Monthly Archives: January 2024

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Hermann Radzig-Radzyk painted in Silesia a hundred years ago: Neumannskoppe with Maria-Schnee-Kirche

In May/June 2023, I was in Silesia, looking for some places, where my grandfather Hermann Radzyk put up his easel a hundred years ago (as an artist he painted under the name of Hermann Radzig-Radzyk).

One painting I was looking for was the “Neumannskoppe” of 1919 (belongs to my sister and me). 

I know title and year from a letter of my mother to her best friend. I acquired the painting from a friend of the son of my mother’s best friend.

I solved the puzzle end of May 2023: To paint the “Neumannskoppe”, my grandfather had put his easel up at Rudolfswaldau, now Sierpnica. The mountain Neumannskoppe has become Niczyja. The wooden church with the baroque belfry is called Maria-Schnee-Kirche (Kościół Matki Bożej Śnieżnej, i.e. “Our Lady of the Snows”). 

I was at Sierpnica end of May 2023 to see, what the church looks like today, and I took the photo from where the easel was (approximately).

Today the church is hidden behind trees.

While taking my photos, I met Dziki who lives near the church. He gave me his winter photo. The trees without leaves allow to see more of the church that my grandfather painted.

Source: Photo taken by Dziki Domek.

Now let me tell you, how I solved the puzzle to find the easel for the painting “Neumannskoppe”.

 

Where is the Neumannskoppe?

I started by looking for the Neumannskoppe. I suspected, the Neumannskoppe is a mountain somewhere in Silesia. I entered “Neumannskoppe” in google maps – no result. I continued googling and googling “Neumannskoppe” combined with various terms… and after a lot of googling, I found this old German-Silesian advertisement for the “Grenzbaude im Eulengebirge” (boundary mountain hut in the Owl Mountains). 

The advertisement says that the Grenzbaude is located between the “Neumannskoppe” and the “Hohe Eule” (1). Hence the “Neumannskoppe” is not far from the “Hohe Eule”. Googling “Hohe Eule”, I found the name “Wielka Sowa”, which is the highest mountain in the Góry Sowie (Owl Mountains). 

Conclusion: The church with the Neumannskoppe is not far away from the Wielka Sowa. I asked Google to show me the churches around Wielka Sowa and  I clicked on all of them.

At Sierpnica, I found the church that my grandfather had painted. It is now called Kościół Matki Bożej Śnieżnej, in German Maria-Schnee-Kirche.

Source: Marius Tyski, Church of our Lady of the Snows, Instagram, appeared in google maps about a year ago, in the meantime I can no longer find it there. 

This is the location of the Kościół Matki Bożej Śnieżnej on my hiking map of the Owl Mountains, south west of the Wielka Sowa. 

Source: Compass Góry Sowie, mapa turystyczna, scala 1:35’000

But where exactly is the Neumannskoppe? It must be either the peak Sokól or the peak Niczyja – this puzzle remained. I solved it at the hotel Lesny Dvor at Wolibórz (Volpersdorf) – we stayed here a few days. The Lesny Dvor had a German map whith the Neumannskoppe – and comparing with my hiking map, it becomes clear that the Neumannskoppe is now called Niczyja.  

Source: German map that hangs in the hotel Lesny Dvor at Wolibórz

Niczyja (“nobody’s mountain”) is the approximate translation of  “Neumannskoppe” (“new man’s mountain”).

My grandparents must have spent their vacation at Rudolfswaldau in 1919, when their daughter (my mother) was 3 years old. My grandfather took his easel, canvas and colours with him to paint the Maria-Schnee-Kirche in front of the Neumannskoppe. About a hundred years later, in May 2023, I was here as well – at Sierpnica – and solved the puzzle.

 

The church Lady of our Snows (Kościół Matki Bożej Śnieżnej) is a historical treasure

The church Kościół Matki Bożej Śnieżnej was built out of wood in the 16th century. It is one of many “Schrotholzkirchen” in Silesia (see https://de.wikipedia.org/wiki/Liste_der_Schrotholzkirchen_in_Niederschlesien). 

It was a protestant church. After the War of 30 years, after 1648, it became a catholic church (the area belonged to catholic Austria at that time). In the 17th century, the tower burnt down, and the new baroque tower was built.

I could not enter the church,  I could just look through the window and capture the interior with the altar…

… and the benches.

Visiting more wooden churches or Schrotholzkirchen might be another interesting target in Silesia. 

 

Meeting today’s Silesians while wandering off the beaten tracks looking for the easel of my grandfather

When looking for the places, where my grandfather put up his easel, I usually wander off the beaten tourist tracks. At Sierpnica, I walked uphill on an unpaved path and through the adjoining meadow to get the view of the church from above. The tourists that visit the church, walk around it and leave again. They do not walk uphill to places, where they can hardly see the church. A car comes on the unpaved path and stops. “What are you doing HERE”, the driver asks me in fluent English. “Look at this”, and I show him my photo of my grandfather’s painting.  “Yes, this IS the church,” he says. We exchange addresses and he sends me the winter photo of the church. Later, I enjoy the hospitality of Dziki. He invites me to his house and family. He shows me his photos from German times before 1945, when Sierpnica was still called Rudolfswaldau. He is proud of the German photos decorating his house. The German past is an integral part of his house.

This is not the only house in Silesia that keeps memories of the German past. Karolina Kuszyk wrote the beautiful book “In den Häusern der anderen – Spuren deutscher Vergangenheit in Westpolen” (2). She  describes  places, buildings and objects that the Germans – expelled after 1945 – left behind and that the Poles took over, most of them expelled from the eastern districts taken away from Poland in 1945. Touching biographies on both sides. Years later Germans return to see the places of their early youth or of their ancestors. Sometimes they find the houses and objects left behind 50-60 years ago and sometimes friendships arise between the former and the new owners. 

My grandfather opens my eyes for Silesia from a hundred years ago, and following him opens doors to experience Silesia today.

 

Notes

  • Footnote (1) More precisely, the Grenzbaude is located on the top of the pass between Neumannskoppe and Hohe Eule. It is called “Grenz”-Baude or “boundary hut”, because it is located on the boundary between the districts Glatz (now Klodzko) and Waldenburg (now Walbrzych). The advertisement says, it takes 50 minutes to walk to the Bismarck tower on the Hohe Eule. The Grenzbaude is proud to have electrical light and central heating.   Above the Grenzbaude was the Grosssprungschanze or great ski jump. 
  • Footnote (2) Original title: “Poniemieckie”. German title translated to English “in the houses of the others – tracks of the German past in West Poland”, christoph-links-Verlag Berlin 5. Auflage 2023.
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My dream of a lifetime: Aachen and Charlemagne’s Cathedral

On November 10th 2023, I visit Charlemagne’s octagonal Cathedral (the Aachen Cathedral). I sit inside the octagon and look into the cupola. To see this has been my dream of a lifetime.

I breathe in the atmosphere enjoying the perfect harmony of the octagon. Today is 11/10/2023. Was it not 13 years ago that Ernst and I got married, on 11/10/2010? Yes, right, exactly 13 years ago. — I light a candle for Ernst. He is in my heart. 

Now, I explore the architecture of the Cathedral of Charlemagne. 

 

The Cathedral view from outside 

When I approached Charlemagne’s cathedral, I was surprised. Where is the octagonal building that I have been looking forward to seeing? Oh, I understand, it almost disappears between larger buildings of gothic appearance surrounding it. The steep roof on the octagon looks a bit like a cream topping. 

I had expected more resemblance to the abbey chapel of Ottmarsheim in the Alsace, inaugurated in 1049, two hundred years after Charlemagne’s Aachen Cathedral; Aachen was the model for Ottmarsheim. It is somehow Aachen’s “little sister”.

Around 800, Charlemagne conceived his cathedral as a modest and elegant building. This is what it looked like originally and what Rudolf von Altenburg (an ancestor of the Habsburg family) took as the model for Ottmarsheim.

 
Source: Walter Mars, p. 20

 When travelling to Rome, Charlemagne saw San Vitale in Ravenna. 

San Vitale was built under the Byzantine Rule of Justinian and was inaugurated by Bishop Maximianus in 547 AD. The mosaic shows Justinian (in the middle) and Bishop Maximianus (labeled).

San Vitale was an important inspiration for Charlemagne. Since Roman times no such domed structure building had been completed north of the Alps. 300 years after San Vitale, Charlemagne wanted to change that, and he hired craftsmen from Lombardy to have his Cathedral built, the first domed structure since Roman times north of the Alps.  

He completed his octagonal Cathedral, and today it almost disappears between the mainly gothic extensions and under the baroque roof hood (“the cream topping”) that was added after Aachen’s city fire of 1656. 

 

 

Charlemagne’s Cathedral inside – original and today

The interior of Charlemagne’s octagon is richly decorated today. This is the result of the renovations in Neo-byzantine style around 1900. 

It seems to me that the renovators took up the atmosphere of San Vitale that has also been richly decorated, as my photo shows.

However, Charlemagne had taken a more modest approach. Whitewhashed columns interrupted by slim black columns and decorated with a gilt bronze fence.  

Source: Walter Mars, p. 50 (this is what the historians think the octagon looked like after having been built)

I like the elegance of the original. Ottmarsheim is closer to the original not only outside, but also inside. The whitewashed walls and the open brickwork give it solemnity. 

Source:  Wörner and Wörner-Hasler, p. 19.

The original mosaic in the cupola of the Aachen Cathedral showed Christ on the throne, surrounded by the Twenty-Four Elders. They had left their seats to deposit their crowns in front of Christ.  

Source: Walter Mars, p. 51, drawing  by Ciampini made in 1699

Around 1700, the original mosaics were eliminated and the church interior became baroque. 

In 1881, the baroque elements were removed and the cupola was decorated with the Neo-byzantine mosaic. 

The artists kept the theme of the original: The Twenty-Four Elders stand around Christ and deposit their crowns. However there are no seats next to the Elders and the mosaic is more abundant.

Before the German emperor William II intervened in 1900, the interior of the Cathedral resembled the modest original of Charlemagne. 

Source: Walter Mars, p. 53

After 1900, Emperor William II of Germany added the marble covering to the columns, arches and walls.  In addition, he engaged his favourite artist Hermann Schaper to create mosaics immediately below the cupola. He added more men dressed in white. What an abundant Neo-byzantine decoration. Not at all, what Charlemagne had in mind.

Mars writes that the visitor is overwhelmed by the Wilhelmine pomp and will have difficulties to find the former dignity of the Carolingian original. I can only agree with Walter Mars (Walter Mars, p.47).

 

The choir – the most prominent Gothic addition to Charlemagne’s Cathedral

The most prominent Gothic addition to the Charlemagne’s octagonal Cathedral  is the choir (1355-1414).

Building it required to destroy the original rectangular choir (see dotted line) and part of the octagon.

Source: Walter Mars, p. 83.

The choir with the large blue leaded windows creates the solemn atmosphere that I love in Gothic churches.

Two shrines decorate the choir: The Karlsschrein (shrine of Charlemagne, between 1182 and 1215) and the Marienschrein (shrine of Mary, 1238). The eagle lectern is from the 15th century.

However to me, the choir seems like a foreign body to he original octagon. Furthermore the choir is locked for visitors that have not paid for the guided tour. I am not a friend of guided tours and feel somewhat unwelcome here.  

I enter the other additions around the octagon, but they all leave me somewhat unimpressed. In my opinion, they do not go well with Charlemagne’s octagon Cathedral.  

When leaving the cathedral, I conclude that the first emperor of Europe, Charlemagne, has created a very elegant cathedral, and the last emperor at Europe, William II, has overdone the renovation in Neo-byzantine style.

I say good-bye to Charlemagne who unifies the German Eagle with the French fleur de Lys on his reliquary bust, created in 1350 and exposed in the Aachen Cathedral Treasury. 

I will soon return to the abbey chapel of Ottmarsheim. It is just a half an hour’s drive from my home. 

 

Sources: