Tag: history

The Point of Exit

©2020 Snapping the Globe, L.L.C. All rights reserved.

Truly one of the most devastating events of mankind, we need to see and constantly be reminded of the Holocaust, so that horror is never repeated.

Of course, everyone knows the story of Anne Frank. I have visited the museum dedicated to her memory in Amsterdam and have also visited the Holocaust museum in Washington D.C. I have also read many books on the subject and plan to visit some of the former concentration camps during my future travels. It is heartbreaking to realize how many perished during this time and the terror they must have faced, but education is important so that we have understanding and compassion for what transpired during that time.

As I was researching items of interest in Milan, I stumbled upon a museum which is relatively unknown to most tourists even though it is located a short distance from Central Station, the point of entry and exit to the city for both tourists and locals.

During the war, when the Jews were being rounded up and transported to the concentration camps, Milan Central Station was the point of exit for many Italian Jews.

Not a point of exit for escape…

A point of exit to their new existence…that of one in Nazi concentration and extermination camps.

The platform, which is located, out of sight, in the area below the main level of Milan Central Station, is where prisoners departing from San Vittore prison were loaded onto cattle wagons and sent to their demise.

Milan Central Station

Today, this platform has been transformed into a place where visitors can come to remember and gain knowledge. It is a symbol of the deportation of all Jews and other persecuted people who left their homes and cities in the same manner, never to return.

Entering the museum, I discovered a very modern space dominated by a long wall in the center. The word Indifference is engraved here, representing the reason why this museum was possible. At the top of the ramp, I entered the third level where I began the actual museum experience.

Twenty-four parallel tracks run through the center of the museum, once the area created for postal wagons, and display the original cattle cars which were used to cram thousands of prisoners inside for their expulsion between 1943 and 1945.

An extremely sobering experience, you can walk inside and through the cars to the opposite platform. Once inside these claustrophobic spaces, however, it is rather frightful to think about being jammed into this small car, shoulder to shoulder, with no food, water or fresh air. Although I wanted to pay my respects to the small memorials set up in each of the cars, I had to constantly walk out to the platforms to gather my bearings.

Heading into the dimmed corridor, I contemplated the wall which displays the names of the 774 Jewish citizens who were deported from this station to Auschwitz-Birkenau. Highlighted are the twenty-seven names of those who survived deportation. There are also many posters on the wall which describe many of the victims.

On the far end of the tracks is a unique meditation chapel and there are enclosed spaces for visitors to watch videos of holocaust survivors’ stories, although, if your Italian is not up to par, you will not get much out of it as there are no subtitles.

While visiting Milan, you will likely pass through Central Station at some point of your stay. The museum is located a short walk around the eastern side of the museum’s entrance and doesn’t require a large amount of your time. Take an hour or so out of your day to be reminded not only of atrocities of mankind, but of the bravery and perseverance of those around us.

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Shoah Memorial

  • http://www.memorialeshoah.it/memoriale-milano/
  • Address: Ferrante Aporti Street, 3 – 20125 Milan
  • Hours: Monday, 0930-1900, Tuesday, Wednesday, Thursday, 1000-1420. Guided tour without reservation, 1830.
  • Admission: Adults, 10€, Students, children up to 5 years and over 65 years, 5€, group leaders, disabled, disabled companions, 0€
  • Getting There: Metro, Centrale FS, Sondrio, Caiazzo. Train, Centrale FS.

Second Fiddle

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Poor Santa Maria della Grazie!

You’ve never heard of it? It is the basilica that plays second fiddle to Leonardo da Vinci’s masterpiece which resides in the adjacent refectory!

Most people do not trek across Milan in search of this church. They duck inside before or after the visits to the Last Supper or visit as a consolation when they cannot get tickets to lay their eyes on the famous painting.

I am here to tell you, however, even if you can’t secure tickets to the Last Supper, a visit to Santa Maria delle Grazie, next door, is a must. Years ago, when I was practically laughed out of the ticket office when I inquired about last minute tickets, I consoled myself with a visit to the basilica. Now considered a UNESCO World Heritage Site, it was constructed under the orders of the Duke of Milan Francesco I Sforza and completed in 1469. While the basilica contains some amazing treasures, it is the notorious painting, housed in the refectory of the adjacent convent that attracts thousands of visitors each year. Though the Last Supper is the main attraction, it is not to say that the church itself should be overlooked.

Taking decades to complete, the church was originally designed to serve as the burial site of the Sforza family, however Ludovico Sforza’s wife, Beatrice was the only member buried in the church in 1497.

Since I arrived extremely early for my visit to the Last Supper, I decided to take another look around the basilica I had visited so many years ago. As I entered the structure, I vividly remembered its beauty and all that it has to explore, however, the chapels on each side of the church are the definitely the highlights. Upon completion of the church, the most powerful families who were granted patronage of the chapels to bury their loved ones, then decorated each chapel with the artistry of the period’s masters and each is magnificent and unique.

The Chapel Atellani’s prominence is an altar-piece of the Virgin Mary with Child, St. Vincent Marty and St. Vincent Ferrer by Cariolano Malagavazzo dating back to 1595. The frescoes from the 17th century were painted by the Fiamminghini brothers and detail the the miracles by St. Vincent Ferrer and his martyrdom.

The Chapel of St. John the Baptist displays an ornate candelabra, an ancient organ and an altar-piece of St. John the Baptist admonishing a devotee painted by Marco d’Oggiono. The frescoes on the walls and ceiling were painted by Ottavio Semini in the 16th century.

The Chapel of St. Joseph’s altarpiece was completed by Tiziano’s disciple, Paris Bordon and highlights the Holy Family with St. Catherine of Alexandria.

The Chapel of St. Peter Martyr contains frescoes by Giambattista Lucini of St. Ludovico Beltran and St. Paul. The altarpiece is entitled The Martyrdom of St. Peter of Verona.

The Chapel of Conti (forrmerly Simonetta) offers an entrance gate of bronze, dating back to 1669, which was formerly the railing of the high altar until 1935. The altarpiece is a marble monument of the Virgin Mary received into Heaven and Eve at her feet, sculpted by Arrigo Minerbi in 1941. On the sides of the chapel are centographs of Senator Ettore Conti and his wife, Gianna Casati, by Francesco Wildt. Conti was the illustrious benefactor who ensured that Santa Maria delle Grazie was restored and rebuilt after World War II’s bombings damaged the church.

The Chapel of St. Dominic’s magnificent altarpiece is of St. Dominic, holding the rosary, receiving the book and the stick of the evangelic preaching from the Apostles Peter and Paul, by Carlo Pontion. Its walls contain fragments of the glory of the Dominican Saints by Francesco Malcotto that were originally in the apse of the choir.

The Chapel of St. Pius V contains tombstones of Branda Castiglioni (1495), Luigi Arcimboldi (1496) and Cecilia Magenta (1585). There are fragments of frescoes by Montorfano and the altarpiece of Pope Pius V is by an unknown artist.

The Chapel of St. Catherine contains a bronze Crucifix on the altar designed by Ecce Homo, earthenware on the altar table, six bronze tablets with episodes of the life of St. Catherine of Siena, and a (now walled-up) reliquary where the mantle of the Sienese saint is preserved. There are paintings in the lunettes of St. Catherine of Alexandria and St. Catherine of Siena and an altarpiece of the Virgin Mary of Child and St. John the Baptist and St. Peter Martyr, by Nicolo of Cremona.

The Chapel Della Torre highlights a painting of the Virgin Mary adoring the infant Jesus with St. Ambrose, St. Lucy and the offerer’s family. If you glance upward, you will notice an example of the original decoration of the XV century.

The Chapel of Marliani (or The Angels Chapel) depicts an altar piece of St. Michael defeating Satan which dates back to 1560 and there are nine angelic choirs on the vault by an unknown painter.

The Chapel of St. Martin de Porres has four cenotaphs from the XVI century on the walls and an altar piece of St. Martin in Ecstasy by Silvio Consadori.

Chapel Sauli’s main focus is the Crucifixion by Giovanni demio of Schio. On the walls there are elegant angels created by earthenware covered in stucco, that carry the instruments of the Passion. If you look closely, there is evidence remaining of the bombardment from World War II.

Finally, St. Crown’s Chapel offers the Deposition from the Cross by Caravaggio dating back to 1616. Its original masterpiece, The Crowning of Thorns Coronation by Tiziano was stolen in 1797 but was recovered and now housed in the Louvre. The vaults and walls display frescoes with scenes from the Passion.

After making my rounds of the illustrious chapels, I made my way through the remainder of the church, admiring the decorated vaults and domes of the nave and the apse.

The two-level choir of the friars for the holy liturgy has thirty-three Carthusian-styled seats on the lower level and forty-two on the upper level decorated with figures of angels and saints in the Lombard style. The modern organ is lowered in the middle of the floor. The choirs of Italy’s churches are always a favorite of mine with their elaborate carvings and I am always able to imagine the beautiful sounds that must emanate from this area.

The outside of Santa Maria delle Grazie is also not to be missed! Make sure to not miss the family crests that decorate the outside of the church.

Though Santa Maria delle Grazie is consistently outshined by the Last Supper which is housed in its refectory, every visitor to Milan should make their way to its location and give it the respect it deserves!

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Santa Maria delle Grazie

  • https://legraziemilano.it/
  • Address: Via Giuseppe Antonio Sassi, 3 20123 Milan
  • Hours: 1000-1220 and 1500-1755, July opening hours 0900-1200 and 1600-1755
  • Mass times: Monday through Saturday, 0730, 0830, 1230* (*except July and August), 1830. Sunday, 0800, 0930, 1030, 1130, 1830, 2000* (*except August)
  • Admission: free
  • Getting There: Metro, Conciliazione or S. Ambrogio stops


Last Try for the Last Supper

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How many years have I been visiting Milan?

And how many years have I tried to get tickets to the Last Supper?

Too many!

Never spending more than twenty four hours each time in Milan, it was a difficult decision to spend money on something that might not happen. Weather might move in. Sickness might strike. A car accident could render me stranded on the roadside. And, I would not make it to Milan.

You get the picture.

So, each time I looked for tickets to see the Last Supper the day before or even the day of, there were none. Even testing my luck, I had gone to the office and inquired, thinking they might feel a bit of pity and suddenly find “one” ticket. Detecting a bit of laughter behind their comments, directing me to come back first thing the next morning, I always walked away defeated.

After a long night in flight, I was riding to my hotel and browsing the internet. Divine intervention must have inspired me and I suddenly felt the need to check for Last Supper Tickets. Imagine my astonishment to find a site that had one ticket left!

Quickly entering my information, I made the purchase and was so excited that I could hardly take my much needed nap!

My admission time was for later in the day, so I did get that much needed nap, even allowing enough time to visit the church next door, Santa Maria delle Grazie, afterward.

Sitting in the piazza, I watched the various tour groups meet their guides, anxiously awaiting the arrival of mine. Of course, I let my imagination get the best of me, thinking that I had stumbled upon a fake web site and no one would be here to greet me. Finally, walking around, I inquired with a couple of the other guides about my tour and started to meet the members of our group…yet still no guide.

Eventually, we were told by the gentleman, who was there to give our guide the audio-earpieces for us to wear, that our guide was running a bit late, but would be here with us for our admission time. Finally, we spotted him quickly walking down the street and we were soon verifying our tickets and receiving our earpieces. We entered the building, passing through security and took our place in the long hall, readying for our time to enter the airlocks which protect the Last Supper from the elements.

First door, last door…we were in.

And nothing prepared me.

Many years ago, I went to the Louvre and was excited to see the Mona Lisa. It was only when I arrived at its location, deep inside the museum, that I found that it is so much smaller than I anticipated.

This was the opposite!

I expected The Last Supper to be quite small, much like the Mona Lisa, and instead found that it took up the entire wall of the right side of the building. And not only that, The Crucifixion by Giovanni Donato da Montorfano takes up the opposite wall! Certainly, I never expected to see two masterpieces in the same room!

Our guide was very informative and explained each of the paintings to us, pointing out every small detail that we may have not noticed on our own.

The Last Supper was commissioned by Ludovico Sforza, the Duke of Milan, to be painted in the monastery of Santa Maria delle Grazie and was completed in 1498. A representation of the meal that Jesus shared with his apostles, it shows the different reactions that each portrayed when Jesus shared the news that one of them would betray him. It is topped by the Sforza coats of arms painted in the lunettes that are formed by the triple arched ceiling of the refectory. What I found most interesting was that Leonardo da Vinci wandered the streets looking for likenesses to base the figures of the painting on. When the monastery’s prior complained about da Vinci’s laziness about finding someone upon which to base Judas, da Vince responded that the prior would make a great model!

On the opposite end of the building is the Crucifixion, which depicts the crucifixion of Jesus Christ outside of Jerusalem. At the foot of the cross bearing Jesus, is Mary Magdalene, Saint Dominic, founder of the Dominicans, Saint Thomas of Aquinas as well as other saints and leaders from the Dominican order. Figures of the Sforza family are incorporated into the painting.

During World War II, bombings threatened the existence of the church, monastery and the paintings. As Allied Leaders bombed many major European cities, the walls of the refectory were reinforced with sandbags and scaffolding to help protect the two paintings within.

When a high-explosive bomb landed eighty feet away on August 15, 1943, it was thought that all was lost. The building’s roof had caved in, the cloister had collapsed and one whole wall was blown out.

Miraculously, the paintings had survived.

The Last Supper and the Crucifixion have endured for many years since, yet both now are in an extremely fragile state and acute measures have been extended to their care. Both paintings now reside in a climate controlled atmosphere and much work has taken place to restore some of the former glory to the paintings. Only limited viewings are available (twenty-five people every fifteen minutes) each day and a state of the art infiltration system was recently installed. Despite all of these efforts, however, they may not be around for younger generations to appreciate in the coming years.

Some things last a long time, however, nothing lasts forever, so if you can get to Milan sooner than later and get tickets for Leonardo’s masterpiece…run don’t walk! It is one of the most enlightening experiences in all of Italy!

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The Last Supper

Art and Faith

©2020 Snapping the Globe, L.L.C. All rights reserved.

Who needs a museum when you have a church?

Most churches can be construed as museums. Filled with religious works of art and exhibiting stunning architectural features, you can enter, in most cases, without paying an exorbitant fee and spend as much time as you wish, not only viewing the treasures, but spending a bit of time in solitude and contemplation.

The Church of St. Fedele is not only much like I described, but it is the only church in Milan that really does have a real art museum within its walls.

After visiting La Scala Theater, I noticed that St. Fedele Church was just around the corner. It was starting to sprinkle and if I was lucky, it would take up a bit of the time I needed to kill before dinner. Pointing myself in that direction, I covered the short distance quickly and stepped into the large square, admiring the statue of Alessandro Manzoni, the Italian poet and novelist.

The Jesuit church, which dates back to 1579 and is dedicated to St. Fidelis of Como, took the title of Santa Maria alla Scala in San Fedele when Santa Maria alla Scala was demolished in 1776 to make way for the Teatro alla Scala. Much of the destroyed church’s ornamentation from that church was brought to San Fedele.

The elegant facade which stands out in the St. Fedele Square today, was completed in 1835, however, many years later, during World War II, the church was severely damaged during a bombing raid. Though since repaired, the exterior should be examined thoroughly as it features a group of statues representing the Assumption, designed by Italian sculptor, Gaetano Matteo Monti.

The interior is a single nave church with tall columns, but adorned less ornately than others I have seen throughout Italy. There are, however, some notable pieces, including a Pietà by Simone Peterzano, a St. Ignatius by Giovanni Battista Crespi (il Cerano) a Transfiguration by Bernardino Campi, and a “Sacred Heart” by Lucio Fontana.

As I made my way around the church, I decided that it might be a short visit after all. Admiring the altar and the sanctuary, I was approached by a gentleman who asked if I would like to see the other parts of the church. He explained that St. Fedele is unlike any other in the city as it incorporates an art museum within its walls. Intrigued, I paid him the three euro entrance fee and was admitted to the sacristy.

As I made my way through the rooms of contemplation…the sacristy, the crypt, the sacellum, and the chapel of the dancers…I noticed the ancient reliquaries, liturgical objects and paintings that are usually found in religious spaces. There were also, however, works of art by Christo, Warhol, Arman, Rotella, Schifano and Radice, all collected by artist, designer and architect Nanda Vigo throughout his life. Overall, an experience that showed how important art and culture were to the Jesuits.

Sacristy
Art pieces mixed with religious icons at entrance to sacristy
Chapel of the Dancers
Art installation

What I enjoyed most, however, was what lies beneath the church. In the crypt, there are the remains of St. Fidelis, however, in a small airtight room on the right, there are the Relics of the 365-day Calendar. The little shrines are organized in daily order from Jauary 1 until December 31 and contain the relics of all the saints of the Catholic calendar that have been canonized until the beginning of the 19th century.

Making my way up to the church’s main level, glancing at my watch, I realized how much time had passed since I had made my way here. There was a great deal to see and experience, unlike my first impression.

Ancient artists have demonstrated over the centuries that there is a direct link between art and faith…just look at the treasures that adorn most churches. St. Fedele brings it to a new level and a new century with modern art.

Just remember, when Michaelangelo’s Pieta was placed in St. Peter’s Basilica, and he was alive, it was modern art!

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 The Church of San Fedele

  • Address: San Fedele Street, 4, 20121, Milan  
  • Hours: Monday and Tuesday, 0730-1630. Wednesay through Friday, 0730-1800. Saturday, 1000-1930. Sunday, 1000-2000.
  • Admission: Free to visit the church. San Fidele art exhibition in the sacristy and rooms of contemplation, €3
  • Getting There: Metro, Lines M1 and M3, Duomo stop or Tram, Line 1, The closest station: Duomo (Metro Lines M1 and M3), Teatro alla Scala stop.

The Grand Old Opera

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Recently, I mentioned the word aria to my son.

He thought I was talking about the hotel in Vegas…sigh.

Many of the younger generation do not have much of an interest in opera. In fact, looking for activities in Nashville, I overheard a teen, who thought the Grand Ole Opry was an opera theater, expressly state to her parents that she would not be involved in that outing. A few years ago, it was with a determined effort that I dragged my thirteen year old to the Opera Theater in Madrid. When he ventured inside, however, he realized that he didn’t have to listen to songs in a language that he was not familiar with and yet, he became fascinated with the elaborate decor and the workings of the stage. Truly, there is something for everyone, not just the performances themselves.

For years, I have visited opera houses in cities throughout the world, yet with all of my visits to Milan, I have never taken the time to seek out a performance at the most famous opera house in the world…Teatro alla Scala.

As a former architecture and interior design student, there is nothing more fulfilling than seeing these gilded, golden-tasseled, velvet covered theaters that have hosted some of the world’s outstanding vocal talents.

After finally considering the idea of booking a performance for the evening at La Scala and discovering that I probably had not brought the proper attire, I discovered that jeans and a sweater would get me into their museum and if I timed it perfectly, I might even get a peek at the stage from one of the boxes.

Making my way to the theater, I was surprised to find a line snaking its way into the small square to the left of the famed building. Keeping an eye on the time, I knew there was a small window when rehearsals ended and the theater would be open for viewing. Finally, with tickets in hand, I was ushered inside and up the stairs to the large, columned, church-like foyer, where crowds gather before and during intermissions. It is not surprising that this space has the feel of a church…La Scala, dating back to the 1700’s, was built on the location of the church of Santa Maria alla Scala, after which it was named. Much like the treasures that can be found in a holy temple, there were beautiful chandeliers, busts of famous composers (Pucini and Toscanini) and a model of La Scala.

The doors to the theater were finally opened and I was given a number to a box that was available. Though I wish I would have had the box to myself, it was awe-inspiring to stand in this small space, looking out over the elaborate theater with its tiers of balconies and Murano chandelier and imagine witnessing one of the timeless operas being performed on the stage, in front of crowds of over two thousand.

After many minutes of drinking in this spectacle and realizing that others were trying to make their way in, I reluctantly vacated my spot along the balcony and headed back thru the foyer.

The museum, though only eight rooms, is brimming with paintings, busts, statuettes and many objects used during past performances and contain great historical value.

Though I am sure a guide would have pointed out the most relevant of the contents, there were interactive screens which described the rooms’ pieces and each of the rooms, I discovered, is dedicated to a different era in the theater’s history.

Beautiful portraits bedecked the walls in the room dedicated to the legendary sopranos of La Scala who drew crowds of admirers and another room was dedicated to Giuseppe Verdi, the composer who was very influential to the art and who passed away next door at the Grand Hotel et de Milan. Of course, no opera museum would be complete without paying reverence to the greatest soprano of the mid-20th century, Maria Callas. The gallery boasts a beautiful portrait of her, sitting on a chair next to a portrait of her arch-rival, Renata Tebaldi!

I’m sure my sons have no inkling of who Maria Callas is, but I have to admit that I learned a lot more about opera during my visit to La Scala, sparking a yearning to finally see a performance during my lifetime!

I also learned that next time I need to pack something nicer than a sweater and jeans!  

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Museo Teatrale alla Scala

  • http://www.museoscala.org/en/
  • Address: Largo Ghiringhelli 1, Piazza Scala, 20121, Milano
  • Hours: 0900-1730, daily (last admission, 1700). Closed on December 7, 24, 25, January 1, Easter, May 1, August 15.
  • Admission: Adults, €9, Students over 12 years, €6, Ages over 65, €6, Children under 12, free. Open ticket €12, good for admission on the day of your choice (until Dec 31, 2020), with fast track.

The House of the Strong Men

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Milan has some stunning architecture.

Sometimes, I just love to walk around the city photographing the buildings, never having a plan and enjoying stumbling upon anything and everything.

Just recently, I was in search of a particular landmark and was a bit stumped. As I stood on the corner of Via degli Omenoni and Via Adalberto Catena, pondering which way to go, I glanced down the street and a remarkable building caught my eye. There were giant men holding up the facade! Well, not real men…stone men!

A nearby sign gave me the information that I needed…this was Casa degli Omenoni.

Casa degli Omenoni was designed by sculptor Leone Leoni as his place of residence during the 16th century. The sculptor, known for his bronze statues of Felipe II and Carlos V (which now can be found in the Prado Museum) conceived the idea for his home and place of work, however, the “omenoni” or “big men” were sculpted by Antonio Abondio, a renowned artist of the time.

Though the interior once contained a large inventory of paintings and other works of art, including the Codex Atlanticus, a book of drawings by Leonardo da Vinci, these treasures are now preserved in museums throughout the world.

Eventually sold by Leoni’s son, the home was owned by several notable Milanese families, used as the seat of a music-publishing company, the seat of a Fascist party and as a theater. Although the interior was renovated in both the 19th and 20th centuries, the facade remains largely unchanged except for the addition of the wrought iron balconies.

The exterior of the building was quite fascinating with the eight giants gracing the spaces between the windows and flanking the door frames. The men look quite ominous with scowls upon their faces and arms crossed. Honestly, I don’t think an intruder would dare to approach this residence with these wardens protecting the entrance!

You should, however, approach! Much like the “Monster House” in Rome, Casa degli Omenoni is an exquisite piece of architecture and a quick stop on your tour of Milan!

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Casa degli Omenoni

  • Address: Via degli Omenoni, 3, 20121,
  • Hours: 24 hours
  • Admission: Exterior free. Interior not open to public.
  • Getting There: A quick walk from La Scala, located behind the church of St. Fidele. Closest metro stops, Duomo, Cordusio and Montenapoleone.

The Woman of Three Breasts

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Brussels has the Mannekin Pis.

Paris has the Stravinsky Fountain.

A short walk from Milan’s La Scala Theater, tucked away in a nondescript neighborhood, is the Fontana dei Baci….more commonly known by the nickname, The Woman of Three Breasts.

There are many fountains similar to this design in Rome, however, this is the only one of the kind located in Milan. The statue was conceived and constructed by the former Savings Bank of Lombardy. Part of the building owned by the Cariplo (formerly the Savings Bank of the Lombardy) and adjacent to the well-known Congress Center, it sits on the corner and attracts the occasional visitor.

Like me. Or the two girls who were there, trying to get a cool Instagram or Tinder photo.

The water feature of the statue consists of a shell supported by two mighty newts with dolphins at their feet. The gushing water was believed to represent the “charity of the Savings Bank” since this was location of the offices were where taxes were paid. Two female statues flank the water feature, but it is the lady on the left that gives the statue its nickname.

The female statue, who represents the savings of the bank, holds close to her breast. a round piggy bank. The formation of the piggy bank to the mischievous eye, however, makes it look as though the female has a third breast!

The woman with “three” breasts, on the left.
Statue on right.

Okay, so its not the Trevi fountain, but worth a detour if you are coming from a performance at La Scala…especially if you are in need of updating your Instagram photo!

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Fontana dei Baci

  • Address: Via Andegari, 8, 20121 Milano MI, Italy (corner of Via Romagnosi and Via Andegari)
  • Hours: 24 hours
  • Admission: free
  • Getting There: The following transit lines have routes that pass near Fontana dei Baci. Bus, #’s 43, 57, 61. Train, R16, S4, S5, S6. Metro lines, M1, M3. Light Rail, line 1.

Happy Hours

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The city of Prague has some of the most unique and beautiful architecture in the world.

Standing atop Petrin Hill and looking over the city, it is sometimes hard to explain how everywhere you cast your glance, there is a picture. I’ve been to many cities in Europe and yet, this is the one that always takes my breath away.

Behind Petrin Hill you can observe the elegant spires of a basilica, of the Basilica of Our Lady. Though I love churches (and this one was not open while I was visiting), it was not what I was here to see.

Basilica of Our Lady
Basilica of Our Lady

Prague’s Strahov Monastery, is one of the oldest Premonstratensian monasteries, (founded in 1140), still in existence in the world and it was just around the corner from my hotel. Heading there for its re-opening after lunch, I paid my admission for both the Library and the Gallery as well as for permission to take photos. Many of Prague’s historical buildings charge to take photos, without flash (of course), and in order to not get a stern warning and risk being asked to leave, I’ve learned that it is best to pay for permission if you want to capture the beauty of these building’s interiors.

The Library is beyond description. The two halls, the Theological Hall and the Philosophical Hall are filled with over 200,000 volumes and is one of the most valuable and best preserved historical collections in the world. Though you cannot actually enter each of the rooms, you are allowed to observe from the doorways, a bit difficult when its crowded or when someone does not understand that they’ve taken enough photos and they need to make way for others. The Theological Hall, designed by Abbot Jeroným Hirnhaim, is the older of the two and was established between 1671 and 1674, while the Philosophical Hall dates from 1794. Both halls are two-stories high with ceiling frescoes painted by Siard Nosecký and Anton Maulbertsch.

Theological Hall
Theological Hall
Philosophical Hall

The Philosophical Hall was built under the direction of Abbot Václav Mayer and contains more than 42,000 volumes covering topics such as philosophy, astronomy, mathematics, history and philology, while the Theological Hall’s 18,000+ volumes contain numerous editions of the Bible, many in different languages. In the foyer area, you can inspect some of these bibles, displayed in protective cases.

The foyer also contains a large collection of curiosities from the estate of Karel Jan Erban, dating back to 1798. In large display cabinets, you can observe sea fauna, collections of insects, minerals, wax replicas of fruit, archaeological collections, ceramics, handcuff and Hussite peasant weapons. The most interesting artifact, however, is the remains of the now extinct Dodo bird.

Though there are many notable buildings within the complex including the Basilica, the Abbey Building, the Convent, the Great Monastery Restaurant and the Strahov Monastery Brewery, the only other part that was open to the public (and did not involve beer) was the Strahov Gallery.

Heading over to the Strahov Gallery, I was pleased to find that it was more than just a picture gallery. While the gallery contains a large collection (more than 1500 pieces) of Gothic, Baroque, Rococo painting and Rudolfian art, there were other halls and exhibits throughout the structure.

One of the first exhibits, located in the Romanesque Hall (the monastery’s former food storerooms) detail the origins of the Strahov monastery, including a to-scale model of the monastery, photographs and a cycle of paintings of the scenes of St. Norbert, the founder of the Premonstratensian Order. There are also artifacts used during the celebrations on the occasion of the transfer of his relics to Prague.

The Summer Refectory (dining hall) dates back to 1691 and was designed by the Burgundian architect Jean Batista Mathey. Here, my attention was drawn upward to the ceiling which is covered with an amazing fresco entitled “Heavenly Banquet of the Just with Christ as the Host” by Siard Nosecký. As my attention was then cast down, I was able to admire the series of portraits with ten important figures from the monastery.

Summer Refectory
Summer Refectory
Winter Refectory

The nearby Chapter Hall also displayed a beautifully, frescoed ceiling, precious paintings and works of art including an ornate gilded altar. This important room was restored in 1990 to its original appearance and is where new members join the order.

Chapter Hall

Finally, as the gallery neared its closing hour, I headed to the exposition displaying liturgical works of arts, many of Czech descent, but others from different areas of Europe and the actual picture gallery.

Walking to the exit along the hallways, there were many exquisite statues and wide windows offering a peek at the buildings serene courtyard.

A visit to the monastery is on the shortlist of things to do while in Prague, but if I could make a recommendation, it would be to visit during the afternoon hours. Once finished, you can enjoy some of the monastery’s tasty brews and have a bite to eat while looking out on one of Europe’s most picturesque cities!

An afternoon of history, culture, views, food and, of course, DRINK, this is what I call my Happy Hours!

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Strahov Monastery

  • https://www.strahovskyklaster.cz/en/
  • Address: Strahovské nádvoří 1/132, 118 00 Praha 1
  • Hours: 0900-1200, 1300-1700, daily
  • Admission: Strahov Library, Adults, CZK 150 (about $6.60 US), Reduced, 80 CZK (about $3.52 US), Family (2 adults + max 3 children under 15 years), 300 CZK (about $13,20 US) , Photo Permission, 50 CZK (about $2.20 US) . Strahov Gallery (open only until 1600), Adults, 280 CZK (about $12.30 US) , Reduced, 140 CZK (about $6.16 US) , Family (2 adults + max 3 children under 15 years), 500 CZK (about $22.00 US) . Photo Permission, 80 CZK (about $3.52 US) . Children under 6 years, Holders of cards for handicapped persons, members of religious orders and congregations, teachers accompanying students, free. Children over 6 years and students up to 27 years, reduced admission.
  • Getting There: By Metro Malostranska (line A). Then tram 22 or 23 to Pohorelec. Scenic route, take the funicular, go to tram stop Ujezd (trams 9,12,15,20,22,23). Take the funicular railway  to the top of Petrin Hill and walk 10 minutes along Strahovska street. By car, parking is free of charge at the Brusnice stop on Kepler Street.

The Cathedral In the Plaza

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In the Plaza Independencia, you can spend a good part of your day see only what is there, including devouring a scrumptious lunch going to mass and making new friends!

Quito’s Cathedral stands on the southern side of the plaza and is a one of the most important churches in the city.  Dating back to 1535, when the Spanish founded Quito, it was given the name of Metropolitan Cathedral, until twenty-five years ago, when it was name the Primada Cathedral for the evangelizing work that the church had done over the years.

Construction of the cathedral began between 1550 and 1560 with many renovations over the years, until its completion in 1806.  As we walked through the building, the many architectural styles that make up the interior should be a great contrast, however, the styles blend together remarkably…the arches are of the Gothic design, while the altar is very Baroque…the choir area is Neoclassic and the ceilings Moorish.  

There are many main attractions in the church that are not to be missed that include the High Altar, gilded and backed by a monumental dome and fronted by a beautiful carved, wooden altarpiece, stunning stained glass windows, stone plates of the first settlers, its Moorish-styled coiffured ceiling, three domes (one carved in the shape of a convex quadrangle, the second, oval-shaped and the third, circular), a carved and gilded wooden pulpit (topped with a sculpture of St. Peter), ornate side chapels and the spacious high choir which houses a German organ.

Many prominent citizens have been interred here, including Mariscal Sucre (liberator Simon Bolivar’s right-hand man), Antoinio Jose de Sucre, Cardinal de la Torre, priests, bishops and many of the Republic’s presidents.

Most importantly, the cathedral houses the most notable relic in all of Quito, that of the Christian martyr, Saint Urcisino.  Given as a gift from Pope Pius IX to President Garcia Moreno, it was has resided here since 1871.

The cathedral also contains a museum with many types of art, both ecclesiastical and colonial and an imitation of the Last Supper painting cannot be missed…instead of the usual dinner fare, Jesus and the apostles dine on cuy, the traditional South American dish…yes, it’s guinea pig.

It was revealed to me some time after our visit that visitors can climb through a very narrow and dark staircase and passages and emerge on the roof for a great view of the city and the square beneath, as well as climb to the domes.  I guess since it was the end of our day, we missed this!

Though I was sad about not having known about the climb to the top, I had the privilege of looking down on the city from many vantage points during my visit…from the top of the Teleferico, from Panecillo Hill and from the top of the Basilica.  Instead of being regretful of what we did not get to do, I will focus on the many beautiful things we witnessed inside this amazing cathedral!

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Museo Catedral Primada de Quito

  • http://www.catedraldequito.org/
  • Address: Venezuela y Espejo 715, Quito 
  • Hours: Monday-Saturday, 0930-1700
  • Admission: National Tourists, Adults, $2.00, Children, Students, Seniors, People with Disabilities, $1.00. Visit to Domes (Church+Museum+Domes) $4.00. Foreign Tourists, Adults, $3.00, Children, Students, Seniors, People with Disabilities, $2.00. Visit to Domes (Church+Museum+Domes) $6.00.

Treats and Treasures

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With so many things to do and see in Quito’s historic city center, it was hard to choose, much less squeeze as much as we could into one day!

Trying to maintain a balance of churches, convents and monasteries was the challenge as there are so many to visit.

The Monasterio Museo del Carmen Alto was one of the monasteries that I was interested in for its rich history. Built in 1653, it is still home to twenty Carmelite nuns and houses an fascinating museum.

The whitewashed, two-story building was the former home of Quito’s patron saint, Mariana de Jesus (1618-1645). Today, thousands of pilgrims make their way to the monastery to pay their respects to this Ecuadorian saint. Thousands more come to tour the exhibits which explore the daily routines of the cloistered nuns who have made their lives here, the religious art and artifacts from the monastery’s prestigious history and to purchase some of the nuns traditional sweets.

The cloistered nuns at Carmen Alto stay busy by producing limones desamargados, hollowed out tiny lemons filled with a sweet creamy center. After your visit, make sure to stop by the gift shop near the exit where you can stock up on these sweet treats as well as traditional baked goods, aromatic waters for nerves and insomnia, bee pollen, honey and bottles of mistela (anise-flavored liqueur).

The Museo del Carmen Alto is a great place to soak up some of Quito’s religious history as well as gather some unique souvenirs!

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Museo del Carmen Alto

  • http://www.museocarmenalto.gob.ec/
  • Address: Garcia Moreno y Rocafuerte, Junto al Arco de la Reina, Quito, Pinchincha 17015
  • Hours: Wednesday-Sunday, 0930-1700
  • Admission: Adults, $3.00, Students (with I.D.), $2.00, Children, $1.50, Seniors over 65 years and those with disabilities, free. Spanish tours, free. English tours, $4.00.
  • Getting There: Located in the Historic Center of Quito on García Moreno and Rocafuerte streets, next to the Arco de la Reina. By Trolebus, stop at the station of the Plaza de Santo Domingo. By car, parking available on La Ronda, Guayaquil Street, in Cadisan, Calle Mejía and García Moreno.