Poland’s Wieliczka Salt Mine: An Underground Wonder

by Sean McLachlan on


There’s something alluring about underground spaces. Whether it’s the ancient subterranean cities of Cappadocia in Turkey or the alternative art galleries of the Paris catacombs, humanity’s works underground take on a strange and mysterious feeling.

Perhaps there is no underground space more strange and mysterious than the Wieliczka Salt Mine near Krakow, Poland. This UNESCO World Heritage Site was a salt mine from the 13th century until as recently as 1996. In that time the miners excavated 190 miles of tunnels reaching a depth of more than 1,000 feet. During the mine’s high point in the 16th and 17th centuries, some 2,000 miners worked there digging out 30,000 tons a year.

Salt was hugely important in the premodern world. Not only was it vital for nutrition, but it also helped to preserve meat and other edibles in the days before refrigeration. Several countries, including Poland and Ethiopia, even used salt as currency in addition to coins.

Not content with simply mining salt and making a living, the salt miners carved elaborate statues and scenes out of the salt, including a large chapel complete with “crystal” chandeliers made with purified rock salt. The salt in its natural state is gray, and so it resembles granite. Many of the sculptures are religious in nature, showing Christ, the Virgin Mary and the saints. Others show miners and folk figures such as gnomes.

%Gallery-158467%The guided tour takes intrepid travelers on a 1.9-mile route through various tunnels, rooms and even an underground lake. Constantly descending, the group makes their way through dozens of decorated rooms. As this video shows, it’s an unforgettable experience. Also check out the photo gallery for some excellent images of this odd attraction.

The simpler carvings done in the Renaissance and early modern periods are the most interesting to my eye, since they were crafted by regular people out of faith and a sense of fun. Now contemporary artists are getting in on the act and there are many new sculptures, including one of Pope John Paul II, who was from Poland and visited the mine before he became pontiff. The centuries-old mine is continuing to grow and develop.

Interested in seeing more strange underground dwellings? Check out our articles on salt mine tours and underground cities.

Shroud Of Turin One Of 40 Fakes, Historian Says

by Sean McLachlan on

The Shroud of Turin has been causing controversy for centuries now. The linen cloth, measuring 14 feet by 4 feet, has what appear to be bloodstains on it. Also, the image of a wounded man can be seen, an image that becomes clearer when looked at as a photographic negative.

Now historian Antonio Lombatti of the Università Popolare in Parma, Italy, says the Shroud of Turin is a fake, and not only that, it’s not a very original one. About forty pieces of cloth purported to be the burial shroud of Jesus circulated in Europe during the Middle Ages and Renaissance. Religious relics were popular then and now.

Lombatti say the shroud was given to a French knight in Turkey in 1346. This is the first concrete record of the Shroud and agrees with radiocarbon analysis of the linen. In 1988, the University of Oxford, University of Arizona, and the Swiss Federal Institute of Technology independently tested parts of the Shroud and each said it dates to sometime between 1260-1390.

The photographic negative image was well within the ability of medieval technology as far back as the eleventh century A.D., according to one researcher who made his own shrouds using medieval techniques.

Also, John 19:40 and 20:6-7 clearly state that Jesus was wrapped in several strips of linen, not just one, and that his head was wrapped in a separate cloth.

None of this, of course, will dissuade the thousands of believers who flock to the Cathedral of Saint John the Baptist in Turin, where the Shroud is kept and (rarely) exhibited.

[Photo courtesy Wikimedia Commons]

Madrid’s Summer Art Season

by Sean McLachlan on


Madrid is one of the best destinations for art lovers, and this summer’s exhibition season is as great as usual.

From June 12-September 16, the Prado is showing “Late Raphael,” the first major survey exhibition on Raphael (1483-1520) to combine paintings and drawings in order to focus on the last seven years of the artist’s life, when he was at the peak of his ability. It also examines the work of his assistants and how Raphael influenced generations of artists.

The Thyssen-Bornemisza is having an unusual look at German art with “Faces and Hands: Ancient and Modern Germanic Painting.” It examines how portraiture changed from the Renaissance to Expressionism by looking at the work of such masters as Dürer, Lucas Cranach the Younger, Otto Dix and Max Beckmann. The show runs until September 2.

The Reina Sofia covers modern art with three different exhibitions: the reworked political texts of Sharon Hayes, nature paintings and natural objects arranged by Rosemarie Trocke, and the experimental sculpture and photography of Nacho Criado. Hayes’ and Trocke’s shows are on until September 24. Criado’s show is on until October 1.

All three of these museums have large permanent collections that art lovers won’t want to miss.

Madrid is full of private galleries and large exhibition spaces run by banks. One of the best is CaixaForum Madrid, which is hosting a large collection of the 18th century architectural drawings of Piranesi. Piranesi traveled across Europe to record its Classical ruins and also invented his own fantasy buildings, like the one shown here in this Wikimedia Commons image. The show is on until September 9.

Maxfield Parrish Retrospective At The National Museum Of American Illustration

by Sean McLachlan on


He was one of the most popular illustrators of his day and his work remains immediately recognizable more than forty years after his death. Their rich, deep hues and fantastic imagery appeal to both children and adults.

Now Maxfield Parrish is being honored with a major retrospective at the National Museum of American Illustration in Newport, Rhode Island. “Maxfield Parrish: The Retrospective” brings together works from his seventy-year career as an illustrator, from early illustrations of Mother Goose and Grimm’s fairy tales to his later advertising images.

One good example is this painting titled “The Dinky Bird” from 1904, seen here in this image courtesy Wikimedia Commons. It illustrated the Eugene Field poem of the same title in Field’s book “Poems of Childhood” and captures the joy, innocence and make-believe setting of that poem: “the land of Wonder-Wander, whither children love to go.” This major exhibition promises to be a land of Wonder-Wander itself.

“Maxfield Parrish: The Retrospective” runs until September 2.

Centre Pompidou-Metz Recreates Artistic Life Of World War I

by Sean McLachlan on

In the first of a series of events to commemorate the upcoming centennial of World War I, the Centre Pompidou-Metz in France is hosting “1917,” an exhibition of artistic life during that bloody conflict.

While millions were dying on the battlefield, the arts were flourishing in Europe. Much of it was centered on, or a reaction to, the most terrible war the world had yet seen. A large portion of the exhibit is devoted to trench art made by soldiers at the front line. Some drew sketches of their lives; others did creative things with the detritus of war, like the goblets made from artillery shells shown here.

Works from artists on the home front are exhibited too. The star attraction is Pablo Picasso’s largest work, the giant painted theater curtain he made for Parade, a ballet directed by Serge Diaghilev for the Ballets Russes. This impressive work is more than 30 feet long and is rarely displayed due to its size.

In all, “1917” gives us a snapshot into a crucial year in the development of modern art. The show runs until September 24.

[Image courtesy Wikimedia Commons]