St. Nicholas Church to be less crowded than the rest of Old Town Square, and the park is a nice place to relax.

On the rather more crowded southeast side of the square there is a building with a statue of St. Joseph on the second floor corner and an Erpet Crystal shop on the ground floor. This is the Ox House (the name of its 15th-century owner, Ochse, means ox in German), an early medieval edifice rebuilt in Gothic style around 1540, in Renaissance style after 1609 and in Baroque around 1740. In the 1930s it underwent still another remodeling which replaced the Gothic portal by a shop window. The original statue of St. Joseph dated from the 1750s but was lost and replaced by a copy. The Ox House is flanked by the Štěpánovský House, to which it is connected by two arches across Melantrichova Street, a narrow alley between them. Originally a Romanesque structure dating back to the 12th century, the Štěpánovský was rebuilt in Gothic style in the 14th century, again in Renaissance style in the 16th century, and finally in Baroque in the 17th, but retaining the Renaissance gables. The Gothic portal from the 14th century has also been preserved. It is colored in blue and yellow, and I thought that the its juxtaposition with the Ox House to its right, colored in contrasting shades of brown, made a pleasing combination.

My favorite, though, was the house bearing the Czech title U Minuty. This is clumsily translated in the online documentation as “House at the Minute“, or better, “Minute House.” But this label has nothing to do with time; rather it is derived from the Czech equivalent of “minute” meaning “tiny”. At one time there was a tobacco shop in the building where one could buy very finely minced tobacco, and that was the origin of the name. I much prefer an older name, “House of the White Lion”, alluding to the sculpture of a lion on the left corner of the house.

The White Lion underwent a development history similar to the buildings previously described. It was originally built in Late Gothic style in the early 15th century, remodeled in Renaissance style after 1564, and again in the Baroque period; but it is still considered a prime example of Bohemian Renaissance bourgeois architecture. In the citywide redevelopment scheme of the early 1900s, the White Lion and its neighbors were scheduled for demolition. At that time nobody knew or cared that between 1889 and 1896 the future writer Franz Kafka had lived there on the second floor with his parents. The White Lion was only saved when Renaissance sgraffiti (layered plaster engravings, similar to what we had seen on the Pilsen Town Hall) were discovered in the house next to the White Lion. The sgraffiti in the White Lion itself were only uncovered in 1919, when it was undergoing repairs. They were then restored. Some of the sgraffiti had been created sometime in the late 16th century and others in the early 17th. They depict a variety of subjects: busts of several Habsburg rulers such as Philip II of Spain and Holy Roman Emperors Maximilian II and Rudolf II; biblical scenes and scenes from Greek mythology; and even a bust of the Turkish Sultan Selim II (r. 1566-1574), known as Selim the Blond or Selim the Drunk. Selim was probably added because he signed a peace treaty with Maximilian II in 1568, though it was short-lived. Today there is an Italian restaurant, Al Minuto, on the ground floor.

In 1896 the City of Prague purchased the House of the White Lion/Minute House and annexed it along with other buildings to the Old Town Hall block.

The Old Town House itself had a similar beginning. In 1338 the Prague city councillors bought a mansion on the Old Town Square, then known as Market Square, and adapted it for their purposes. Then they bought the next house to the west and began the construction of a square tower, which was completed in 1364. Thus established, the pattern continued into modern times, culminating with the annexation of the Minute House group in 1896. The Old Town Hall is unusual as a public building, having been assembled from a number of smaller houses as well as a few newly constructed wings.

At the end of World War II, on May 7, 1945, as the Soviet and American armies were approaching Prague, the Czech resistance rose in revolt against the occupying German forces and began a battle to liberate the city. Fighting was savage and resulted in widespread damage to the city’s monuments and public buildings. It did not end until the arrival of the Soviet Red Army on May 9. (The American army was ordered not to go to the aid of the Czechs, which rather soured Czech public opinion on the Western powers after World War II and helped pave the way for the Communist takeover of 1948.) The leadership of the resistance used the basement of the Old Town Hall as a command center, and the Nazis bombarded it and set it on fire in retaliation. The east and north wings, added during the 19th century, were destroyed, and the tower and the Town Hall chapel were badly damaged. The tower and chapel have since been restored, but not the eastern and northern wings.

Since I’m an amateur astronomer, my favorite feature of the Old Town Hall, and indeed of the entire city, is naturally the Astronomical Clock (Pražský orloj), located on the south side of the tower. This is an amazing device, considering the state of science and technology when it was built – in the late medieval period, around 1410. It is the third oldest astronomical clock in the world and the oldest still in operation. It was constructed by a clockmaker named Mikuláš of Kadaň (1350-1419), who based his work on the suggestions and calculations of a Charles University professor of mathematics, Jan Šindel (ca. 1370 – ca. 1455). Šindel was a Catholic priest, and he succeeded Jan Hus as rector of Charles University in 1410. He initially supported Hus, but then returned to the Catholic fold, having an aversion to religious disputes and a passion for science. He was also a medical doctor, and later became personal physician to Emperor Sigismund.

Actually, however, the 1410 version of the clock was only the first incarnation. Only later in the 15th century, around 1490, was the calendar dial added, along with a set of gothic sculptures. Over the centuries, the clock broke down and was repaired many times, and sometimes in connection with the repairs new features were added. In the 17th century various wooden statues were installed, and after a major repair in 1787-1791 figures of the Apostles were emplaced. After another repair in 1865–1866 the golden figure of a crowing rooster was added.

Along with the rest of the Old Town Hall, the astronomical clock was severely damaged in the May 7 uprising at the end of World War II. The clock was repaired and resumed operation in 1948, but complete restoration of the associated sculpture and other artwork had to await a later time. In recent years the clock has undergone several renovations, the latest in 2018, in which the missing artwork was replaced and an electric clock drive that had been installed in 1948 was replaced by an original mechanism from 1860.

The 2018 restoration became the subject of a scandal when the Czech Ministry of Culture began receiving complaints that the restored artwork included significant changes in detail and spirit from the originals. A local heritage group found that in reproducing paintings done in 1866 by Josef Mánes, the restorer, Stanislav Jirčík, had, among other transgressions, replaced some of the original figures with likenesses of his friends and acquaintances. The Prague City Council began discussions about commissioning replacements for the offending paintings, but as far as I know a final resolution to the controversy has not been reached.

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Danube River Cruise, June 2023

Prague – The Hradschin Palace, June 24, 2023

Two days is not a sufficient period of time to explore even a small fraction of the wonders of Prague, but I did as well as could be expected given the circumstances. The two walking tours led by the Gate1 local guides were a good introduction; I wouldn’t have been able to do as well on my own. Prague is an enormously complicated place.

We spent the evening of our arrival in Prague on Friday the 23rd checking into our hotel, the Cosmopolitan on Zlatnická Street, and attending an orientation briefing prepared by the Gate1 guides. The orientation was necessary, I thought, because we were overwhelmed by the vastness and complexity of the city. Even with the orientation, I was intimidated. The first challenge was to find something to eat. We were on our own for dinner and the restaurant adjacent to the hotel was booked up. Sandie was in poor straits and didn’t feel able to venture outside. I found an Italian place around the corner, the Ristorante Longiano, and asked them if I could order takeout. They were more than happy to oblige and we gorged ourselves in our hotel room before the exhaustion from the day’s travels caught up with us and put us to sleep.

Next morning, Saturday the 25th, began with breakfast in the restaurant next door, imaginatively named the Next Door, which was affiliated but not integrated with the hotel. It was a popular place and if you wanted to have dinner there it was necessary to book a table well in advance. We were able to do that for our last night in Prague.

By this time Sandie was too ill to venture out of the hotel for long, so she had to miss the excursions, the first of which went to Prague Castle. I had always known it as the Hradschin Palace, and I still find that a more descriptive name than Prague Castle, but I’ll use the latter name here since it’s easier to type. Actually it is not a mere castle but an enormous palace complex, indeed it claims to be the largest in the world.

The Gate1 tour group entered the palace by way of the Prašný Most (“Powder Bridge”). This led from the Marian Walls, where we met our local guide, a genial lady named Alexandra, who led us across the bridge, past the Royal Garden and over the Jelení příkop (Deer Moat). Along the way we enjoyed stunning views of the palace ramparts, the gardens and the north side of St. Vitus Cathedral, which towered above the walls.

Shortly we arrived at a portal flanked by two rigidly motionless sentries, who reminded me of the guards at the Kremlin. The portal took us through the former Imperial Stables, now an art gallery, and opened into the Second Courtyard of Prague Castle, enclosed by the New Royal Palace (Nový královský palác). In the courtyard stands an imposing fountain, created by the sculptor Hieronymus Kohl in 1686 and named after him; it is also known by the name of the Holy Roman Emperor during whose reign it was erected, Leopold I. It consists of three basins; the large lower basin sits on a foundation with three steps, and in its center is a column which supports the middle basin and is formed by statues of Mercury, Neptune and Hercules. The column which supports the upper basin features figures of two Tritons. The topmost column, rising from the upper basin, depicts three lions supporting a globe topped by the double-headed eagle symbol of the Habsburgs.

Also in the Second Courtyard stands the Chapel of the Holy Cross, a late Baroque edifice built between 1756-1767 as part of an effort by Empress Maria Theresa to update Prague Castle. It now houses the St. Vitus Treasure, a collection of precious historical and religious art objects formerly stored in the St. Vitus Cathedral.

From the Second Courtyard we slipped through a passage in the New Royal Palace to the First Courtyard, emerging via the Matthias Gate (Matyášova brána). This is the main western gate of the palace, completed in 1614 as a free-standing triumphal arch. At that time the New Royal Palace was a collection of separate buildings; Maria Theresa’s building program of 1753-1767 combined these into a single large structure and integrated the Matthias Gate into the west façade. Aside from that, the gate is little changed from its original appearance. It is said to have been inspired by the Escorial, the Spanish monastery-palace of Philip II, which Emperor Rudolf II greatly admired; after requesting his ambassador in Madrid to obtain the blueprints (or whatever passed for blueprints in those days), which he then gave to his court architect, Giovanni Maria Filippi. The architect then designed a gate that incorporated elements of the Escorial. But it was far from a copy; whereas the Escorial is the largest Renaissance building in the world, the Matthias Gate is considered to be the first example of secular Baroque construction in Prague. It was not completed in Rudolf’s reign, which is why it isn’t named after him but rather after his brother Matthias, who replaced Rudolf in 1612, and had his name inscribed on the entablature when the gate was finished.

In its current configuration the New Palace forms a U-shaped structure to form the First Courtyard, which is completed on its west side by a wrought-iron fence built around several masonry pillars, each with a group of sculptures on top. The sculptures nearest the palace wings consist mostly of typical Baroque subjects such as vases, putti (wingless cupids), and floral constructs; on one pillar is an eagle wearing an imperial crown, and on another a crowned lion with a scepter. The two central pillars frame the famous ceremonial gate of the courtyard, sometimes known as the Gate of the Titans. On top of these two pillars are the sculptures depicting what is commonly referred to as the Clash of the Titans, though it would not be recognized as such either by ancient Romans or by 21st-century moviegoers. The figures comprising the sculptures – sometimes called the Wrestling Titans – are not the Titans of classical mythology but rather Roman gladiators. On one pillar a fighter is brutally beating his cringing opponent to death with a large club; on the other, the victor is viciously dispatching the cowering victim with a dagger. These are intensely shocking scenes of unmitigated savagery, not suitable for viewing by small children, older children, women or adult men.

The Gate of the Titans, or Gladiators if you prefer, separates the Palace grounds from Hradschin (Hradčany in Czech) Square, an open area where one may obtain wonderful views of the city of Prague, especially Petřín Hill and the Malá Strana district. I shall have plenty to say about Malá Strana in the next post. Petřín Hill, rising about 130 meters or 426 feet above the Vltava River, is almost entirely given over to parks and is a prime recreational area for the inhabitants of Prague. On top of the hill is the Eiffel Tower, a structure which the Czechs recently purchased from the French, then hauled from Paris to Prague and erected on Petřín Hill. Fortunately, that is not what actually happened – the Petřín tower was erected in 1891 and was quite shamelessly intended to be a copy of the Eiffel Tower. We did not get a chance to visit it, but it is a must-see on my next trip to Prague, and it is easy to reach because there is a funicular railway connecting it to Malá Strana.

Hradschin Square also boasts attractions of its own. On the north of the square, next to the New Royal Palace, is the Archbishop’s Palace, originally built in the 16th century in Renaissance style, but rebuilt several times since in whatever style was in fashion at the time (the same can be said of most of the palaces of Central Europe) – Baroque, Rococo, etc.

Several of the other landmarks on Hradčany Square are former palaces of rich aristocrats. The Salm Palace, the Schwarzenberg Palace and the Sternberg Palace have all been turned into art galleries, under the aegis of the National Gallery of the Czech Republic. Others are occupied by government offices. The Czernin Palace – largest of them all – and Thun-Hohenštejnský or Tuscan Palace house offices of the Ministry of Foreign Affairs, while the Prime Minister uses the Hrzán Palace for his official functions. The New Royal Palace itself, on the eastern side of the square, houses the offices of the President of the Czech Republic. There are also a number of religious establishments on the square, including the Church of St. Benedict, the Carmelite Convent, and of course the already-mentioned Archbishop’s Palace.

After giving us an unconscionably short period of time to explore the wonders of Hradčany Square, Alexandra summoned us to retrace our steps back through the Matthias Gate and the Second Courtyard, all the way to the gate where we had first entered the palace. There she took us through a secret doorway which opened into the Third Courtyard of the Palace, the location of St. Vitus Cathedral. We immediately embarked upon a tour of the Cathedral.

St. Vitus is a latecomer to the European panoply of medieval European cathedrals, its construction having begun in 1344, during the reign of King Jan of Luxembourg. Jan was killed two years later in the Battle of Crécy, one of the key battles in the Hundred Years’ War between France and England, where he fought for the French. (He was blind at the time, which impaired his fighting prowess, but the French probably would not have won anyway.) His son, Charles IV, also fought at Crécy but escaped the English longbows to inherit the throne of Bohemia and become one of the most important monarchs in Bohemian history as well as a leading patron of the arts, continuing the work on the cathedral.

If anything in the rest of this post is to make much sense, it is necessary to have a smidgen of acquaintance with the history of medieval Bohemia. To begin with, what was Bohemia, and where did it come from? The name is derived from an ancient Celtic tribe, the Boii, who lived in the area of modern Bohemia and southern Germany during the 2nd century BC. In the first century BC the Boii emigrated to Gaul, along with the Helvetians (from what is now Switzerland), where they were annihilated by Julius Caesar. German tribes replaced the Boii in their original homeland, but the country continued to be known by the name of their Celtic predecessors; and the name persisted when the Germanic tribes in turn migrated south into the Roman Empire and were replaced in the sixth century by West Slavic immigrants, who later became the Czechs. East of the Czechs another Slavic tribe, the Moravians, became established, and their territory became known as Moravia. They established the first West Slavic state in central Europe, which was known as Great Moravia, and arose in the ninth century AD, after Charlemagne’s Franks had smashed the Avar kingdom which held sway in the area from 567 to around 822. Great Moravia did not last long before falling apart and having its eastern territories overrun by the Magyars, who arrived in the late ninth century. Those territories are now known as Slovakia. Its remaining territories coalesced into Bohemia and Moravia. Bohemia was the name applied by the Germans to the area occupied by the Czechs, but sometimes it was extended to apply to the Moravian areas as well.

After the collapse of Moravia, a dynasty of Czech rulers, the Přemyslids, rose to power in Bohemia as vassals of the Frankish rulers, the successors of Charlemagne. By this time the Western Slavs had become Christianized, which greatly facilitated their relations with their German neighbors. The Frankish empire of Charlemagne gradually evolved into separate polities – the western areas into France, the eastern into Germany, and the regions between into diverse domains subject to dispute. In the tenth century the Germans and Bohemians joined forces to stop the incursions of the Magyars at the Battle of Lechfeld in 955. After Otto I of Saxony became crowned as Holy Roman Emperor in 966, Bohemia was incorporated into the Holy Roman Empire, but remained an autonomous entity within the empire – for a while. The Bohemian rulers were at first known as dukes, but later acquired the title of king.

It is important to remember that whatever the status of the Bohemian domain throughout the centuries, it remained essentially an arrow of Slavdom thrust into the middle of Germany. The interaction of the West Slavs with the Germans varied widely in its tone and temper – sometimes benign and mutually beneficial, sometimes stormy and violent. In the Middle Ages, in the thirteenth century, large numbers of Germans began to migrate into Bohemia, Moravia, Slovakia and Hungary, encouraged by the kings, who hoped to repopulate areas devastated by the Mongol invasion of 1241. The Germans became established especially in the Sudeten mountains in the west of Bohemia, but they also lived in Prague as well as other cities. The result was that Bohemia became a bilingual kingdom and remained so until the aftermath of World War II.

This brings us to 1346, when Charles IV became King. He was also elected Holy Roman Emperor in 1355. During the preceding century Bohemia had become a rich and powerful domain, and Charles IV took advantage of the kingdom’s wealth to undertake a plethora of portentous projects. He founded the first university in Central Europe, named after himself. He did not complete the St. Vitus Cathedral, but that was because he burdened his master architect, Peter Parler, with so many other tasks that the cathedral was neglected. Parler was responsible for building the Charles Bridge across the Vltava and the New Town of Prague, as well as numerous tombs, shrines and sculptures in and around Prague. Although Parler did not finish the cathedral, he did make significant progress, completing the choir and the transept. His sons and successors continued his work after he died in 1399 and completed the Great South Tower as well as the gable that connects it with the south transept.

What actually put a stop to the work on the cathedral was the next great upheaval in Bohemian history. The kingdom had fared relatively well during the 14th century; the economy had flourished and the Black Plague, which decimated most of Europe, had largely left the Bohemians unscathed, for reasons that have never been fully understood. But the good times were not to last. In 1378 Charles IV died, and his possessions were divided up by his sons, Wenceslaus and Sigismund. Wenceslaus reigned in Bohemia and Sigismund in Hungary.

By the turn of the 15th century the Catholic Church was in a sorry state, riddled with corruption and schism, and the precursors of the Protestant Reformation were stalking Europe. In England John Wyclif challenged the church hierarchy and called for reform; his ideas were later adopted and elaborated by Jan Hus, a Czech priest, theologian and rector of Charles University. Like Martin Luther in the next century, Hus denounced the selling of indulgences as well as other shady practices. After years of controversy and contention with the Church hierarchy, he was finally summoned to an ecumenical council in Constance, Switzerland in 1415, where, despite a safe-conduct arranged by Sigismund, he was arrested, tried, condemned and burned at the stake.

King Wenceslaus IV, nicknamed the Idle, had vacillated from supporting Hus to standing aside while his brother, King Sigismund of Hungary, arranged for Hus to come to Constance under safe-conduct and then reneged on the safe-conduct, ensuring Hus’ execution. Wenceslaus died in 1419, and Sigismund, who was slated to be his successor, found it impossible to establish his rule in Bohemia. The Bohemians, enraged by the execution of Hus, had risen in revolt. In Prague, the Hussites had marched on the New Town Hall, and when someone threw a rock at them from the tower, they stormed the hall and threw the king’s representatives and the town councilors out of the windows. This was the First Defenestration of Prague. It would not be the last.

The Hussite Rebellion spread like wildfire in Bohemia. Five times Sigismund and the Pope organized crusades to crush the Hussite rebels, and five times they failed miserably. The Hussites used new weapons and tactics – including firearms and war wagons, the tanks of the time – to inflict shattering defeats on the Catholic forces. Eventually, however, the rebellion lost steam as the rebels split into rival factions, the extremist Taborites and the moderate Ultraquists, who fought each other. In 1434 the Ultraquists defeated the Taborites and in 1436 entered into a compromise with the Catholics, by which they were allowed to practice their own rites while accepting the overall authority of the Papacy and of King Sigismund, who shortly became Holy Roman Emperor. And Bohemia (sans Pilsen) remained largely Hussite for the next two centuries.

After the close of the Hussite Wars, several abortive attempts were made to resume construction on the St. Vitus Cathedral, but it was not until the 19th century that any real progress was made; and it was only fully completed in 1929.

After touring the interior of the Cathedral, with its stunning stained-glass windows and net-vaulted choir, we emerged back onto the Third Courtyard of Prague Castle, where more wonders awaited. The west side of the courtyard is enclosed by wings of the New Royal Palace, and on the east side by the Old Royal Palace, to which the Cathedral is connected by an archway. On the south side of the square, in a wing of the New Palace, there is a balcony from which presidential speeches are often made. Just to the southwest of the cathedral is a post office, which I would not have expected to see on a medieval square. Just south of the post office is a 16-meter (52 feet) high granite obelisk, which was erected in 1928, on the tenth anniversary of the First Czechoslovak Republic, in memory of the Czech soldiers who perished in World War I. The obelisk was donated by Tomas Masaryk, founding father of the Republic and its first president. I don’t know where Masaryk acquired the obelisk, but it was an ill-starred object; while being transported to the Castle, it broke in half, and could not be glued together again, so only the top half was used, and it is only half as high as it should have been. In the eastern part of the courtyard, which is actually a separate space named the Courtyard of St. George, stands an equestrian statue of St. George slaying a somewhat puny dragon, and a rather humdrum fountain, the Carratiho. On the eastern side of the courtyard is the striking red façade of the Church of St. George, a Romanesque structure originally built in 920.

But all of these marvels are overwhelmed by the cathedral, which completely dominates the square. Towering over everything else (because that’s what towers do) is the Great South Tower, which was begun by Peter Parler and finished by his heirs, except for the spire, which is Baroque and was added by Nicolaus Pacassi (builder of the New Palace) between 1753 and 1775. It is 102.8 meters (337 feet) high, and can be climbed to the top by anyone willing to ascend the 280 steps involved (Parler did not provide for an elevator). I did not attempt to do so myself. To the right of the South Tower is the Golden Gate, through which the kings of Bohemia entered for their coronation ceremonies. It is also the work of Peter Parler, completed in 1371. Above the three arches of the Golden Gate is the Mosaic of the Last Judgment, which is probably what gave the Golden Gate its name. Also completed in 1371, it occupies about 1000 square feet and incorporates approximately 1 million pieces of colored glass and gold leaf. The middle panel portrays Jesus at the end of time, executing the Last Judgment. On Jesus’ right, the resurrected bodies of the righteous dead are climbing from their hillside tombs, assisted by angels. On Jesus’ left, the damned are being driven into the fires of hell. The viewer immediately notes that the mosaic shines and glitters in the sun. This was by design of the artist who created it, who is not definitely known but could have been a Venetian master – Venice was known for its glassmakers. Of course the original shine faded with time, and several attempts were made to restore it, the last in 1997-2000. As far as I could tell, it was quite successful.

A few meters past the Golden Gate there is an archway connecting the Cathedral to the Old Royal Palace. This also separates the Third Court from the Court of St. George. It is close to this point that the New Palace gives way to the Old Palace; it’s hard to tell because there is no difference in the architectural styles on the façade, only a break where the roof changes color from gray (New Palace) to red (Old Palace).

I very much wanted to see the interior of the Old Palace, because of an historical event that happened there one day in 1618. To understand the significance of that event some context is necessary. Following the Compact of 1436, a rather confused period ensued. The Ultraquist Hussites maintained their sway over large areas of Bohemia and some of the neighboring principalities; they enjoyed the support of most of the Czech population, but the Germans during this period mostly continued to adhere to Catholicism. An Ultraquist Hussite, George of Poděbrady (Jiří z Poděbrad), even became King in 1458 and made great efforts to establish peace and tolerance between Hussites and Catholics. But he could make no headway against the adamant resistance of the Pope, by whom he was excommunicated in 1466, and who tried to organize another crusade against Bohemia. This effort fizzled, but in 1468 the King of Hungary, Matthias Corvinus, invaded under the pretext of returning the Kingdom of Bohemia to Catholicism. He enjoyed considerable support among the Catholic nobles and was able to seize Moravia and other territories, but the Czech core of Bohemia mostly remained loyal to George, except for a few areas such as Pilsen. Then, in 1471, George died, and was succeeded by Vladislav II Jagiellon, a Polish Catholic, whom George had appointed as his heir. Vladislav immediately undertook efforts to re-catholicize Bohemia, starting by replacing Hussite town officials with Catholics. The townspeople of Prague expressed their opposition to these measures by throwing a number of Catholic aldermen out of the windows of the town halls of the Old City, the New City and Mala Strana (which was then a separate town) and running the others out of town. This was the Second Defenestration of Prague, which occurred on September 24, 1483. Vladislav quickly backed down, and in 1485, with his blessing, an agreement called the Religious Peace of Kutna Hora was concluded which allowed both Catholics and Ultraquist Hussites to freely practice their rites; this established an equilibrium which prevailed for the following 118 years. Vladislav II went on to enjoy a long reign in Bohemia, and he became King of Hungary in 1490 after the death of Matthias Corvinus. He made some major additions to the Royal Palace, notably Vladislav Hall, on the west end of the palace near St. Vitus Cathedral. There the architect Benedikt Ried combined Late Gothic elements with the new Renaissance style. Vladislav Hall was used for state occasions such as royal coronation ceremonies, major celebrations, knightly tournaments – there was even a special staircase, the Riders’ Staircase, which enabled knights on horseback to ride into the hall for jousting competitions. Ried also added a wing extending south, perpendicular to the main palace, which runs east-west. It was a tall 3-story structure named the Ludvig Tower, after Vladislav’s son, who would perish fighting the Turks in Hungary in 1526.

In 1517 Martin Luther nailed his 95 Theses on the church door in Wittenburg, Germany, and thereby launched the Protestant Reformation. It might be expected that given its prior history, Bohemia might be fertile ground for the spread of Protestantism, and that in fact is what happened; the Hussites enthusiastically welcomed it. However, by the 1550s the Protestants had split into a number of contentious variants, and the two dominant confessions, Lutheranism and Calvinism, both enjoyed adherents in Bohemia. Another significant development was that in 1526, after King Ludvig (or Louis, if you prefer the French version) of Bohemia and Hungary, successor of Vladislav II, was killed fighting the Ottoman Turks, the Austrian Habsburgs managed to acquire the crowns of both Bohemia and Hungary, which they were to retain until 1918.

At first the Habsburgs, notwithstanding their energetic efforts to reverse the Protestant Reformation in Germany and elsewhere, did not attempt to undo the Kutna Hora arrangements; indeed, as late as 1609 Emperor Rudolf II issued a Letter of Majesty to reaffirm the religious liberties of Bohemia. But this situation did not outlast Rudolf’s death in 1612. Both of his successors, his brother Matthias and especially Ferdinand II, were enthusiastic proponents of the Catholic Counter-Reformation, and as Regent of Austria Ferdinand had been ruthlessly expunging Protestantism from his provinces for years. Also, after 1612 the Hapsburgs moved the Imperial capital from Prague to Vienna, not an auspicious portent for Bohemia.

The Estates of the Bohemian Diet were acutely aware of the situation, and they accepted Matthias, and later Ferdinand, as King only after they agreed to guarantee the Estates’ existing privileges and liberties. Unfortunately, the Habsburgs’ understanding of the compact did not accord with that of their Protestant subjects, especially after the declining Matthias appointed Ferdinand his heir and had him elected King of Bohemia and Hungary in 1617.

Immediately upon Ferdinand’s accession, disputes between Ferdinand and the Bohemian Estates began over the extent of Protestant liberties and the scope of royal authority. In 1618 Ferdinand sent several senior officials, designated Lords Regent, to Prague to negotiate the issues with the Bohemian Protestant leaders, i.e. to impose his will on them. On May 23, 1618, they all met in the Royal Palace (the Old Royal Palace, that is; the new one did not yet exist), on the top floor of the three-story Ludvig tower. There, after a short discussion during which the Protestant leaders concluded that their counterparts were not negotiating in good faith, they seized the two most hard-line envoys, along with their secretary, and performed what had now become a traditional Bohemian ritual. But this time there was a new twist to the event. Unlike the victims of the First and Second, those of the Third Defenestration of Prague were not killed by the 21 meter (70 feet) fall from the tower; they were injured, but escaped death and went on to enjoy illustrious careers in Ferdinand’s service. Catholics immediately ascribed their survival to a miracle performed by the Virgin Mary, who was said to have caught them in mid-air; Protestants claimed that their good fortune was the result of landing in a dung heap, which cushioned their fall. Neither account has ever been convincingly verified.

The consequences of the Third Defenestration of Prague turned out to be disastrous, first of all for the Protestants, then for Bohemia, and finally for Europe: it started one of the most terrible conflicts in history, the Thirty Years’ War. I’ll have more to say about that in due course.

I wanted very much to see the site of the Third Defenestration of Prague, but it was not on the itinerary, time was short and I’m probably the only one on the tour who cared or who even knew about any of the Defenestrations of Prague. Nor was I able to see the location in the palace garden where the three victims landed after their involuntary descent from the tower, where today a monument called the Slavata Obelisk, named after the most seriously injured of the three, Count Vilem Slavata of Chlum, stands to commemorate the event. It was a big disappointment for me, but I soon got over it since there were so many other sights to see.

From the Third Courtyard of the palace we trekked back through the Second and crossed the Powder Bridge again to meet our bus, which was to take us next to the Old Town and the Josefov, the old Jewish quarter, where we were to gain a very different perspective on the history of Prague.

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Danube River Cruise, June 2023

Pilsen – June 23, 2023

On Friday morning, June 23, 2023, we arose, had a final breakfast on the Monarch Queen, then said farewell to the ship which had been our home for a week and boarded our bus for Prague.

There had been a violent thunderstorm overnight and it continued to be overcast and rainy that day. The Bavarian countryside was wet and green and beautiful.

Arriving at the Czech border, the bus stopped at the inevitable gas-station plaza with its duty-free shop and American fast-food joints to refuel and give us a potty and snack break.

We were now in a country to which I’d never been before, the Czech Republic. Outwardly it was little different from Austria or Bavaria, except of course for the signs, which were all in Czech, a language I don’t know much about, except that it is Slavic like Russian, a language I do know something about. There are lots of similarities in grammar and lexicon. But whereas Russian is written in a Cyrillic script, Czech is written in a Latinate script with a lot of circumflexes, accent marks and so forth, which make it hard to guess the pronunciation from the spelling. Anyway, before long we arrived at our first stop, which was Pilsen, or Plzeň in Czech. Pilsen is the German and English spelling.

Pilsen is a city of 181,000 people, located 78 kilometers or 48 miles west of Prague. It is famous chiefly for being the home of Pilsner Urquell Brewery, which produces one of the world’s foremost beers. It is also the original home of the Škoda industrial organization, which was the leading arms manufacturer in Austria-Hungary prior to World War I. Years later, after the German occupation of Czechoslovakia, Škoda was forced to produce arms for the Wehrmacht, and their tanks were extensively used on the eastern front.

We had several hours to visit Pilsen and we also had lunch there. Our bus parked some distance from the center of the city and we had to do some walking to get there. Sandie had not been feeling well for days and wanted to stay with the bus, but in the end she was persuaded to come with the rest of the group. It was difficult for her but she was a real trooper and managed to make it through the excursion without incident.

Our local guide led us to the city’s central square, known as Náměstí Republiky or Republic Square. On the way we passed through several streets lined with venerable Baroque-style buildings, all of them well-kept and many beautifully decorated with elaborate designs and figures.

On Prague (Pražská) Street, among other attractions, we encountered the Vodárenská věž, or Water Tower, better known as the Black Tower because of its dark coloring. It is a five-story structure with a square base. Built around 1542, for years it was integrated with the city’s fortifications, until those were demolished in 1822. It continued serving as the city’s water tower until 1889, when its function was assumed by a new city water works, but then it was remodeled and used as offices for city officials. Nowadays it hosts a tattoo parlor, an art gallery, a coffeehouse and the Škoda family museum.

Heading west along Prague Street, we arrived at the northeastern corner of Republic Square. Our guide led us along the north side of the square, where we shortly found ourselves in front of the stunning Pilsen City Hall.

The Radnice města Plzně, as it is known in Czech, was built between 1554 and 1559 under the supervision of an Italian architect, Giovanni de Statia. It is thus basically an Italian Renaissance palace. But there is more. The decorations seen on the upper stories of the building, above street level, were not part of the original exterior. They were added in 1910, during a major renovation of the building, by a Czech professor and architect, Jan Koula. He used a technique called “sgraffito“, which in Italian means “scratched.” It involves putting down a base layer of some chosen material, then overlaying it with a second layer of different material, and finally engraving the top layer in such a way that the color of the lower layer emerges and forms a desired pattern or shape. In this case the patterns that emerge represent several important figures in Bohemian history, the coat of arms of the city of Pilsen, and allegorical figures associated with the town hall’s functions, such as Law and Justice. The effect produced is quite unique and striking.

Next to the Pilsen City Hall stands another noteworthy structure, which now houses the Turistické informační centrum města Plzně, or Pilsen Tourist Information Center. I have not been able to find out much information about it other than it was formerly known as the Imperial Building, indicating that it probably had some governmental function. But what is chiefly interesting about it is the statue of a knight carrying a halberd that stands on a pedestal projecting from the side of the building (is there a specific architectural term for this?). A bit of online research told me that this figure represents a “robber knight” named Žumbera, perhaps a sort of Robin Hood figure. (I couldn’t find any other names for him, or any dates associated with him.) In any case, his statue was one of three that originally stood on Republic square – in Žumbera’s case, the northeast corner, as part of a fountain. All of the three were removed, when and why is not certain, but Žumbera’s statue eventually ended up on the façade of the Tourist Center. I didn’t find out what happened to the others; however, as we shall shortly see, they were eventually replaced by modernistic sculptures. What little I was able to find out about Žumbera came from the website of a restaurant named after him, and I am very grateful to them for publishing that information. Next time I’m in Pilsen – I’d love to go there again – I’ll have dinner at the Restaurace Žumbera and thank them in person.

Dominating Republic Square is the Gothic Cathedral of St. Bartholomew. Although it is very old, having been begun around 1295, the same year as the foundation of Pilsen itself, it was not a cathedral until 1993, when Pope John Paul II created the diocese of Pilsen. Nevertheless it is no simple parish church; the spire, at 103 meters (338 feet), is the tallest church tower in the Czech Republic.

Aside from the cathedral, the most prominent structure on Republic Square is the Marian Plague Column, erected in 1681 as an expression of gratitude for the mitigation of an outbreak of plague the previous year. It is topped by a replica of the Pilsen Madonna, a 14th-century sculpture which is the most famous and valuable work of art inside the cathedral. The base of the column rests on a square platform consisting of six steps of stairs. The base itself is three-tiered; the lowest level is a balustrade consisting of pillars topped with stone balls. Also on this level are three statues, which are not part of the original monument but were added in 1714 to commemorate deliverance from a second outbreak of plague the year before:  Jesuit missionary St. Francis Xavier, Franciscan St. Peter of Alcantara, and the patron saint of accidents and good death, the martyr St. Barbara. In addition, a niche on the second level contains a sculpture representing the plague patroness St. Rosalie of Palermo, sleeping in a rocky cave.  The statues on the second level, by the sculptor Kristian Widman, are original to the column; they depict the patron saint of Pilsen, the apostle St. Bartholomew, facing the cathedral; the Czech patron saint Wenceslas (Vaclav in Czech, I hate those Latinized names), oriented towards the town hall; St. Sebastian, a protector against the pestilence; and St. Rocha, another protector against the pestilence.

The Marian Plague Column is on the northwest corner of Republic Square. Each of the other corners has a fountain. According to a largely unintelligible comment from a “local guide” on Google Maps, there were originally three fountains on Republic Square, but over time they were removed, when and why is unclear. (One of them, of course, would be the fountain with the Žumbera statue mentioned above, but the commentator apparently didn’t know that.) Eventually – again, it’s not clear when; perhaps during the 2005-2007 reconstruction – the idea was floated of having a competition to determine who could come up with the best idea for replacing the fountains. The winner was an architect named Ondřej Císler, who came up with three golden shapes based on heraldic figures appearing on the Pilsen coat of arms. I would not have been able to tell what the forms were supposed to represent if our guide had not told us. The “angel”, a shape somewhere between a “T” and a “Y”, is on the northeast corner, where we came in from Prague Street; the “camel” is on the southeast corner, and could easily be taken for many different four-footed mammals; the “greyhound” is on the southwest corner, and does vaguely resemble a sitting dog, though not necessarily a greyhound. To me the modernistic shapes seemed to clash with the 18th-century look of the square, and I would have preferred more traditional designs. But there they are.

All sides of Republic Square opposite the square itself are lined with attractive and historical Gothic, Renaissance and Baroque buildings, but aside from the Town Hall and a few others, it was hard to find any information about them. One of my favorites was the činžovní dům U zlatého kolečka, Apartment House at the Golden Ring, built in 1902 at the southeast corner of the square where Františkánská and Zbrojnicka streets meet, near the Golden Camel Fountain. The building has a tall bronze tower at its corner and is the location of a fashion accessories store named “Snowbitch.” It is not to be confused with the U zlaté koule, Golden Wheel, an apartment building dating from 1891, at the northeast corner of the square, where Prague and Roosevelt Street meet.

Soon it was time for lunch, and our local guide led us to an Italian restaurant, La Dolce Vita, on Prešovská Street, off the southwestern corner of Republic Square where the Golden Greyhound Fountain stands. As we strolled down Prešovská Street, we could see a towering structure at the end of the street resembling a Moorish castle. This was the Velká Synagoga, the Great Synagogue of Pilsen, second largest in Europe. We had already seen the largest, the Great Synagogue of Budapest, and the one in Pilsen closely resembled it, at least from a distance. The original design, done by a Viennese architect in 1888, envisioned two 65-meter (213 feet) towers, but the Pilsen City Council rejected it because they felt that its height was too close to that of the St. Bartholomew’s spire. A new design, with 45-meter (148 feet) towers, was proposed in 1890, and this time it was accepted. Completed in 1892, the synagogue served the Jewish community of Pilsen until the Second World War, when the Nazis carted all the Jews off to be exterminated. The synagogue was then turned into a storage facility and survived the war unharmed. But those Jews who came back after the war were too few, and the postwar Communist regime too unsympathetic, to maintain the synagogue properly, and in 1973 it was closed and fell into disrepair. But during the 1990s it was restored, and reopened in 1998. The Jewish community of Pilsen now numbers only about 70, compared to the 2,000 resident before World War II, so only one room is still reserved as a place of worship; the others are used for concerts, exhibitions and other non-religious functions.

The architectural style, formally known as Moorish-Renaissance Revival, is an amalgam of various elements including Russian-Orthodox style onion domes atop the towers, Arabic ceilings and an Indian-appearing Torah ark. Unfortunately, we didn’t have time to visit it or even view it from up close, as we had done in Budapest, but were only able to photograph it from afar.

After lunch, it was time to hike back to the bus to resume the journey to Prague. Traipsing back past Republic Square to Prague Street, I encountered a beautifully restored two-seater cabriolet roadster of pre-World-War II vintage, complete with a rumble seat. But try as I might, I could not find any name or emblem on it to identify the manufacturer or the model, nor was the owner around to ask, so I am still in the dark about that.

We trudged back to the bus by a route a bit different from the way we had come, passing the Black Tower on Prague Street and then turning left at the Black Angus Steak House onto a pleasant parkway with a little roundabout, where pretty little houses hid amongst the foliage nearby. After that it was only a block to the bus, though we had to dodge the traffic on busy Tyršova Boulevard to get to the parking lot. Soon we were on our way again to Prague.

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Danube River Cruise, June 2023

Regensburg, June 22, 2023

The Monarch Queen was unable to make it to Regensburg because the water in the Danube was too low for navigation; instead she had to dock at Vilshofen an der Donau, about 100 kilometers downstream, not far west of Passau. A bus came to pick us up and take us to Regensburg.

The bus took us through a lot of pretty Bavarian countryside. We saw lots and lots of verdant fields and prosperous-looking farmhouses, several charming little towns whose names I forget, with their picturesque churches. We also saw a few things which had not been there during my previous visit to Bavaria in 1964: solar panels and electricity-generating windmills.

As we neared Regensburg, we caught a glimpse of a neo-classical building sitting on a hill on the north bank of the Danube. This turned out to be the Walhalla, a memorial named after Valhalla, the headquarters of the Norse pagan pantheon. It was conceived in 1807 by then Crown Prince Ludwig of Bavaria as a means of fostering German unification by reminding Germans of the great figures of German history and their achievements. Unlike the mythological Norse Valhalla, which was reserved for warriors slain in battle, Ludwig intended his Walhalla to honor persons of high achievement in various fields – artists, musicians, scientists, clerics, poets, philosophers, etc. Women as well as men were to be included. After Ludwig succeeded to the Bavarian throne in 1825, he commissioned the building of Walhalla modelled on the Parthenon in Athens. It was opened in 1842.

The monument was little visited until 1889, when a private narrow-gauge railway called the Walhallabahn was opened to carry passengers the 8.9 kilometers between Regensburg and Donaustauf, where Walhalla is located. (The railroad was extended in 1903 to the larger town of Wörth an der Donau, 14.5 kilometers farther.) The Walhallabahn continued to carry passengers between Regensburg and Walhalla until 1960, when service was discontinued.

When we arrived in Regensburg, our tour bus deposited us at the edge of Stadtamhof, a district which was incorporated in Regensburg only in 1924. The bus terminal also turned out to be the open-air Museum of the Walhallabahn, featuring Locomotive #99-253, built in 1908 and retired in 1960, as the primary exhibit. Here we met our local guide, who turned out to have the improbable name of Paco Garcia. He informed us that he was from Sacramento, California, but had been living in Regensburg for about 20 years.

As it reaches Regensburg, flowing from west to east, just before its confluence with the Regen River, which flows in from the north, the Danube splits into three channels. The Stadtamhof district is actually an island bounded by branches of the Danube to the north and south. The north branch of the river is part of the Rhine-Main-Danube canal, a navigable waterway. The middle branch separates Stadtamhof from another island, Wöhrde, and the south branch divides Wöhrde from the Inner City (or Old City) of Regensburg.

Stadtamhof is crossed from north to south (and vice versa) by a wide boulevard, in contrast with the Inner City of Regensburg to the south, where the streets are all quite narrow. It takes only a few minutes to walk to the south side; just before reaching it we passed an institution whose spiffy appearance belies its age. This was St. Katherinenspital, founded in 1213 as a hospital for the poor. It became one of the earliest community hospitals in the Holy Roman Empire.

In medieval times, if you were rich and became ill, the doctor would come to your home to treat you. If you were poor, your only recourse would be to go to a hospital; most of these were maintained by monasteries and other religious foundations. St. Katherine’s was founded by the Bishop of Regensburg, Conrad IV, in a joint venture with the citizens of Regensburg, who were expected to provide financing for the establishment. But this was at a time when the city of Regensburg was undergoing a transition from a dominion of the Duke of Bavaria to a Free Imperial City of the Holy Roman Empire, and the political situation was highly unstable. Eventually the citizens of Regensburg successfully asserted their independence from Bavaria, except for Stadtamhof, which remained under Bavarian rule. The status of St. Katherine’s remained unclear, however, and in dispute. I suspect this was because the Bavarians would not have been overjoyed about footing the bill for the hospital, which existed mainly for the benefit of the citizens of Regensburg; and for their part, the Regensburgers were wary about footing the bills for a property over which they had no supervision. Thus the admininstration and funding of the hospital underwent many ad hoc changes until the 19th century, when both the Kingdom of Bavaria and the city of Regensburg were incorporated into a unified Germany. Even then not all matters were settled, and St. Katherine’s continued to undergo not only administrative but also functional changes: today it is no longer a full-service hospital but a retirement and nursing home for the elderly.

Passing by St. Katherinenspital, we embarked on the Steinerne Brücke, the Old Stone Bridge that connects Stadhamhof with the main part of Regensburg. Built in the mid-12th century, it is considered a masterpiece of medieval engineering. For 800 years it was the only bridge across the Danube at Regensburg. It remains one of the two major emblems of the city, along with the cathedral. The bridge consists of 16 stone arches and is supported by piers on the islands and in the river itself. Stone abutments were constructed to protect the piers from being undermined by the river currents. The Regensburg Stone Bridge became a model for a number of other medieval bridges, including London Bridge (the one which is now in Arizona, not the Tower Bridge which remains in London).

The Stone Bridge has long been an impediment to navigation on the river, because of the narrow passages between the abutments, the low clearances of the arches, and the strong currents it causes downstream. Formerly vessels going upstream had to be towed past the bridge. Nowadays, only small recreational and excursion boats use this stretch of the Danube; larger vessels bypass it by diverting to the canal north of Stadtamhof, which we had seen upon our arrival there. I don’t know where the Monarch Queen would have docked if it had been able to come all the way to Regensburg, but it would certainly not have passed under the Stone Bridge.

No trolls popped up from under the stone bridge to challenge our crossing, but about halfway we encountered something similar: a stone figure of a man, seated on top of the pointed roof of a miniature toll house, facing south, and shielding his eyes with his right hand. This was the famous Bruckmandl, or Bridge Man, about whom a number of legends circulate. My favorite is that he is the builder of the bridge, who supposedly made a wager with the builder of the cathedral as to who would finish first, and is looking toward the cathedral site to the south in apprehension that the cathedral builder was making alarmingly swift progress. To ensure that he won, the bridge builder then made a pact with the Devil. The payment for Satan’s help would be the souls of the persons associated with the first eight feet that crossed the bridge. The builder cheated Satan by sending a rooster, a hen and a dog across the bridge first. Satan, in his rage at being fooled, attempted to destroy the bridge but failed, only succeeding in bending it (the bridge does have a bend in the middle). In fact, the legend has no substance because the cathedral was built a century later than the bridge, but it’s a fun story.

At the south end of the Stone Bridge is the Bridge Tower (Bruckturm), built around 1300. It has a clock, added in 1648, and an arch through which one enters the Old City. It is in the middle of a cluster of buildings which includes the Salzstadel (salt warehouse) on its left (east) and the former toll house (originally a chapel) on its right.

To the east of the Salzstadel is the Historische Wurstküche, Historic Sausage Kitchen, about which more later, and a little further down the riverbank is the Anlegestelle Donauschifffahrt, or Danube Shipping Wharf, which appears to be the most likely place where river cruise ships such as the Monarch Queen tie up when water levels are high enough for them to come to Regensburg. (They would then turn around and go back rather than continuing west under the Stone Bridge.) There was in fact a river cruise boat tied up at the wharf, but it was smaller than the Monarch Queen. While we were crossing the bridge I saw (and photographed) a very odd-looking craft, long and narrow and looking a bit like a Venetian gondola, with two very long poles or oars (they had flat blades on the ends) hanging on the stern. The boat pushed off the wharf, then shot under the bridge and off to the west. My guess is that it was an excursion boat of some sort, and the long poles or oars were there to provide a way of pushing off sand banks or away from navigational hazards, perhaps even to paddle the boat if the motor should fail. Later I found out that there are day cruises to the Walhalla memorial in Donaustauf which leave from the same wharf.

Passing under the Bridge Tower arch, we entered the Old City on Brückstrasse, Bridge Street, where the first house on the right had a prominent round tower on the corner. I had of course seen such towers on residential buildings in Germany and Austria before, but they seemed ubiquitous in Regensburg; I saw at least one of them on almost every street corner we passed in the Old City.

Regensburg is a very old city and was important even in Roman times. In 179 AD Emperor Marcus Aurelius had a major new camp called Castra Regina built at what is today the Old City of Regensburg. All that remains of that camp today are the ruins of the Porta Praetoria, which was the main gate of the fortified camp: a pile of stone blocks that have been cleverly integrated into what used to be the Bishop of Regensburg’s palace. Some of the stone blocks constitute part of the lower section of a corner tower, and others have been used to form an archway for a portal nearby.

From the Porta Praetoria, our guide led us west toward the city center. On the way we passed the Goliath House, a “city castle” built in 1260 for a patrician family. It is noteworthy chiefly for a huge mural of the battle between David and Goliath on the street side of the building. The painting, created in 1573 by Melchior Bocksberger, must have been refreshed, renewed and repainted several times over the centuries since it looks like it was done yesterday. Our guide informed us that Oscar Schindler, of Schindler’s List fame, had lived in the Goliath House for a while after World War II before emigrating to Argentina.

As we continued west along Goliathstrasse, I caught sight of a high tower with Gothic windows on a side street and paused to take a picture. This turned out to be the Baumburger Turm, a 7-story tower constructed during the 13th century. During that era there was competition among the patrician merchant families of the city as to who could build the highest and most grandiose family residence. The Baumburger Turm, at 28 meters (92 feet) high, is only the second highest — the Goldener Turm (Golden Tower) on Wahlenstrasse, which we would see later, tops it at 50 meters or 164 feet — but it is considered to be the most beautiful of the 20 surviving towers. It was built in 1270 by the Ingolstetters, one of the great patrician families of the time, but in the 14th century it was acquired by the Baumburgers, and their name stuck.

Emerging from Goliath Street, we found ourselves in the Kohlmarkt, a square which in days of yore had been the place where charcoal, a very important commodity for blacksmiths and everyone else, was sold. As far as I could tell, charcoal is no longer being sold there; instead it is a pleasant area to relax and enjoy an ice cream or coffee at Crema Gelato or lunch at one of the several cafés located there. It is also the site of a fountain called the Lebensbrunnen, or Fountain of Life. This is not part of the historical ambience of the square but a modern implant, in the form of a granite cup with melting sides, such that it gives the appearance of a grotto. Water spouts below the cup fill a basin which in turn spills into four smaller basins around the base. The fountain is the work of sculptor Günter Mauermann and was installed in 1985 as part of a city beautification project.

Kohlenmarkt leads right into the Rathausplatz, the seat of city government in medieval and early modern times. There is located the Altes Rathaus, the Old City Hall, which consists of several separate structures, built at different times in different styles. The oldest is the 55-meter (184 feet) tall Council Tower, built in the middle of the 13th century in the style of the patrician family towers such as the Baumburger Turm. Next came the Reichsaale building, constructed around 1320, to the west of the Council Tower. It was originally intended as a free-standing building for hosting municipal assembly and festival hall, but it soon found another use. The second story was originally accessed only via an outside staircase, but this was remedied in the 15th century by the construction of the Portal building, which provided inside access to the second floor and in 1564 was extended to connect to the Council Tower as well. Also in 1564 a new Baroque wing was added to the complex on the east side of the Council Tower.

But this was not the end of the story. In the second half of the 16th century Regensburg became the preferred meeting place of the Reichstag (legislature) of the Holy Roman Empire. The city fathers felt an obligation to give the Rathaus complex an appearance commensurate with its importance. One way of doing so was by painting the buildings, and in 1575 the town council gave Melchior Bocksberger, the same artist who painted the mural on the Goliath House, a commission to do something similar for the Rathaus. Unlike the Goliath House murals, however, his paintings on the Rathaus buildings have long since vanished.

To the east of the Rathausplatz, on Kohlmarkt, another structure, called the Market Tower, had been standing for centuries. In 1706 it burned down, and a few years later, in 1721, a new southern extension of the Baroque wing of the Rathaus was built on its foundations. As well as municipal offices, this edifice now houses a restaurant called the Ratskeller.

The Imperial Diet, the Reichstag, met in the Reichsaale, which has an elaborate bay window on its western façade, where the Emperor appeared on occasion to make proclamations and receive the homage of the people. After 1594 the Reichstag met exclusively in Regensburg, which in effect became the co-capital of the Holy Roman Empire with Vienna, and after 1663 it became known as the Perpetual Reichstag because it was in permanent session, never dissolved. It was also never a real representative legislature, but in effect only a convocation of the Imperial Estates, i.e. the territorial and ecclesiastical princes and Imperial free cities, which meant in practice — at least in its later years — an assembly of the ambassadors of the constituent states of the Holy Roman Empire.

Directly across Rathausplatz from the Ratskeller we found the Café Prinzess, which claims to be the oldest coffeehouse in Germany, operating continuously since 1686. A bit skeptical of the claim, I did a little online research later on and found that the earliest coffeehouses in Germany were opened in Bremen and Hamburg in the 1670s — which would seem reasonable, since these cities are closer to the Atlantic and therefore would be more likely to be exposed to imports from the New World before inland locations such as Regensburg. Another coffeehouse was opened in Nuremberg in 1686, the same year as the Café Prinzess. So the Prinzess’ claim is perhaps legitimate, as long as one qualifies the area as South Germany rather than Germany in toto.

From the Altes Rathaus our guide led us south on Wahlenstrasse – “Election Street” – toward Neupfarrplatz (New Parish Square). The main attraction on Wahlenstrasse is the Goldener Turm (Golden Tower), the highest of the medieval family towers – not only in Regensburg, but the highest north of the Alps. Its construction was begun in 1250 by the Waller (or Woller, nobody seems to know for certain) family, but the upper stories were completed later, in the 14th century, and the pyramid roof around 1600. The name “Goldener Turm” has nothing to do with any material used in the construction of the tower, but rather with an inn by that name which existed there in the 17th century.

As I’ve already mentioned, the Market Tower on Kohlmarkt burned down in 1706. It had been serving as the city’s watchtower, and with its demise, the Golden Tower was pressed into service as its replacement. Various modifications were made to make it more accessible and comfortable for the guards manning the tower.

In 1985 the Golden Tower was renovated and given over to the local student union to serve as a student housing facility for the University of Regensburg. It has 43 apartments, most of them in shared-living arrangements where the occupants share a common kitchen and bathroom.

Our guide, Paco Garcia, showed us into the attractive courtyard of the Golden Tower, which is surrounded by Renaissance arcades on three sides and has a dogwood tree in one corner. Parking is available for bicycles in the courtyard, but cars are not allowed.

Resuming our progress on Wahlenstrasse, we continued south to Neupfarrplatz. It came as a surprise to me – not being an expert on German history – that Regensburg was a major center of the Protestant Reformation in Germany. I hadn’t known that by 1542 the town council was entirely Lutheran, and in that year the city officially adopted the reformed faith. Catholics were in the minority and were deprived of civic rights, though they were not driven out (that only happened to the Jews, in 1519). The Bishop of Regensburg maintained his seat, and the Catholic cathedral continued to operate, along with several abbeys. The Imperial Diet continued to meet in Regensburg. Emperor Charles V, a devout Catholic who was determined to roll back Protestantism in the Holy Roman Empire, continued to show up in Regensburg in the course of his official activities and sometimes stayed for extended periods.

Back in 1519, as I already noted, the good people of Regensburg had, in their immeasurable kindness and mercy, decided to drive out the Jews living there. Actually this sentiment had been accumulating for some time, and both the bishop and the town council had repeatedly applied to the Emperor to be allowed to expel the Jews, but Maximilian I, the Holy Roman Emperor at the time, had refused permission. In January 1519 Maximilian died, and a month later the Regensburg city council, taking advantage of the interregnum, took matters into its own hands. The Jews were given two weeks to leave the city. Their houses and their synagogue were razed to the ground. Meanwhile, plans had been drawn up to build a new church on the site of the synagogue, and construction began immediately, using rubble from the demolished Jewish buildings. At that time Regensburg was still Catholic, and the new church was to be named St. Mary’s. Then, in 1528, funds for the construction ran out and work had to be halted, leaving the church only partly complete. When Regensburg converted to Lutheranism in 1542, the city council decided to make the incomplete St. Mary’s the first Protestant church in town and renamed it the Neupfarrkirche, or New Parish Church. But it was not finally completed until 1860.

The Neupfarrplatz, which surrounds the Neupfarrkirche, is thus the old Jewish quarter of Regensburg. At its west end, where we came in from Wahlenstrasse, stands the elegant Baroque Reichsstadtbrunnen, or “Imperial City Fountain”, which dates from 1721. Between the fountain and the New Parish Church is the Synagogengrundriss, also known as the Misrach monument. In 1995-97 excavations were conducted which unearthed the remains of the old Jewish synagogue on Neupfarrplatz; a decade later, an Israeli artist named Dani Karavan created on that site a replica of the floor plan and foundation of the synagogue using white granite blocks.

In 1611, on the east side of Neupfarrplatz, a wooden structure called the Hauptwache (Main Guard Station) was built to house the town militia. This body was made up of citizen soldiers, although after 1663 the city hired mercenaries to fulfill their duties instead. These duties included maintaining order in the city, performing guard duty at the gates, and providing military contingents for Imperial forces in times of crisis as required, for example during the siege of Vienna by the Turks in 1683.

In 1820 the wooden Hauptwache was replaced by a stone building with a Tuscan portico, supported by eight columns made of green sandstone. In 1875 a second story was added to the house. After World War II, the building — by this time known as the Alte Wache (Old Guard House) — was used to house the city library, but in 1973 it was demolished to make way for a new indoor shopping mall, the Galeria Regensburg Neupfarrplatz. However, the façade was retained and incorporated into the new mall, and thus still may be seen today.

From Neupfarrplatz it was just a short walk northeast to Domplatz —Cathedral Square. The Gothic cathedral of Regensburg was begun in 1280, after the previous one burned down, at a time when the economic fortunes of the city were at their height. The design was grandiose – a French architect was hired for the purpose, so the cathedral was built in the French Gothic style. It is the only Gothic cathedral in Bavaria. Construction continued for over two centuries, but then Regensburg fell upon evil days; economic downturn, religious upheaval and civil unrest led to the cessation of work on the cathedral in 1520. Although a few additions and modifications were made during the next three centuries, it remained unfinished, and in particular the towers with their spires remained mere stumps, about half as high as planned. It was not until the 19th century that any further progress was made. Following the Napoleonic Wars, Regensburg was incorporated into the Kingdom of Bavaria, and its King, Ludwig I, started taking an interest in the cathedral. Ludwig commissioned a neo-Gothic renewal in the 1830s, and in the 1860s the cathedral was finally completed with the addition of the towers and spires. In honor of his patronage, an equestrian statue of King Ludwig erected in 1903 stands on the south side of the cathedral.

We did not see the inside of the cathedral because it was now time for lunch, and our luncheon spot was right next door to the Cathedral. It was the old bishop’s palace, now a 4-star hotel, the Bischofshof am Dom. It has an open-air restaurant, the Bischofshof Biergarten, in its courtyard, and there we enjoyed an excellent lunch of beer and sausages.

After lunch we were turned loose to wander about as we pleased, with the proviso that we wander back to the Walhallabahn Museum to reboard our bus by the appointed time. I chose to wander west on Goliathstrasse toward Keplerstrasse, a street named after a famous astronomer who had once lived there. Keplerstrasse is a block or two north of Goliathstrasse and to get there, I took a right turn at Zieroldsplatz, which runs along the east side of the Altes Rathaus. On Zieroldsplatz there is a statue of Don Juan of Austria, which I had seen from Goliathstrasse earlier, but now I had a chance to stop and get a better photo of it, which I did.

I would not have expected to see a monument to Don Juan of Austria in Regensburg or anywhere in Bavaria, because his career was associated almost entirely with Spain and not at all with Germany — except for his birthplace, which was Regensburg. It turns out that Emperor Charles V made his last visit to Regensburg in 1546, during the Schmalkaldic War, when he was attempting to subdue a league of unruly Protestant princes. He stayed at the Goldenes Kreuz (Gold Cross) Inn on Haidplatz, a favorite hostel for princely visitors, and while there had an affair with a woman named Barbara Blomberg. His wife, Isabella of Portugal, had died in 1539 and he had not remarried. Barbara, as the daughter of an artisan, was a commoner and would not have been considered eligible to marry royalty. The birth of Don Juan, which occurred on January 24, 1547, was kept a closely guarded secret. Charles V shortly left Regensburg and won an overwhelming victory over the Protestants at the Battle of Mühlberg in April 1547. Don Juan was taken to Valladolid, Spain, in 1554 to be raised by a Spanish noble family. He did not meet his father until just before Charles’ death in 1558. In his last will, Charles expressed an intention to have the boy take holy orders and pursue an ecclesiastical career.

Don Juan, it turned out, had other inclinations, which were toward a military vocation. He earned his spurs fighting pirates in the Mediterranean and then by suppressing the rebellion of the Moriscos in Spain in 1568-71. In 1571, he was made commander-in-chief of the armada of the Holy League, an alliance between King Philip II of Spain (Don Juan’s half-brother), the Pope and other Christian powers against the Turks. On October 7, 1571, the Christian forces met and annihilated a much larger Turkish fleet in the Battle of Lepanto, and Don Juan was hailed as a hero. A statue of him was sculpted and installed in Messina, Sicily, where the Christian fleet had sailed from. The statue in Regensburg was erected in 1978 and is an exact copy of the one in Messina.

Don Juan was less successful in his next major assignment. In 1576 Philip II sent him to quell the revolt of the Netherlands, which the king’s uncompromising religious policies had provoked. He was initially successful, winning a great victory over the Protestants in the Battle of Gembloux. But six months later he suffered a defeat at Rijmenam, and two months after that he contracted a fever (probably typhus) and died on October 1, 1578, at the age of 31. He is buried in the Escorial, Philip II’s monastery-palace near Madrid.

From Zieroldsplatz I continued north to Fischmarkt, which if one turns west becomes Keplerstrasse. At Keplerstrasse 5 I found the Keplergedächtnishaus, or Kepler Memorial House. I was a bit disappointed to learn that Kepler lived there for only a month in 1630. He lived most of his life, and did all his significant work, in Graz, Linz and Prague.

Kepler was born in 1571 in another Free Imperial City, Weil, in the German state of Württemburg, and attended the University of Tübingen, also in Württemburg. He wanted to become a minister (Protestant), but poverty, along with his skills at mathematics and astronomy, led to his taking a position as astronomer with a Lutheran school in Graz, the capital of the province of Styria in southern Austria, in 1594.

It was Kepler’s misfortune to live during the height of the Catholic Counter-Reformation, when the Habsburgs were undertaking a concerted effort to roll back the Protestant tide in Germany. Leading the charge was the Archduke Ferdinand, who became ruler of Inner Austria (Styria, Carinthia and Carniola) in 1597 and the next year expelled Protestant teachers and preachers from his domains. (He would eventually become Holy Roman Emperor in 1519.) By that time Kepler had made a name for himself and was able to land a job with the Imperial Court Astronomer, Tycho Brahe, in Prague. When Brahe died suddenly in 1601, Emperor Rudolf II immediately appointed Kepler to step into Brahe’s shoes. Rudolf was mostly interested in astrology – in those days astronomy and astrology were not distinct disciplines – and Kepler was required to cast horoscopes for the monarch. Nevertheless during his time in Prague he published some of his most significant works, including Astronomia Nova (1609), in which he set forth his laws of planetary motion, which asserted that planets orbited the sun in ellipses rather than circles.

Although Rudolph’s successor Matthias confirmed Kepler’s position as court astronomer after his predecessor’s death in 1612, the imperial treasury was empty and Kepler’s salary was not being paid. In the same year Kepler accepted a position in Linz as mathematician to the states of Upper Austria, without resigning as court astronomer. Kepler’s residence in Linz was not devoid of travail. Although he steadfastly refused to convert to Catholicism, his independent views on religion earned him the enmity of the Lutherans, who made what trouble they could for him. This included an accusation of witchcraft against Kepler’s mother, still living in Württemburg, and he had to take several months off work to defend her, in which he was successful. The Thirty Years’ War, which broke out in 1618, at times threatened to engulf Linz, which was besieged in 1626-28. Amidst all the chaos, Kepler’s patrons had other priorities than astronomy and failed to come up with the sums they had committed to pay. In 1830, Kepler decided to seek restitution from the Imperial Diet, and on October 8, 1830, he set out for Regensburg, where it was meeting. Worn out by the rigors of a long ride on horseback, he soon fell sick and died a month later, on November 15, at the age of 59, in the house he had rented, on the street that many years later was named after him.

I continued down Keplerstrasse a little way, then turned around and went back to Fischmarkt, taking photos as I went. There was much to see: elegant Baroque buildings with rounded corner towers and bay windows; upscale restaurants, cafés and pubs; a ceramics shop with exquisite wares; and two pretty fountains, the Fortitudobrunnen on Fischmarkt and the Wiedfangbrunnen at the corner of Goldene-Baren-Strasse and Am Wiedfang alley. The Fortitudo Fountain is supposedly part of a trio representing the cardinal civic virtues of Fortitude, Justice and Peacefulness. (I did not see either of the other two, assuming they still exist.) Fortitude is depicted as a figure of a youth standing on a dolphin, holding a fish in his left hand. The Wiedfangbrunnen is actually an old well, built in 1610 and renovated many times over the years, so that it looks almost like new. It is no longer used as a well, of course, and is blocked by a grating.

At Am Wiedfang I took a left and went north to the riverbank, with the aim of shooting some photos of the Stone Bridge from the side. I noticed that the closer I drew to the river, the more graffiti I saw, and when I reached the riverfront, the graffiti were ubiquitous. So I photographed the graffiti, too. I gather that graffiti are a common sight in European cities these days; I had seen them in Spain and Portugal in 2017, and in Vienna a few days earlier. Disregarding the graffiti, though, the south bank of the Danube in Regensburg has a nice long promenade, with stone benches where people can take a break.

By now it was time to return to the bus and say farewell to the marvellous medieval city of Regensburg. Before I crossed back over the Stone Bridge, I stopped by the Wurstküche. I didn’t have time or appetite to sample any of its famous sausages, but I did take a couple of pictures.

The Historic Sausage Kitchen of Regensburg began as the construction office for the Stone Bridge in 1136. When the bridge was finished in 1146 the little building was turned into a restaurant which served boiled meat. The customers were dockers, sailors, cathedral workers and other local people. Around 1800 the menu was changed to feature charcoal-grilled sausages. Currently it serves around 6,000 sausages per day. You can get them with sauerkraut and mustard; other dishes are available as well. The tiny restaurant only seats 35 people, but there is an outside dining area which can be used in fair weather.

The Regensburg Sausage Kitchen has been in business continuously for over 800 years, and claims to be “the oldest continuously open public restaurant in the world.” But the day before, I had been assured that St. Peter’s Stiftkulinarium in Salzburg was the oldest restaurant in the world, having been opened around 800. Which claim should I believe? Perhaps it depends on the wording. Maybe St. Peter’s was not continuously open during the entire period of its existence, or perhaps it was not public for part of its existence. Regardless, the Wurstküche has been around for a long time.

Crossing back over the Stone Bridge, I observed some sunbathers relaxing in the grassy area on the Stadtamhof side, as well as people taking a dip in the river there. This locale turned out to be a park with the formidable name of Naherholungsgebiet Steinerne Brücke, “Local Recreation Area Stone Bridge.” Lacking a sandy beach, the city of Regensburg instead provided this pleasant grassy area for sunbathers and picnickers, pleasantly shielded by wooded Wöhrde Island from the traffic on the main branch of the Danube.

By this time I was quite worn out and ready to board the bus back to Vilshoven – I think I slept most of the way. Back on the Monarch Queen, we had some festivities to celebrate our last night on the ship, but I stole some time to take a few last pictures of the river as well as some telephoto shots of the town of Vilshofen from the top deck of the ship. As I was thus engaged, a pair of lovely white swans swam up near the riverbank next to the Monarch Queen. It was a delightful conclusion to a memorable day and a fairytale cruise on the Danube.

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Danube River Cruise, June 2023

Salzburg, June 21, 2023: Afternoon

I figured that the most interesting thing I could do after lunch would be to investigate the Hohensalzburg Fortress on top of its mountain, so I set out in its general direction and immediately found myself in the St. Peter’s Abbey cemetery, known as Petersfriedhof. I’m not normally a great fan of cemeteries, even historic ones, but Petersfriedhof proved to be a very unusual and beautiful place and I’m glad I didn’t miss it.

The cemetery is actually older than the abbey, having been used as a burial place by Christians from late antiquity. The graves are beautifully decorated, and when I was there in June the grounds were lush and verdant, with flowers in bloom throughout. But what really Petersfriedhof an extraordinary place is the chapels, the arcade crypts and the catacombs. At the back of the cemetery, right up against the mountain, is a long row of crypts fronted by elegant wrought-iron gates, containing tombs where the members of wealthy and aristocratic families are buried. These crypts are attractively decorated in various ways, some with frescoes, others with elaborate headstones, and included in the rent paid for the crypts is a floral service which places fresh flowers in each crypt every month.

Carved into the mountain above the crypts are catacombs, thought to have been built in the Roman era, possibly by Christians as places of shelter and refuge from persecution.

Among the notable persons buried in Petersfriedhof are the composer Michael Haydn, younger brother of Joseph Haydn; Maria Anna “Nannerl” Mozart, Wolfgang’s older sister; and Harry J. Collins, an American general who led the 42nd Infantry Division in the invasion of Germany at the end of World War II, liberated the Dachau concentration camp, served as military governor of western Austria after the war, and later retired to Salzburg, where he died in 1963.

Inevitably, Petersfriedhof also figures in The Sound of Music, which has a famous cliff-hanger scene set there: with the aid of the Mother Abbess of Nonnberg Abbey the von Trapps hide from the pursuing Nazis in the catacombs as they prepare to escape to Switzerland. (This episode is of course entirely fictional.)

After meandering around Petersfriedhof a bit, I came out on the north end of a small triangular plaza where I found an old waterwheel, slowly turning under the impulse of a stream that runs underneath. This wheel, or Wasserrad in German, powers the mill of St. Peter’s Abbey Bakery next to it. It’s a proud relic of an older time when technology was relatively primitive and yet provided an efficient and reliable way of harnessing the forces of nature. According to a local guide, there is a local legend to the effect that the Wasserrad was once part of a series of “talking” wheels, believed to whisper prophecies to those who listened closely on moonlit nights.

Across the court from the waterwheel and its bakery stands a statue of the Bohemian martyr St. John of Nepomuk (Johannes or Jan Nepomuk, 1345-1393). He is venerated in the Roman Catholic Church as the “martyr of the seal of confession,” because, as the confessor of the Queen of Bohemia, he supposedly refused to divulge the secrets of her confessions to King Vaclav IV, who had him drowned in the Vltava River in retaliation. Because of the manner of his death, he came to be considered a protector against floods and drowning, and touching his statue is thought to bring good fortune, especially for those about to embark on a journey over water.

Exiting from the courtyard of the Wasserrad into a narrow street called Festungsgasse – “Fortress Alley” – I shortly came to the lower station of the Festungsbahn, the funicular railway that transports people to and from the Hohensalzburg fortress. Near the entrance to the Festungsbahn is a pool with several intriguing fan-shaped contraptions which appear to be windmills operating water pumps, perhaps to irrigate the vegetation in the cemetery – that’s my guess, because I didn’t see any signs or plaques describing them. But tucked in behind the pool, next to the Festungsbahn station, is a small rock-walled tunnel, apparently quite old, called the Liebesgrotte, or Love Grotto. At the entrance there is a plaque which reads, in old-style German letters, “Küsst man sich in der ‘K & K Liebesgrotte’, wird die Liebe ewig währen,” and beneath it in English, “One kiss in the ‘love grotto’ and your love will be everlasting.” A second plaque reads “One Kiss: 1€”. A box beneath the second plaque with a slot in the top makes it obvious that one is expected to drop a 1 euro coin in the box for the privilege of kissing in the Love Grotto, though there is nobody standing by to enforce it. The “K & K” in the German inscription stands for “Kaiser und Königliche,” i.e. “Imperial and Royal,” referring to the fact that the ruler of the Dual Monarchy was both Emperor of Austria and King of Hungary. Since the Dual Monarchy was established in 1867 and ended with the First World War, the reference to it would imply that the plaque was made during that period; but the fact that it is also in English suggests that it was made much more recently, since large numbers of English-speaking tourists would not have been common until some time after World War II. So I found it a little puzzling. In any case, since my wife was absent, I didn’t have an opportunity to test the promise of the Love Grotto.

The Festungsbahn has been in existence since 1892, although it has been updated several times since then, most recently in 2011. It is a single-track railway with a passing loop, and is 191 meters (627 feet) long; 99 of those meters (327 feet) are vertical, with a maximum grade of 62%. Two cars are operated, with a maximum rated capacity of 55 passengers each; I found it hard to believe that 55 passengers could fit into one car, and certainly not more than 20 were in the each of the cars I rode in. The ride up to the fortress takes only one minute.

It turns out that there is another railway that provides access to the fortress; it is used for hauling supplies, and it is far older than the Festungsbahn. The Reisszug is a privately operated cable railway running from the Nonnberg Abbey on the east side up to the central courtyard of the fortress. It was already in operation by the early 16th century, which would make it the oldest cable railway – or perhaps the oldest railway of any kind – still in existence. The cars then were equipped with wooden wheels and ran on wooden rails, and human or animal power was used to pull them to the top with hemp ropes. I pity whomever was called upon to provide the motive force, because the gradient is 65%. This situation prevailed until 1910, when the railway was updated with steel rails, steel cables and an electric motor for traction. It has only one car, which can carry 3 passengers or 2,500 kilograms (5,500 pounds) of freight.

The Hohensalzburg, sitting atop the Festungsberg (Fortress Mountain) at an altitude of 506 meters (1660 feet), is one of the largest medieval castles in Europe. Although there was a Roman fortification atop the hill in ancient times, construction of the medieval fortress began in 1077 under Archbishop Gebhard von Helfenstein. During the Investiture Controversy, which pitted the Holy Roman Emperor against the Roman Catholic Papacy, Gebhard was a supporter of Pope Gregory VII against Emperor Henry IV. Fearing the prospect of Henry’s wrath, and anticipating the need to defend his realm against Imperial forces, Gebhard had a basic motte-and-bailey castle – a bastion or keep with wooden walls – built atop the Festungsberg. It did him no good; Henry chased Gebhard out of Salzburg and installed an anti-archbishop in his place. (Gebhard eventually regained his archbishopric in 1086 with the support of the powerful Duke of Bavaria.)

The fortress was greatly expanded in the 15th and early 16th centuries, just in time for the Reformation. This was fortunate for Prince-Archbishop Matthäus Lang von Wellenburg, Prince-Archbishop from 1519 to 1540, who was besieged in the fortress in 1525 by local insurgents — the only time the fortress came under siege during its entire existence. Lang, a strong supporter of the Catholic Church and Emperor Charles V, had made himself unpopular in Salzburg, and a group of miners, peasants and townspeople wanted to get rid of him. But they failed to take the fortress, and the Archbishop called in help from outside to suppress the revolt. During the Napoleonic Wars, in 1800, French troops took the fortress, but they did not need to besiege it, because it was surrendered without a fight, and the last Prince-Archbishop, Hieronymus von Colloredo, Mozart’s nemesis, ran away to Vienna. Unfortunately Mozart was no longer alive to savor the Archbishop’s discomfiture.

After the Napoleonic Wars, with the imposition of direct Habsburg rule on the former archbishopric of Salzburg, the fortress became Imperial property and was used as a military barracks, storage depot and prison until 1861, when the government turned it over to the city of Salzburg. After the building of the Festungsbahn funicular railway in 1892, it became a major tourist attraction. However, during World War I it was again used as a prison, this time for Italian prisoners of war; and again in the 1930s, when the Austrian government incarcerated unruly Nazis there until the Anschluss of 1938, after which the inmates took over the asylum, in effect.

Since World War II, Hohensalzburg has become one of the pre-eminent tourist magnets in a city which is full of fascinating attractions. The fortress contains several enticing museums, which I would have loved to visit, but I only had enough time to do a superficial walk-through of the passages and courtyards. Even that took over an hour; I could have spent an entire day there. The Prince’s Chambers in the Hohe Stock are said to be quite impressive; on the ceiling of one room, the Golden Chamber, is a simulation of the night-time sky, consisting of gold stars on an azure background. I also regret to have missed the Salzburg Bull, which is not a bovine but a 500-year-old wheel-driven auto-playing barrel organ. But you can see and listen to it, as I did, on YouTube, via the fortress’ website.

The Salzburg Bull was installed during the tenure of Prince-Archbishop Leonhard von Keutschach, who was responsible for a number of major improvements to the fortress. There is a monument to him in the wall of St. George’s Chapel in the main courtyard of the fortress. He was elected Archbishop in 1495, and proved to be a highly effective administrator; during his reign Salzburg became one of the richest principalities in Europe. He stabilized the archbishopric’s finances and undertook important economic initiatives, including the reorganization of the salt trade and the development of silver and gold mining. He strengthened the defenses of the city and the fortress, and had several new castles built in his domains to improve its security.

But there was a dark side to his reign also. In 1404 the Jews had been expelled from the city, but since then had been allowed to return; Leonhard expelled them again and destroyed their synagogues. In 1481 Holy Roman Emperor Frederick III had granted the citizens of Salzburg the right to elect their own city council and mayor, a reform which was most unwelcome to the Archbishops. But Leonhard found a solution to that: in 1511 he invited the city officials to a posh banquet, where he had them clapped into prison and held there until they agreed to renounce the rights granted by the Emperor. He was also notorious for nepotism, placing his relatives in important positions throughout the archdiocese. Perhaps on account of these transgressions, in 1514 the Pope appointed a coadjutor to the archbishop. A coadjutor in the Roman Catholic Church is a kind of co-bishop appointed to assist in the administration of the diocese, and perhaps to keep an eye on the bishop if he is thought to be in declining health, or is incompetent or suspected of malfeasance. A coadjutor also has the right to succeed the current bishop on his retirement or death. Leonhard von Keutschach’s coadjutor was Matthäus Lang von Wellenburg, and the two did not get on well. The situation was resolved, however, when Leonhard died in 1519 and Matthäus Lang succeeded him.  As I have already noted, Lang was no more popular with the citizenry of Salzburg than his predecessor, but he greatly benefited from Leonhard’s upgrades to the fortress, which helped him to weather the revolt of 1525.

Two of Leonhard’s predecessors, Burkhard von Weisbriach (1461-1466) and Bernhard von Rohr (1466-1481), had already made some significant additions in 1462, consisting of ring walls and towers. Leonhard picked up where they had left off, adding new walls and towers, strengthening the existing ones, and installing cisterns to safeguard the water supply. He was also responsible for the creation of the luxurious Prince’s Chambers in the Hohe Stock, for the construction of St. George’s Chapel, and for the acquisition of the Salzburg Bull organ. The Reisszug cable railway was established during his tenure. It was in his time that Hohensalzburg essentially acquired the form in which we see it today.

In addition to all the other enhancements he sponsored, Leonhard gave the fortress a new coat-of-arms, with a rather whimsical design taken from his own coat of arms, which depicts a lion and a turnip. The turnip was part of the von Keutschach family heritage; their coat-of-arms displays a white turnip on a black field. Although the coat-of-arms is displayed prominently on the wall of the chapel, I missed it and didn’t get a photo, but a good one can be seen on the Hohensalzburg page of the Exploring Castles website.

As one might expect, the views of the city and countryside from the parapets of Hohensalzburg are magnificent, and I did my best to shoot a full 360-degree panoply of photos in the limited time I had.

The view to the north overlooks the Aldstadt, the Old City, in the foreground, with the Cathedral, St. Peter’s Abbey, the Franciscan Church and the University Church all prominently in view. Behind them the Salzach River winds through the city, heading toward its rendezvous with the Inn River far in the north. Across the Salzach one may discern the major landmarks of the Neustadt: the Kapuziner Kloster – Capuchin Monastery – on the Kapuzinerberg; the Dreifaltigskeitkirche (Holy Trinity Church), a Baroque church with a large dome; the Andräkirche (St. Andrew’s Church), a neo-Gothic church on Mirabellplatz; and, of course, the Mirabell Palace with its gardens.

Immediately to the west lies Mönchsberg – Monks’ Mountain – named after the monks of St. Peter’s Abbey. It extends 500 meters () from the Festungsberg and is 508 meters ((1667 feet) high at its highest point, but its top is a plateau rather than a peak. It is largely unspoiled, with extensive woods and meadows and many hiking trails, making it a popular recreation area for locals as well as a tourist magnet. It has a number of picturesque old fortifications and several small palaces, including the Marketenderschlössl, formerly owned by the Catholic Pallotine Order but now a study center run by the University of Redlands in California. As I have noted in my previous post, half of the Salzburg Museum of Modern Art (Museum der Moderne) is also located on the Mönchsberg.

To the east of the fortress may be seen the Nonnberg Abbey, where Captain von Trapp and Maria from The Sound of Music were married in real life; the Sportunion Sportplatz and the Sportzentrum Salzburg Mitte, a sports complex; the Nature and Life-Sciences Department of the University of Salzburg; and various other educational institutions.

The most stunning views for me were toward the south. That way lay the Berchtesgaden Alps, Untersberg, and the Tirol. The south view was filled by the Untersberg massif, with its lopsided peak of Berchtesgaden Hochthron. To the southwest and southeast, the Alps seem to march off endlessly into the distance.

At the foot of the Festungsberg, beneath the fortress ramparts, there is a broad squarish green space with a solitary small house in the middle. I found out later that this was the Krautwachterhaus (“Vegetable keeper’s house”), so called because from the time of its construction in 1380 down to the 19th century it was the dwelling of the caretaker of the vegetable gardens of St. Peter’s Abbey. The vegetable gardens are now a park called Krauthügel (“Veggie Hill”), and the house is a monument protected by law. There is also a local legend that the house has no other dwellings near it because it once belonged to the city executioner, and nobody wants to live near an executioner; but this is apocryphal.

The park is also the site of the Krauthügel Art Project. Supposedly, every summer an artist affiliated with the Project creates a new work of art and displays it there. What I saw was a figure made of lines of white material – it turned out to be concrete – taking the shape of a square, with lines running from the edges of the square and forming a design in the middle. I had no idea what to make of it, but from later research I discovered that the name of the artwork is “Fallen Star,” and that is what the design in the middle is supposed to represent. The artist is an American, Paul Wallach, who lives and works in Paris. From my high perch on the parapets of Hohensalzburg, I could see no evidence of any other artworks in the park, and it seems that the Fallen Star has been there since 2018.

After descending from the fortress, again via the Festungsbahn, I had about a half-hour to get back to the rendezvous point at Marko Feingold Bridge by the appointed time of 3:45, so my picture-taking time was limited to quick pauses along the way. However, I did manage to see Kapitelplatz, which I had missed on the way in. This is the square just south of the Cathedral, and there I encountered a huge golden ball resting on an iron frame with a man standing on top clothed in what appeared to be dark pants and a flannel shirt. This is the Salzburg Sphaera, a work of art by the German sculptor Stephan Strahlhol (or Stangenhol, or Balkhol — he evidently goes by several different family names and nobody seems to know which is the real one). I felt sorry for the man standing immobile on top all day until I realized that he is just a statue of Paul Fürst, the confectioner who created the Mozartkugel in 1890, and the golden ball (Goldene Kugel in German) is a grandiose facsimile of a Mozartkugel. The Goldene Kugel, is made of reinforced fiberglass, weighs 2 tons, and sits on a wrought-iron frame weighing 3.5 tons. The statue on top weighs 300 kilograms (661 pounds) and the whole ensemble is 9 meters (30 feet) high.

There is no fence or other barrier around the Goldene Kugel and the lower part of its surface is within easy reach of a person standing next to it, so of course that expanse of the ball – which, if the ball were the Earth, would be about the area within the Antarctic Circle – is covered with graffiti. However, the graffiti extend up much farther than that, up to about the Tropic of Capricorn, 23° 26′ 22″ south of the Equator, so some people must have had ladders or stood on others’ shoulders to write their graffiti. The most prominent graffito was by someone from the city of Yaroslavl in Russia (a place which I visited in 1973 and where I walked on the ice-covered river Volga) and consists simply of the inscription “YAROSLAVLЬ 09.07.2019”. (The character Ь at the end of the city name is the result of a misguided attempt to retain the final Russian letter while transliterating the name into Latin letters. The usual way to represent the Russian letter Ь in Latin type is with an apostrophe, so the city name would come out as Yaroslavl’.)

Threading my way back to the rendezvous point through the narrow streets of the Altstadt to the Marko Feingold footbridge, I encountered a number of tempting establishments I would have loved to patronize if there had been time. On Goldgasse I passed a gin bar named the “5020 Destillerie” where the gin is distilled on the premises, and they will make drinks to go, which would probably be illegal anyplace in the USA. On Judenstrasse I came upon a café named the Goldene Kugel, after the artwork in Kapitelplatz. Looking it up online afterward, I found that it gets generally good reviews.

I made it back to the rendezvous point on time, boarded the bus and slept most of the way back to the ship. Thus ended my second visit to Salzburg, which turned out to be far more pleasant and edifying than the first.

Categories
Danube River Cruise, June 2023 Adventures Abroad

Salzburg, June 21, 2023: Morning

I have to confess that I was a bit apprehensive about going to Salzburg, because on my first visit there I had become a wanted criminal, and I was concerned that I would be recognized and detained in one of the dungeons of its grim fortress, never to see daylight again.

Let me relate the circumstances. In June, 1964 I had joined a small party of fellow-students at the Institute for the Study of the USSR in Munich, Germany, who wanted to go on a trip to Italy in a Volkswagen beetle. We set out and somehow found ourselves in Salzburg, where we decided to stop for lunch. We investigated this one place – I don’t remember what it was called, but I do remember it had a terrace, as well as a large parking lot. For some reason, we decided not to have lunch there – maybe it was too crowded, and we didn’t want to wait – so we got back in the car and started to drive away. On our way out we slightly sideswiped a Mercedes, putting a dent in the bodywork. The owner of the Mercedes was having lunch with several other people on the terrace, and they all jumped up and began shouting for us to stop and wait for them to come so they could get our insurance information. Instead we got the hell out of there as fast as we could, and made it to Italy and back to Munich without being detained in Austria.

Okay, I wasn’t really worried that the local police would recognize me after 59 years or even that they had any record of the incident after so long. But it was an unpleasant experience and I did not have a good memory of the city, or especially high expectations for my second visit. But Salzburg not only exceeded expectations; my visit there proved to be one of the most memorable experiences of the Danube cruise.

To be sure, Salzburg is not on the Danube. It is in the Alps of Upper Austria, 120 kilometers and a two-hour bus ride from the river. The Monarch Queen docked at Aschach, a small town west of Linz, to let us catch the bus for Salzburg, while it went on to Passau. Those who did not go on the Salzburg excursion got to see Passau that day instead. Sandie, unfortunately, was not feeling well enough to do either and stayed on the boat.

After an hour or so on the road, the bus stopped a rest area by a lake named Mondsee, where there is also a town by the same name. The rest area had a gas station and a nice motel, the Landzeit, with a restaurant. Mondsee is in the Salzkammergut, a resort area in Upper Austria east of Salzburg. I should mention that on the previous night (June 20) the Monarch Queen had entered Upper Austria, which is so named simply because it lies upstream on the Danube from Lower Austria. Both are separate states of the Republic of Austria, and so is Salzburg (the others are Vorarlberg, Tirol, Styria, Burgenland, Vienna and Carinthia).

The Salzkammergut is not an official administrative division of Austria but rather a vaguely defined region of salt mines – the name Salzkammergut means “salt demesne” – which were formerly owned and operated by the Hapsburgs. Salt was a very important commodity in pre-modern times because its sources, in inland areas, were relatively few and often remote from the consumers, so it had to be shipped long distances, making it expensive. In Europe salt-mining and sale was frequently a royal monopoly and a lucrative source of income for the rulers. So it was in Salzburg, which owes its name (meaning “salt-castle”) to its control of the salt trade on the Salzach River.

Mondsee, the lake, is on the border between the states of Upper Austria and Salzburg. The lake is about 9 miles long, is privately owned, and the owner, Nicolette Wächter, has put it on the market for 16 million euros.

It was in Mondsee that we would start hearing what would prove to be continual references to the musical The Sound of Music. Although I had seen the 1965 movie starring Julie Andrews and Christopher Plummer, I was not a great fan of it and didn’t remember much about it. I had indeed forgotten that the movie was set in Salzburg and partly filmed there. I was soon reminded. As the bus passed the town of Mondsee on the A1 highway, our guide noted that the wedding scene between Captain Trapp and Maria in The Sound of Music was filmed in the medieval cloister church of Mondsee Abbey. (In real life they were wed in Nonnberg Abbey in Salzburg.)

From then on, allusions to The Sound of Music hardly ceased. Our tour bus dropped us off at Mirabell Palace, a 17th-century Baroque affair with ornamental gardens. There we learned that the steps we had just come down from the street to the garden, and the stunning Pegasus fountain nearby, were a setting for a scene in which Maria and the children sang “Do-re-mi” dancing around the fountain and using the steps as a musical scale.

The builder of Mirabell Palace, Prince-Archbishop Wolf Dietrich von Raitenau (1557-1617), was a picturesque character who deserves some mention. He was elected archbishop in 1587 and, as an adherent of the ideas of Niccolò Machiavelli, ruled Salzburg as an absolutist Renaissance prince, with lavish expenditures on art and construction projects. His misfortune was that this was no longer the era of the Renaissance but of the Catholic Counter-Reformation. At first he enforced the measures of the Counter-Reformation rigorously, establishing the Capuchin Monastery as a stronghold against the Reformation and expelling the Protestants from his domain, but in the later years of his reign he relaxed his earlier posture, much to the dismay of the Vatican. In 1606, he built a palace on the north bank of the Salzach River for his mistress, Salome Alt, with whom he had fifteen children. But a few years later, he ran afoul of a much more powerful potentate, Duke Maximilian I of Bavaria, whom he challenged for control of Berchtesgaden. Maximilian prevailed, and Wolf Dietrich was deposed and imprisoned. His successor, Mark Sittich von Hohenems, booted Salome and her children out of her palace, and then renamed it Mirabella. In the next century, the palace was rebuilt in the Baroque style, and again in 1818 in Neoclassical fashion, giving it its present-day appearance.

We did not visit the interior of Mirabella Palace owing to lack of time, so we missed the acclaimed Marble Hall, which used to be the archbishop’s banquet and concert hall, and is now used for the same kinds of events by both public and private groups. Mozart performed there for his boss, Archbishop Hieronymous von Colloredo, whom he despised. It is still considered one of the most beautiful concert halls in the world.

From the palace, we proceeded south along the parterre of the Mirabell Gardens. The gardens were created somewhat later than the palace, in the late 17th century, during the administration of Prince-Archbishop Johann Ernst von Thun. Von Thun hired the noted architect Johan Bernhard Fischer von Erlach, a celebrated Baroque artist, for a number of projects in Salzburg, including laying out the Mirabell Palace Gardens, and he was responsible for the dominant feature of the parterre, the Four Elements Fountain. This consists of an octagonal basin with a single fountain in the center spewing a tall column of water vertically; around the fountain there are four groups of statues, depicting figures out of Greek mythology who are supposed to represent the four elements known to the ancients – Earth, Air, Fire and Water. The relationships between the elements and the statues are somewhat obscure in the absence of explanation, which I have provided in the captions of the pictures in the gallery following.

Farther south, there are two more groups of statues of ancient Greco-Roman deities, standing on two sets of stone balustrades that enclose the south end of the Mirabell Gardens. There is an inner balustrade for the goddesses and an outer one for the gods; both are split into two segments by the exit walkway. I photographed only the goddesses on the inner balustrade since the outer balustrade is screened by trees. All of the statues may be seen on the Salzburgwiki page for Mirabell Gardens, along with a more complete description of the Gardens than I can convey here.

In addition to the gods and goddesses, there are four statues on pedestals depicting pairs of fencers facing one another as if dueling across the exit walkway. Actually, these are identical replicas of a single ancient Greek statue found in 1611 in Italy. They are known as the Borghesian fencers because the original was housed for years in the Borghese villa in Rome. It is now in the Louvre in Paris, no doubt stolen by Napoleon.

Passing between the dueling fencers, we emerged onto Makartplatz, one of the major squares of the city. It has a number of attractions, including the historic five-star Hotel Bristol; the Salzburg State Theater; the birthplace of the conductor Herbert von Karajan; and a house where the Mozart family lived from 1773 to 1787 in a spacious 8-room apartment, now a museum. However, we did not tarry in Makartplatz, but went on to cross the Marko Feingold Steg, a pedestrian bridge across the Salzach River.

The Salzach River flows from south to north, but as it enters Salzburg it takes a turn to the northwest, then resumes a more northerly course as it leaves the city. Thus the Marko Feingold Steg crosses the river in a north-south orientation. The district on the northeast side of the river, where the Mirabell Palace and Makartplatz are located, is known as Neustadt, the New City. We were about to cross to the southwest side, which contains the historic heart of Salzburg and is known as the Altstadt, or Old City. And it really is old; it was an important town in the Roman province of Noricum, and it has been the seat of a Roman Catholic archbishop since the 8th century. After the collapse of the Western Roman Empire in the 5th century, it came under the rule of a German tribe, the Baiuvarii, the ancestors of the Bavarians, who then became Christianized and were eventually integrated into the Holy Roman Empire. Salzburg remained under Bavarian rule until the 14th century, when the archbishopric became an autonomous ecclesiastical principality of the Holy Roman Empire, with a Prince-Archbishop as its ruler. It remained so until 1803, during the Napoleonic Wars, when it was secularized and placed under the direct rule of the Austrian Emperor.

Neustadt came into its own during the 19th century, when the old defensive works which had protected Salzburg were demolished and the area which they were occupied was then redeveloped as a residential district.

The Marko Feingold Steg was built in 1904 as an Art Nouveau-style iron bridge, named Makartplatz Steg. I’m guessing that the original must have been destroyed in World War II, because the latest iteration, built in 2001, is a simple concrete span with chain-link fences. Its salient feature is the enormous number of locks fastened on the chain links by lovers, similar to the Fishermen’s Bastion in Budapest. It appears at first glance that every link of the fence is festooned with at least one lock, and yet a closer look reveals that there is still plenty of room for more.

The Marko Feingold Steg also displays ten or so placards at intervals along the fences. These have an educational purpose, namely to remind people of World War II and the Holocaust. They are also associated with the person for whom the bridge is named, a Jewish survivor of the Holocaust who came to live in Salzburg after World War II. Marko Feingold was born in 1913 in a town which was then in Austria-Hungary but is now in Slovakia. He was arrested in Vienna in 1938, escaped, was recaptured and deported to Auschwitz, but then transferred to other camps, ending up in Buchenwald, where he was liberated in 1945. Settling in Salzburg, he because a pillar of the local Jewish community, serving twice as its president. He also organized efforts to help other Holocaust survivors to emigrate to Palestine, in defiance of restrictions imposed by the British mandate authorities who then controlled (or thought they controlled) Palestine. He died in 2019 at the age of 106, after which the Makartsteg was renamed in his honor.

The Marko Feingold Steg is a very busy bridge, with about 20,000 people crossing it every day. The placards on the bridge inform them, among other things, that the Displaced Persons camps in which the Holocaust survivors were housed had been established by the Nazis as prisoner-of-war camps in World War II; that emigration to Palestine was illegal under the British Mandate until the establishment of Israel in 1948; and that schools were established in the camps for Jewish children, many of whom were too young to know what school was.

Our tour guide stopped at the bridge to give us a break and to inform us that we were to meet up there at 3:30 PM to board our bus to Passau, and that if we missed the bus, taxi drivers charged 500 euros for the same trip. Great views can be had from the Marko Feingold Steg and from the riverbanks nearby, and I made the most of the opportunity to capture them with my camera.

Resuming the tour, our guide led us through the narrow streets of the Old Town, past elegant (and pricey) boutiques and restaurants, to Hagenauerplatz, the location of the house in which Mozart was born in 1756 and lived until 1773, when the family moved across the river to Makartplatz.

A block away from the Hagenauerplatz is the Universitätsplatz, which as you might expect is is the site of the University of Salzburg, founded in the early 17th century. The university’s parish church, called the Kollegienkirche, or Collegiate Church, fronts on this square. Completed in 1707, it is a late Baroque church with white walls, a masterpiece of the architect Johann Bernard Fischer von Erlach, who as we have seen also laid out the Mirabell Palace Gardens. The University of Salzburg itself was founded in the early 17th century. A churchyard would seem to be an unlikely place for a farmers’ market, but it is indeed the site of the Grünmarkt (Green market), a traditional farm market established in 1857 – although having long since become a tourist attraction, it is said to have lost its authenticity.  More interesting to me were some of the burgher townhouses around the square, which date from the 14th century or even earlier, but have been restored many times since then and equipped with Baroque façades.

On the east side of Universitätsplatz is Sigmund Haffner Gasse. The name caught my attention because I knew that Mozart’s Symphony No. 35 was nicknamed the Haffner in honor of one of his patrons. It turns out that the street is one of the oldest in Salzburg, dating from 1140, although presumably it did not always bear the name, because the Haffners only became established in Salzburg in the 18th century. Sigmund Haffner the Elder was a wealthy businessman and mayor from 1768 until his death in 1772. The Haffner Symphony began as a serenade written for the ennoblement of his son, Sigmund Haffner the Younger, in 1782; in 1783 Mozart reworked it into a symphony which enjoyed a successful premiere in that year.

The Sigmund Haffner Gasse is the location of several noteworthy Salzburg landmarks, including the Franziskaner Church, a Gothic edifice built in the thirteenth century; the Gasthof zum Elefanten, an inn dating back to at least 1604; the Ritzerhaus, a building which was first documented in 1294 and since 1492 has hosted Austria’s oldest bookshop; and the Museum der Moderne (Modern Art Museum) at the Rupertinum, the Old City counterpart to the clifftop Museum der Moderne on Mönchsberg Mountain, which we had seen from the Marko Feingold footbridge.

From Sigmund Haffner Gasse the short street called Churfürststrasse leads to the Alter Markt (Old Market) square, the location of what is often billed as the oldest coffeehouse in Austria, the Café Tomaselli. What actually happened is that in 1700 a French immigrant, Jean Fontaine, opened a coffee bar on the nearby Goldgasse, called the Cafegewölb (“Vaulted Café“) Fontaine. After he passed away, the place changed hands several times, until it was purchased by Anton Staiger, who happened to be the major-domo to the Archbishop of Salzburg. The well-connected Staiger moved the coffeehouse to its current location in the Alter Markt in 1764, and under his aegis it became the “happening” place, frequented by the town elite, including Wolfgang Amadeus Mozart. It remained the Café Staiger until 1852, when Carl Tomaselli bought it and renamed it after himself. The café has remained in the hands of the Tomaselli family ever since, except for a period after World War II when it was commandeered by American occupying forces, who renamed it the “Forty-Second Street Café.” It was returned to the Tomasellis in 1950.

But the Alter Markt is also home to another, almost equally famous establishment, the Café Konditorei Fürst. In 1884, Paul Fürst opened a patisserie across the square from Café Tomaselli, in a building which had existed since 1391. In 1890, he invented the Mozartkugel, a confection with a core of marzipan coated with pistachio and nougat before being dipped in chocolate. Fifteen years later he was awarded a gold medal at an international exhibition in Paris. I’ll have more to say about the Mozartkugel when I come to the Kapitelplatz.

The Alter Markt is also the location of the narrowest house in Salzburg, and perhaps in the world. It is located next to the Cafe Tomaselli and is only 1.42 meters wide. It was built in the mid-19th century to close off a narrow alley. It now houses the Henri J. Sillam jewelry shop.

In the middle of the square is the Fountain of St. Florian, which has been there since 1488, when it replaced an even older fountain. However, the statue of St. Florian von Lorch on top was only added in 1734. St. Florian, a third-century martyr, is the patron saint of chimney sweeps, soapmakers and firefighters, not to mention Poland, Linz and Upper Austria.

Just as we were leaving the Alter Markt and crossing into the Residenzplatz, I spotted a miniature square tower standing on the sidewalk in a corner. It had a tall glass window on each of the four sides and an elaborate weather vane on top, and appeared to be mostly covered with gold. This turned out to be the Salzburg Wettersäule, or Weather Column, a mini-weather station erected in 1888, with instruments reporting the temperature, pressure and humidity displayed behind the glass windows. It was amazing to me that such a beautiful, and obviously costly (even if the gold isn’t real) object could be on public display, absent any apparent security, for so long without being vandalized or stolen.

The Residenzplatz is so named because for centuries it was the site of the Archbishop’s palace, or Residenz. There is an Alte Residenz, or Old Residence, and a Neue Residenz, or New Residence; both are located on Residenzplatz. The Alte Residenz has been in existence since 1120, when the Archbishop moved out of St. Peter’s Abbey; in the 16th century it was rebuilt as a Renaissance palace under the auspices of Wolf Dietrich von Rathenau, whom we have met earlier in connection with Mirabell Palace. Down to the end of their rule in 1803, the Prince-Archbishops continued to expand and enhance the palace, adding refinements such as a Baroque façade and new wings, exploiting its magnificence to the full to project their power and grandeur. After taking over Salzburg in 1803 the Habsburgs appropriated the Residenz for their own use. Nowadays it houses a renowned art gallery, the Residenzgalerie.

The Neue Residenz was begun in 1588 under Wolf Dietrich von Raitenau, who initially used it as housing for his relatives; later it served as a supplementary venue for state functions and public ceremonies. It was initially built with a 5-story tower, which Archbishop von Thun turned into a bell tower in 1702, equipping it with a carillon. Since 2005 the Neue Residenz has housed the Salzburg Museum, which is devoted to the artistic and cultural history of the city and its province.

Between the Alte and Neue Residenz, in the middle of the Residenzplatz, stands a striking fountain, the Residenzbrunnen. Thought to be the largest Baroque fountain in Central Europe, it was erected in the 1650s and is made of Untersberg limestone, as are many of the historic structures in Salzburg. Untersberg is a mountain sixteen kilometers south of Salzburg that straddles the border between Germany and Austria. It has a distinctive lopsided peak and is famous as the setting for scenes from The Sound of Music, including the one in which the von Trapps escape over the mountain to Switzerland. However, if the real Trapps had actually gone that way, they would have found themselves in Berchtesgaden, Germany, not Switzerland.

The Salzburg Dom, or Cathedral, is located on the south side of Residenzplatz. The main entrance is on the west side of the Cathedral, which has its own square, the Domplatz. To the south of the Cathedral is another expansive square, the Kapitelplatz.

There had been a cathedral in Salzburg since the 8th century CE, but the present cathedral was built in the early 17th century at the instigation of Wolf Dietrich von Raitenau, who hired the Italian architect Vincenzo Scamozzi to design a completely new Baroque version. The new cathedral was actually built under Wolf Dietrich’s successors and consecrated in 1628.

The cathedral is built of dark grey stone with façade and ornamentation of white Untersberg marble. On the day I visited, the façade was partially obscured by a scaffolding set up to stage the play Jedermann (Everyman), by Hugo Hofmannsthal, a modern version of a medieval morality play first performed in 1911 and now a traditional part of the Salzburg Festival. Known as Salzburger Festspiele in German, this festival, held annually for five weeks starting in July, features music and drama performances, especially the operas of Mozart. Because the scaffolding blocked the frontal view of the cathedral entrance, I shot a side view instead, focused on the four sculpted figures on pedestals flanking the portals: Saint Rupert (c. 660-710 CE), first bishop of Salzburg and abbot of St. Peter’s, who laid the foundations of the first cathedral; Saint Peter, holding the keys to heaven; Saint Paul, holding a sword; and Saint Virgil (c. 700-784), an Irish-born monk who became bishop of Salzburg in the eighth century and completed the cathedral begun by Rupert.

Out in front of the cathedral, beyond the scaffolding in the middle of the Domplatz, I found the Maria Immaculata (Immaculate Mary) column, erected in 1771, which depicts the Virgin Mary enthroned on a mountain of clouds and a globe made (of course) of Untersberg marble. She is surrounded by allegoric figures representing angels, the devil, wisdom, and the Church.

By now it was getting close to 1 o’clock in the afternoon, time for lunch. The walking tour had been precisely calculated to put us at St. Peter’s Abbey, next to the cathedral, at that time. We entered the abbey courtyard under an arch decorated with a gorgeous fresco, created by whom I’ve not been able to determine, then went through a doorway and climbed the stairs to the second floor, where we were welcomed to the St. Peter Stiftskulinarium, claimed to be the oldest restaurant still in existence in the world. The claim is based upon a vague reference in a document written in 803 by Alcuin of York, an English scholar who served both Emperor Charlemagne and the Bishop of Salzburg, and may or may not be true. But whether St. Peter’s is really the oldest restaurant in the world, I didn’t care. The food and drink were excellent and the ambience of the place was superb, and I was delighted to enjoy a meal in such an historic and illustrious establishment.

Lunch lasted from 1 to 2 in the afternoon, and afterward we were free to explore Salzberg at leisure. But we didn’t have much leisure, because we were due back at the Marko Feingold Steg at 3:45 to board our tour bus back to Passau, and nobody wanted to risk missing the bus and spending 500 euros to get back to the Monarch Queen in Passau. But I made the best of my one hour and forty-five minutes of free time, and since this post is already too long, I’ll start a new one to wrap up my stay in Salzburg.