I have no photos for the Imperial Treasury. I am pretty sure photography was forbidden, flash unquestionably was. In some locations where flash is forbidden it is possible to take a photo without flash, here, however, the rooms were kept so dark, with only indirect light or exhibit lighting on the pieces, that I think it would have been impossible to get shots that weren't very dark or blurry. The Imperial Treasury was one of the most gaudily impressive things I have seen since embarking on my study abroad experience. Various Baroque cathedrals have of course, stunned me as well as the various residences and other elements related to the Habsburgs. Still, massive edifices may strain credulity with their vaulted halls, but to then fill those halls with multitudes of jeweled crowns, scepters, and other artifacts is still another level of majesty.
One of the most immediately apparent matters from my visit to the Treasury was the stress on connecting the Holy Roman Empire to the Roman Empire proper through the conduit of the Byzantine Empire. All rulers and regimes crave legitimacy. For the inheritors of Charlemagne’s title, this came from Charlemagne’s incarnation of the Holy Roman Empire and from Rome itself. Otto II was very prescient to collect artifacts from Byzantium (even as it began to collapse due to Eastern enemies) to support a myth backing his empire that was coming to flourish through practical means, as well. We saw “Charlemagne’s sabre,” which is probably actually a Hungarian weapon won through battle, but that supported the connection to the Frankish Holy Roman Empire. The 8th Century Bible from Charlemagne's court did the same, and is one of the oldest, if not the oldest, Bibles in the world and was used for coronations. The Holy Lance of St. Morris, was the head of an early Christian martyr who, as a legionary, converted his entire division to Christianity and refused to kill early Christians when he was ordered to do so. He and his entire division were executed for their disobedience. The lance is actually not from anywhere near the 4th Century, but by linking it to victory in Hungary, the myth was perpetuated that it would give victory to the bearer. The nail inside of it as well as the accompanying particle of the “true cross,” both fake, of course, inspired connections to Christ's crucifixion, as well. The specifically created Imperial Cross for the storage of these two artifacts, confirms the importance of these pieces.
While history can readily be traced in the fashion above, some is up to the vicissitudes of fate. The story of the 8-9th century invasion of the Vikings, followed by their settlement in Normandy and Sicily by the French king becomes a web of happenstance when Henvry VI died and brought these distant territories into the fold. Also, the movement of the treasury’s location from Nürnberg happened due to unforeseeable results from conflict with France.
Another theme told in the treasury is the importance of symbolism, particularly of a religious nature. The vestments, orbs, scepters, and crowns all possessed some manner of this symbolism. A ready example is the lions triumphing on the mantel of the Norman kings in Sicily. More grandly, the crown of the Holy Roman Empire demonstrates this symbolism through the effusive use of gold, the depictions of Jesus flanked by seraphim, the prophet Isaiah, King David, and Solomon, 12 big gems, and pearls. The connections drawn to the Bible, Coronation Liturgy, Jesus, and Byzantium granted legitimacy from many different sources but all backed the rule of the individual being crowned. Similarly, the use of scepters and the representation on orbs of the king over the world and Christ over him (represented by the cross) reinforced this symbolism, as well. In the Habsburg crown the same use of symbolism is in evidence. Rudolf II’s crown of the 16th/17th century included eight diamonds to represent immutably the baptism and the rule of Christ, rubies for passion, and pearls to capture the moonlight. The scenes of coronation, coronation for Hungary, the procession from Bohemia, and the laurel crown of victory over the Turks represent a more worldly form of symbolism, as well. The bishop’s hat contained within granted the wearer legitimacy under the Catholic Church, while the arch topped by cross and sapphire showed that ultimately Christ and Heaven were the ultimate guarantors of legitimacy.
The portion of the exhibit about Napoleon showed that the quest to derive legitimacy from the Roman Empire and its successors did not end with the Habsburgs. Napoleon gained influence, legitimacy, and power through his Habsburg bride. Nonetheless, he also sought to represent on his son’s cradle the power of Rome through the laurel crown, and his own symbolism of bees, breaking with all previous sigils.
Not only was symbolism derived from Catholicism, it also came from mythology. This was something of which I was unaware, and it fascinated me to see the narwhal “unicorn horn” teeth with their associated myths about poison and virgins, and also to notice how another such tooth was used in Rudolf II’s scepter.
The last elements of the exhibit that bears comment are the less symbolic and gaudier pieces. The agate bowl was simply incredible in its own right, though even here, the idea that Christ’s name could be seen in it and its connection to antiquity demonstrate an extension of legitimacy. Perhaps the only item truly without symbolism was the incredible emerald from Columbia. This perhaps poses the ultimate point of the Imperial Treasury’s holdings. For every regime, there must be a careful mix of legend, propaganda, and myth balanced against real world economics and physical might.
Klosterneuburg
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| Klosterneuburg's façade, unfortunately covered for restoration |
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| Beautiful ivy |
Klosterneuburg (or convent-new-castle), to me, symbolically represents many of the historical characteristics of the Babenberg and Habsburg dynasties and their rulers. As with so many ideas behind the Holy Roman Empire, Klosterneuburg’s construction upon an old Roman castle fits with an attempt to paint a consistent arc from the Roman Empire to the Holy Roman Empire. Also, multiple sources remark on the piety of Habsburg monarchs. Perhaps it is fitting then, that the Babenbergs began Klosterneuburg as a monastery, now 900 years old, for Benedictine and Augustine monks who remained even as the site grew as a Babenberg and Habsberg place of residence. Nonetheless, Klosterneuburg grew, and its growth demonstrates that while pious, the Habsburg monarchs were also ambitious. Charles VI’s visions of an Escorial four times larger than the original was in fact so ambitious that it outlasted his death by over one hundred years.
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| Light tower |
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| The cathedral |
As ambitions grew, piety was not ignored, however. While worldly augmentations were made to Klosterneuburg to suit the whims of monarchs, Leopold III laid the foundations for the 17th century chapel that began the edifice in evidence today. It is amazing that this location, with its attention to detail, right down to the organ, could bring an esteemed musician such as Anton Bruckner to play. Nonetheless, the emperor having a box that could be closed calls into question exactly what Habsburg motives always were for supporting the church so rigorously. Still, the Baroque interior was splendid, complete with its Gothic centerpiece.
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| The cathedral interior |
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| A model of the complex hundreds of years ago |
Many interesting features for historiography were also present here. It was neat to see how the Roman bricks bore the name of the legion responsible for their creation (the sling stones were cool, too), and to understand through the lens of the metal inscription, how one of the Roman Auxilia could become elevated to citizenship through excellent performance as a soldier. Another example of these historical tools is the ability to tell how old Leopold was because of the ducal hats. Perhaps the last related point is that we are not the only ones trying to sort out history for use. It was amazing to see the culmination of the work attempting to record the history of the Babenbergs.
The Verdun Altar itself didn’t necessarily draw a specific connection or strike a particular chord regarding the Habsburgs overall, but it alone invoked awe. I was stunned by the intricacy of the goldsmithing and the detail in the laquer, even if the artist’s style changed and developed throughout his work. It is also amazing that the work was begun in 1181, and to know about the six new panels added in the 14th century. Similarly, it fascinated me to learn the way the middle panel was the New Testament and the top and bottom the Old Testament before and after the law, respectively.
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| Compare this altar to those above! |
Here are some assorted facets of Klosterneuburg:
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| Garden |
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| For your dog (actually to protect the grave's markings) |
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| Amazing organ |
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| Perhaps the largest wine keg in the world |
Here are things from the chambers Charles VI only spent one night in that are part of his Austrian Escorial that, 100 years after it was begun, was only a quarter of the intended size:
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| One of the sitting rooms or possibly a study. |
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| The same room |
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| Amazing writing desk... |
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| Here's what it would have looked like if it had been entirely completed |
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| The dining room. Used to be used for state occasions such as the visit of Queen Elizabeth II |
Three photos of four exquisite, identical secretaries:
The grand entry room:
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| The floor had fossils in it... |
One of the things I find striking about Klosterneuburg as a whole is that it was, 850 years ago, the capitol. It is provoking to think what would have happened if battles and decisions had transpired differently, and Klosterneuburg were Vienna, today. Historians are often loath to ask these “what-if” questions, but this change in circumstances shows how fickle the history of an empire can be.
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| A great photo of the towers of the cathedral |
Many interesting features for historiography were also present here. It was neat to see how the Roman bricks bore the name of the legion responsible for their creation (the sling stones were cool, too), and to understand through the lens of the metal inscription, how one of the Roman Auxilia could become elevated to citizenship through excellent performance as a soldier. Another example of these historical tools is the ability to tell how old Leopold was because of the ducal hats. Perhaps the last related point is that we are not the only ones trying to sort out history for use. It was amazing to see the culmination of the work attempting to record the history of the Babenbergs.
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