Alphonse Mucha - The Creative Adventurer https://thecreativeadventurer.com A Travel Guide for Exploring the World Wed, 15 May 2024 20:06:35 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://i0.wp.com/thecreativeadventurer.com/wp-content/uploads/2020/01/cropped-NewCreativeAdventurerLogo_250x250_v1.png?fit=32%2C32&ssl=1 Alphonse Mucha - The Creative Adventurer https://thecreativeadventurer.com 32 32 171399271 The Ultimate Guide to Exploring the Beauty and Meaning of Alphonse Mucha’s Masterpiece, the Slav Epic [UPDATED 2023] https://thecreativeadventurer.com/art-gallery-guide-alphonse-muchas-masterpiece-the-slav-epic/?utm_source=rss&utm_medium=rss&utm_campaign=art-gallery-guide-alphonse-muchas-masterpiece-the-slav-epic https://thecreativeadventurer.com/art-gallery-guide-alphonse-muchas-masterpiece-the-slav-epic/#comments Fri, 27 Jan 2023 17:16:23 +0000 https://thecreativeadventurer.com//?p=1445 The ‘Slav Epic‘ is one of the greatest works by Czech artist Alphonse Mucha. Over 20...

The post The Ultimate Guide to Exploring the Beauty and Meaning of Alphonse Mucha’s Masterpiece, the Slav Epic [UPDATED 2023] first appeared on The Creative Adventurer.

]]> The ‘Slav Epic‘ is one of the greatest works by Czech artist Alphonse Mucha. Over 20 years, Mucha painted 20 enormous canvases, some measuring over eight meters tall! He called this series the ‘Slav Epic’ as it explored the history of the Slavic people.

If you’ve visited Prague, there is no doubt you will have come across Mucha’s work. He is one of the most prolific Czech painters in the world, and the city LOVES his paintings and posters. They seem to appear on every street corner and postcard in Prague. His famous prints have become so popular they are often sold at University Poster fairs and cover the walls of hundreds of dorm rooms around the world.

Mucha’s Art Nouveau

His style of art is quintessentially Art Nouveau. Most of his more commercial works feature images of beautiful young women in flowing dresses surrounded by lush flowers. He kept the tones for these advertorial pieces in pale pastels, typical of the art nouveau style. But the ‘Slav Epic’ is something completely different. A departure from his commercial work and something genuinely personal to the artist. If you are interested in learning more about the Slavic people and their history, this is an immersive and exciting way to do it!

Where to Find the Artwork

I am SO EXCITED to finally get to update this blog with the new locations for the Slav Epic. When I visited Prague in 2015, I didn’t know I would be one of the last people to see the Slav Epic in person. I caught the exhibition just a few months before it closed. Until the end of 2016, the Slav Epic was housed in the National Gallery’s Veletržní Palace in Prague.

Moravský Krumlov

Originally, the canvases were exhibited in the city of Moravský Krumlov. They were displayed in the castle and remained a precious treasure of the town for over 50 years. Then, the city of Prague contested that the painting had been left to them by Mucha in the first place. And they shouldn’t be displayed so far away from where most tourists visit. But Prague had no space suitable for showing all these incredibly large works of art. You almost need an airport hanger! The city of Moravský Krumlov felt the paintings needed an appropriately regal and elevated space. They wanted them to be displayed inside the old palace of Moravský Krumlov, where they felt like they belonged. 

Political Battle over the Paintings

In 2012, the city of Prague eventually won the right to display the works. They found a temporary space for them in the National Gallery’s Veletržní Palace. But this space was only to house them for four years. After 2016, the paintings were boxed up, and a political battle between Prague and Moravský Krumlov erupted again. No one could agree on where they would be displayed. They travelled to Japan for international exhibitions, but when they returned, they sat in storage.

Finally, in 2020 the Prague City Council decided to return the paintings to the château in Moravský Krumlov. They will be on display here until 2026. After returning to their original home, the canvas exhibition spaces were repaired to better showcase these incredible works of art.

Access & Admission 

As the exhibition takes place in Moravský Krumlov, most visitors will arrive via Prague, Vienna or nearby Brno.

The train from Prague to Moravský Krumlov takes about 4 hours (with one transfer.) After arriving at the stations, you can hop on a bus which will take you to the entrance to the castle. If you are travelling from Vienna, the journey is slightly shorter, only 3 hours on the train. The shortest trip will be from Brno, as it is only 1 hour on the train.

Tickets

It’s best to purchase tickets in advance to ensure you won’t be disappointed that they are sold out when you arrive.

Prices: Adults 250 CZK, Seniors 65+ 170 CZK, Students 10-25 years old 150 CZK

Hours

January–May:  9:00 a.m.–4:00 p.m. (last entry at 3 p.m.)
June–August:  9:00 a.m.–5:00 p.m. (last entry at 4 p.m.)
September–December  9:00 a.m.–4:00 p.m. (last entry at 3 p.m.)
all year round: closed on Mondays

The Size Paintings

Seeing the paintings for the first time in person, you’re immediately awestruck by the sheer size of these canvases. They feel more like walled frescos than simple pictures. Moments are frozen in time, captured in life-sized (and in some cases, larger than life) works of art. Each of the paintings depicts the history of the Slav people, their civilization, wars, and celebrations. The next thing you’ll notice about these paintings is how the people represented differ from Mucha’s other works. These are not the languid, sensual forms of Mucha’s commercial art nouveau posters. These deftly painted scenes profoundly portray the emotions and collective journey of the subjects in each brushstroke.

About Alphonse Mucha

Alfons Maria Mucha, although better known internationally as Alphonse Mucha, was a Czech painter born in 1860. He born in the small town of Ivančice in southern Moravia. Mucha showed an aptitude for painting very early on. He received his secondary education at the Cathedral of St. Peter and Paul in Brno. He was accepted into the arts school firstly as he was also an accomplished singer. Mucha was famously quoted as saying, “for me, the notions of painting, going to church, and music are so closely knit that often I cannot decide whether I like church for its music or music for its place in the mystery which it accompanies.” The dramatic scenes in many religious paintings undoubtedly influenced the art he would later go on to make. 

See page for author, Public domain, via Wikimedia Commons

Mucha in Vienna

At 19 years of age, Mucha travelled to Vienna. There he became an apprentice scenery painter for theatre companies. His flair for the dramatic would continue to be influenced through these explorations. After his apprenticeship, Mucha moved back to Moravia. There he was employed by Count Belize to create portraits, decorative art and lettering for tombstones. Belasi saw Mucha had real talent. He wasn’t just an everyday artist. Belasi brought Mucha with him on his trips to Venice, Florence and Milan. There he was able to introduce him to many more professional artists.

SiefkinDR, CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0, via Wikimedia Commons

Mucha in Paris

Eventually, Mucha moved to Paris in 1888 and started to professionally study art at the Académie Julian and Académie Colarossi. These schools specialized in studying female nudes and figurative paintings. As well as historical and religious art.

While in Paris, Mucha lived inside the Slavic community boarding houses who famously sheltered struggling artists. It was perhaps living within this community that endowed Mucha to the Slavic people even more. Mucha’s first large client was the Central Library of Fine Arts. It was from here that his career as an illustrator and graphic artist took off. He successfully made a life for himself in Paris for many years, creating commercial art. These printed works featured his iconic attractive sets of women, in flowing gowns and floral backdrops.

History of the Slav Epic

At the age of 43, Mucha returned to his homeland of Moravia. There, he devoted himself to painting a series about the history of all the Slavic people. Mucha’s inspiration for the series first started when he was researching another assignment. While studying and travelling through the Balkans, he was genuinely struck by the hardships and sufferings of the Slav people. He also noted there was no real documentation of these people’s stories in art. Mucha decided it would be his final task to bring these stories to life with paint.

Although he secured a financier for the giant undertaking, this was more of a passion project for the artist. Sitting in his studio, surrounded by this enormous canvas, Mucha painted the past into reality. The Slav Epic depicts in chronological order the mythologies and histories of the Czechs and Slavic people.

http://www.radio.cz/fr/article/106478, Public domain, via Wikimedia Commons

Romanticism

Many of the themes in this series fall under romanticism. Romanticism is characterized by its emphasis on emotion and individualism and the glorification of the past and nature. In these paintings, sensations are portrayed on people’s faces in a far more sophisticated way than before. Looks of horror, terror, awe and apprehension started to round out the range of human emotion in art. Previously emotion had been stunted between pure joy or sadness. Romanticism also elevated folk art, which had previously been thought of as a lesser form of art.

It took Mucha over 14 years to complete the series. In 1928, on the 10th anniversary of Czechoslovakia’s independence, Mucha presented the collection of paintings to the Czech nation. He considered it his most important piece of work he ever created. The Czech Republic cherished the gift. It was like nothing else they had ever seen before. Notably, during World War II, the Slav Epic was one of the first things hidden away before the Nazis took hold of the city and seized works of art.

The Slavs in Their Original Homeland

The series is set chronological and starts with the painting entitled “The Slavs in their Original Homeland,” painted in 1912. In the 4th to 6th century, the Slavic people lived largely in unpopulated, rural areas, which often were considered marshes. Because there was no national army to protect these farmers, their lands were invaded time and time again.

In this painting, you can see a mother and child hiding in the bushes. Behind them, their village is being burned to the ground. The red fires glowing in the distance to the left of the frame. Their eyes are so vulnerable and seem to cry out to the viewer for help. They look right into your soul. This is a trope that Mucha uses throughout almost the entirety of the series.

In the top corner of the piece, you can see three figures floating in mid-air. The largest of the figures, a priest, holds his hands outstretched. In the same position as Jesus on the cross. The two on either side of him are a young boy and girl. The boy, dressed in blood-red robes represents war. The girl on the right, dressed in white represents peace. The two figures seem to foreshadow the future of the Slavic people. Their history is marred by many wars but also by the hope for peace.

Colours in the Slav Epic

The colours used in this painting are significant in the series and also in comparison to Mucha’s other works. Most of Mucha’s artworks are pale and delicate. In this series, we find there is definitely a dark tone to his work. Colours here are not just used haphazardly. He uses colour to his advantage and to help tell the story using symbolism.

Many of the paintings throughout the series have two separate planes of existence set in the same scene. Often mythological beings are seen floating above the historic action below. This is Mucha’s way of combining the essential mythologies of the Slavic people to past events.

 The Celebration of Svantovít 

Sventovit is a Slavic deity of war, fertility and abundance. Sventovit is depicted as a four-headed god with two heads looking forward and two looking back. These four directions are positioned like a compass, looking north, south, east and west. The different directions they point also symbolize the different seasons of the year. Mucha’s next piece, “The Celebration of Svantovít” features the god Sventovit is located in the upper right portion of the painting. The god’s head is just cut off on the top of the canvas. Almost as if we portals cannot look upon him. But we can see some of the branches which sprout forth from his head. He is surrounded by other celestial beings painted in an almost opalescent quality.

Arcona

Before the 1200s, the Slavs headed westwards and built a temple to Sventovit in the city of Arcona. As Sventovit was also the god of the seasons the Slavs would have a grand celebration every year during the autumn. The festival was obviously held at this temple. Pilgrims would come from all over Europe to celebrate with them here.

In 1168 the Danes attacked the city and destroyed the temple in their conquest of the east. We can see the Danes in the upper left corner of the canvas. They are represented by the fearsome-looking warriors being lead by a pack of wolves.

Celebration

Below the celestial scene, the Slavs are preparing for their autumnal celebrations. The Slavs and pilgrims are all dressed in white, a symbol of purity. Only one character seems to be aware of the incoming attack. A mother holding her child in the center of the frame looks out at the viewer. She is almost begging the viewer to take notice. And save them from the horrors which are about to happen to the peaceful pilgrims and Slavs.

Introduction of the Slavonic Liturgy in Great Moravia

In this painting, the “Introduction of the Slavonic Liturgy in Great Moravia” we have a lot going on. So let’s study the earthly plane first. The scene takes place in Velehrad around the year 880. In the lower right corner of the painting, we see a ray of light shining down. A deacon, with his back turned to the audience, reads out an edict. Sitting on his throne awaiting the reading is Prince Svatopluk of Greater Moravia. The deacon is reading out the announcement that Pope John VIII has officially sanctioned the use of Slavic liturgy.

To the left of the deacon, almost hidden behind a small tree, stands Methodius. Two novices are seen kneeling by his side. The task of translating the Bible into the Slavic language was a job upon which Methodius staked his life. And it would make him a saint. Methodius, and his brother Cyril, both helped with this translation of the Bible. The Pope also made Methodius archbishop for his achievements. In the middle ages, having a bible in your native language was a way of ensuring its legacy.

Slavic Language

But not everyone is happy to hear this news. The two German priests surrounding Svatopluk, whose faces are shaded and almost hidden in darkness, can barely conceal their anger. These Germans had been making their way through Moravia in the hopes of eliminating the Slavic language for good. They wanted to force the Slavs to learn the German language in order to practice Christianity.

In the very front of the foreground, once more staring out at the audience, stands a young man with his fist clenched. He raises his other hand in the air, which holds a large ring. The circle symbolizes this moment of strength in unity for the Slavic people.

Boris of Bulgaria and Igor of Russia

Floating above this scene, we have members of the divine realm. In the upper left corner, we can see the Pope sitting on his throne. Beside him, sits the Byzantine emperor, who was the head of the Orthodox Church. Surrounding the great religious leaders Slav who suffered forced Germanification, who now cry out for comfort. In the center of the ethereal world, we see stylized images of Methodius and Cyril as Saints. To the very right, we have the portraits of Boris of Bulgaria and Igor of Russia and their wives. These rulers helped spread the Slavic Bible across the country which helped strengthen their rule and their culture.

Tsar Simeon I of Bulgaria 

Much as the Bible was important in the perpetuation of the Slavic language, art and literature were also significant in ensuring a legacy for this nation. When Methodius died, the Archbishop of Moravia, Prince Svatopluk, under the influence of his German priests, withdrew his support for the Slavic Bible. With this exodus, he also exiled all of Methodius’ followers out of Moravia. They were scholars without a place to call home. Methodius had died and his successor was not recognized by the Pope and therefore had no power. His followers felt they were the only ones left who could continue Methodius’ great work. But all was not yet lost.

Tsar Simeon I

Luckily, Tsar Simeon I of Bulgaria, who had a great kindness in his heart for the Slavic people, gave the scholar refuge inside his court. Tsar Simeon I, was a powerful ruler. Simeon’s successful campaigns against the Byzantines, Magyars and Serbs led Bulgaria to its greatest territorial expansion ever! It was on its way to being one of the most powerful states in Eastern and Southeast Europe. But Simone was also a lover of literature and art. We can see Simeon himself highlighted here under a golden arch. He is seen dictating to his scribes from his raised dais. Other scholars are spread out all over the court. Almost hastily and messily, writing and reading under the golden light of the throne room.

The painting’s foreground is rather small. The upper portion, which takes up about half the space, focuses on the palace’s decor. The frescoes on the wall feature both Byzantine and Slavic designs. Slavic leaders are painted, and a circular motif is applied in gold to the front of the baldachin.

King Přemysl Otakar II of Bohemia

The fifth painting in the series is entitled “King Přemysl Otakar II of Bohemia.” This painting was made 12 years after the first. The piece depicts King Přemysl Otakar II, who ruled Bohemia from 1253-1278. The King is celebrating the marriage of his niece to the prince of Hungary. This marriage would forge a great alliance and strengthen the bonds of both countries. 

The wedding took place on October 5th, 1264. It was one of the greatest celebrations in Europe’s history to date. Held on the banks of the Danube, under a large canopy, fancy tents were set up along the river to accommodate all the royal guests. The event was dubbed the “Union of Slavic dynasty“. The King happily is greeting his guests inside an ornate tent covered in rich carpets and a beautiful mosaic dome. This scene is lit from above, as if from that celestial place. The light of the hope for the countries’ futures.

The Coronation of Serbian Tsar Štěpán Dušan

The next painting in the series is the “The The Coronation of Serbian Tsar Štěpán Dušan.” Dušan fought many successful wars, growing the size of the country and enriching the livelihood of his people in the process. On Easter Sunday in 1346, he had himself crowned as the Tsar of the Serbs and Greeks. The painting takes place on the hillside, down from the Church of Saint Marko near Skopje. In this scene, we see crowds of peasants and nobles alike, in line for his coronation. Under Dušan’s rule, Serbia was the major power in the Balkans, and a multi-ethnic and multi-lingual empire. He enacted Dušan’s Code which was a compilation of several legal systems, which is considered to be one of the first acts of the constitution.

The children will follow in their leader’s footsteps and bring freedom to the Czech people

Dušan is depicted at the centre of the frame, but not larger than any other person presented. Walking in front of him are some young Serbian girls in traditional attire. The children stand at the front of the procession, as Mucha always maintained that “the children will follow in their leader’s footsteps and bring freedom to the Czech people.” In their hands, they carry flowers and olive branches, the symbols of peace and victory. The children’s gaze focuses once more on the viewer, asking them to join in on the celebrations.

Jan Milíč of Kroměříž

This painting, “Jan Milíč of Kroměříž,” is the first of a triptych in the Slav Epic series. These three paintings jump forward in history slightly and focus on the reformist preachers of the 14th and 15th centuries. Jan Milíč of Kroměříž was a Czech Catholic priest who found himself in opposition with the rest of his clergymen. He found the Catholics to be immoral and indulgent. Their greed was outweighing their piety. 

He redesigned from his official priestly duties and instead dedicated himself to helping the sick and poor of the city of Prague. Milíč made it his mission to persuade the prostitutes of a large house of ill repute to shed their sinful ways and repent. By the sheer eloquence of his words alone, they followed.

Unlike the rest of the paintings in this series, this one is primarily made up of women. Even Milíč himself is very small in proportion to the rest of the scene. At this moment in time, we can see the former prostitutes shedding their brightly coloured clothes and lavish jewels in exchange for simple, white robes. A mode of dressings that represented their newfound purity.

Jerusalem

Milíč set about building a new church, which he would call his “Jerusalem“. This church would become the Týn Church which now stands in Prague’s Old Town Square. In this painting, we can see the women gathered around the spot that would become this church. The scaffolding reaching high up, making the verticality of the painting one of the most impactful things about this piece. One of the prostitutes in the foreground, dressed in red, has her mouth gagged in order to prevent her from gossiping, a mortal sin.

Jan Hus Preaching at the Bethlehem Chapel

The second and largest painting in the triptych is “Jan Hus Preaching at the Bethlehem Chapel”. In this dimly lit scene, we see the Czech theologian and philosopher Jan Hus sitting in the center of the Bethlehem Chapel in 1412. Jan was at the height of his popularity at this time. Jan Hus preached against the Catholic Church of Bohemia, as he believed they were using the church for their own gains. And they would not let the Bohemian people have the Slavic language used in church. The scenes show Hus on the left side of the painting, preaching from his pulpit. But Hus, despite being perhaps the most famous character in the scene is not the central focus. The audience is filled with both everyday people and the highest rungs of Bohemia. All together, presented equally.

The church is also filled with famous characters who would shape the future of Bohemia. Perhaps influenced by the teachings of Hus. The future leader of the Hussite army Jan Žižka, stands under a fresco of St. George and the Dragon. In front of the pulpit is a small group of Hus’ students who are diligently taking notes. All of them sit there, transfixed by the words he speaks.

Queen Sophia, wife of King Váklav IV

On the right side of the frame, we see the bright red canopy of Queen Sophia, wife of King Váklav IV. She sits with her assembly listening to the great lecturer. One of her ladies in waiting turns her head to the side, looking off at a shadowy figure in the corner. This figure represents one of the spying priests who would bring about the death of Jan Hus.

Mucha represents the Bethlehem Chapel as he imagined it. The real church was destroyed in 1836, long before Mucha started this painting. Mucha draws the interior in the high Gothic style as it feels so grand and perhaps reflects the magnificence of the sermons Jan Hus would have been giving. You can visit the new Bethlehem Chapel in Prague today, and while the architecture isn’t nearly as impressive now, its prominence in history is unparalleled.

The Gathering at Křížky

Jan Hus’ teachings were not taken kindly by the papacy. When Alexander V was elected as a pope, he excommunicated Hus. But this would not stop him from preaching. Angered at his insolence, the pope plotted to arrest Hus. He planned an assembly of the Council of Constance to discuss Hus’ opposition to the church. When Hus arrived to have what he thought would be a sensible debate, he was arrested. They repeatedly ask Hus to stop preaching and bend to the ways of the Catholic church but Hus just repeated, “I would not for a chapel of gold retreat from the truth!”.

Hus was burned at the stake for “heresy against the doctrines of the Catholic Church“. As he burned they say he could be heard singing Psalms, a peaceful protestor to the end. But his death would not be in vain. His followers, who called themselves the Hussites, rose up against the Catholic Church. They wanted to take up arms to defend their faith and their right to practice religion in the Slavic language. In 1418, there was a gathering of the Hussites before the great war they would embark on. It is depicted here, in the painting called, “The Gathering at Křížky.”

Koranda

On the right side of the frame, atop a makeshift pulpit stands the preacher Koranda, one of Jan Hus’ most diligent followers. Koranda preaches to the thousands of followers who have concentrated on the hillside. In the foreground, a young man puts his hands around his mouth, in mid-scream. He is calling out for more pilgrims to come over to this spot and listen to Koranda. Koranda is famously quoted as saying, “the faithful should carry swords, not walking sticks.” It was perhaps this moment that the Hussite Wars began. While the painting’s hills and foreground are lit in a pale morning sunrise, there is a dark sky looming above them. This ominous tone is foreshadowing the devastation that will be brought by impending hostilities.

After the Battle of Grunewald

This scene is perhaps one of the most ghastly of all the paintings in the series. The painting depicts the morning “After the Battle of Grunewald“. The great Battle of Grunewald is one of the most significant medieval European victories in history. It was a show of unity for nations under the thumb of Germany. The Teutonic Knights, a German catholic order, had been ravaging the Baltic lands since the 1400s. They wanted to spread Christianity to the pagan nations as they deemed them “savages”. The Slavs, who were also at war with the German Catholics, saw an opportunity to join forces and create a united front against them. The Slavs, the Poles and the Lithuanians all signed a treaty on July 15th, 1410. This was done to help each other defend themselves against the great Teutonic Knights.

Polish–Lithuanian Union

The battle at Grunewald in Poland was a bloody affair, but in the end, the Polish–Lithuanian union were the victors. The battle is thought to have been the marking point in history when the balance of power shifted in Central and Eastern Europe. Many historical war scenes are often depicted as gory and bloody and yet Mucha chose a different approach. Instead, the battleground is almost entirely white, like covered in freshly fallen snow. This is once more to show the purity of the fallen soldiers, who died for the good of their country.

At the top of the frame stands Polish King Władysław Jagiełło and his cousin the Lithuanian Grand Duke Vytautas. They look down at the field of dead soldiers in horror. Such a high cost for freedom which should have been granted naturally. A priest in a white hood can be seen blessing the fallen soldiers as he moves throughout the battlefield.

After the Battle of Vítkov

The 11th piece in the series is entitled “After the Battle of Vítkov.” Like the previous painting, this one also focuses on fallen soldiers. Mucha was a pacifist and hated the loss of which war incurred. The battle was between the Czech people and the then King of Hungary, Sigismund, brother of King Wenceslas. Sigismund was thought to be the one who plotted the death of the people’s prophet, Jan Hus. After Hus died, the people refused to accept Sigismund as their king and marched against the Hungarian army, which occupied Prague Castle at the time.

Zižka

The sun rising above the clouds beams down on a figure which represents Zižka, the leader of the Czech army. We have seen Zižka before, first in the church scene listening to Hus’ teachings. Here we see him still fighting for the same things Hus had preached. Zižka is painted here by Mucha almost as a saintly figure, with the light of god cast down upon him.

In the bottom left of the frame, a mother is seen with her children. But she turns away from them, towards the viewer. She looks utterly overcome with pain, exhaustion and defeat. Although her army may have won the battle, many men had to die and she is perhaps thinking about her young children, who will no doubt go to war like so many other young men. These powerful characters looking out at the audience always seem to have these discerning looks, as if they, like the viewer, know what is to come next.

 Petr of Chelčice 

Mucha aimed with his Slav Epic series to ensure he depicted both sides of the story. And in the painting, “Petr of Chelčice ” we see this balance. While the Hussites were an oppressed people, there were also more extreme factions of Hussites who themselves terrorized many people. This extremist group was called the Taborites. In 1420 the Taborites attacked the village of Vodňany. They plundered the town and burned it to the ground. In the distance of the painting, we see a hint of this action as the black smoke fills the air and almost the entire skyline.

The remaining citizens of Vodňany came to a pond away from the city carrying their dead and wounded in the hopes they would be safe here. The dead are wrapped in white sheets and set against a white pure background. Many of Mucha’s war scenes depict not the action of the battles itself but the after-effects of these traumas on the innocent victims or those left behind. Those who needed to carry on.

Petr Chelčický

In the middle of the frame, we can see a man dressed in a long brown coat and pale blue shawl. He holds a tattered book in his hand, the Czech bible. This is Petr Chelčický. Petr is seen holding the hand of a man, who in anger wants to set off back to the village to avenger his fallen family. But Petr is attempting to calm and dissuade him from seeking revenge.

Chelčický believed and taught pacifism and hated the idea of war. Mucha himself shared in this belief and wanted to highlight the man which he himself looked up to greatly. Petr Chelčický would go on to found the Unity of the Brethren. Their motto was “In essentials, unity; in non-essentials, liberty; in all things, love.”

The Hussite King Jiří z Podĕbrad

Despite the strength and unity of the Czech people, Rome was still in opposition to them. In 1458 Bohemia elected its first king; Jiří z Podĕbrad portrayed here in “The Hussite King Jiří z Podĕbrad“. Jiří z Podĕbrad was well-loved by his people. With many successful battles, the Hussites had demanded an acknowledgement from the Church. Jiří z Podĕbrad sent an envoy to Rome with a treaty. He asked that the Pope confirmed his election and grant Bohemia their own religious privileges. The Pope sent back to Prague his cardinal Fantinus de Valle, to the Royal Court in Prague’s Old Town.

Mucha’s Villains

In Mucha’s series, so many of the villains are seen painted in red. And there is no purer red, than the cardinal’s robes. He is centred in the frame, surrounded by the golden light flowing in through the gothic tracery’s stained glass windows. But instead of the golden light on the sun seeming holy or uplifting, there is an ominous, almost firey tone, to the lighting. He has not brought news of peace but of more war. The profile of Fantinus has actually been modelled off Pope Pius II. Fantinus was mere a solider in the Pope’s envoy.

The scene around him is calamitous. The king is seen turning away, his chair on its side, no doubt having been kicked down in a fit of rage. The overturned chair also represents the fact that Bohemia was still not seen as an official kingdom as the Papacy would not acknowledge it. At the bottom of the scene, in the center of the frame, we see a young boy looking out at the viewer. The boy is holding a book in his hands, which has the words “Roma” written on the cover. The book is closed, depicting the fact that Rome has closed the door on the Bohemian people.

The Defence of Sziget by Nikola Zrinski

“The Defence of Sziget by Nikola Zrinski” stands out, as the red hue is so saturated in juxtaposition to the softer tones of the rest of the series. The scene is fiery, literally. It depicts the last assault of the Bohemian forces against the Turkish army. In 1566, when this painting is set, the Ottoman Empire was spreading eastwards, taking city by city by force. Their next attack was set on the city of Sziget, a town in modern-day Hungary.

Nikola Zrinski

Within the walls of the city, the last remaining Bohemians forces gather around their leader, Croatian nobleman Nikola Zrinski. With no way out, the soldiers and common folk decided that instead of surrendering, they would fight to the very end.

One of the most dramatic moments of the siege is the burning of the city. Upon seeing the Turkish forces burst through the battlements, Zrinski’s wife Eva set fire to the city. She knew while this would no doubt kill hundreds of her own soldiers, but it would also kill thousands of Turks. And perhaps stop their advance into the rest of eastern Europe. In this scene, we can see Eva, along with other fellow women, climbing the scaffolding which contained the cities gunpowder supply. They ready themselves, for the right moment, when the Turkish army is close. Then Eva will hurl down the cresset she holds, to set the entire thing ablaze. You can see Eva at the very top of the scaffolding, standing proud and regal, brave in the face of her sacrifice. It was this decision that successfully halted the Ottoman expansion towards the city of Vienna.

Dividing the canvas like a scar, is a dark plume of smoke rising from the ground. The smoke is so thick it doesn’t seem to belong in the earthy realm. Instead, perhaps it is foreshadowing the demise yet to come. This battle is often referred to as “the battle that saved the civilization.”

The Printing of the Bible of Kralice in Ivančice

“The Printing of the Bible of Kralice in Ivančice” is of particular importance to the Mucha, as it depicts his hometown. The town of Ivančice where Mucha was born is faithfully reinterpreted for us here, on a seemingly idyllic autumnal afternoon. No doubt he would have chosen his favourite time of year to paint this scene. The painting shows members of the Brethren School, gathered in 1578 to admire their new printing press, at work producing the first Czech translation of the New Testament.

Jan the Elder

This theme of all men being equal was something Mucha believed in and was preached by the Brethren School itself. The teacher Jan the Elder of Žerotin can be seen almost obscured under the wooden shelter on the left side of the canvas despite him being one of the founders of the school. In reality, while the Brethren School was located in Ivančice, the bible had to be printed in secret in the town of Kralice. While the action is celebratory, the act of printing the bible in another language was seen as an affront to the Catholic church.

In the foreground of the frame, we see an old man reading to a young scholar. The scholar is looking out at the audience, with a look of apprehension or perhaps impending doom in his eyes. He seems to know that this act is bound to bring persecution down on the school. But printing the bible in Czech was in itself a symbol of the power of the Czech national identity. Since the bible was one of the most-read pieces of literature, having it in your own language ensured its legacy.

Jan Amos Komenský

As foreshadowed by the look of terror in the boy from the previous painting, the religious liberties of the Bohemian people would not last. In 1619 the Holy Roman Emperor Ferdinand II became King of Bohemia. Without a true Czech King on the throne to fight for the rights of the Bohemian people, the Catholic church was reinstated in what was now a Protestant region. But not without bloodshed. In 1620, 30,000 Bohemians died trying to defend their liberty. Noblemen and academics were given the choice to convert to Catholicism or to be exiled.

Naarden

The painting of “Jan Amos Komenský” depicts the result of this exile. Komenský had been a member of the Brethern school who faced this choice. Not wanting to bend the knee to the catholic church, he left the country he loved so much, breaking his heart in the process. He spent the rest of his life in the town of Naarden, in the Netherlands. The town is located near the water, and historically it was said that Komenský would walk along the coast every day. Perhaps the calm sound of waves crashing on land allowing him to dream about the country he left behind. One day, when he felt like his life was coming to a close, he asked for a chair to be brought out to the coast. There he sat, and let death take him home once more.

The scene is painted in a sombre, yet peaceful swath of blues and whites. The purity of the white shores upon which he walked is framed by the melancholy blue of the sky. The sombre sky reflecting the sadness which Komenský felt being compelled to leave his homeland and many of his people. A group of his followers can be seen grieving on the shore, holding each other close. A single lantern sits on the sand, glowing brightly in the darkness, perhaps a hint at the hope which still exists for the Bohemian people.

Czech Mason Temple

This is the only painting in the series which Mucha actually signed! Mucha was deeply connected to Komenský. It is well known that Mucha was a member of the Czech Mason Temple, which was founded in Prague in 1919 and named after Komenský himself. One of the symbols of the Masonic Temple is the Eye of God often seen in a triangle surrounded by rays of light. It is thought that Mucha’s inclusion of the lantern in this scene is symbolic of this same Eye of God and therefore a masonic symbol.

The Holy Mount Athos

The 17th piece in the series is called “The Holy Mount Athos.” Mucha believed that Mount Athos was a spiritual nest for the Czechs and Slav people. Mount Athos is a mountain in northeastern Greece and an important centre of Eastern Orthodox monasticism. Mount Athos is home to 20 monasteries under the direct jurisdiction of the Ecumenical Patriarch of Constantinople. Mucha visited the mountain himself in 1924. The spiritual haven made a huge impression on the painter.

The painting depicts the Russian pilgrimage to this holy site. Once more, we are privy to Mucha’s depiction of the heavenly and the earthly places above and below the canvas. In the upper portion of the painting, we can see the celestial realm. An ethereal glow falls in through the windows, showering the angels in heavenly light. Each of the angles holds in their hand a small model of a Slavic monastery that was built around Mount Athos. Each one of the angels seems to shelter and protect these little treasures. In the center of the frame are two female angels, identifiable by the fact they are not barechested and instead draped with immaculate white fabric. They hold an insignia in their hands which indicates they represent “faith” and “purity”.

High Priests

In the earthly plane, we can see the Russian pilgrims entering the sanctuary in a semi-circle, bowing and praying. Four high priests stand at the back of the scene, just under the Slavic icons. Each one of them holds a relic in their hand which the pilgrims kiss upon greeting. In the foreground of the canvas, we see once more a young man, holding up an older blind man in his arms. One can imagine them to be the same two figures from the school of the Brethren a few paintings ago. The young man, being so inspired by the teaching of the older one, has helped bring him to this holy place where he can finally be at peace.

The Oath of Omladina under the Slavic Linden Tree

There are two important things to understand when reading the painting “The Oath of Omladina under the Slavic Linden Tree”. One is mythological and the other historical. The historical piece of the story is imprinted in the title with the mention of the Omladina. The Omladina were a group of Czech Nationalists made up mainly of youths created in the 1890s. 68 members of the group were furthermore put on trial for their beliefs and sent to prison for their “radical” ideas. These ideas revolved around the creation of a Czech nationalistic revival, despite the fact that Bohemia was currently occupied by the Austria-Hungary empire.

The Daughter of Sláva

The scene which takes place here combines the Omladina with an allegorical scene of the Daughter of Sláva. Mucha was inspired by the poems of Ján Kollár whose oeuvre focused on stories of the gods and goddesses from Slavis history. The Daughter of Sláva stands in the center of the frame, beneath a Linden tree. The Linden tree is also a symbol of the Slavs. Surrounding the tree, in a circle of unity, are imagined members of the Omladina. The Omladina are in the process of taking an oath and pledging their allegiance to the goddess Slavia, and to the Czech people. While the men in the frame are portrayed in their formal, modern-day fashions, there are groups of figures surrounding them dressed in folk costumes. These are traditional representations of the first Czech people.

Jaroslava and Jiří

Sitting on what almost looks like the edge of a stage are two figures, a male and female. These characters were actually modelled off Mucha’s own children; Jaroslava and Jiří. The composition of girl on the right strumming the lyre was actually used in the posters that Mucha created to promote the exhibition of the Slav Epic in Prague in 1928. Mucha would never finish this painting, and the composition remains bare on the canvas, unvarnished. The faces are also unfinished, but in a sense that almost makes the painting more interesting as future Czech revolutionaries can imagine their own faces in the image. Inspiring them to never lose their Czech identity and the histories that come along with it.

The Abolition of Serfdom in Russia

Mucha’s painting of the “Abolition of Serfdom in Russia” is a real reflection of the artist’s disheartening experience of visiting Russia for the first time. Mucha had always looked up to the Russians and was excited to finally visit the city. But when he got there in 1913 he was so disappointed to find the city was overrun with poverty and suffering. It was not the progressive place he thought it would be, instead, he found so many cultural practices to be years behind the rest of Europe. Especially in terms of equality, something he valued over everything else.

Tsar Alexander II

Tsar Alexander II had given Russian serfs personal freedom in 1861. Which Mucha felt was long overdue. The term “serf”, referred to an unfree peasant of the Russian Empire. They differed from slaves only in the sense that they could not be bought and sold independently from their land. Instead were “attached” to the land they lived on. So if you bought a piece of land, the serfs came with it, but could never be moved from that spot. The emancipation movement of 1861 meant that 23 million people received their liberty. They now could marry without having to gain consent, could own property and even start a business.

When the edict was read out, as portrayed here, the serfs and nobles alike had much uncertainty about what this freedom would look like. For the peasants, having never known this kind of life before, some of them were overwhelmed and confused. Mucha’s crowd is subdued rather than excited. They sit for a moment, apprehensive that the emancipation order could be being revoked. And this liberty taken away as fast as it was given.

St Basil’s Cathedral and the Kremlin

St Basil’s Cathedral and the Kremlin are almost completely obscured in the background of the scene by the thick fog. Making the picture more about the people than the country which looms over them. The sun is only starting to peek out of the clouds, offering a faint glimmer of hope. In the foreground of the picture, once more we see a mother and child looking out at the viewer. Their faces are a complex mixture of trepidation, anxiety and optimism.

The Apotheosis of the Slavs, Slavs for Humanity

The final painting in the series is perhaps the most impressive, the colours within its frame is almost otherworldly. It’s entitled “The Apotheosis of the Slavs, Slavs for Humanity.” In this scene, Mucha sums ups all the themes that were explored throughout the preceding paintings.

It celebrates the independence of the Slav nation in the 20th century.
The painting is divided into four sections, each separated by colour. The blue portion in the bottom right represents the mythology of the Slavic people. Those stories are the bedrock upon which their culture was built.

The red in the top-right reflects the brutal Hussites wars fought in the middle ages. The dark shadowy figures on either side of the painting represent the enemies of the Slavic people and the oppression they surrounded the Slavs with throughout their lifetime.

Independent Czech Republic

The last group is the one marked with a bright yellow glowing light. In the centre, a man stands with his arms outstretched. So vast, they almost touch the edges of the canvas. He represents the new, independent Czech Republic. But he doesn’t stand alone. Behind him is the figure of Jesus Christ, supporting him on the journey to come. The man greets a group of soldiers, seen in their uniforms, returning from the First World War. The Austro-Hungarian Empire collapsed after WWI, and the Slavic people were free of their reign in 1918. Just below the waist of the towering figure is a man crouched over, holding his heart. From his clenched hands, a beam of light is radiating. The light represents the Czech people’s love for their nation. And it is this love that will illuminate the future pathway for the Slavic people.

Young boys and girls wave branches with bright green leaves, saluting the men returning home from battle. They are seen wearing traditional folk costumes. Symbolic of the fact that their traditions will never die and will continue in the hearts of future generations.

Souls of the Slav People

Mucha hoped that those who viewed these paintings would be able to see into the souls of the Slav people. He wanted all Slavs and Czechs, now more than ever, to come together through their shared history. He hoped that by documenting these stories, perhaps unknown by many, they would find peace and hope. I had never known anything about the Slavic people until I visited Prague. After experiencing this series I was so inspired to do more reading about the stories portrayed here in the Slav Epic. By understanding the past these people suffered and survived through you have so much more appreciation for the culture they had to fight to preserve.

Fully taking in the Slav Epic can take some time, but the experience is absolutely worth it. I hope that when it finally reopens in its new home in Moravský Krumlov people flock to see it. This is a collection of works of art that NEEDS to be seen in person to be fully appreciated. While learning about it online is great, seeing these gigantic paintings, overtake your field of vision is such an awe-inspiring experience and I truly hope you all manage to see it for yourself!

The post The Ultimate Guide to Exploring the Beauty and Meaning of Alphonse Mucha’s Masterpiece, the Slav Epic [UPDATED 2023] first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/art-gallery-guide-alphonse-muchas-masterpiece-the-slav-epic/feed/ 4 1445 The Best Visitors Guide to the Art Nouveau Interiors of Prague’s Municipal House https://thecreativeadventurer.com/experience-luxury-dining-art-nouveau-aesthetics-in-pragues-municipal-house/?utm_source=rss&utm_medium=rss&utm_campaign=experience-luxury-dining-art-nouveau-aesthetics-in-pragues-municipal-house https://thecreativeadventurer.com/experience-luxury-dining-art-nouveau-aesthetics-in-pragues-municipal-house/#respond Tue, 01 Sep 2020 12:44:21 +0000 https://thecreativeadventurer.com//?p=1400 The Municipal House or Obecni Dum is one of Prague's most iconic Art Nouveau buildings.

The post The Best Visitors Guide to the Art Nouveau Interiors of Prague’s Municipal House first appeared on The Creative Adventurer.

]]> The Municipal House or Obecni Dum is one of Prague‘s most iconic Art Nouveau buildings. I was shocked upon walking in the door that this hidden gem isn’t talked about more online. It’s interiors are so stunning they rival some of the most regal palaces around the world. We had been walking around the Old Town looking for somewhere to eat when our guide recommended Prague’s Municipal House. We were blown away by the beauty and surprised that this dining experience didn’t cost an arm and a leg. Stunning environments and yet accessibly priced menus are a hard combination to find but something which Prague is so great at providing.

Table Of Contents
  1. History
  2. Admission
  3. Access
  4. Art Nouveau Architecture
  5. Interior Room & Halls
  6. Francouzska Restaurant
  7. The Plzenska Restaurant
  8. American Bar
  9. Kavárna Obecní dům Café
  10. Palacký Hall
  11. Grégr Hall
  12. Oriental Lounge
  13. Riegr's Hall
  14. Confectionary
  15. The Smetana Concert Hall and Ballroom

History

The medieval Royal Court of Prague once stood on this site. From 1383 until 1485, the Kings and Queens of Bohemia lived on the square nearby in their magnificent palace. The imperial residences were connected to the Royal Court by the nearby Powder Tower. But after Prague Castle was built, Vladislav II moved the Royal Court out to the newly fortified castle complex. After years of being unused, the old Royal Court building was eventually demolished. 

But in 1905, the city started construction on a Municipal House in the same spot as the previous court. They had it built here as this new building would serve as a modern interpretation of a medieval royal court. The building’s architects Osvald Polívka and Antonín Balšánek, set out to design the most magnificent establishment for high society. It was going to be THE PLACE to hold social events, concerts, parties and even public exhibitions. The architects hired some of the best Czech artists to decorate the interior of the new Municipal Hall. These artists’ work elevated the illustrious building’s status even further, creating a kind of artistic time capsule.

Admission

Inside there are a series of bars and restaurants open to the public. But to explore the entirety of the Municipal House, you must book a guided tour. These tours run in both Czech and English several times throughout the day. There are also handouts in other languages to allow more people to experience the building. The tour route goes from the famous Smetana Hall, through to the Confectionery hall. It then stops inside the Moravian Slovak, Božena Němcová, and Oriental Parlours. Followed by the Grégr, Palacký, Riegr, Sladkovský and most importantly, the Mayor’s Hall! The tour ends inside the American Bar in the basement of the Municipal House. Tickets for the tour cost 200 CZK per adult and reservations are recommended but not necessary.

Access

The Municipal House is located inside the old town and is easily walkable if you’re in the area. The closest metro station is Náměstí Republiky, which is only a four minutes walk from the Municipal House. You can also take trams No. 3, 9, 14, 24 to the Jindřišská stop, a 5-minute walk to the Municipal House.

Art Nouveau Architecture

The Municipal House became an icon for Prague’s fantastic Art Nouveau architecture from the minute it opened. Classical Art Nouveau features included in the building were; asymmetrical shapes, arches and curved forms, a large glass dome, plant-like embellishments, mosaics, stained glass and Japanese motifs. 

Facade

The exterior stonework is intricately carved, with vegetal details blooming from reliefs in every corner. The roof is replete with green and red tiles creating a snakeskin-like effect covering the top of the building. Along the facade are curving, ornate bronze balconies with golden leaves growing throughout.

Dome

The piece-de-resistance of the building is the bright green-domed roof, complete with gold trimmings. It feels like a regal crown on top of the rest of the structure. The dome also contains one of the most pleasing stained glass ceilings, which floods natural light into the concert hall. The dome was made to emphasize the Municipal House as a temple of the arts. 

Entrance

Above the building’s entrance, look up to see a brightly coloured mosaic designed by artists Karel Špillar. This piece is called “Prague Apotheosis.” It represents the oppression and eventual rebirth of the Czech people called. An apotheosis is the “highest point in the development of something; culmination or climax,” represented here in the architecture of Prague’s Municipal House.

On either side of the mosaic are two bronze sculptures. The one on the left is called the “Humiliation of the Nation.” The woman in the center is surrounded in flowing robes, like angel wings. She holds her head to the side, almost as if ashamed to show her face. The sculpture on the right, contrastingly, is called the “Ressurection of the Nation.” This woman stands tall, with a bronze eagle perched on her forearm. The eagle, the symbol of Moravia and the rebirth of the Czech Republic. The Municipal House was built at the very end of the Czech National Revival movement. This cultural event occured during the 18th and 19th century. It’s purpose was to revive the Czech language, culture and national identity.

Before you walk inside, you pass under a splendid wrought-iron canopy, covered in brightly coloured stained glass. The frontispiece a great example of how art nouveau uses every architectural details as an opportunity for ornamentation. The two columns supporting the entrance are topped with two brozen figures. In their are they carry an electric lantern made by Karel Novak. The models appear to mirror the shape of Atlas as he carries the world on his back. Almost as if to say that this building is itself on top of the world.

Interior Room & Halls

Inside the Municipal House, there are so many different places to eat, drink and be entertained. Each one of the rooms and halls inside was named after notable individuals from the Czech culture. You can eat lunch in an elegant French restaurant. Or drink pivo at a traditional Czech beer hall. Perhaps you want to enjoy a slice of cake (or two) at the stylish Czech café, or sip cocktails at the “American Bar“. If you really want to splash out you can attend a first-class concert at the fabulous Grand Concert Hall, all under one roof. All these places are accessible to the public.

If you cannot take a guided tour of the rest of the interiors read the rest of this post. I’ve made sure to talk about the most important rooms inside the Municipal House. This way, if you’re sitting inside the cafe, you can still peruse images of what the rest of the building looks like.

Francouzska Restaurant

If you don’t have time for a concert but are longing to enjoy the elegant art nouveau environment, choose from one of the many dining options inside the Prague’s Municipal House. Francouzska Restaurant is one of the finest culinary experiences you can have in Prague. Golden art nouveau inspired chandeliers pour off the high ceiling. The large windows allow the entire room to fill with light and all the gilt and glass details simply glimmer with excitement.

Throughout the restaurant, you’ll find original furnishings from the beginning of the 1920s. Even the silverware is period-perfect. Throughout the restaurant, you’ll find reproductions of decorative paintings such as “Prague Welcoming its Guest” by J. Wenig and “Hradcany and the New World” by A. Zahel in the salon. Stucco designs of the art nouveau period patterns adorn entertaining diners. Dining here is like entering a living museum. This is the most expensive of all the restaurants in the Municipal House but worth it for the experience. The restaurant is unfortunately temporarily closed until the end of 2020 for renovations.

The Plzenska Restaurant

The Plzenska restaurant, which is on the lower level, is a slightly more affordable option. It is famous for its traditional Czech cuisine and friendly beer hall atmosphere. I think this is truly the best beer hall in the entirety of Prague. It is stunning to look at while also comfortably casual. There is something about the brightly coloured blue tiles set against the rich oak panels and the simple, yet elegant, stained glass that make you feel like you’ve been invited into someone’s prized dining room. The food here is also impeccable. If you have yet to sample any classic Czech meal, this is the perfect place to do so.

American Bar

Also, in the basement is the “American Bar.” Here you can get a well-made cocktail or spirit and enjoy the swish atmosphere of a 1940’s salon. The vaulted room features a vestibule decorated with the picture “Heron” by Mikolas Ales. Several copies of the artist’s famous drawings are also located inside the recesses of the bar. The American Bar was one of the first public establishments which ladies could visit without a male accompaniment and that atmosphere of bohemian freedom is still present today.

Kavárna Obecní dům Café

To finish off your dining options inside the Municipal House, wander into the Kavárna Obecní dům café, on the ground floor. This cafe is considered to be one of the best in the world. Although they are most famous for their desserts, this is also a great place to grab a bite to eat if you’re looking for a good meal at a reasonable price.

All the furnishings from the chandeliers, mirrors and fabulous electric lighting in here was designed by Osvald Polivka, one of the most aesthetically pleasing art nouveau designers of the time.

It’s open late, so it’s a great option to grab that last coffee before heading out for a night on the town, or a nightcap before going to bed (which is more my speed). During the summertime, the patio out front is a charming place to people watch. You can sip your coffee early in the morning watching the locals heading off to work.

Although main courses are delicious, their sweet treats are where they really shine. Homemade cakes make the rounds in glass trolleys so you can see the goods before you buy them. Their cream cake with fresh berries is a incredible creation that will satisfy any palette.

While waiting on your food take some time to wander around the restaurant. Check out the fountain at the back of the cafe with a sculpture of a beautiful Nymph in the center by artist Josef Pekarek.

Tours of the Municipal House

To explore the private rooms throughout the rest of the building, you’ll need to book a guided tour. The tour will take you throughout the Smetana Hall, Confectionery, Moravian Slovak Parlour, Božena Němcová Parlour, Oriental Parlour, Grégr Hall, Palacký Hall, Mayor’s Hall, Riegr Hall, and Sladkovsky Hall. The tours run about twice a day in English and cost 290 Kč for adults.

Mayor’s Room

If you’d rather just read about what’s inside, while you enjoy your meal, I’ve written out the details of the other fantastical spaces inside Prague’s Municipal House. Hidden away behind locked doors, up on the third floor, accessible only by guided tour or private rental, is the great Mayor’s Room. Seeing as this was the room where guests initially would be greeted upon entry, the architects wanted it to feel so awe-inspiring right from the get-go. The architects hired the best art nouveau artists to decorate their interiors, and none were more infamous than Alphonse Mucha himself. Mucha had been charged with painting the interior of this superior room. Mucha not only painted all the murals you see here but also created everything from the decorations to the furniture, curtains and even down to the very last lamp.

Vaults & Lunettes

Each of the vaults holding up the great dome is painted with figures from Czech history framed alongside symbolic images of the civic virtues. The most notable of them is Jan Hus, dressed in his scholarly dark robes, with the beautiful woman of Justice, standing behind him. You can also spot general Jan Žižka painted alongside Fortitude and the Chodové (a Medieval guard) with the image of beady-eyed Vigilance. Jan Amos Komensky is painted with Loyalty, and St. Ludmila and St. Wenceslas are swathed in the arms of Maternal Wisdom.

On the lunettes that encircle the room are various paintings by Mucha detailing different morality themes upon which the Czech culture was built. A darkened image displays the “Holy Mother of a Nation, Accept love and fervour of your son.” A fiery portrait of three people depicts “With Power comes Freedom – with love, Unanimity.” On the right, a haunting painting shows tortured souls lost in the darkness, an image representing the theme “Humiliated and tortured – resurrected, you will be in our homeland.”

On the walls in between each of these murals are silver capitals with women’s faces carved upon them. These faces represent loyalty, fortitude, maternal wisdom, justice, independence, non-submissiveness, vigilance and strength. The embroidery on the curtains here was designed by Mucha himself and features a motif of peacocks abstracted plumed feathers. 

On the walls of the mayor’s hall are a series of armchairs. Inlaid into the backrests are paintings entitled, “The Czech Crown” and the “Weeping over the Destruction of the Homeland” by Alphonse Mucha.

Palacký Hall

To the west of the Mayor’s Room is Palacký Hall. This room is covered in figurative paintings by Jan Preisler. The interior fur shined with art nouveau chandeliers, brass mirrors all in Assyrian style. The Assyrian artistic style is from the ancient world, first appearing in 1500 BCE but breathed new life by the art nouveau period. The style features relief sculptures made in stone.

A bust of Palacký by Josef Václav Myslbek stands in the rooms honouring the Czech historian and politician. Palacký was one of the most influential people in developing the Czech National Revival and called “Father of the Nation.” On the ceiling is a great fresco featuring the scene of a young boy and girl surrounded by a flock of flying birds.

Grégr Hall

Further to the west, we find Grégr Hall. This long room features a large balcony on its left-wing, providing the most stunning views across the city. The room is tiled in artificial marble, giving it a regal, luxurious appearance. On the western wall, we can find a triptych entitled “Songs of love, war and death” by František Ženíšek. There is another triptych called “Life, poetry, death” by the same painter on the ceiling. It’s interesting to see so many death paintings in such a vibrant space, but perhaps this image of impending death allows us to remind us to live life to the fullest.

Oriental Lounge

At the end of Grégr Hall, there is a small staircase leading to the Oriental Lounge. This room features decoration inspired by Islamic-Anatolian art. It was originally known as the Serbian lounge. Anatolia had a strong Byzantine and Armenian Christian heritage, which is visible in its artforms.

Riegr’s Hall

The room, opposite Palacký Hall, called Riegr’s Hall, is embellished with images of notable Czech personalities painted by Max Švabinský. He titled the paintings “Czech Spring” as it features all these different influential men together in imagined scenes of an idyllic springtime. Busts of politicians František Ladislav Rieger by Josef Václav Myslbek are also featured inside this room. The lower half of the room is painted a rich Azul blue and covered in lush blue stuffed benches.

Confectionary

At one point in the building’s history, the Municipal House had its own confectionery and patisserie! It was the largest of the relaxing salons, often called the “ladies’ parlours.” Although no sweet treats are being made fresh inside this room today, it is still one of the most fabulously decorated rooms in the building. Filled to the brim with gilt stucco decorations and oak framed mirrors, the place absolutely sparkles.

The Smetana Concert Hall and Ballroom

The Smetana Concert Hall and Ballroom are located right under the magnificent glass dome. To visit this place outside of being on tour, you’ll need to have booked a ticket to see a performance. The concert hall plays hosts to many musicians and is the home to the Czech National Symphony Orchestra.

Inside this room, you’ll find artwork pieces by Alfonse Mucha, Jan Preisler and Max Švabinský decorating the ceilings and walls. The interior of the concert hall is covered in white stone and gold filigree. The entire theatre is illuminated by hundreds of tiny lights, casting a gentle golden glow upon the people below. The stage is framed by arcing sculptures depicting Vyšehrad legends and Slavic dances. It is truly an honorific place of Czech arts and culture.

iMucha’s Exhibition

Currently on display inside the Municipal House is the iMucha Exhibition. This gallery uses technologies of the 21st century to display numerous of Mucha’s art posters which have been digitally remastered to be displayed with motion. Transforming the static material into a lifelike work of art. The exhibition also presents over 200 artifacts from the artist’s life. Tickets to the exhibition costs 290 Kč for adults but there is a discounted price if you book with a guided tour. Running until March 2024.

If you have the chance to tour Prague’s Municipal House, run, don’t walk, to visit! Don’t let the rather dull name of the building fool you; this place is one of the most outstanding artistic achievements of the Czech National Revival and deserves all your attention. Plus, there is nothing better than dining inside an incredible environment to fill your eyes and mind with wonder and excitement.

Let me know what treasures you discovered in Prague or if you’re planning on visiting the Municipal House for yourself on your next trip!

Happy Travels, Adventurers!

The post The Best Visitors Guide to the Art Nouveau Interiors of Prague’s Municipal House first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/experience-luxury-dining-art-nouveau-aesthetics-in-pragues-municipal-house/feed/ 0 1400 Discover & Uncover the Hidden Gems of the Basilica of St Peter and St Paul in Prague https://thecreativeadventurer.com/discover-saint-peter-and-paul-basilica-pragues-hidden-gem/?utm_source=rss&utm_medium=rss&utm_campaign=discover-saint-peter-and-paul-basilica-pragues-hidden-gem https://thecreativeadventurer.com/discover-saint-peter-and-paul-basilica-pragues-hidden-gem/#comments Fri, 28 Aug 2020 21:30:17 +0000 https://thecreativeadventurer.com//?p=1402 The Basilica of St Peter and St Paul in Prague often makes the top ten list of the...

The post Discover & Uncover the Hidden Gems of the Basilica of St Peter and St Paul in Prague first appeared on The Creative Adventurer.

]]> The Basilica of St Peter and St Paul in Prague often makes the top ten list of the “Best Churches in Prague” but rarely tops the “Must See Attractions” list. And yet, I find it to be one of the most impressive pieces of Slavic Art Nouveau architecture in the city. When you see pictures of this place or walk inside its doors, it’s unbelievable that this church isn’t the first place people are told to visit when they come to Prague. Even if you’re not religious, the sweeping art nouveau murals which envelope this building are extraordinary and a must-see when travelling to Prague!

Touring the building also serves as a history lesson about the Slavic people, Czech culture and even art. The basilica doesn’t have St. Vitus’s lofty status or the draw that St. Nicholas’ Church gets. But if you make an effort to come down and visit, you’ll see what the rest of those unknowing tourists are missing out on.

Table Of Contents
  1. History
  2. Location
  3. Hours & Admission
  4. Towers
  5. Facade
  6. Interior
  7. Frescos
  8. The Treasure Room
  9. Vyšehrad Cemetery

History

The church was founded in 1070 by the Czech King Vratislav II. Initially, it was a simple Romanesque Basilica. Prince Vratislav II had the church built in purposeful opposition to St. Vitus Cathedral in Prague Castle. Almost a hundred years earlier, his predecessor, Wenceslaus I, had built St. Vitus Cathedral. But rather than pray instead of this old church, Vratislav wanted to make something of his own to mark his reign. In Vyšehrad, Vratislav was said to have brought 12 baskets of stones upon which they built the foundation of what would become the Basilica of St Peter and St Paul.

But, in 1249, a great fire destroyed the church, and the original design was lost to the ages. The first reconstruction was a relatively meagre endeavour meant to restore the building only in function and not in fashion. Years later, a baroque frontispiece was added to the church, but the neo-gothic renovations in the 1880s removed any trace of this architecture.

Joseph Mocker

In 1885, a new renovation was commissioned to create an elaborate, neo-gothic church. Master builder Joseph Mocker was the original architect, but he died halfway through construction. His partner František Mikš finished the job. Now having complete artistic control of the operations, Mikš made a few changes to the original layout to suit his own personal style. His main addition to the design was the towering facade that the church is now so famous for. As it peaks out of the hillside in Vysehrad.

Location

The Basilica is located inside the complex of Vysehrad. Vysehrad is one of Prague’s old fortresses situated on a high cliff above the river Vltava. From here, soldiers could easily see any incoming armies and it was a prime location for Prague’s infantry. In the 11th century, Vysehrad was also the seat of the first King of Bohemia. After the Holy Roman Emperor Charles IV began to build the Prague Castle in the early 14th century, Vyšehrad was abandoned as the royal family’s primary residence.

The complex was left to deteriorate for years and wasn’t touched until Charles IV decided to renew the area. He wanted to build new fortifications, a new royal palace, and finally see to the renovations at the Basilica of Saints Peter and Paul. But, with the Hussite war’s dawn, progress was discontinued, and the church was ransacked once more. It wouldn’t be for another few hundred years that the church would be restored to a new form of heavenly glory.

Aerial view of Cathedral of St. Peter and Paul, Vysehrad, Prague

Hours & Admission

November – March
Monday – Saturday 10 am – 5 pm
Sunday 11:30 am – 5 pm

April – October
Monday – Saturday 10 am – 6 pm (5:30 on Thursday)
Sunday 11:30 am – 6 pm

There is a small entrance fee to access the church. Adult entry costs 90 CZK ($4 USD), which is more than worth it to explore this treasure!

Towers

Upon walking up to the church one of the first things you’ll be drawn to, are the two huge towers, which flank the skyline. Let your eyes float up to the top of the spires, and notice that they are indeed hollow. Their design was influenced by the chestnut flowers’ cone-like formations. Architect Miks was inspired by these plants, which bloom right behind the church in Vyšehrad cemetery. Decorating the spires’ outer edges and the triangular gables are frilled, petal-like protrusions which make the entire structure look more naturalistic than man-made.

Facade

The design of the building is quite unique as it features no transept. A transept is the part of the building that forms the classical shape of a cross and cuts through the center of the church. Since the building has no horizontal intersection, when you look at it from the front it almost looks like a movie set, an exterior with nothing behind it. So when you walk inside, it’s almost a surprise to see his lofty, extended interior.

Above the central entrance door is the tympanum, decorated an intricate carving of Jesus standing tall beside his apostles, during the Last Judgement. Below the group of the apostles, St. Michael is centred, ushering people into heaven. A chorus of angel trumpets their horns above his head, announcing their entry to the heavenly realm. The people around St. Michael are sculpted as crippled and in pain, weighed down by the burden of their sins.

Entrance door of the neo-Gothic Saint Peter and Paul Cathedral in Vysehrad fortress, Prague. In 2003 the church was elevated to basilica by Pope John Paul II.

St. Peter and St. Paul

Above the central portal is a great pediment featuring the two saints’ statues after which the church is named after. St. Peter and St. Paul are set on either side of the sculpture of Jesus, crowned with a golden halo, reaching his hand out in prayer to the people below.

Mosaics on the church’s frontispiece, set into quatrefoils frames, depict St. Peter and St. Paul’s portraits. Peter’s symbols are a set of keys, which are the keys to heaven. Peter is the one with a bright white beard wearing papal vestments. Paul holds a book and a sword with a hilt in the shape of a cross in his hands. Paul is depicted as traditionally represented with a long pointed beard and a more modest, grey robe.

Portals

The portals on either side of the central entrance are adorned with brightly coloured mosaics. Etched onto the church’s door are the symbols of the coat of arms of the Czech Republic. The silver double-tailed lion on a red background and the black Moravian eagle are repeated across the grand entrance doors.

Above the entry doors, on your left, is the emblem of the Vysehrad Chapter house. The chapter was established here at the basilica around 1070 at the behest of Bohemia’s first king. The branch was subordinate only to Rome and could influence many aspects of Bohemia’s internal and foreign policy. Their emblem is two golden keys crossed tied together by rope. A symbol you’ll come across multiple times throughout your visit here.

Interior

As you step into the church, the first thing you’ll be stuck with is the fact that from floor to ceiling, the entire building is COVERED in murals and paintings. Not a column, nor walls, has been left untouched. The detailed pictures sweep across the walls like embroidery covering a royal gown. Floral trimmings cover every inch of the temple, giving you the feeling of walking into a forest.

Art Nouveau

As you walk inside, the light shimmers off every surface. Gilding and gold leaf were used in abundance during the renovations. But unlike other neo-gothic cathedrals and churches of the time, this one is not purely high gothic, but instead embraces art nouveau sensibilities. Art nouveau was sweeping the nation during the time church was being renovated. Art nouveau attempted to reject academic, historical art and instead embraced natural forms, movement, asymmetry and modern materials.

The addition of art nouveau inside this old church feels shockingly appropriate as the first King of Bohemia himself aimed to reject any previously established traditions when he originally built this church.

Frescos

The Basilica’s most extraordinary characteristic is the gilded frescos, which surround the faithful who come to pray. These paintings are ornate, undulating images by painter František Urban and his wife, Marie Urbanová-Zahradnická. These paintings look famously similar to the iconic designs made by famous Czech painter Alphonse Mucha. Many people who visit the church might even be convinced they were by Mucha if they further inquired. But Mucha was merely a trendsetter who inspired Urban and Zahradnická to fall on the bandwagon. Women and men, with delicate features and cascading hair, embellish the walls and archways.

Running up every pillar are blooming patterns and colourful ribbons. The walls contain lots of vivid greens and deep brown hues, continuing the woodland theme. Even the dark church benches were carved with oak leaves, bringing the outdoors inside. Not a single item inside the church was left untouched by Art Nouveau’s seductive technique.

Murals

The murals on the northern wall feature images of St. Cyril and St. Methodius’ arrival in Bohemia. St. Cyril and St. Methodius were two brothers, theologians and missionaries who made their mark in Christianity by evangelizing the Slavs. They are known as the “Apostles to the Slavs.” Their life story is told across these murals framed by a series of angels who look down on the scene from heaven. Although there might not be any text to follow the images, it’s a visual way of understanding this part of Czech history. On the south wall, the murals depict the establishment of Vysehrad in the Czech Republic.

Look up at the vaults on the ceiling. Even they are painted with images of beautiful angels in prayer, looking down on the faithful below.

Stained Glass Windows

Brightly coloured stained glass enhances the outer walls of the Basilica. Each window depicts a scene from the bible. But what makes these windows even more interesting to study is to look at the elements of architecture that have been incorporated into the glasswork. This is done almost to evoke the idea that architecture itself is a form of religious devotion. Renaissance tracery windows, gothic quatrefoils and baroque altarpieces all serve as the framing devices around these dramatic biblical stories.

Chapel of St. Clement

Walking into the church, we will study it from the right side chapels, towards the altar and then continue back down the left side chapels and finish in the treasury. The first chapel you see upon entering on your right is the Chapel of St. Clement. Here, you can look at a Romanesque sarcophagus from the 12th century. During the Romanesque period, a crypt was built in the church to bury the first Bohemian king and his descendants. This coffin most likely belongs to one of these royal family members. Despite its modest and unassuming appearance, it’s one of the oldest treasures of the church.

Chapel of Czech Patron Saints

Inside the Chapel of Czech Patron Saints is a fabulous neo-gothic altar sculpted by Czech artist J. Kastner in 1910. In the center of the altar is Christ on the cross, heavenly rays illuminating from his body and from behind the cross, forming a golden backdrop. Below him are gathered St. Cyril and St. Methodius dressed in brighly coloured robes. In front of them kneels St. Wenceslas on the left and St. Ludmila on the right. On the left side of the group are Czech saints St. Vit and St. Vojtěch, and behind them stands St. Sigismund and members of brotherhood of martyrs. On the right side, kneels St. Jan Nepomucký and St. Prokop. Above them stands St. Norbert, Vol. Anežka, and Damian, St. Ivan, vol. Josef.

Chapel of the Virgin Mary of the Rain

One of the most important items found here in the basilica is the Dešťová or the icon of the Virgin Mary of Rain. She can be found in the fourth side chapel from the right after entering the church. This wooden polychrome icon depicts the Virgin Mary and the baby Jesus set against a vibrant blue backdrop. The background is textured to give the mother and child the appearance of being caught in a rainstorm. The ground on which they stand is bright green like it is growing swiftly beneath them.

The painting was made around 1356 and is legend to have been painted by St. Luke himself. This icon is one in which people come from all over the country to pray in front of, especially in times of drought. The reason for this is because in 1638 there was a great drought in Prague which the icon is said to have stopped. During the drought, one of the priests of the Vyšehrad chapter had a dream that if he held a procession with the Madonna, it would start to rain before the crowds made their way to a nearby monastery. The priest organized the march, and sure enough, it rained in Prague for the next three days. The people of Bohemia saw it as a miracle, and ever since, the painting has been venerated by all those who believe in it.

Memorial Plaque

To the left of the Chapel of the Virgin of the Ramparts is a bronze memorial plaque placed on a column close to the altar. This memorial plaque is dedicated to Vratislav II, the first King of Bohemia. The plaque is a modern addition to the church added in 1992 on the 900th anniversary of the King’s death. If you look at the shape embedded onto the plaque, it models the original basilica floor plan. On either side of the statue of the King are two crests, one which contains the black eagle of Moravia and the other has the two crossed keys which are the emblem of the Vyšehrad religious chapter.

Presbytery

On either side of the presbytery, there are murals depicting St. Peter and Paul’s legend. We can see the ‘Conversation of St.Paul‘ on the top left pediment on the northern wall. The following small scenes show his miracles: healing the disabled, his conversations with God while in jail and finally his beheading and subsequent canonization

On the southern side, we have the legend of St. Peter. On the top, we see Jesus converting his first disciples, which include Peter himself. In the lower images, we can see scenes of Jesus and Peter’s life together. It follows their journey leading up to Jesus’ crucifixion, including the moment when Peter denied Jesus. At the bottom of the mural, we can spot St. Peter performing miracles and his eventual death in the same manner as he had seen Jesus be put to death.

Altar

The main altar, framed in front of a series of brilliant stained glass windows, contains depictions of the Slav Saints Cyril and Methodius. It was carved by the architect and woodcarver Josef Hrubeš. The entire altar took over 5 years to be completed and was finished in 1889.

Pulpit

The gracefully carved wooden pulpit on the left of the nave features reliefs of the various priests who preached and were prior members of the Vyšehrad Chapter. The pulpit was designed by architect Josef Mocker and carved by woodworker V. Mráz in 1883.

Devil’s Pillar

After getting over the initial awe and wonder of the interior, take a walk towards the sacristry. Although you cannot enter the doors of the sacristy, take a look at the mural painted above the entry. Here we find a large baroque painting depicting the legend of the “Devil’s Pillar.”

The Legend

The legend goes that a priest in Bohemia, had a severe problem with gambling. In the hopes of freeing himself from his debts, he asked the devil to trade his soul for some luck. But shortly after making the deal, he greatly regretted this decision and asked the devil to forget the agreement. But the devil would not give up on a soul that easily. Instead the devil made him another bet. He told him that if the priest could finish celebrating mass before the devil could bring a column from St. Peter’s Basilica in Rome to Prague, he would release him from his contract. The priest ran as fast as he could to the church where he began preforming mass.

Of course, the devil cheated, and when he arrived by magic with the pillar in hand, St. Peter appeared and threw the devil into the sea three times. Each time he threw him, St. Peter broke the column until it was broken into three pieces. This allowed the priest to finish preforming mass, and his soul was saved. The three pieces of the Devil’s pillar were brought to Prague and can still be found in a nearby park close to the church.

Chapel of St. Francis of Assisi

The Chapel of St. Francis of Assisi contains a neo-gothic altar with paintings of the life of St. Francis surrounding a large portrait of the saint himself. One of the best ways to identify St. Francis is by how he holds his hands outwards to show off the stigma that appears on them.

Chapel of St. John of Nepomuk

St. Jan Nepomucký or St. John of Nepomuk is one of the most famous saints in Bohemia. Nepomuk was drowned in the Vltava river at the behest of Wenceslaus IV when Nepomuk would not divulge the queen of Bohemia’s confessions to the King. His chapel here in the church contains a Neo-Gothic relic altar. Across the altar are scenes from the life of St. John of Nepomuk by Josef Mathauser who painted it around 1700. In the center of the altar of dozens of relics which are said to contain pieces of the saint himself.

Chapel of Our Lady of Sorrows

Inside the Chapel of Our Lady of Sorrows is an alluring sculpture of the Pietà by Ferdinand Stuplesser made in 1898. It was modelled off Michelangelo‘s famous Pietà in Rome but features sharper edges and more angular drapery, reflecting the style used in medieval manuscripts.

The Treasure Room

The Vyšehrad Chapter was one of the more affluent monastic groups and collected valuable liturgical collections over the years. But in 1611, many of their most precious objects were looted during the Hussite wars. A few of their most treasured items were hidden away and can be seen on display inside the treasury. The Treasury inside the church contains all different precious ecclesiastical Czech objects. Baroque illustrated manuscripts, golden chalices and gem covered books hid behind protective glass.

Some of the most precious items included in the treasury are reliquaries. A reliquary is a container for relics such as a saints’ physical remains, such as bones, pieces of clothing, or some object associated with saints or other religious figures. Here in the Basilica of St. Peter and St. Paul’s treasury you can find

St Valentine’s Relic

St Valentine’s relics. It is supposedly a chip of his shoulder blade. It was lost for years, and as recently as 2002, it was uncovered hidden away inside a gold-and-glass Baroque reliquary in the back of a long-forgotten storage closet.

Vyšehrad Cemetery

The set behind the church is the Vyšehrad Cemetery. Built in 1869, the cemetery was created as a resting place for some of Prague’s most treasured creatives. Here lies dozens of composers, artists, sculptors, writers, as well as those revolutionaries from the world of science and politics. The cemetery is the largest in Prague spreading over 0.81 hectares.

The Slavin mausoleum at Vysehrad Cemetery. Prague, Czech Republic

Slavín Tomb

The most majestic part of the cemetery is the Slavín Tomb, designed by Antonín Wiehl. The Slavín Tombs are considered a ‘pantheon,’ “a building in which the illustrious dead of a nation are buried or honoured.” The dramatic sculpture atop the tombs was carved by Josef Mauder. The pantheon contains 44 burial tombs, as well as various coffins and urns. 55 people were buried here under the magnanimous sculptures of “Mourning” and “Victory” represented as two alluring women.

Famous Graves

Buried here is Alphonse Mucha, king of Czech Art Nouveau, along with; composer Antonín Dvořák, Art Nouveau sculptor Ladislav Šaloun, author Karel Čapek and many more.

The first person to be buried inside the Slavin Tomb was poet Julius Zeyer in 1901. On the tomb is inscribed one of his verses, “Its sons’ dust this mourning country returns to the earth. Their deeds it will, rejoicing, declare to all mankind.” Above the panels on the Slavín is written their motto, “Though dead, they still speak.”

The rest of the tombs and gravestones found throughout the cemetery are wildly creative and works of art. It seemed like one after another, when people would pass away and be buried here, there was an expectation that their gravestone wouldn’t be something simple or traditional, rather something far more extraordinary.

There is even a large arcade, decorated with Tuscan sandstone pillars and a vaulted ceiling covered in art nouveau style paintings.

This brings us to the end of the tour, but if you’re interested in spending more time in Vyšehrad, I implore you to do so! Just like this church is such a hidden gem, Vyšehrad has so many incredible places to visit and excellent restaurants that are happily tucked away from the tourist hoards.

In the comments, let me know if you were surprised not to see this church on other “must-see” lists in Prague or if you’ve been there before and were just as amazed as me by what you discovered!

Happy Travels, Adventurers!

The post Discover & Uncover the Hidden Gems of the Basilica of St Peter and St Paul in Prague first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/discover-saint-peter-and-paul-basilica-pragues-hidden-gem/feed/ 1 1402 The Ultimate Self Guided Tour of St. Vitus Cathedral’s Incredible Stained Glass https://thecreativeadventurer.com/a-guided-tour-of-st-vitus-cathedrals-incredible-stained-glass/?utm_source=rss&utm_medium=rss&utm_campaign=a-guided-tour-of-st-vitus-cathedrals-incredible-stained-glass https://thecreativeadventurer.com/a-guided-tour-of-st-vitus-cathedrals-incredible-stained-glass/#comments Thu, 05 Apr 2018 21:55:52 +0000 https://thecreativeadventurer.com//a-guided-tour-of-st-vitus-cathedrals-incredible-stained-glass/ St. Vitus Cathedral is one of the most astonishing churches in the world, and as such is filled with some of the most incredible pieces of art from across Europe. The best piece of art can be seen all over the walls. The stained glass windows of St. Vitus Cathedral are some of the most transcendent works of art which blend religious history and powerful human emotion.

The post The Ultimate Self Guided Tour of St. Vitus Cathedral’s Incredible Stained Glass first appeared on The Creative Adventurer.

]]> St. Vitus Cathedral is one of the most astonishing churches in Prague and even around the world. As such is filled with some of the most incredible pieces of art from across Europe. The best piece of art can be seen all over the walls. The stained glass windows of St. Vitus Cathedral are some of the most transcendent works of art, which blend religious history and powerful human emotion.

Table Of Contents
  1. The Creation Rose Window
  2. Chapel of St. Agnes or the Bartoň-Dobenín Chapel
  3. The Schwarzenberg Chapel
  4. The New Archbishop Chapel 
  5. The Chapel of St. Sigismund
  6. The Chapel of St. Anne 
  7. The High Altar
  8. The Old Archbishop's Chapel
  9. The Chapel of St. John the Baptist
  10. The Chapel of Our Lady
  11. The Reliquary Chapel
  12. The Chapel of St. Jan Nepomuk
  13. The Mary Magdalene Chapel or The Wallenstein Chapel
  14. The Chapel of St. Andrew
  15. The Southern Window
  16. The Thunov Chapel
  17. Chapel of St. Ludmila

We start the tour of Stained Glass by looking back at the rose window on the north-west entrance. From here we will move clockwise throughout the church. A map of each of the piece can be found at the bottom of this post for your reference. For a full guided tour of the Cathedral click here! 

The Creation Rose Window

Starting at the front of the Cathedral, take a look up at the Rose Window set into the western frontispiece. This was created by Frantisek Kysela in 1925 and took over two years to be completed. The inscriptions on the stained glass tell the story of creation as told in the Bible. The outer circle says, “in the beginning, God created the earth and the earth was empty. And deserted, darkness lay above the world, and the divine spirit floated above the world.”

The inner circle says, “initially there was a word. The creation of angels.” From right to left, clockwise, each petal of the rose represents a day of the week and the parts of the earth which were created upon those days. God sits at the top of the rose window. Looking down upon his incredible creation. The shape of the rose window resembles the shape of the earth and the blues and greens caught within the design look like an image of earth from space.

Chapel of St. Agnes or the Bartoň-Dobenín Chapel

Up until 1989, this Chapel was known as the Bartoň-Dobenín Chapel. Josef Bartoň was a nobleman, knighted by the Emperor in 1912 and whose wealthy family of textile merchants were significant donors to the construction of the Cathedral. The window in the chapel depicts the Bartoň family praying. The images represented reflect the psalm from the bible which state, “Blessed are the adversaries who suffer for righteousness; Blessed are you when they curse you, rejoice and rejoice, for the reward is abundant in the heavens.”

All the blessed and repentant figures in the scene are dressed in the most exquisite clothes, and unlike many of the other designs in the church, the clothing here seems to be the focus. Because the patrons were a part of the textile trade, this is no doubt not a coincidence. During the communist regime, the image of the donors were covered by a wallpaper as they were known opposers to the current government. When St. Agnes was sanctified in 1989 the name of the chapel was changed to St. Agnes Chapel.

The Schwarzenberg Chapel

This chapel is named after the Schwarzenbergs family, a noble family who had established themselves in Prague since 1172. Designed by Karel Svolinsky in 1929, the scene depicts two stories regarding the life of Isaac. On the right we see Hagar, the mother of Isaac when they were banished to the wilderness but rescued by God. The scene on the left illustrates God asking Abraham to sacrifice his son, Isaac, but seeing a ram, Abraham sacrifices it instead. Both of these stories are about sacrifice for your children. At the bottom of the glass window are the Schwarzenberg wives who kneel, thanking god for their children. In the lower part of window, in the centre, you can make out the Schwarzenberg family crest. 

The New Archbishop Chapel 

The most distinguished of all the stained glass windows in the Cathedral is this piece designed by Alphonse Mucha in 1930. This can be found in the New Archbishop Chapel. It is an allegory of Christ blessing the Slavic Nations. Mucha was born in Ivančice, Moravia (now the Czech Republic) and dedicated his life and art to preserving and teaching people about Slavic history. The piece features the preachers St. Cyril and St. Method. St. Cyril and St. Method were two Byzantine Christian brothers who came to the Slav nation and devised the Glagolitic alphabet, the first alphabet used to transcribe the Bible so the people of Bohemia could read it. Even after their deaths, their pupils continued their missionary and were seminal in creating the Christian world in the Czech Republic. 

St Cyril can be seen in the centre panel on the left holding a large bound bible. On the right St. Method is seen baptising the heathens with holy water. Below them is an old grandmother, this is St. Ludmila with her grandson, St. Wenceslas. On the left and right panels, we can see the story of Christianity being brought to the Slavic people. On the left, scribes work tirelessly to transcribe the bible. Mucha’s influential work of art, The Slav Epic tells this story in even more details and is well worth checking out if you’re in Prague and interested in the history of Bohemia.

The Chapel of St. Sigismund

This piece of stained glass looks like it belongs on an Alexander McQueen dress. The patterns both on the figures and behind them are stunning in their colours and appearance. We see St. Wenceslas, Wolfgang and Johanna.

The Chapel of St. Anne 

This chapel is named after St. Anne, the grandmother of Jesus. Anne was married to Joachim of Nazareth, a descendant of David. The couple was childless as they gave all their time and money to the poor. When they arrived in Jerusalem, they were rejected by the church because their childlessness was interpreted as a sign of divine displeasure. Joachim fled to do his did penance in the desert, and there he fasted. After 40 days, an angel appeared to him and promised him a child. Despite her old age, Anne gave birth to Mary, the soon to be Mother of Jesus. The children of older women, who were thought to be barren, are thought to be destined for greatest, perhaps because of this adage.

In the stained glass window, we see a charming rendering of the royal family tree of David. Jesse of Bethlehem, the father of King David, is seen at the bottom. From his heart grows a tree whose branches hold his forefathers. At the top is a giant blooming flower from which the Virgin Mary sprouts up from. Above her, are is four petals surrounding a cross. Inside the flower petals are a Winged Man, a Lion, an Ox and an Eagle. These are the symbols for the evangelists of Matthew, Mark, Luke, and John. This stunning work of art was created by Jan Swerts in 1877 and is my favourite piece in the entire cathedral.

The High Altar

Moving down to the Southern transept, we see the enormous stained glass dramatic scene of the Last Judgement. This was designed by famous Prague artist Max Švabinský.

In the central part of the window, we see the regal figures of Christ, the Virgin Mary, St. Adalbert, St. John the Baptist and St. Jacob. The colours in this window are stunning. The emerald greens look like rich grassy fields, shining in the sunlight. In the lower left, you can see the figures of Czech kings who were buried in the royal tomb inside the St. Vitus Cathedral. On the left, we have Ferdinand I and Rolph II. In the centre Ladislav Posthumous and George of Podebrady. And on the right the illustrious St. Wenceslas IV and Charles IV. They are dressed in handsome finery and praying at the feet of Jesus. Below them are the figures of Archbishop Jan Očko of Vlašim and the four wives of Charles IV.

Above is the figure of Christ. A choir of angels holding horns announce the arrival of the Last Judgment. At the very top in the centre, you can see the gleaming St. Wenceslas crown incorporated into the tracery. Below the crown, there is a bright golden bell, representing the giant carillon in the tower. In contrast to the King and Queens on the left, the lower right side of the piece depicts the horrors of the Last Judgement. The Archangel Gabriel stand there selecting who are the sinners and who are the saved. In his hand, he holds a mighty, glimmering sword. The rebrobates are sent to hell and are seen falling to their damnation in the fires of purgatory.

The Old Archbishop’s Chapel

The design of this stained glass was created by Josef Mocker and František Sequens. Mocker worked on the ornamentation and patterning, and Sequens focused on the figures. Two people were needed for this majestic piece of artwork. You could stare at it for hours and constantly be discovering a new hidden scene or favourite embellishment.

The window focuses on Saint John of Nepomuk. Saint John of Nepomuk is one of the most popular saints in Bohemia. He was drowned in the Vltava River because he would not break the seal of the confessional and divulge to him his wife’s confession. Because he was drowned, he is considered a protector from floods and drowning. On either side of him are two angels in robes with mirroring green and red drapery. In the left window, we have the Apostle Thomas and on the right the Apostle St. Jan. All three of the top figures are set against a Gothic architectural backdrop.

The Chapel of St. John the Baptist

The Chapel of St. John the Baptist is a study in architectural drawings and ornamental patterns and less of a focus on figures. In the middle was have the image of the Virgin Mary flanked by St. Antonín Poustevník and St. John the Baptist. The rest of the glass is decorated with delightful geometric flowers and even the image of exquisitely ornamented windows in windows.

The Chapel of Our Lady

This Chapel is dedicated to the Virgin Mary. The decoration throughout is fantastical. Flowers, leaves, quatrefoils shapes and highly embellished tracery gives the window outstanding presence even in such a wondrous Cathedral. The Holy Trinity is represented in the center window. God holds his hands open and a white dove flies above. In front is Jesus on the cross, bright white rays of sunlight burst from behind the trio. On the left dressed in azure robes is the Virgin Mary, her gaze looking down in sadness at Jesus on the cross. On the left window, we see St. John the Baptist holding a cross with a scroll which reads, “Repent-you, neared for the Kingdom of the Heavens“.

The Reliquary Chapel

Charles IV considered this chapel to be the most precious. In the central window, we see the Virgin Mary with baby Jesus in her arms. On either side of her are kneeling angels, their wings coloured in all different hues, making them look more like birds than angels. Below the holy family, we can see a choir of Bohemian Saints Vojtech, Dorothy and Beno. On the left window we have Andrew the Apostle, Agnes of Bohemia, Saint Vitus and Jan Sarkander and on the right St. Apostle James the Elder, Saints Alois, St. Alphonsus, and Frantisek of Paula. This is another piece designed by Josef Mocker and František Sequens from 1877.

The Chapel of St. Jan Nepomuk

This window was designed by Josef Kranner, Rudolf Müller and Petr Maixner in 1870. The window is set in front of the precious relic of Saint Adalbert of Prague housed in the alluring gold and silver gilded reliquary. With such an impressive treasure in front, the stained glass windows behind are more restrained. The three windows tell the story of the life of St. John of Nepomuk. In the center we see St. John with Wenceslaus the 4th as a boy. A stirring image since the two were once so close but in the end, it was Wenceslaus the 4th who would put St. John to death. On the right we see St. John giving alms to the poor and on the left, he is seen blessing the Queen Sophia of Bavaria, the spouse of Wenceslaus.

The Mary Magdalene Chapel or The Wallenstein Chapel

The Wallenstein Chapel features a single central pane by Josef Mocker and František Sequens. It centres around the image of Saint Mary Magdalene washing the feet of Christ. Beneath them are the apostles Bartholomew and Matthew. While a smaller window, take a moment to study the geometric ornaments at the bottom of the window. Although completed in 1877, they have a very art-deco feel about them that significantly pre-dates that period of art history. Perhaps an early influence to what art-deco would become.

The Chapel of St. Andrew

Although Rose Windows only usually appear along the nave, here we see a smaller, yet no less lovely, version. In the center of the curved rosette, we see the figure of Christ, his left hand out in a blessing pose and an open book in the right. Standing amongst a group of columns below are Saints Matthew, Barnabas, Stephen, Lawrence, Luke and Mark.

The Southern Window

The Southern Window, adjacent to the famed St. Wenceslas Chapel, is an incredible tryptic. The colours in this piece seem otherworldly. They are so powerful and intense. A triad of rainbows. In the centre, we see the figure of Jesus, falling into the arms of his maker. This is the depiction of the Holy Trinity: the father, the son and holy spirit, symbolized here in the form of a dove. The dove is surrounded by a glorious ray of light which draws your eye in and doesn’t let it go.  Jesus’ face is surprisingly emotive considering it is made of glass, without the intricacies of paint. Surrounding the figure of Jesus, if you look closely into the traceries, are the tools which were used when he was martyrized. 

To the left, we have the northern window. Here, the Virgin Mary is dressed in Royal purple and honoured with the crown of St. Wenceslas. On either side of her are the kneeling figures of blessed St. Mlada and St. Ludmila. Below Mary is Spytihněv I, the first historically documented Bohemian ruler and husband of St. Ludmila. In his hands, he holds a model of a Roman Basilica, which he built in her honour. On the right, we see St. Wenceslas and St. Vitus on their knees. In the centre is Charles IV who is also holding a model of a Gothic Cathedral.

The Thunov Chapel

The Thunov Chapel features a sparkling blue window with a modern design despite being created in 1929. It represents the Psalm 126-5 which declares, “Who sows in tears, will harvest in joy.” Inside the window frame are different risks which provoke sorrow; floods, hail storms, fire, death and natural disasters. The concept here is to teach the public that tragedy may befall us, but only through sadness can we genuinely appreciate happiness and joy.

At the top of the window, is a clear image of an enormous eye overlooking those below. This is representative of the Lord’s eye looking out over the Justified. Below the eyes are three quatrefoils with different saints inside. On the left is St. Florian, fighting fires with his staff. In the centre, we have St. Krystof, with his cane, breaking the waves of the ocean. On the right, we see St. Barbara proving her valour with a victory against the earth. These saints are seen to be there to help protect the justified against the ills that might befall them.

Chapel of the Holy Sepulchre

Another of Karel Svolinsky’s incredible contemporary pieces is this window design featuring purple, red and pink glass presenting the ‘Works of Mercy‘. There are two main categories of Mercy; corporal and spiritual. The Corporal works of mercy are; To feed the hungry, To give water to the thirsty, To clothe the naked, To shelter the homeless, To visit the sick, To visit the imprisoned, or ransom the captive and to bury the dead.

Spiritual Works of Mercy is to instruct the ignorant, to counsel the doubtful, to admonish the sinners, to bear patiently those who wrong us, to forgive offences, to comfort the afflicted and to pray for the living and the dead. Each of these acts of mercy is thoughtfully represented in each frame of the window. The flowing natures of glass design adds a sense of movement to the entire piece which gives it that sense of modernity despite being over a hundred years old.

Chapel of St. Ludmila

In the Chapel of St. Ludmila we can see the impressive images of the St. Ludmila, the Holy Spirit and the twelve apostles. The holy spirit is seen as a white dove in the centre, flying up towards the Jesus, dressed in a red habit. The dove is illuminated with yellow, white and red light which reflects off the figures below. The twelve apostles kneel below,. their hands folded in prayer. Their bright flowing robes rippling against the power of the spirit taking off above.

St. Ludmila or Ludmila of Bohemia is frequently seen throughout the Cathedral. Saint Ludmila married the first Duke of Bohemia, and they had a son, Vratislav. She and her husband were one of the first couples who converted to Christianity when it was brought to Bohemia. Vratislav married young and had another son, Saint Wenceslas. Vratislav died soon after his son was born, so Ludmila acted as the regent for Wenceslas until he came of age. Despite being his grandmother, she acted more like a mother to him and brought him up to be a good Christian.

But good deeds did not go unpunished, and when Wenceslas’ mother Drahomíra became jealous of Ludmila’s influence over her son, she has Ludmila murdered by two noblemen. Saint Ludmila was canonized shortly after her death. Wenceslas never forgot his dear grandmother, and as such, she is a very big part of Czech Christian history.




The post The Ultimate Self Guided Tour of St. Vitus Cathedral’s Incredible Stained Glass first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/a-guided-tour-of-st-vitus-cathedrals-incredible-stained-glass/feed/ 11 462 The Ultimate Guide to St. Vitus Cathedral, the Shining Gem of Prague https://thecreativeadventurer.com/the-ultimate-guide-to-st-vitus-cathedral-the-shining-gem-of-prague/?utm_source=rss&utm_medium=rss&utm_campaign=the-ultimate-guide-to-st-vitus-cathedral-the-shining-gem-of-prague https://thecreativeadventurer.com/the-ultimate-guide-to-st-vitus-cathedral-the-shining-gem-of-prague/#comments Thu, 07 Sep 2017 13:20:01 +0000 https://thecreativeadventurer.com//a-guide-to-st-vitus-cathedral-prague/ The crowning jewel of Prague Castle is without a doubt, St. Vitus Cathedral. You might expect...

The post The Ultimate Guide to St. Vitus Cathedral, the Shining Gem of Prague first appeared on The Creative Adventurer.

]]> The crowning jewel of Prague Castle is without a doubt, St. Vitus Cathedral. You might expect the royal residences would be the most distinguished buildings in the compound, but here, the church reigns supreme. Upon entering Prague Castle, you can see the awe-inspiring Gothic towers of St. Vitus poking their heads out. Above all the other red roof buildings surrounding it. St. Vitus is one of the best examples of Gothic architecture in Prague. Or anywhere in the world for that matter and should be a must-see sight for anyone visiting Prague for the first time.

Tips on Exploring the Cathedral

St. Vitus Cathedral is enormous. Exploring it in its entirety might seem daunting to first-time visitors. Spend time studying the details, don’t try to take it all in at once. Take a seat inside when you first walk in, allow yourself to take in the design, the layout, the colours, the sounds and even the small. Follow along with this little-guided tour to find out more of the secrets inside these walls. The tour takes you around the exterior and then inside. The tour takes starts at the base of the north tower. Following along the north aisles and then around the High Altar and Gothic Chapels. Then finishing off walking back down the south side aisles towards the south tower.

Tickets

Upon arriving at the Prague Caste gates, you can stop at the ticket booth and buy your ticket. But before you do, know that you DO NOT need to buy a ticket simply to walk around Prague Castle. While you don’t need a ticket to explore the exterior of the complex to go inside the Cathedral, Royal Residence and exhibitions you do need to pay. 

There are all sorts of different “circuit” tickets available, all of which offer access to various parts of the castle. This can seem daunting and confusing at first, and I think a lot of tourists go for the most expensive one thinking that’s the easiest way to see it all. Circuit A will cost you CZK 350 ($15 USD), and Circuit B will cost you CZK 250 ($10 USD). For most visitors, the ‘Circuit B’ ticket is actually your best choice. It gives you access to St. Vitus Cathedral, Old Royal Palace, St. George’s Basilica, and Golden Lane with the Daliborka Tower. It won’t give you access to ‘the Story of Prague Castle,’ or the Powder Tower and Rosenberg Palace. But I don’t think these are worth your time for a first-time visitor.

Guide to St. Vitus Cathedral
  1. Tickets
  2. St. Vitus in Prague
  3. Exterior
  4. History
  5. Nave
  6. North Side Aisle
  7. The Transept
  8. The Chancel
  9. Gothic Chapels
  10. Tomb of St. Vitus
  11. St. Wenceslas Chapel
  12. High Tower
  13. South Side Aisle

St. Vitus in Prague

“St. Vitus” was named by Prague’s patron Saint, St. Wenceslas, Duke of Bohemia. Saint Wenceslas had acquired a holy relic, the arm of St. Vitus, from Emperor Henry I. Since Saint Vitus had a Slavic sounding name. And the Emperor thought this was the perfect relic to convert the Slavic people to Christianity. Saint Vitus is the patron saint of actors, entertainers and dancers. He is also said to help protect against lightning, dog bites and, if you can believe it, over sleeping.

Standing in the third courtyard of Prague Castle, looking up at the looming gothic towers, you must remember you are in the same spot where a romanesque pagan temple stood as early as 924. The temple was dedicated to the god of fertility. And many women made the pilgrimage here to pray for a healthy baby. Eventually, the pagan temple was demolished as Christians came to build their Cathedral to their new God.

Exterior

Take some time to examine the church’s exterior. Spot all the different creatures which hang over the roof. You’ll see dragons, scorpions, musicians and more. At night these sculptures are all lit up from below Creating a haunting spectacle as their faces seem to move in the light.

Although the southern entrance to the Cathedral is no longer in use, walk around the building and look up at what might be the most astonishing part of the exterior – the Golden Gate. This entrance is decorated with colourful and gilded mosaics which combine to produce a stunning scene of the Last Judgement. Unlike the modern western doors, these doors date back from 1370. Since they are so old and delicate, they’re no longer in use to protect them from too much wear and tear.

Western Door Entrance

To enter the church, go back around to the cathedral’s western doors. As you walk through, take a moment to look at the large, bronze reliefs. Each one is adorned with scenes from the history of the Cathedral’s constructions and legends about St. Wenceslas and St. Adalbert. Adalbert of Prague was a missionary who brought the Christian religion, along with St. Wenceslas, to the people of Bohemia. Although the doorways might look old, these designs only date back to 1953.

IMG_3493

History

Like many of the world’s great churches, construction took ages. It began in 1344 but was not completed until 1929. Even today, the Cathedral is steadily being restored to ensure all the work that went into building such a gem isn’t lost to time and the pollution of the faithful.

20150906_142335_HDR

The architect of St. Vitus Cathedral was Frenchman Matthias of Arras who had previously designed the famed Papal Palace in Avignon. Matthias of Arras was a schooled geometer and mathematician, who loved rigid proportions. Matthias is responsible for the heady French Gothic architectural style found so prominently throughout the Cathedral. French Gothic architecture was compact. The transept is short with small chapels. The west front is gracious, with three portals topped with a classical rose window and two large towers. The east end is polygonal with radiating chapels. But the most impactful piece of French Gothic design is their use of height to create an impactful vertical perspective.

IMG_3634

Peter Parler

But Matthias didn’t live to see the Cathedral finished. After his death, 23-year-old Peter Parler, son of the architect Heinrich Parler, took over construction. Despite his youth, Parler had real-world experience working with his father on the Holy Cross Minster and the Nuremberg Frauenkirche in Nuremberg, Germany.

20150906_144218_HDR

Parler was an innovator and brought his own unique ideas to the Cathedral. He synthesised traditional gothic elements and his more modern ideas, exemplified in the vaults he designed for the choir. These, now named “Parler” vaults, have diagonal ribs that span the width of the choir-bay providing additional strength and also producing a dynamic pattern effect along the ceiling.

Parler was a sculptor and woodcarver as well as an architect. When he took over the project, he moved away from the mathematical, structured designs of Matthias and added more naturalistic ornaments. Study the tracery panels, the organic buttresses, window ornaments, the bell-shaped columns, passageway lintels and the busts in the triforium – each one given an artistic flourish that only a sculptor could have conceived.

Nave

As you walk along the nave, you are immediately struck with a wave of colour and light we well as powerful vertical lines. Above the main entrance is the classical rose window, installed in 1927, which depicts various famous scenes from the bible.

North Side Aisle

On either side of the nave are narrow side aisles lined with small yet elaborately decorated chapels. Many of the chapels are adorned with a large stain glass window. They are dedicated to a particular saint and will often contain a relic or gilded altar portraying scenes of the life of the saint.

Archbishop’s Chapel

The Archbishop’s Chapel, one of the first on the north side aisle, contains the most majestic stained glass windows. This piece was produced by Czech, Art Nouveau master painter, Alfons Mucha. Created in the early 1930s, the piece was commissioned for the Millennium Jubilee of St. Wenceslas’ death. The window portrays the young St. Wenceslas with his grandmother St. Ludmila. Surrounding the centre panel are small vignettes of the lives of Saints Cyril and Methodius who spread Christianity among the Slavs.

The first thing you’ll notice upon looking at this piece is the saturation of the colours and sharp lines around the figures. Because this pane of glass was painted – not stained – Mucha was able to produce a more impactful artwork filled with powerful organic forms blossoming onto the panels.

The Transept

As you continue walking down the nave, you’ll come upon the “crossing”. This where the north and south transepts intersect with the nave, creating the “cross” design which is so important to Cathedrals.

The south transept contains the glittering stained glass window designed by Max Švabinský. This was installed in 1938 and depicts scenes from the Last Judgement, with the fires of hell burning brightly in the lower right panel. The vivid colour in the contemporary stained glass is breathtaking.

Baroque Pipe Organ

In the north transept, you’ll find the baroque pipe organ. The current organ has over 4400 pipes and was built by Josef Molzer in 1932. The 16th-century Renaissance organ loft houses this musical instrument in what is now one of the oldest parts of the church. Despite all those pipes, the organ is simply not loud enough to fill the whole 125-meter long church. In 2017, bids to build the new organ were being reviewed. They want to build a new loft to house a modern pipe organ with over 8000 pipes – set to be the largest organ in Europe. The estimated cost of this would be anywhere from 80 to 100 million crowns ($3.5 million USD).

Below the organ are three carved wooden doors with reliefs of the martyrdom and lives of various Bohemian saints.

Standing at the crossing, study the ornamental golden pulpit. Many people have remarked that it is one of the most impressive pulpits seen anywhere in Europe. The entirety of the pulpit is covered in gold leaf and Renaissance portraits of famous Bohemian saints and royalty.

The arcade along the aisles contains painted crests of all the Bohemian families who have served the realm over the years since the Cathedral’s construction.

IMG_3559

The Chancel

Behind the crossing and in front of the high altar, is the chancel which contains the Royal Mausoleum. The tombs behind the intricate wrought iron gates are that of Ferdinand I and his wife. Each one of their tombs is topped with a hauntingly realistic marble effigy.

A set of stairs behind the gates leads down to the royal crypt where dozens of Bohemian royals are interred.

Choir and High Altar

Behind the Royal Mausoleum is the Choir and high altar. The high altar follows the strict neo-gothic philosophy; tall proportions and fine details. The entire altar resembles the shape of a cathedral itself. The altar of St. Vitus was the crowning place of all the Kings and Queens of Bohemia, and one can only imagine how beautiful the Royals would have looked in their finery, made only finer by the sparkling interior of the Cathedral.

Gothic Chapels

Surrounding the chancel is a ring of Gothic Chapels. Starting on the left (the north end), make your way around, finishing off at the famous, St. Wenceslas Chapel.

St Sigismund

The first chapel you’ll visit is of St Sigismund, one of the patron saints of the city of Prague. Designed by František Kanka in 1720, it contains a remarkable red marble altar with stone carved into depictions of the saint. St Sigismund was once King of the Burgundians before he was captured by the King of Orléans and executed. In 1366, Charles IV, Holy Roman Emperor, moved Sigismund’s relics to Prague and he has since become one of the many patron saints of the Kingdom of Bohemia.

St. Anne’s Chapel

St. Anne’s Chapel is next. Standing in the centre is a sumptuous gothic altar. Inside are three white marble saints, the central figure being St. Anne herself. St Anne was the mother of Mary and grandmother of Jesus according to apocryphal Christian and Islamic tradition. Behind the altar is an elaborately designed stained glass window portraying a multitude of saints. On either side of the chapel are two large, painted frescos depicting scenes from the saint’s life.

The Chapel of St. John the Baptist

The Chapel of St. John the Baptist contains the gothic tombs of Břetislav II, Bořivoj II and the magnificent tomb of Vratislav of Pernstein, Supreme Chancellor of Rudolf II, designed by the Dutch architect Vredeman de Vries. Inside the chapel, there is also a precious historical piece of medieval craftsmanship – a part of a 12th-century Candelabra from Jerusalem.

Lady Chapel

Next is the Lady Chapel or the “Trinity Chapel”. Inside the Lady Chapel is a magnificent altarpiece depicting “The Visitation”. In Christianity, the Visitation was the meeting of Mary with Elizabeth. Prague was one of the first places in the world to celebrate the feast of the Visitation, at the behest of Archbishop Jan Jenstein in the 1390s.

Alongside the altar lies the tombs of Břetislav I, his wife Jitka and Spytihněv II. Many of these beautifully carved graves are the works of the Peter Parler workshop. This meant that even the tombs fit in perfectly with the design of the rest of the Cathedral.

Tomb of St. Vitus

On the other side of the Lady Chapel is the great tomb of St. Vitus himself. A sculpture of the saint is carved atop the tomb, set against a background of golden lattice work. The tomb itself is rather subdued and simple.

But the most impressive tombs is the baroque, silver encased resting place of St. John of Nepomuk which stands across from the Gothic Chapels. The tomb is draped in a deep red canopy held up by a squadron of divine angels. Two tonnes of silver was used to create this work of art.

Saint John of Nepomuk made a martyr by being drowned in the Vltava river when he refused to divulge the secrets of the Queen’s confessional. He is now the patron against calumnies a protector from floods and drowning.

Chapel of St. John of Nepomuk

The Chapel of St. John of Nepomuk across from him tomb contains a cherished relic. Years after St. John of Nepomuk was drowned, his body was pulled from the river and a part of his body, saved in this reliquary.

The Waldstein Chapel

Beside the chapel of Nepomuk is The Waldstein Chapel which contains two beautiful fresco on either wall and a small altarpiece in the centre, behind a wonderfully geometric stained glass window.

Royal Oratory

The Royal Oratory is set along the row of Chapels. It contains one of the most elaborate designs of the Cathedral with ribbed vaulting carved into the balcony to make it look like tree branches, growing from the stone. This is Parler’s work and is almost an early influence to Gaudi’s ‘Sagrada Familia’.

St. Wenceslas Chapel

But the most important Chapel of them all is St. Wenceslas Chapel. St. Wenceslas was the Duke of Bohemia from 921 until his assassination in 935. His younger, power hungry, brother was found guilty of his murder. Although he was never an actual King, many people know his from the Christmas carol “Good King Wenceslas”. The heroic goodness of the duke was well known throughout Bohemia, and years after his death people continued to spread stories of his kindness. He was eventually posthumously declared a King and given a sainthood.

From floor to ceiling, this chapel is embellished with the most exquisite paintings, gilding and ornaments. The lower portions of the walls in here are decorated with over 1300 semi-precious stones and paintings depicting the Passion of Jesus from 1372–1373. In the centre of the room hangs a golden chandelier which resembles a grand crown, for the King of Kindness.

IMG_3642

Inside the Chapel, relics of the Saint are still housed inside his tomb, seen below covered in a red and gold embroidered drape. In the corner of the room, there is a small door with seven locks. This door leads to the Crown Chamber which contains the city’s Crown Jewels. These treasures are off limits to the public, except for one day, every eight years, when the seven locks are opened, and these incredible riches can be looked upon by the people of the city.

IMG_3648

High Tower

For those of you who have the courage and energy, be sure to climb the High Tower to get some of the most impressive views of the city and courtyards below. The bell atop the tower is named “Sigismund Bell” and was forged in 1549. It is Bohemia’s largest bell and to hear it ring out is a great thing to hear.

South Side Aisle

The Thun Chapel was themed after the Psalm “Those who Sow in Tears Shall Reap in Joy” by František Kysela. It says:

Those who sow with tears
will reap with songs of joy.
Those who go out weeping,
carrying seed to sow,
will return with songs of joy,
carrying sheaves with them.

The stained glass window the back of the chapel depicts various parts of the Psalm in sparkling, vivid colours and with the characters moving throughout in ways not traditionally seen in static stained glass.

Chapel of the Holy Sepulchre

In the Chapel of the Holy Sepulchre, the large, pink and purple stained glass window draws out all the different ‘Acts of Mercy’. There is also an early Baroque altar from 1674 and a picture of St. Mary Magdalene from 1600.

St Ludmila Chapel

The St Ludmila Chapel is located along the southern aisle and is a significant place for Czech Christians. St Ludmila was the grandmother of St. Wenceslas and taught him Christian kindness. She married Borivoj, the first Czech prince to adopt Christianity. Ludmila raised St. Wenceslas as her son after the death of his father. The anti-Christians who ran the country after the death of Wenceslas’ father, opposed Ludmila and resented her influence over Wenceslas. Before Wenceslas could ascend the throne, they strangled Ludmila, hoping to end Wenceslas’ pursuits of Christianity.
Unfortunately, it had the opposite effect, and after her death, Wenceslas was even more passionate about securing his grandmother’s legacy.

St Ludmila Chapel - St. Vitus Cathedral

Even if you’re not religious, St. Vitus Cathedral is a monumental work of art and must be visited, especially if it’s your first time in Prague. The entry is always free so if you feel like you want to visit on more than one occasion to study it up, you can come and go as you please.

IMG_3542

Step back in time. Take a step into history. And step into St. Vitus Cathedral.

The post The Ultimate Guide to St. Vitus Cathedral, the Shining Gem of Prague first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/the-ultimate-guide-to-st-vitus-cathedral-the-shining-gem-of-prague/feed/ 1 18