Blind Whino

Blind Whino is one of those locations which I feel like I’ve seen hundreds of time over the years on sites like MyModernMet and BoredPanda. But seeing it in real life, not just online, is something spectacular. The buildings is a renovated church painted with wild and wonderful colours and patterns. Be sure to step inside, many come here simply to take a picture of the exterior and head off but the interior is just as interesting and dynamic. There are often art shows on display so check their website for a list of gallery hours.

700 Delaware Ave SW, Washington, DC 20024

GreenWorks Flowers

Walking up to this shop was like walking into a dream. This cotton candy pink florist shop is always decked out for the season. At Christmas, it is dripping with fairy lights and baubles. Halloween is a surprisingly spooky affair. During the rest of the year, the entire exterior is always looking like a secret garden exploding out from the window boxes. I was bummed to see that the interior is pretty much just like any other florist shop and not some wild ‘Alice in Wonderland‘ but the exterior is what you’ll come to see anyways.

3428 O St NW, Washington, DC 20007

Smithsonian Museum of Natural History

The Smithsonian National Museum of Natural History is one of the most iconic museums in the world. Walking inside you’re greeted by one of the most important pieces of the collection, the giant African bull elephant. It stands in the middle of the incredible neoclassical domed rotunda. This building was constructed in 1910. And is still to this day one of the best examples of American Beaux-Arts architecture.

10th St. & Constitution Ave. NW, Washington, DC 20560

City Center DC

City Center DC is a five-block area of the city which is a collection of apartments and office buildings, but on the ground level, features some of the most exclusive and illustrious brands displayed in picturesque window displays. The main thoroughfare in CityCenter is always decorated for the season or for a particular event. Whether it’s hanging lanterns, rainbow umbrellas or a giant reindeer at Christmas time, the alley along Palmer street is always a favourite among photographers.

825 10th St NW, Washington, DC 20001

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Library of Congress

The Library of Congress is, in my opinion, the most beautiful building in D.C. The inside is breathtaking and a perfect spot for some fantastic photos. The incredible and grandiose design of the library, now named the Thomas Jefferson Building, was inspired by the Paris Opera House. And it’s artistic and theatrical inspiration can be seen throughout. Inside the grey facade, you’ll be wowed by the multitude of colours painted on the ceiling frescoes and the fascinating sculptures peeking out from behind ornate marble columns.

101 Independence Ave SE, Washington, DC 20540

Chesapeake and Ohio Canal Towpath

Hidden behind the high fashion brands and hipster cafes in Georgetown, there is a natural oasis along the Chesapeake and Ohio Canal. This canal was once used as a tow path where barges once came to delivery their cargo. On either side of the canal are some of the oldest buildings in Georgetown, providing a beautiful backdrop of the overgrowth and peaceful waterway.

1054 31st St NW, Washington, DC 20007, USA

Georgetown’s Candy Coloured Houses

In a cozy, quiet area in Georgetown, there are rows of streets dotted with pastel coloured houses. The shutters and doors are often painted in contrasting colours to make all those little architectural details stand out. I would recommend walking along O Street or N Street, starting at the University and then making your way towards Wisconsin Ave NW. They are not only beautifully painted but also incredibly preserved historical houses and walking this path feels like stepping back in time.

U.S. Botanic Garden

This is the place to come to feel like you’re in the tropics even if it’s blistering cold outside. The U.S. Botanic Garden is constantly changing with different plants in bloom. There is always something blooming or growing depending on the seasons so there’s always something incredible to see. The gardens are divided into various sections based on their temperature, region or what the plants are used for. There is a room dedicated entirely to medicinal plants. And it’s so interesting to see how plants are still used to this very day to help heal people despite all the advances in modern medicine. My favourite room for photos is ‘The Tropics‘ where huge Swiss cheese looking leaves hang from giant trees. And the air tastes almost taste sweet from the constantly growing flora. The glass windows of the greenhouse make for some incredible shots, not to be missed.

100 Maryland Ave SW, Washington, DC 20001

The Capitol Building

The Capital Building is one of the most iconic views in Washington, and no matter the weather or time of year, this place is incredibly stunning. It’s round, layered dome atop the pristine white columned building sticks up, high above the other buildings surrounding it. There are so many different viewpoints of the Capital Buildings all over the city but my favourite is down Pennsylvania Avenue.

East Capitol St NE & First St SE, Washington, DC 20004

Lincoln Reflecting Pool

There are so many incredible sights to be seen in the National Mall. But the Reflecting Pool is one of those locations that, day or night, is an awesome site for beautiful pictures which scream, “I’m in Washington!” The reflection of the surrounding trees and monuments, mirrored back at you from the waters is so compelling. And one can really appreciate how something so simple can be something so powerful.

2 Lincoln Memorial Cir NW, Washington, DC 20024

Cherry Blossoms around the Waterfront

The National Cherry Blossom Festival is a spring celebration in Washington, D.C. The blossoms are usually at their best in mid April. But be sure to check the site for when they’ll be in full bloom as it changes every year. The trees you can see surrounding the Tidal Basin beside the National Mall were gifts from Mayor Yukio Ozaki of Tokyo City. The banks of the Tidal Basin are one of the best spots to visit as you can not only take pictures of the pale pink blossoms but also have a great opportunity to see the Thomas Jefferson Memorial across the still waters.

1510 Maine Ave SW, Washington, DC 20024

Kogod Courtyard National Portrait Gallery

The National Portrait Gallery is a great place to see one of the most impressive collections of portraiture in America. But the Kogod Courtyard inside is a great spot for a portrait of your own! The massive courtyard is an architectural masterpiece and a place of serenity in a busy, loud city like Washington.

750 9th St NW #410, Washington, DC 20001, USA

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Capitol Hill Books

Packed to the gills with paperbacks, hardcovers and magazines, Capitol Hill Books is nestled in the historic Eastern Market area. The exterior of the shop’s window, piled high with books, looks like a patchwork quilt and makes for a great snapshot of the kind of adorable shops which Georgetown is so famous for.

657 C St SE, Washington, DC 20003, USA

If you’d prefer to explore the city with a tour guide, check out some of these top walking tours!

What are your favourite places to photograph when you’re in the city! Let me know in the comments

Happy Travels, Adventurers

The post The Ultimate Guide to the Most Instagrammable Places in Washington DC first appeared on The Creative Adventurer.

However, one way in which I love to explore a city, especially for the first time, is through its works of art. Both historical and right up to the modern day. Art teaches us about the culture of the people who made it. What was important to them, what moved them, what inspired them? Even what shaped them.

For a unique perspective on Berlin’s art scene, consider a bespoke art tour with coGalleries Berlin. These tours offer a behind-the-scenes look at the city’s cultural landscape, including its trendy art scene, making them a perfect choice for art enthusiasts.

coGalleries Berlin tours combine aspects of a traditional city tour with visits to private galleries and exclusive art collections. This means your guide will be able to introduce you to all the different sights of the city while also allowing you inside otherwise nonpublic spaces like your own personal key to the city. Here, you’ll meet the real artists creating the spectacular art of today and shaping the new face of Berlin’s art world.

Your artist-in-residence will tell you all about their personal journey with their art, show you pieces both in progress and on display, and even let you get a peek into their creative process.

Often, art is very unapproachable for someone who isn’t going to galleries all too often or involved in the industry. But coGalleries aims to make art accessible; it allows you to ask questions, get to know the artists themselves and learn more about what makes the Berlin art scene so exciting and dynamic. You can find out what makes the Berlin art scene so unique compared to others worldwide. Asking questions when travelling is the best way to learn from the people who live there, and these tours truly enable you to have that unique experience.

The tours are completely customizable to each and every client. So, if you’re interested in street art or perhaps a sculpture, you can create a custom itinerary with only what’s important to you. So many tours are cookie-cutter copies of each other, and the guides are nothing more than a walking Wikipedia. These tours are one-of-a-kind and nothing like you’ll experience anywhere else. Walking down the streets of Berlin, the street art which can be seen hidden away in alleys or under bridges tells a certain story of the city and learning what each piece is referring to, especially as an outsider, really allows you to look at it from a different perspective.

There are so many different sculptures to be seen across Berlin, and these tours are a wonderful chance to learn more about the famous sculptures that line the grand thoroughfares and see the emerging sculptors making their own marks on history today.

If you’re ready to embark on a unique art adventure in Berlin, visit cogalleries.com to book your tour today. It’s the perfect way to make your next trip to Berlin truly unforgettable!

*This post was sponsored by Cogalleries, but all opinions are my own.

The post Explore Berlin’s Art Scene: The Ultimate Artistic Gallery Tour first appeared on The Creative Adventurer.

Table Of Contents

1. What is Heavenly Bodies
   • Hours
2. Curator Andrew Bolton
3. About the MET Cloisters
4. The Rockefellers
5. Victor and Rolf
6. Karl Lagerdelf & Chanel
7. Valentino
8. Clair McCardell
9. Rick Owens
10. Jean Paul Gautier
11. Virgin Mary Fashion
12. Gareth Pugh
13. Galliano
14. Christian Dior
15. The Garden of Eden
16. Secular Garments
17. Philip Treacy
18. Thom Browne
19. Alexander McQueen
20. Hieronymous Bosch

What is Heavenly Bodies

Heavenly Bodies explores “fashion’s ongoing engagement with the devotional practices and traditions of Catholicism.” It investigates the influence that religion has had on the cultural imagination and how it directly impacted the visions of fashion designers. Throughout the exhibition, there is no audio guide or a detailed map to direct you toward a starting or finishing point. I’ve created my own guided tour to help you discover what you’ll see where. I’ve broken this guide up into three different parts. To read up on the other two exhibition parts, click the following links: MET Vatican Collection | MET 5th Avenue.

Access and Admission

General admission to the museum is $25 for adults, $17 for seniors, and $12 for students. Your admission includes all the exhibitions and is valid for three consecutive days. This includes Met Fifth Avenue, the Met Breuer, and Met Cloisters. So if you’re planning on attending both the MET 5th Avenue and the Cloisters, just keep your sticker and receipt. That way you won’t have to pay again as long as you go within three days. You can buy your tickets online if you don’t want to wait in line when you get to the museum. Recommended during these popular exhibits.

Hours

The MET Cloisters is open seven days a week. Sunday–Thursday: 10 am–5:15 pm and Friday and Saturday: 10 am–9 pm. The best way to get to the Cloisters is to take the A train to 190th Street Subway Station. From the station, it is a beautiful walk through Fort Tryon Park. The park is a peaceful oasis from the busy city and provides stunning views of the Hudson River. The signage for the Met Cloisters is a bit sporadic but keep walking north, and you’ll reach it eventually.

Curator Andrew Bolton

Part of the journey to the Met Cloisters adds to the feeling of pilgrimage. Curator Andrew Bolton thought was a key part of the exhibition design. A pilgrimage “is a journey of spiritual significance, typically to a shrine or other location of importance to a person’s beliefs and faith.” For many, fashion is as spiritual as religion is for others. It allows them to express their creativity, their passions and their joy.

The Heavenly Bodies collection at the Cloisters focuses on faith’s quiet, reflective nature. The outfits are more complicated, require more thought and observation. And due to the remote location, allow you to have a more personal experience with the objects. Since the journey to the Cloisters isn’t short, fewer people seem to make their way out here. So your viewing will be much less crowded than perhaps at Met 5th Avenue.

About the MET Cloisters

What many might not know about the Met Cloisters is that it is not simply just an old building in the middle of New York but pieces of ancient medieval monasteries, brought stone by stone to the United States, where they were fitted together in a jigsaw-like fashion, to create this patchwork quilt of a structure. George Grey Barnard, an American studying in Europe in the 1900s, made a living buying and selling medieval treasures which unknowing landowners found on their farms.

But the discovery and beauty of these treasures became an addiction for Barnard. And as he made more and more money, he would find himself buying objects for his own collection instead of just selling them all off. When he returned to the United States before WWII, he brought dozens of medieval relics. Barnard bought a piece of land on the northern tip of Manhattan and turned his personal collection into a museum. He aimed to teach Americans the importance and beauty of Medieval European art. He called his church-like building George Grey Barnard’s Cloisters.

The Rockefellers

The Rockefellers bought the Cloisters in 1924 when Barnard was forced to sell, but the Rockefellers were devoted to preserving and expanding the collection. They bought an additional 66 acres of the parkland and added their medieval architectural collectibles to the expansion. Architects were brought on to rebuild a large and more refined version of Barnard’s church.

Their concept was a Neo-Gothic structure, each room masterfully thought out to a house within the walls, floors and ceiling, pieces from the collection. As such, the Cloisters feel like a monastic shrine, a place for contemplation full of rich histories. Even if the histories are from various places, they all come together to create this diving gem. In this majestic setting, you can better understand how influential the drama and iconography of the church would have been for designers and how they were inspired by these works of art to create their own.

Romanesque Hall

While there is no set path for the exhibition, I suggest you start in the Romanesque Hall and follow the guide which follows. I almost missed a few rooms, so by following this guide. Hopefully, you won’t make the same mistake. The Romanesque Hall features large 12th-century frescoes from Spain and a 13th-century stone doorway from Moutiers-Saint-Jean in Burgundy. The dazzling dress by Viktor & Rolf from their Russian Doll collection is framed in front of the stone doorway. As an opening piece, this dress is dazzling. She shines amongst the flat stones surrounding her, covered in thousands of Swarovski crystals.

On either side of the Victor and Rolf dress are two 12th-century wooden sculptures of the Virgin Mary. In either sculpture, we see the Christ child sitting on the Throne of Wisdom. These two sculptures haven’t been displayed together for hundreds of years, so it was special to see them together again. Despite being carved by different artists in different cities, their design is almost identical. The Throne of Wisdom is a symbol of how Mary made Christ incarnate, and without her, this child couldn’t have come into the world and given humanity the gift of wisdom.

Victor and Rolf

These sculptures are wonderful examples of how in the 12th century, the “cult of the Virgin Mary” began to develop. The Cult of the Virgin worshiped Mary in a way only God and Jesus had been worshipped. Sculptures were made of her and adorned with costumes and votives. In the fashion show featuring this dress, Victor and Rolf adorned their one model with layer upon layer of garments of incredibly lavish clothing. Like a reverse Russian doll. Each layer is more elegant and embellished than the next. In adorning her, the clothing acted like a physical form of devotion to their muse. 

Fuentidueña Chapel

Directly through the doors to the right of the Romanesque Hall is the Fuentidueña Chapel. The Fuentidueña Chapel is made from over three thousand limestone blocks from Spain, which form a half-domed apse. Upon the ceiling of the apse is a Catalan fresco of the adoration of the Magi. Hanging down from the ceiling is a 12th-century wooden crucifix. Staring up a the crucifix, her hands folded tenderly in front of her, is a mannequin wearing a simple, white Balenciaga gown from 1967. This room is dedicated to garments inspired or made for the baptism. The idea of rebirth is very powerful, whether in a religious or secular context.

The gown by Balenciaga is so clean-cut, and despite being located in this medieval chapel, it feels very modern. The gown is set on its own, not amongst the other groupings, highlighted by the light flowing through the stained glass windows. By separating this dress from the rest, the idea of it representing a person’s devotion to only singular holy light becomes all the evidence.

Karl Lagerdelf & Chanel

The other dresses along the walls are designed by Karl Lagerfeld for Chanel. They were inspired by gowns girls wore in France for their first communion. A large stone baptismal font from the 1100s is placed within the room to give some context to these outfits, and from afar, it looks almost like a baptismal scene. The fabrics which make up each outfit are pure white, mostly made of cotton, the simplest of fabrics. While not embellished or particularly eye-catching, these refined, plain garments still radiate so much energy. The idea of goodness is represented so powerfully here.

Saint-Guilhem Cloister

From the chapel, step out into the Saint-Guilhem Cloister. This cloister is located inside under a glass roof. The architectural elements in the room are made up of over 140 fragments of the Benedictine Abbey of St.-Guilhem-le-Désert in France. But what is a “Cloister,” you ask? A Cloister is a covered walkway or gallery with a central open-air garden. It is the central place of daily monastic life, where monks and nuns come to pray, reflect on their daily devotions and enjoy the splendours of god’s natural creations. The fashions displayed are presented on tall plinths which reach up almost to the ceiling. As if these holy-inspired outfits were launching themselves up to heaven.

Valentino

The two garments on these plinths are inspired by the shape of classical monastic buildings. The Valentino outfit with velvet embellishments was inspired by the Romanesque arches of the Colosseum in Rome. Increasingly larger and larger arches descend the length of the garment. The claps which hold the cape together are made from a golden abstraction of the image of Christ on the cross.

The second dressed mannequin wears a remarkable black cape and tunic covered in gold embroidered stars. These stars were inspired by Byzantine images of Mother Mary. She was robed in a bright blue cape covered with golden stars in these portrayals. Stars are the symbol of Mary’s eventual reign in heaven. The crown covered in stars added to the outfit is also slightly reminiscent of the crown of thorns. The garments are very severe, the black fabric feeling all-encompassing. They don’t allow you to think of anything else, much like monastic meditations, which would have been practised in Cloister spaces.

Langon Chapel

From here, we duct back into the Romasnques Hall and head straight into the Langon Chapel. The Langon Chapel is named for the seven Romanesque capitals from Notre-Dame-du-Bourg chapel in Langon, France, which decorates the central arch. Staring down out at you from the capitals are the faces of various saints and angels. This scene in the chapel is meant to evoke the sacrament of Matrimony. This room houses one singular gown, a wedding gown designed for the House of Dior by Marc Bohan.

The dress was made from one piece of fabric and was supposedly made using only two seams. In reality, there were actually four, but the myth is often more interesting than the truth. The use of so few seams is very symbolic since the garment Christ wore during his Crucifixion was made with one single seam. Bohan named the dress Hyménée, after Hymen, the Hellenistic god of marriage. The dress hides the face of the model with a large white veil, which resembles a nun’s habit. Nuns pledge themselves in marriage to the divine instead of another person, so using them as inspiration for this wedding gown is a perfect union.

Pontaut Chapter House

From the Langon chapel, head outside into the Pontaut Chapter House. The stone benches surrounding this outside portal are from a Cistercian monastery and date back to 1151. The Chapter House is where monks would have their daily meetings, sit, pray, or meditate. The Heavenly Bodies exhibit is taken outdoors here and places the fashions inside glass cases. This makes the garments look like they are almost set into the natural elements. 

The garments in this museum area are all inspired by various religious orders. The monastic inspirations can be seen in the garments’ simplicity and their monochromatic colour pallet. Colour is used in religious orders to differentiate the communities. Brown is associated with the Franciscans. White is worn by the Augustinians, and Black is associated with the Dominicans.

Clair McCardell

Claire McCardell was a designer who donned the term “monastic” for her collection, referring to any garment without a waistline which could be belted as the wearer desired. A few of her original dresses from this collection can be seen in the glass cases outside. While the glare from the sun during certain times of the day can be a bit difficult to see inside the case, it makes the viewer work harder to study the seemingly simple outfits. While they may appear very plain, the work and precision used to create something this perfect is sometimes more involved than the flashy dresses you saw at the Met 5th Avenue. The seamstresses have an almost meditative mindset. They get to ensure each stitch is as precise as a machine.

Cuxa Cloister

You are now standing in the central Cuxa Cloister. The Cuxa Cloister is the open-air courtyard that was the religious order’s nucleus. It is not only where they met but also where they grew herbs and flowers for the community they supported. The monks and nuns not only acted as religious teachers but were also healers and helpers. They would grow food for the poor who couldn’t afford to feed themselves and mend the wounds of the sick and injured.

Rick Owens

Two of the most controversial pieces in the exhibition are located outside the covered walkway of the Cloisters. These are by designer Rick Owens, and while from afar, they might look like a modernized version of monks’ soutanes, up close, you can see one large glaring difference. In the centre of their pants is a large “peephole.” He was inspired by the drunken monk stereotype from the Canterbury Tales. Owen was trying to make a statement about man’s naughty side and a slight commentary on how inappropriate actions could be forgiven by god. Despite being a piece from a 2015 collection, it is stirringly appropriate today.

Early Gothic Hall

From the exterior Cloisters, head back inside to the Early Gothic Hall. The Early Gothic Hall houses work from the thirteenth and fourteenth centuries, but the Heavenly Bodies Exhibit focuses once more on the Cult of the Virgin and combines stained glass and wood carvings of the Virgin Mary with gowns inspired by her as well.

Jean Paul Gautier

Along the walls, to the west, you can view gothic stained-glass panels from various English and French cathedrals. Stained glass was of the utmost importance during the Gothic era. It was bright and colourful yet also allowed light to flow into the church without diluting or obscuring. This was symbolic of Mary giving birth to Jesus while remaining a Virgin. Standing in front of the medieval stained glass is a dress by Jean Paul Gautier titled Lumière. It features a stained glass pattern of the Virgin Mary. A shawl draped over her shoulder was designed in the shape of the baby Jesus, giving the effect of her carrying the child in her arms. The details in the stained glass and leading are so realistic from afar that you might mistake it for a real stretch of glass, not a piece of fabric.

The other two dresses in this gallery are also by Gautier, from his “les Vierges” (the Virgins) collection, which focused on the Blessed Virgin Mary and the iconography, which has always been a focus of her devotions. When paintings, sculptures or statues were created of the Virgin Mary, they almost always featured one or all of these four iconic elements; a veil, the immaculate or sacred heart, a halo and the use of the colour blue, specifically lapis lazuli. 

Virgin Mary Fashion

The blue draping fabrics on both dresses are mirrored in the medieval wooden sculptures of the Virgin Mary. Each of the dresses is also detailed with a red heart. There are so many levels of symbolism in the Immaculate Heart; it is one of my favourite images in Christian symbology. The heart being visible outside Mary’s body symbolizes her undying love for the people, so powerful that her heart cannot be contained. A row of roses surrounds the heart; roses symbolize purity relating to her immaculate conception. Finally, the heart is pierced by a sword symbolizing her eternal sorrow for the child she lost. Whether you are religious or not, there is certainly something deeply moving about a mother’s pain for the loss of her child.

Gothic Chapel

From the Early Gothic Hall, we head downstairs towards the Gothic Chapel. This reconstruction is a modern interpretation of a European Gothic Chapel. Luminous Austrian stained glass climbs up towards the pointed arch ceiling. Four wooden statuaries stand in prayer below. Two of them feature a small, wonderfully detailed wooden awning. Placed throughout the room are seven mid-thirteenth and fourteenth-century tombs.

Gareth Pugh

On opposite sides of the chapel, we can see the fourteenth-century tombs of two Catalan counts of Urgell. These knights were members of the royal family who participated in the Holy Crusades. The crusades were a series of religious wars sanctioned to recover the Holy Land from Muslim rule. Going on a crusade was thought to redeem your soul if you feared you carried with you any sin. One of these knights was fabled to have brought back a relic of the cross on which Jesus was crucified. The figures of these holy knights are perfectly juxtaposed with dresses by Gareth Pugh and Olivier Theyskens which are found on high plinths, whose mannequins look down over their fallen comrades. These garments were designed all black but emblazoned with crosses across their bodies.

Galliano

In the centre of the room are three figures lying in repose. Two are the armoured gisant (a recumbent sculpture of a deceased person shown usually with arms crossed over the chest) knights of the d’Alluye family. The outfits they are wearing for eternity, carved here in stone, are the pieces of armour and clothing they would have worn daily. Garments from this period are extremely hard to come by since most were not properly preserved and have not aged well with the ravages of time. But here, these stone versions are a spectacular example fashion of the time, and every little detail and embroidery is crystal clear in this dark stone.

In the centre of the medieval stones is an incredible piece by John Galliano. This dress was designed to look like a suit of armour, with fabrics layered to appear as plate mail. On one sleeve, she dons an enormous metal armour, giving the impression of Joan of Arc. Her headpiece is made of crystals, sewn into malleable metals, in the shape of three crowning dragons. In medieval times dragon was symbolic of independence, leadership and strength and, therefore, often important to ancient military iconography.

The Glass Gallery

Continuing on through the Basement level, we walk into the Glass Gallery. The Glass Gallery features a row of the fifteenth and sixteenth-century silver stained glass lancet windows which look out into Bonnefont Cloister. Since this room looks out into the gardens, all pieces here are inspired by the Garden of Eden. The Garden of Eden is one of those stories that, even if you’ve never been to church, you know that story. It has high drama and is wickedly visual and, as such, is a point of inspiration for many designers, even the secular ones.

The first dress you’re greeted by right as you walk in the doors is a dramatic dress by Maria Grazia Chiuri and Pierpaolo Piccioli for Valentino. The dress was inspired by a medieval painting by Lucas Cranach, the Elders of the Garden of Eden. Meticulous embroidery brings the iconic scene alive. It feels so delicate and otherworldly. The embroidery featured here reminds us of some of the incredible embroideries we saw in the Vatican collection at the 5th avenue location. How those nuns created scenes from the bible to inspire the congregation in church, Chiuri and Piccioli have created that same kind of magical inspiration for their public.

Christian Dior

Along the length of the glass gallery are a series of trees and hidden amongst them are various dresses by Jun Takahashi and Raf Simon for Christian Dior. Each of these dresses is created using a scene from Hieronymous Bosch’s triptych, ‘The Garden of Earthly Delights.’ Takahashi and Simon transformed these brilliant paintings into lush and dynamic patterns, complimenting them with modern cuts and striking ornaments. Bosch’s triptych is one of the most iconic and powerful depictions of Eden, and its imagery is so dense and sumptuous that it easily lends itself well to printed patterns.

The Garden of Eden

At the end of the row of trees stands one singular dress encased in glass. The dress is made with thousands of gold threads and formed into the shape of wheat, which springs forth from the dress. Wheat is an incredibly important element in Christian symbology. Wheat is the ingredient from which the bread and body of Christ are made; therefore, wheat is often used to symbolize Jesus. As wheat is another natural element from the garden, it fits nicely with the Eden-inspired dresses.

The Treasury

The next room we enter is the Treasury. The Treasury features ancient illuminated manuscripts, prayer books, various reliquaries and precious metalwork objects from the eleventh through the fifteenth century. Often, rich patrons of the church would donate money to have works of art created for the church’s Treasury. It was a way for them to, in a sense, atone for their sins by funding beauty for the church. Artists were given huge sums of money to create goblets, vestments, books and more. Today, modern artists are just as inspired by these pieces as the public was when they were first created in medieval times. At the door to the Treasury, you are greeted by this huge and layered blood-red gown. Across the skirt of the gown are painted letters and words. She looks like one of the old illuminated manuscripts come to life.

Secular Garments

The fashions featured in the Treasury are combinations of secular garments and items designed for use in the modern-day church. A dress by Dior features a chalice made from layers of lace woven onto the bodice. The lace was used to mimic the incredibly ornate medieval chalices featured in the Treasury. A cope created for World Youth Day is located in a case nearby, decorated with a rainbow of crosses and golden embroidery. This modern design is a stark contrast to medieval treasures, but the colourful designs reflect the bright jewels inside the various pieces.

Inside the woodcarvings room, in a glass case, is the silver crown of thorns designed by Shaun Leane, a master goldsmith and metalworker for Alexander McQueen. Metal artisans were seminal to the ecclesiastical artistry of the medieval era. They transformed pieces of iron, silver and gold into otherworldly works of art. And the partnership between McQueen and Leane was similarly transforming in the early 2000s.

Bonnefont Cloister

Before heading back upstairs to the rest of the exhibition, take a moment to explore the Bonnefont Cloister. Even though they do not house pieces from the Heavenly Bodies Exhibition, it is still a gorgeous place to explore. From here, you can look over to Fort Tryon Park and the Hudson River. The name of these Cloisters comes from the plant-inspired capitals used throughout, which are from a monastery in Bonnefont-en-Comminges in France. Walk amongst the multitude of growing flora. These medieval plants were all used by nuns and monks to create medicine, food and materials for artists who worked for the church. 

Boppard Room

Taking the staircase opposite the Treasury, we return upstairs into the Boppard Room. The Boppard Room’s dazzling feature is the six tall stained-glass windows which the name is the room is named after. They were recovered from a Carmelite church in Boppard, France. The glass dates all the way back to 1440. In the centre of the trio of glass windows on the left, we can see the gleaming blue lapis lazuli robe of the Virgin Mary patterned with golden bouquets of wheat. As mentioned before, wheat symbolizes the body of Christ, but when worn by the Virgin Mary, the wheat symbolizes her nourishment of humankind and god’s bounty. Inside a glass case opposite the stained glass is a Chanel gown made of silk tulle with embroidered wheat sown into the design, reflecting the design from almost 400 years prior.

Philip Treacy

Sitting in front of the medieval reliquary from the Netherlands, featuring various busts of female saints, are two curved straw hats by milliner Philip Treacy. Treacy was inspired by a wimple featured on the television show “The Flying Nun.” Wimples were medieval headdresses made from a large piece of cloth worn around the neck and chin and covering the top of the head. Despite having so much movement in the design, the hats are almost weightless, like the wings of an angel.

Unicorn Tapestries Room

From the Boppard Room, we head into the iconic Unicorn Tapestries room. The Unicorn Tapestries, specifically the collection’s final piece, is perhaps the most well-known image from the Met Cloisters. Inside this rather small and quiet room are seven wall-sized tapestries depicting the story of “The Hunt of the Unicorn.” While the tapestries have faded over time, the details woven in the imagery are still magnificent. Flora and fauna, mythical beasts and costuming of the lords and ladies inside these intricate tapestries give us a glimpse into the life of these medievals royals.

The titular piece in the collection is that of the unicorn inside a circular pen, pomegranate juice dripping down from a tree onto the pure white beast. In Christian symbology, pomegranates are an important representation of Christ’s resurrection. Religious scholars have compared the unicorn to Christ himself and the pomegranates juice on the unicorns back to a form of stigmata. In some scenes, you can even see the unicorn with a crown of thorns around its head. Secular interpretations correlate the piece more towards the bond of marriage. The circular cage represents the wedding ring, and the pure white unicorn symbolizes virginity before the marriage.

Thom Browne

In the centre of the room is a brilliant white wedding dress designed by Thom Browne. Embroidered onto the dress is the image of a unicorn in gold thread. I was accompanied by a life-size unicorn puppet when I walked down the runway. Walk around the dress to see the red threads coming out of the animal’s back, corresponding to the drops of red pomegranate juice from the tapestry. Since it is a wedding dress, the red has also been interpreted as a symbol of fertility.

Nine Heroes Tapestry Room

From the Unicorn tapestries, we walk into the Nine heroes tapestry room. The nine heroes tapestry is the oldest in the Met’s collection. It features the figures of nine heroes, both fictional and historical. These knights’ tales taught people valuable life lessons and attitudes to model their behaviour after. It was meant to be inspirational for the prince for whom the artwork was made. Inspired by the densely woven fabrics worn by warrior monks, Craig Green created a menswear collection drawn from the imagery of crusading knights. The garment was made from hundreds of woven materials, most of them resembling Islamic prayer mats.

Merode Room

Head back outside to enter the Merode Room. This room features the Annunciation Triptych by the workshop of Robert Campin. This piece was created as private devotion for its donor, and the rest of the room reflects this idea of prayer in private spaces. In the centre of the painting is an image of the Virgin Mary, enrobed in red velvet. This design mimics the dress by Maria Grazia Chiuri and Pierpaolo Piccioli for Valentino standing in the corner of the room. The sleeves of the dress were made to look like the wings of an angel, which were even quilted to look like feathers.

Late Gothic Hall

The final room on tour is the Late Gothic Hall. It is the largest gallery in the Cloisters and features the most modern (well, modern for gothic art, I suppose) pieces in the collection. They range from the later fifteenth and early sixteenth centuries and are mostly artworks dismantled from larger altarpieces which were once the central focus of these gothic churches.

A striking golden dress in the centre of the room immediately draws your eye. The mannequin stands in front of an old golden altarpiece from Spain featuring images of the Virgin Mary. This dress was designed by Dolce and Gabbana for a devotional sculpture in the church. The dress was also inspired by the MET’s painting of Our Lady of Guaopulo. Our Lady of Guapulo is always dressed in bright gold, her incredible spirit glowing against the darkness.

Alexander McQueen

Many of the dresses on display are by Alexander McQueen. McQueen drew huge amounts of inspiration from religion. He loved medieval and gothic religious art, the way they used colour and drama, much like his designs, to evoke emotions and stir the soul. Early Netherlandish paintings were especially incredibly powerful, both for better and worse. 

The collection he created before his death, Angels and Demons, focused on this subject matter. High on a plinth along the wall, we can see one of McQueen’s dresses printed with a panel from a triptych of the Last Judgment by German painter Hans Memling. It portrays Saint Michael sending the dead’s souls to heaven or hell. McQueen was always drawn to the darker side of religious art and liked how it didn’t shy away from the sins humans are prone to. But all the while also representing how Christ and the angels are here to help humankind rid themselves of the darkness and bring them into the light.

Hieronymous Bosch

Hieronymous Bosch, which we previously saw used in the Garden of Eden room, is once more used by McQueen, but this time, the focus of the inspiration is on The Last Judgment, and the imagery is darker and more ominous.

Along the wall, we see two pieces facing one other. One is a gothic stone angel, the other a dress by John Galliano from his Fallen Angels collection. His angels were ones whose wings had been clipped. He was inspired by classical dress shapes and Greecian fabrics. The way the drapery was created resembles the stone figure so strongly that it seems like Galliano has brought it to life here.

This brings us to the end of the exhibition. There is so much to see, but since the exhibition is running into October, there is plenty of time to go back, study your favourite pieces more precisely, or even get lost in the peaceful serenity of the Cloisters.

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Although you might expect the vault to be coloured green, the name comes from an altogether different reference. During its construction, the columns and bases that held up the vaulted ceiling inside were painted green. Hence the name the “Green Vault.” A German Emerald city.

Table Of Contents

1. History
2. Tickets
3. The Great Green Vault Robbery 
4. The Vorgewölbe (Entrance Foyer)
5. The Bernsteinkabinett (Amber Cabinet)
6. The Elfenbeinzimmer (Ivory Room)
7. The Weißsilberzimmer (Silver Room or White Silver Room)
8. The Silbervergoldete Zimmer (Silver Gilt Room)
9. The Pretiosensaal (Pretiosa Room or Hall of Treasures)
10. The Wappenzimmer (Coats of Arms Room, Heraldry Room)
11. The Juwelenzimmer (Jewel Chamber)
12. The Bronzezimmer (Bronze Room)

History

Augustus the Strong was the ruler of Saxony and lived in Dresden in the 18th century. Augustus was a very wealthy man and adored his city. He spent time, money and effort to make Dresden the jewel of all Europe. The King wanted the best artists from all over the world to congregate there to live, work and create commissions for his kingdom.

Today, Dresden is not as well known as Florence or Berlin, but in the 18th century, it was referred to as the Venice of the Elbe. Augustus’ had some of the finest jewellers, metalworkers and artists working round the clock to create treasures that would rival any royal collection worldwide. But the treasurer’s served a practical purpose in addition to looking so beautiful. They were an expression of wealth and absolutist power to any visiting officials that spoke volumes of Dresden’s regime.

WWII

Dresden was very heavily bombed during WWII. But early warnings allowed the King’s men to hide the treasures in a fortress far away from the ruined city. Alas, this did not keep them safe forever. When the Red Army invaded, they stole the collection and brought it as a prize to Moscow and Kyiv. After years and years of negotiation, the pieces were returned to Dresden.

During the years of negotiation, the city of Dresden set about reconstructing the Green Vault. And in 2005, the collections and restored interiors were returned to the public. The baroque galleries and ornate displays have all been rebuilt in the same brilliant style. Today, you can walk through the rooms just as hundreds of people have done years before.

Tickets

The lineup for tickets to these galleries was intense. Only so many tickets are allotted per hour to limit the number of people they let inside. To ensure you get to visit, you can always buy your tickets online in advance. You can buy a single ticket to the Green Vault or a combined ticket to the Royal Palace that will also get you admission to the New Green Vault, Turkish Chamber, Renaissance Wing, Hall of the Giants, Royal State Apartments of August the Strong and the Porcelain Cabinet, Firearms Gallery and special exhibitions in the Kupferstich-Kabinett.

Prices: Green Vault Adults €14.00 | Combined Ticket €24.50

We arrived a little before our designated ticket time, so we enjoyed our coffee while perusing the large art bookstore inside the museum. This place was a dream; there were hundreds of art books, paper doll collections, postcards, jewellery pieces, and more. It was probably my favourite bookstore we visited on our entire trip. I could have just lived here.

The Great Green Vault Robbery 

Another reason that they are so strict about limiting the numbers inside the green vault is due to the modern-day robbery that took place here in 2019. On November 25th, a collection of royal jewellery was stolen from the museum. Included in the heist was a 49-carat Dresden White Diamond, the diamond-laden breast star of the Polish Order of the White Eagle, which belonged to the King of Poland, a hat clasp with a 16-carat diamond, a diamond epaulette, and a diamond-studded hilt containing nine large and 770 smaller diamonds, along with a matching scabbard. Thankfully, the collection’s most significant treasure, the green diamond, was away on loan at the MET Gallery in New York.

The worth of stolen items was valued at over €1 billion! But it was the cultural significance that was truly priceless. The Green Vault closed its doors to the public after the theft. Thankfully, in 2022 thirty-one of the stolen items were recovered by the German authorities. Today, the museum plans to reopen in February 2023 to allow guests back inside to see the collection again.

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The Vorgewölbe (Entrance Foyer)

Before entering the museum, you must enter a large waiting room, which features an introductory audio program. Also in this room are various pieces from the collection that aren’t currently displayed in the gallery. Also in this gallery are photos of the Green Vault taken before WWII. This gives you an idea of the extent of destruction and reconstruction required to bring this place back to life after the Dresden bombings.

Also included in the waiting area, are a collection of enamel works from Limoges and other ceramics that date back to the Middle Ages and early Renaissance.

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No Photo Policy

You are not allowed to take pictures inside the gallery. A policy which always pains me. But especially after the rubbery, they are so careful about the security of this precious museum. But in not allowing you to take photos, you are forced to truly immerse yourself without distraction into exploring the collection.

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The Displays

When it was time to enter the gallery, you approached a set of glass doors with your ticket and were quickly given a once-over by security. Then you walk through a dust-proof double door which sucks out all the air from your entering before opening the second set of doors. This is because everything isn’t behind glass when you are in the gallery. The tiny pieces of the collection are displayed on gilt shelves, which hover like flying carpets against mirrored walls, just as the King once displayed them.

The Bernsteinkabinett (Amber Cabinet)

The first room you enter after exiting the spaceship-like dust-proof room is the Bernsteinkabinett or the Amber Cabinet room. The exhibit includes 16th-century vessels, bowls, ceremonial cutlery and statuettes produced in the amber workshops in Königsberg and Danzig. Amber art was thought to be the most luxurious of all the art forms, so it was no surprise that it found its way into royal chambers.

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The King of Prussia gave many of the pieces to Augustus the Strong. Prussia was then famous for its skilled Amber sculptures. The small Amber Cabinet, the showpiece of this room, was one of those gifts. Its incredible handwork is astonishing. The tiny amber drawers with inlaid gold are fantastic. There is something about Amber’s art that is transfixing. It swirls and changes shape as the light reflects upon its glasslike surface.

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The Elfenbeinzimmer (Ivory Room)

After the Amber room, you enter the Elfenbeinzimmer (the Ivory Room). Save for a few numbered plaques, this room almost doesn’t feel like a museum. It only feels like you’re walking through a beautiful house you’ve been invited into. The small groups allow the space not to feel overcrowded. Everyone respects the silence, and despite being a touristy place, it does feel relatively peaceful.

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Atop all the shelves were a variety of small carved statues made from pure ivory. The ivory towers with impossibly tiny spirals inside are still one of the most amazing pieces of art and engineering. I cannot imagine how skilful and still those hands who made that must be. The bright white ivory is set against dark terracotta marble and a rich red and black tiled floor. Creating the most luxurious juxtaposition.

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The Weißsilberzimmer (Silver Room or White Silver Room)

The next room is the Weißsilberzimmer (the White Silver Room). This room displays some of the finest examples of silver plates, flatware, buffets, oversized silver vessels and large pieces for dinner service from Augustus the Strong. This room is painted floor-to-ceiling emerald green and trimmed in gold to contrast the silver on display. The vaulted ceilings are bright white and accented with elaborate details.

These silver pieces are some of the best examples of silversmith artwork from the 17th and 18th centuries. You won’t see any pieces in here from the 19th century, as most silver from that era was melted down to fund the crown’s dwindling bank account. One of the most important treasures from this room is a solid gold drinking bowl from Ivan the Terrible. One of Augustus’ prized possessions.

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Along one wall, are shelves are dedicated to the gold ruby glass of the royal palace. Its dark red colour pops against the green walls. The red colour was produced by adding gold chloride as it cooked. The ruby glass was frequently associated with magical powers. Coral was also thought to have magical properties and, as such, was incorporated into many silver gilt designs from the 17th-18th century.

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The Silbervergoldete Zimmer (Silver Gilt Room)

As you pass through the Emerald green of the White Silver Room, you come upon the Silbervergoldete Zimmer (the Silver Gilt Room). In contrast to the previous one, this room is painted a deep vermillion. The mirrors in this room are smaller but formed into various baroque shapes. This room features gilded silver pieces, gold drinking vessels, and carved figurines. Most figurines feature Greek myths’ stories, but some also feature historical figures.

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One of the most striking pieces in this room is a jewellery box made of gilded silver, mother of pearl and precious stones. It was a Christmas gift that Christian I gave his wife Sophie in 1585. Inside the lid of the box was once a tiny clock, but only fragments of the clock have been preserved. One can only imagine which precious jewels Sophie kept inside this box.

The Pretiosensaal (Pretiosa Room or Hall of Treasures)

As you enter the next room, you immediately notice that this is the largest of all the rooms. This is the Pretiosensaal (Hall of Treasures). This room reminded me greatly of the Chandelier Gallery in Versaille.

It was not as big as Versaille, perhaps, but even more opulent. Along each wall, from floor to ceiling, were gilded ostrich eggs, nautilus and sea snails set in silver, vessels made of coloured gems and ambers, microscopic portraits inlaid onto ornate cherry wood boxes and even rock crystal bowls decorated with Grecian heroines.

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Precious Crystals

In the Middle ages, rock crystal was believed to have magical powers. I think you can see a theme emerging. The King wanted the finest things in his collection and anything that would perhaps imbue him with more power. Since crystals were thought to be pure, it was thought to symbolize God and the purity of the Virgin Mary.

But not everyone was on board with these thoughts. In fact, some found these jewels to be an affront to God. As nothing should be worshipped aside from God himself. Saxony was one of the wealthiest countries of the time, and they loved showing off their wealth anywhere they could. This resulted in the creation of some of these outlandish drinking vessels. There were glasses made from ostrich eggs and sea snail shells, goblets made of mother of pearl, and even coconuts inlaid with gemstones. These were considered the devil’s inventions and deplored by God in Heaven by many monks who served the King.

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The Wappenzimmer (Coats of Arms Room, Heraldry Room)

The Wappenzimmer (the Heraldry Room) features copper and gilded coats of arms of the Saxon provinces, the Polish state coat of arms and the original plates of the House of Wettin electorates. This room serves as a nice break from the overwhelming decor of the previous rooms. Some of these coats of arms still bare the damage from the WWII bombings. And you can see the burnt metal’s edges almost peeling away. This an excellent example of how fire can burn through almost anything.

The Juwelenzimmer (Jewel Chamber)

Up next is the Juwelenzimmer (Jewel Chamber). Here are the crown jewels of the Saxon-Polish royalty. This was the room that was the target of the 2019 burglary. Behind solid glass are golden pendants, necklaces and rings, electoral swords and modern gem sets. The room looks like a bedazzled royal coat of arms. Blue and crimson walls are decorated with ornamental fields of mirrors and covered in gold engravings.

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Dresden Green Diamond

In this room, the real crown jewel of the Green Vault can be viewed. It is the impossibly rare Dresden Green Diamond, a massive, naturally irradiated gem from India. The diamond is embedded in a statue called the “Moor with Emerald Cluster” or the “Jewel Garniture” and the “Obeliscus Augustalis.” It is a flawless hunk of green carbon, unfined and perfect. Augustus was obsessed with possessing rare and precious stones. He was so impressed with this gem that he didn’t want to ruin its natural state and therefore commissioned statuettes designed to carry the precious stone.

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Sapphire Collection

One of my favourite pieces from the gem room is the Sapphire collection. In the 16th and 17th centuries, Sun King Louis XIV started a trend of making jewellery designed in a uniform style. This meant that buttons, buckles, weapons, snuff boxes, pocket watches, hat decorations and more all possessed reflected the same designs and detailing. This attire gave the impression of absolute uniformity throughout the monarchy and the royal family. For Augustus, he did so with his signature Dresden Sapphires.

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The Bronzezimmer (Bronze Room)

The final room is the Raum der Renaissance bronzes (Room of Renaissance Bronzes). It features some large, bronze sculptures from the 17th century.

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Dresden’s Green Vault offers a unique opportunity to explore one of the world’s most magnificent collections of treasures. From its stunning Baroque architecture to its sparkling jewels, intricate enamels, and precious goldsmith works, the Green Vault is a testament to the skill and artistry of the master craftsmen of centuries past. Whether you’re a history buff, a lover of fine art, or simply looking for an exceptional experience, a visit to the Green Vault is an absolute must! If you’ve visited before, let me know your favourite part of the collection.

Happy Travels, Adventurers!

The post An Insider’s Guide to Exploring Dresden’s Amazing Historic Green Vault first appeared on The Creative Adventurer.