1 &2. Local graffiti, 3. Nearly empty chapel, 4. Spring at Mamacoffee, 5. Tactile exhibit, 6. Door from chapel, Center. Master of Theodoricus paintings*
Friday, Caroline waved farewell, swung backpack onto shoulder, climbed up bus steps, and headed for the country. As we waved goodbye to her through the bus's tinted windows, I did a quick mental calendar check, because surely she’s still only five. Why did it feel like she should be carrying a guitar and wearing sunglasses behind those dark windows, off to see America. And why were we crying when she’d be back in a week and anyway, we’d all been looking forward to her kindergarten camp since Christmas?
Imponderables. I moped a bit and then threw myself into a spreadsheet so I wouldn’t think for the rest of the day. By the time Will came home from work I was so deep in numbers it took me until the next morning’s coffee to recover my equanimity. We spent Saturday the way we usually do, shopping at our local stores, strolling by mamacoffee for an espresso, pushing the stroller through the park to check out the latest flowers, and keeping my camera ready for any new additions to our local graffiti.
This Saturday though, the green grocers wanted to know if we’d heard anything from the children yet (their daughter and Caroline were bus buddies). The Greek store cashier asked where the little holčicka was and the drug store cashier volunteered that maybe the weather was on its way to getting warm after all. We walked home and I couldn’t help thinking that big cities are full of little villages and I was happy right in the middle of ours, even if it took C heading to camp to remind me.
The next day, still getting used to the quietness of space without Caroline, we decided to do what we hadn’t had a chance to do for nearly six years - visit a museum undisturbed.
Or at least nearly. We lulled James to sleep strolling across the sway and rattle of cobblestone, and arrived at the Convent of St. Agnes happy to have won sixty minutes of quiet. We spent a few of those minutes wandering around the ground floor looking for pictures, lost in a maze of corridors, convincing ourselves that the art collection must have moved. We found empty chapels and a tactile exhibit for the blind (complete with a braille typewriter for leaving notes), we circled the gardens again, and just as we were about to leave, discovered the staircase up to the galleries.
The Convent houses the Czech National Gallery’s medieval art collection, beginning the exhibition with a wood carving from the very early 1200s, and ending it with prints from the mid 1500s. Sometimes, in an art museum that covers the medieval to modern, I’m happy to stroll past the rooms of madonnas and saints to get to the renaissance. But that morning, with a sleeping stroller, and a collection dedicated to the Gothic, we slowed down and took the time to look.
We were the only visitors, the guards decided we were harmless, and we were free of children, so we spent the rest of our hour arguing all we wanted: about the goldfinch in the madonna portraits (from the apocrypha or not?), the Theodoricus blank books and their bindings, the apostles and just who might be Judas, and the aptness of poor Catherine clutching her wheel. We had a deliciously nerdy time, and James slept until the last gallery.
When he woke, he wanted to be carried, and his wiggling turned the paintings back into art to rush by. It was time to go. We stopped to pick up a book to try to solve a few of our morning debates, and headed home.
And if you’re wondering how Caroline is doing, the latest news from this morning is that she hasn’t cried one bit, she can’t wait to ride the horses today and she’s been a perfect milá, or dear. Pshew.
****
Goldfinch – the jury is still out on this, Will thinks they are related to the birds in the apocrypha which the infant Jesus brought to life from mud. The National Gallery guidebook suggests the association of goldfinch with thistle bushes, thistles representing the crucifixion, the goldfinch thus foreshadowing the poor babe’s later fate. My guess is that it could be a combination of the two, depending upon where the tradition started from and if that group of artists even had access to the apocrypha books.
Blank books – it’s pretty unusual to see blank manuscripts already bound, as most medieval manuscripts would be prepped by assembling parchment into folios, scoring the skins for neatness, writing and illuminating the text, and then binding the whole. My vote is a tabula rasa motif, but Will is not biting.
*Master of Theodoricus paintings from the Virtual walk through of the gallery. Understandably, no cameras are allowed in the actual exhibition.
Friday, Caroline waved farewell, swung backpack onto shoulder, climbed up bus steps, and headed for the country. As we waved goodbye to her through the bus's tinted windows, I did a quick mental calendar check, because surely she’s still only five. Why did it feel like she should be carrying a guitar and wearing sunglasses behind those dark windows, off to see America. And why were we crying when she’d be back in a week and anyway, we’d all been looking forward to her kindergarten camp since Christmas?
Imponderables. I moped a bit and then threw myself into a spreadsheet so I wouldn’t think for the rest of the day. By the time Will came home from work I was so deep in numbers it took me until the next morning’s coffee to recover my equanimity. We spent Saturday the way we usually do, shopping at our local stores, strolling by mamacoffee for an espresso, pushing the stroller through the park to check out the latest flowers, and keeping my camera ready for any new additions to our local graffiti.
This Saturday though, the green grocers wanted to know if we’d heard anything from the children yet (their daughter and Caroline were bus buddies). The Greek store cashier asked where the little holčicka was and the drug store cashier volunteered that maybe the weather was on its way to getting warm after all. We walked home and I couldn’t help thinking that big cities are full of little villages and I was happy right in the middle of ours, even if it took C heading to camp to remind me.
The next day, still getting used to the quietness of space without Caroline, we decided to do what we hadn’t had a chance to do for nearly six years - visit a museum undisturbed.
Or at least nearly. We lulled James to sleep strolling across the sway and rattle of cobblestone, and arrived at the Convent of St. Agnes happy to have won sixty minutes of quiet. We spent a few of those minutes wandering around the ground floor looking for pictures, lost in a maze of corridors, convincing ourselves that the art collection must have moved. We found empty chapels and a tactile exhibit for the blind (complete with a braille typewriter for leaving notes), we circled the gardens again, and just as we were about to leave, discovered the staircase up to the galleries.
The Convent houses the Czech National Gallery’s medieval art collection, beginning the exhibition with a wood carving from the very early 1200s, and ending it with prints from the mid 1500s. Sometimes, in an art museum that covers the medieval to modern, I’m happy to stroll past the rooms of madonnas and saints to get to the renaissance. But that morning, with a sleeping stroller, and a collection dedicated to the Gothic, we slowed down and took the time to look.
We were the only visitors, the guards decided we were harmless, and we were free of children, so we spent the rest of our hour arguing all we wanted: about the goldfinch in the madonna portraits (from the apocrypha or not?), the Theodoricus blank books and their bindings, the apostles and just who might be Judas, and the aptness of poor Catherine clutching her wheel. We had a deliciously nerdy time, and James slept until the last gallery.
When he woke, he wanted to be carried, and his wiggling turned the paintings back into art to rush by. It was time to go. We stopped to pick up a book to try to solve a few of our morning debates, and headed home.
And if you’re wondering how Caroline is doing, the latest news from this morning is that she hasn’t cried one bit, she can’t wait to ride the horses today and she’s been a perfect milá, or dear. Pshew.
****
Goldfinch – the jury is still out on this, Will thinks they are related to the birds in the apocrypha which the infant Jesus brought to life from mud. The National Gallery guidebook suggests the association of goldfinch with thistle bushes, thistles representing the crucifixion, the goldfinch thus foreshadowing the poor babe’s later fate. My guess is that it could be a combination of the two, depending upon where the tradition started from and if that group of artists even had access to the apocrypha books.
Blank books – it’s pretty unusual to see blank manuscripts already bound, as most medieval manuscripts would be prepped by assembling parchment into folios, scoring the skins for neatness, writing and illuminating the text, and then binding the whole. My vote is a tabula rasa motif, but Will is not biting.
*Master of Theodoricus paintings from the Virtual walk through of the gallery. Understandably, no cameras are allowed in the actual exhibition.
