Tyrol and its People Part 15

The return to Salzburg through the fields at sunset is a delightful experience. To the back and to the left of one are the towering mountain summits tinged with the Alpine glow which turns their rocky peaks almost blood red, and their snow-fields a deep rose pink. And right ahead stands up, mystic-looking as some fairy fortress in the waning light, Hohen-Salzburg, its roofs and walls reddened and given the tints of nacre, and its windows shining like the open doors of furnaces. A never-to-be-forgotten picture.

Both the Gaisberg, up which there is now a funicular railway, and at whose foot Aigen, with its interesting Church and Castle acquired by the family of Prince Schwarzenberg in 1804, lies, and the Kapuzingerberg should be visited by all who have the time, and for whom a wide and pleasant prospect of mountain ranges, valleys, and the Salzach, threading its silvery way dividing the city and flowing northward and southward through the valley, has attractions.

The Gaisberg is ascended from the little village of Parsch, reached by tram from the city. The railway takes one through beautiful scenery in about an hour to the summit of the mountain, which is so favourite an excursion with the well-to-do Salzburgers, and from which such a beautiful prospect is spread out at one's feet. To the north one can catch glimpses of the undulating foreground of the Alps and shining lakes; whilst Salzburg now more than 4000 feet below looks almost insignificant, and like a toy town set in the midst of a green plain through which winds a thin, silver line, the Salzach. In the far distance is the magnificent range of the Alps, in which stand the Watzmann, 9050 feet; the Dachstein, 9990 feet, with its rocky pinnacles catching the sunshine, and its glaciers and snow-fields gleaming white, whilst in the further distance through the deep-cut gap formed by the Lueg Pa.s.s one sees the fields of eternal snow on the Hohen Tauern glinting at one, and on a quite clear day one can catch glimpses of the white peaks of the Grossglockner, 12,660 feet and the Wiesbachhorn, 11,900 feet, across the desolate-looking Steinerne Meer.

The prospect has been compared, but somewhat loosely we think, to that from the Rigi. But, whether we think it finer or less fine, we can agree that in one respect the view and interest of the scene is not exceeded by its Swiss rival--the wonderful changes of light and shade which come and go over the landscape between the hours of sunrise and sunset, during which Nature seems to work with a brush full of the most delicate colours and uses them as no human artist could hope to do.

From the Kapuzingerberg, which is only half the height of the Gaisberg, the view is not so extensive, but it is well worth climbing to see. On the way up one obtains most beautiful peeps of the city from two distinct points; whilst from the summit one gets a panorama which will satisfy all save those who have made the Gaisberg ascent first. The way up is, after a long flight of steps about two hundred in number, through a most delightful beech wood, where one is tempted often to stop to rest or to admire some vista of the valley or town seen through a framework of feathery, green branches. There are, too, on the Kapuzingerberg several interesting buildings. The first to be reached is the Church of the Capuchin Monastery built in the last year of the sixteenth century by Archbishop Wolf Dietrich. A beautiful old garden is attached to the Monastery, from which one has a fine prospect of the town and surroundings. Alas! it is only open to men, and thus by monkish custom women are shut out of one more "earthly paradise."

[Sidenote: THE MOZART MEMORIAL]

But to music lovers and many others who ascend the Kapuzingerberg the Mozart-Hauschen, situated in a charming little garden near the Monastery, will be the chief object of interest. This memorial to the master was presented to the city by Prince Camillo zu Starhemberg, and was completed in June, 1877, being thrown open to the public six weeks later, on July 18th, on the occasion of the first musical festival.

This cottage, which formerly stood in the courtyard of the so-called old "Freihaus" in Vienna, has an added interest from the fact that in it was composed the opera "Die Zauberflote."

The furniture, it should be noted, is not the original but a clever and exact copy of the articles comprising it. The former is in the collection of Prince Starhemberg. The top step of the cottage is, however, said to be "veritable." In the cottage are kept a great number of wreaths with ribbon streamers, embroideries, etc., which have been sent by admirers of Mozart's genius. Also some beautiful tablets of embossed metal commemorating the first musical festival held in 1877. There is also hung in the cottage the picture "Mozart at the Spinet" by the Italian artist Romaco, a photograph of the only portrait of the composer painted from life which is known to exist, which was the work of Doris Stock of Dresden in 1787; and the pictures of the various performers in the operas given at Ca.s.sel. The bust, which stands outside the cottage, is the work of the well-known sculptor Edmund h.e.l.lmer, of Vienna, and was the gift of Baron Schwarz.

As one stands in the garden, with its pleasant prospect, quietude, and beautiful flowers, one cannot but feel that few more suitable spots could have been selected for a memorial to a musical genius of Mozart's nature. Far better is it, indeed, than some more pretentious place nearer the haunts of men.

[Sidenote: ON THE MoNCHSBERG]

The Monchsberg and a walk along its ridge should not be missed by any one who has a little time to spare whilst at Salzburg. The explorer will be well rewarded for his toil. One is apt to estimate the Monchsberg by its Hohen-Salzburg end, which so dominates the city. It is difficult, indeed, from down below in the narrow streets to believe that some 300 feet above one lie not only woods and tree-shaded walks, but even green, flower-bedecked fields. The most direct and interesting way up the Monchsberg is by the Sigmund Haffnerga.s.se and Hofstallga.s.se bearing to the left of the Fischbrunnen, and thence over the Monchsbergstiege. On reaching the top of the flight of steps the way lies in the direction of Hohen-Salzburg as far as the pa.s.sage leading into the Nonnthal and to Leopoldskron, then one climbs to the left, and after a little distance reaches the beautiful view point known as Konig Ludwig-Fernsicht, or King Ludvig's Lookout.

The prospect from here is wonderfully wide and beautiful, embracing as it does the villas on the other side of the town, and the villages and farms of the valley with their picturesque background of mountain ranges, including nearer in the Goll and Untersberg.

[Ill.u.s.tration: HOHEN-SALZBURG AND THE NONNBERG]

To the left and on the way along the ridge to the fortress is situated the beautiful villa of the famous singer Bianca Bianchi, and from the projecting bastion in the same direction one obtains a fine view of the town below, and valley of the Salzach. Both in the direction of Mulln to the right, and of Hohen-Salzburg to the left, there are many fine views as one takes one's way either by shaded paths or through the fields which lead to the Burgerwehrsoller, where there is an ancient watch-tower on the slope of the hill from whence one has a wonderful panoramic view of the city and its environs. From the opposite end of the rampart one obtains a widely extended prospect towards Reichenhall, Marzoll, Maxglan, and the Bavarian plain, which is not easily surpa.s.sed from the neighbourhood of any other town of the size in western Austria.

One can then either descend to the Marketenderschlossl through the beautiful woods by one of the well-kept paths, and thence reach Mulln, or retrace one's steps, and walk right along to the Hohen-Salzburg end of the Monchsberg, from whence by entering the fortress and descending by way of the Nonnberg one obtains a fine view of the other portion of the Salzach valley in the direction of the Gaisberg, h.e.l.lbrunn, and Anif.

On the Nonnberg, so called from the Benedictine Convent built upon it, stands the fine Gothic Chapel founded in the first year of the eleventh century and beautifully restored in the fifteenth. In it is much fine stained gla.s.s, a winged altar piece of great interest; and there are also some interesting frescoes in the old tower.

Unfortunately the cloisters are seldom if ever shown to visitors; they are the oldest now existent in the princ.i.p.ality, and it is said even in the Austrian empire, dating as they do from the commencement of the eleventh century. They are charming and picturesque, and well worth the trouble which it is generally necessary to take in order to obtain permission to see them.

In Salzburg there is such a wealth of interesting buildings and places that to describe all one has seen or can see there is no s.p.a.ce.

Perhaps of those remaining to which reference has not yet been made, most people visit the house in which Mozart was born, situated in the narrow, picturesque old Getreidega.s.se; the Franciscan, formerly the Parish Church; the Church of St. Peter, with its ancient and picturesque burial-ground beneath the shadow of the towering fern- and flower-clothed Monchsberg, and the Caroline Augustus Museum. There are, of course, also the Dreifaltigkeits Kirche, with fine frescoes and carvings, and the University Church, both worth a visit.

To Mozart's birthplace, along the quaint and narrow Getreidega.s.se with its beautiful old signs of wrought-iron work projecting from the shop fronts on either hand, come hundreds of English and American visitors annually. Now the house is also a Mozart Museum, with much of interest for admirers of the composer, antiquarians and students. In the birth-chamber itself one finds a most valuable series of family portraits, including some of Mozart's wife, Constance Weber; also those of his landlord and his wife, Lorenz Johann and Maria Theresa Hagenauer. There are also the "scores" of many of his operas, and other compositions, records of the Mozart family; and perhaps most interesting of all the small clavichord or spinet, and the grand piano or reiseclavier, which was a present from his brother Karl, on which he used to play.

In the family sitting-room there are many interesting relics of the composer's father, mother, and other relatives, including Mozart's own pocket-book-diary, a large number of fragments of compositions, which from one cause or another were destined never to be completed, many letters of the family, copies of Mozart's three first published pieces printed in Paris, and several pictures of the house in the Rauhensteinga.s.se, Vienna, where the composer for some years lived and ultimately, on January 5, 1791, died. Salzburg has well-honoured her famous son's memory by the several memorials of him within her gates, including the fine though simply conceived bronze statue in the Mozart-Platz which cost nearly 2000, and was erected by voluntary subscriptions in 1842. By the foundation of the Mozarteum or "Society for the Cultivation of Mozart," not only is the memory of the great composer kept green, but the support of the School of Music of the same name is ensured. Thus the city of his birth, which did him (as is so frequently the case) but little honour during his lifetime, has nowadays become the centre of enthusiasm for his works. Festivals of his music take place during the summer months, at which not only the famous and beautiful Viennese Philharmonic Orchestra takes part, but also the most celebrated conductors and artistes.

Although Salzburg had been the residence of other famous musicians and composers, it is Mozart and his genius which dominates the ancient city's musical life, and proves so attractive an element to musicians and music lovers who visit it.

[Sidenote: SALZBURG MUSICIANS]

Michael Haydn, too, composer of much fine church music, was a resident in Salzburg and has a rather commonplace monument erected to his memory in St. Peter's Church. The latter is in the Romanesque style, founded in the middle of the twelfth century, and badly restored in the middle of the eighteenth, and is of great interest to the antiquarian and student of architecture. The portal consists of seven arches which gradually diminish in size, and are inlaid with strips of white and red marble. The very remarkable archings which strike one directly one has entered the building are portions of the original church. On a small altar near the vestry is a well-carved statue of the Virgin, said to be the work of one of the Archbishops, of about the end of the twelfth century, although there appears little real evidence in support of the suggestion.

The frescoes in the nave, representing scenes from the Crucifixion, painted in the sixteenth and seventeenth centuries, are worth study.

In Salzburg considerable store is set upon the monuments in the church, but few rank high as works of art, although marking the graves or being memorials of distinguished and historic persons connected with the city's life in the past.

The beautiful though ruinous cemetery of St. Peter, which, with its crumbling tombs of the great dead, interesting and quaint mural tablets, and arcaded vaults belonging to some of the most important and famous Salzburg families, lies at the foot of the Monchsberg, is, as well as the most picturesque, the oldest cemetery in Salzburg. It is difficult to exaggerate the interest and charm of the spot; always still, although set in the midst of a city, and within a few hundred yards of the princ.i.p.al and busiest thoroughfares. That it possesses a wonderful and mysterious attraction for tourists we can testify; and, indeed, we would almost go as far as to say that one meets more English and American visitors in this peaceful corner of the city than in any other spot on the southern side of the Salzach.

The celebrated Monastery of St. Peter, founded by St. Rupertus in (about) 582, was, until the first decade of the twelfth century, the residence of the bishops and archbishops of the diocese. The present building was erected during the reign of Archbishop Max Gandolph during the period covered by the years 1661-1674. It can be visited, and the library is full of the most interesting and valuable MSS., early copper plate engravings, and consists of about 45,000 volumes and some 250 illuminated and other MSS., chiefly upon parchment.

Several of the latter and some of the early printed books are practically priceless. The Librarian is always delighted to exhibit the treasures under his charge, and in him we found (as doubtless will all intelligent bibliophiles) a kindred spirit, and a most interesting cicerone.

[Sidenote: THE MUSEUM]

It is almost impossible in Salzburg, especially if one would really know something of the past life of the princ.i.p.ality, and the city, to follow that excellent rule of avoiding museums. In the Salzburg Carolino-Augusteum Museum one finds so much that brings vividly before one other times and other customs. Although started but three-quarters of a century ago the Museum has already become a repository of the deepest interest, much frequented by students of all types, the antiquarian and the man of science. It was due to the initiative of Vicenza Maria Suss, one of the leading town officials at the period of its foundation in 1834. The work which he began was well continued and supplemented by that of Jost Schiffmann, the well-known Swiss painter, and an enthusiastic committee, largely to whose credit must be placed the excellent arrangement of the art and other sections of the collection.

One of the most interesting and unique features of the Museum is the suite of rooms furnished accurately and entirely in the style of the sixteenth and seventeenth centuries; of these one of the most charming is the "Hunting Room" with its fine oak presses, pretty recessed window, and trophies of the chase. In the Hall of Antiquities are many interesting relics of the Roman occupation of the country, and also in the Lapidarium. A most excellent idea took shape in the Hall of Industry, where are collected together many excellent specimens of various "masterworks" of iron, woodcarving, etc.

The Music Room contains some of the most valuable musical instruments of the last three centuries, including spinets, violins, and others, some of these priceless. In the Armoury are relics of deep interest of the terrible Peasants' War, including wooden cannon, crude swords beaten from scythes, executioners' swords, curious and c.u.mbersome firearms, and some of the lances used by the Landsknechte.

The Costume Room has many attractions for lady visitors, who linger not only to admire the fashions of the past, but to inspect the embroideries which came from the industrious and skilful fingers of past generations of women, "old" with the dignity, grace, and charm which the "new" woman so sadly lacks.

On the same floor are the interesting Mediaeval Kitchen, with its ancient and carefully kept copper and other utensils glinting at one from their hooks in the half-gloom of the recesses; the Ladies'

Chamber, with its charming oriel, stained-gla.s.s window, colour of life of the period, and air of repose; the study, to show one the environment old-time students loved; a fine state-room; and a beautiful Renaissance Hall.

After these vivid reconstructions of the past one pa.s.ses somewhat regretfully to the higher floor and prehistoric things. The priceless Celtic helmet, found in the Pa.s.s of Lueg, interesting though it is, seems "lifeless" in comparison with what one has just seen; as do somehow Roman statues and arms, and similar objects. And one needs the beautiful and richly ornamented panelling, oriels, and similar objects of the final room to bring back colour into things.

To visit and study this deeply interesting collection leaves one with a very good idea of the evolution of culture, science, and art during the last five centuries of the princ.i.p.ality's history, one's knowledge of native art being easily further extended by a visit to the Kunstlerhaus near the Karolinenbrucke. Salzburg has produced at least one great artist in Hans Makart, who by common consent is esteemed one of the most vivid and brilliant colourists of his day.

In some of the villages near Salzburg, as also during "fair" times and festival times in the city itself, one is able to witness some of the quaint, picturesque, and dramatic peasant dances for which the valley of the Salzach has some reputation.

[Sidenote: A PEASANTS' BALL]

We were especially fortunate whilst recently there in witnessing not only peasant dances such as we have referred to, but also a peasant ball.

Amongst the dances specially notable was a variety of "Gaillarde," and "Allemande," a type of the dance known as "Siebensprung," where the male performers make a series of seven different movements with hands, elbows, knees, feet; and then almost touch the floor with their foreheads whilst their female companions pirouette around them.

The "Allemande," with its graceful twirling and twisting, and interlacing of the arms, and graceful bending of the bodies of the dancers, showing off the lines of the women's figures, is especially picturesque.

Then came types of other and more local dances, in one of which the women pirouetted round and round the room until scarcely able to stand, their short skirts gradually seeming to become inflated like balloons, and ascending inch by inch until knee high, when suddenly the dancers paused, their skirts fell, and with a sharp twirl and swish the latter were wound around their lower limbs in plastic folds.

Then there was a pretty dance commencing with a figure of the "Allemande," and proceeding to a courtship in pantomime, in which the women peered shyly at their partners between the circle formed by the interlaced arms, and ending by the men stooping, and whilst continuing a waltz step, suddenly seizing their companions round the knees and lifting them breast high, all the while continuing to circle the room in a "springy" rather than a gliding waltz.

Then followed a still more dramatic dance-play, in which the whole story of a peasant courtship from early days until the wedding was depicted in pantomime, with half a dozen characters beside the happy pair. Most of the performers were not only graceful and finished dancers, but were possessed of distinct dramatic gifts. The folk songs, accompanied upon rather weird instruments consisting of shepherds' pipes, guitars, fiddles, horns, and what, until it was put together, appeared to be a collection of short pieces of gas pipe of various lengths or strips of metal, were intensely interesting and musical.

What struck us perhaps more than anything else, save the actual dancing and singing, was the charming manners of the women, and the perfect manners of the men. Peasants though they were, there was a complete absence of coa.r.s.eness or roughness in general behaviour, in place of which one had perhaps a rather grave courtesy. And when at last it occurred to some of the men that perhaps the "foreigners"

might like to dance, they approached the ladies of the party with a striking grace and courtesy of manner. The Salzburg girls, too, in their pretty costumes were just as gracious and charming as English girls of the upper middle cla.s.s, when asked to favour some of the English men of the party with a dance. The scene was made even more kaleidoscopic in effect when at last the sombre evening dress of the latter mingled with and formed a foil to gay kerchiefs, snowy white bodices worn under a type of bolero jacket of the women, and the green and bright brown waistcoats and short knee breeches of the men. Across some of the waistcoats, which were many of them fastened with silver b.u.t.tons, jangled quite a collection of coins, exhibiting (so we were told) the financial position of the wearer, so that any girl might know what a suitor or possible suitor was worth! We hope that no young man ever puts upon his waistcoat a single silver krone piece more than he is ent.i.tled to. But if very much in love to what deception of this kind might he not stoop? And mercenary indeed must be the maiden who would not in the end pardon his offence, which was so warm a tribute to the power of her charms.

[Ill.u.s.tration: SALZBURG MARKETWOMEN]

[Sidenote: IN THE MARKET]

Even nowadays a good deal of "costume" can at times be found in the Market, which, surrounded by old-time building and dominated by Hohen-Salzburg, is very picturesque with its tiny stalls--some shaded by huge umbrellas--and buxom market women in short skirts, gay kerchiefs, and sometimes in types of the peasant costumes prevailing in the immediate district. As a general rule the market folk are good models both for artists and amateur photographers, though some of the younger women coquettishly pretend that they object to be photographed, whilst all the while they are desperately anxious to come into the picture.

To leave this fascinating old-world town, where so much of the most beautiful in modern ideas stands side by side with ancient things, without a visit to some of the charming and interesting places in the immediate district--lovely lakes rivalling the deep-blue sky above them in the tint of their waters; peaceful valleys, where pure air invigorates scented by pa.s.sage through pinewoods and across flower-decked Alpine pastures; wonderful peaks covered with that eternal weight of glorious snow, and bound about in some cases by the immemorial fastnesses of environing glaciers--should be impossible.

Our only regret is that neither s.p.a.ce nor the scope of the present volume permits of some description of the beauties which we have visited and which lie so close at hand; indeed, almost within call of the beautiful city set in a valley, and surrounded with majestic and lofty mountains, the lower slopes of whose wilder peaks are softened by pine forests, and fertile upper pastures.