The Tomb of I’timād-ud-Daulah

Posted on May 19, 2025 by admin

As a tourist in Agra, the thing to do is visit the Taj Mahal last. Anything seen after the Taj will pale in comparison, however grand the edifice. So after the Agra Fort, and toward the end of our first day in that city, we visited the Tomb of I’timād-ud-Daulah, with Taj Mahal slated for early the next morning.

Go through a finely styled gate.

From there, it isn’t far to the mausoleum.

An exquisite work. How is carving in stone like that possible? It’s impossibly intricate. It’s also always compared to the top masterpiece that is the Taj, which is not far away. More modest than the Taj, but with some clear similarities. This tomb came first by a few decades, so it would be the inspiration. There is a reason the Tomb of I’timād-ud-Daulah is also called “Bachcha Taj” or the “Baby Taj.”

“What makes the tomb of Itimad-ud-Daulah stand out from its contemporary structures, undoubtedly is the overwhelming decorative technique that was used — its polychrome profuse ornamentation consisting of intricate florals, stylized arabesques, abstract geometrical designs, mosaic kaleidoscope techniques enriched with splendid ornamentation in semi precious and rare stones inlay and exquisite carvings that resembles the finest of lace,” explains Outlook Traveler.

“All these were mostly inspired by plant studies and motifs of vivid flora and fauna with a distinguished influence of Persian heritage drawn by masterful artisans and craftsmen of Persia who worked at the Mughal court.”

All that made me think of the outline for a bit of sketch comedy, though a bit that assumes that most people have heard of the Baby Taj, and how it compares with the regular full-sized Taj. So not a realistic idea for a sketch that North Americans or western Europeans might respond to. Still, imagine Mitchell and Webb doing the following. Or rather an Indian comic duo equivalent, to abide by modern sensibilities. Say, Mitchell-like and Webb-like. There must be someone.

The setup would be the architect hired to design Tomb of I’timād-ud-Daulah has submitted plans – which are visible to the audience – and they look suspiciously like the Taj Mahal as we know it. The architect meets with the Grand Vizier to discuss the plans (would that actually happen? Never mind, the rule of funny). I imagine Mitchell-like would be the architect, Webb-like the Grand Vizier.

Grand Vizier — We rather like your design, but we want a few tweaks.

Architect — Tweaks?

— Yeah, you know, little things. But we do think your design is wonderful. Too wonderful, in fact.

— What does that mean? What do you want to change?

— Well, it’s a bit large.

— Large?

— Yes, the building. The main one. We were hoping for something, you know, a bit more modest. Yes, that’s it. Modest. Scale it down.

— But it wouldn’t be the same.

— And the dome. That’s a little much, don’t you think?

— No dome?

— Well, something should be up there. Let’s call it a roof element. Your dome’s just a little grand.

— But this is going to be the tomb of the great I’timād-ud-Daulah! The father-in-law of the emperor! Grand Vizier before you!

— And don’t we know it. A great man, for sure. But do you know how much stonemasons cost these days? I mean, really good ones. Oh, and don’t worry, we like the four minarets. That’s a classic. But those should be smaller too.

— Grand Vizier, I object. If I do say so myself, I’ve designed one of the greatest buildings in the world! If we make it smaller, it wouldn’t be that. It would be just another tomb.

— Well, now. Who is it that is paying you?

— You are, Grand Vizier.

— And who could, let’s say, make things pretty uncomfortable for you? We still have some space in our dungeons.

— You could, Grand Vizier.

— So…

— Smaller it is, Grand Vizier. More modest. Yes.

Agra Fort

Posted on May 18, 2025 by admin

“The sky turned the colour of molten copper,” wrote William Dalrymple in City of Djinns. “The earth cracked like a shattered windscreen. April gave way to May, and every day the heat grew worse.”

February, clearly, was the time to visit north-central India, basking in warm but not oppressive sun.

The first place we went in Agra wasn’t the Taj Mahal, which we would visit the next day, but Agra Fort, a massive red sandstone and marble complex associated (of course) with Mughal emperors, especially Humayun, who seized the site of an older structure, and Akbar, who put the structure in its current form, more or less.

“Akbar arrived in Agra in 1558,” says the Archaelogical Survey of India. “He ordered to renovate the fort with red sandstone. Some 4,000 builders daily worked on it and it was completed in eight years (1565-1573).”

The wall circumscribes sizable edifices on sizable green spaces.

Marvel at the detail.

Inner courtyard splendors.

“The walls of the roughly crescent-shaped structure have a circumference of about 1.5 miles (2.5 km), rise 70 feet (21 metres) high, and are surrounded by a moat… ” notes Britannica.

“Many structures within the walls were added later by subsequent Mughal emperors, notably Shah Jahān and Jahāngīr. The complex of buildings — reminiscent of Persian- and Timurid-style architectural features — forms a city within a city.”

Through a window, something familiar. At least from pictures.

Our first glimpse of the Taj Mahal.

“In addition to its other functions, the fort also served as a prison for Shah Jahān,” Britannica continues. “Aurangzeb, his son and successor as emperor, had him confined there from 1658 until his death in 1666.”

The story is that the deposed Shah Jahān spent his time gazing at the Taj Mahal, where his wife was entombed and, when the time came, he would be as well. There are worse places to be under house arrest.

The splendor continues under elegant arches.

No matter how grand, however, time will have its say, and the splendor we see is just a fraction of the total across the centuries.

“Abul Fazl, a court historian of Akbar, records that 5,000 buildings were built here beautifully in Bengali and Gujarati style,” says the Archaelogical Survey. “Most of these buildings have now disappeared. Shah Jahan himself demolished some of these in order to make room for his white marble palaces. Later, the British destroyed most of the buildings for raising barracks.”

Ancient Roman Sculpture from the Torlonia Collection

Posted on May 15, 2025 by admin

Go to one of the newer galleries at the Art Institute of Chicago, at least until June 29, and these figures will greet you. Or at least stay still while you take a good look.

Marcus Aurelius is front and center, looking rather stoic, or should I say Stoic, with some contemporaries near him.

He doesn’t look that much like Alec Guinness. Or rather, Sir Alec doesn’t look much like him. Long ago, I watched The Fall of the Roman Empire in Latin class, one of those last week of the school year sort of activities, finding it a ridiculous mess, despite a stellar cast that included Guinness as the last Good Emperor, and lavish production values.

Also, as a fellow named John in the class pointed out, the movie left out good old Pertinax in its depiction of the events after the death of Commodus. “Where is he?” John said. “Pertinax came after Commodus.” Latin students were the sort likely to notice that kind of omission.

There’s the seed of a series of counterfactual novels: Pertinax survived for some years, re-establishing a chain of Good Emperors, thus preventing the chaos of the 3rd century and hey – Rome didn’t fall. Or something like that.

We’d come to the Art Institute, a few weeks ago now, to see Roman sculpture.

After spending time in Berlin seeing the same sort of ancient art, I couldn’t very well miss something so close to home. The collection owes its origin to Prince Giovanni Torlonia (d. 1829) and his son Prince Alessandro (d. 1886), who bought ancient works when the getting was good, and dug up other pieces at their extensive estates.

“The Torlonia Collection is not only the largest private collection of Roman marble sculptures in Italy, but it is also arguably the most important of such private collections in the world,” the Art Institute says. “Comprising 622 works and a wide range of sculptural types and subjects, its holdings rival those of major institutions in Europe, including the Capitoline and Vatican Museums.

“Nearly half of these sculptures, which range in date from the 5th century BCE to the early 4th century CE, have not been publicly displayed in more than 70 years and have been newly cleaned, conserved, and studied specifically for this exhibition, making for a spectacular opportunity to experience their first public presentation in decades.”

For once, a curated experience that reflects the actual meaning of that now abused word, since I’m assuming expert curators were involved. They had a great deal to work with besides imperial portraits.

Such as a sarcophagus depicting the Mighty Hercules at his Labors.

Its lid.

Makes you wonder who the last person was to see it, who knew the people depicted. A grandchild perhaps, now nearly as remote in time as sarcophagus itself. After that person was gone, the figures might have been revered as Noble Ancestors, but increasingly distant ones. Eventually — who were these people again? And so no one minded as the object slipped out of sight, only to be found much later by antiquarians of a remote posterity.

The exhibit included more than people in stone.

The signage for the exhibit included information I’d never seen depicted in quite this way.

Part of the history of these works now includes restorations done during centuries previous to ours, but still comparatively recent. That’s more information that you usual get at a display of ancient art, and I compliment the curators on it.

Alte Nationalgalerie, Berlin

Posted on April 30, 2025 by admin

I’m not sure exactly what “Hey, this is a World Heritage Site! Show some respect, wanker!” would be in German, but I suspect in German you probably could shout just the right mix of threat and shaming.

Spotted in March on Museum Island (Museumsinsel) in Berlin.

Note that the red-letter headline is in English. I think of that as more of a function of English as a ramshackle world language than the propensity of Americans, Britons or Australians to use bullhorns while peeing on World Heritage Sites from their bicycles or scooters. Well, maybe Australians would. (I trade in that stereotype with abiding affection for that nation, since the Australians I know would sound right back about Americans). To be honest, it also sounds like something Florida Man would do.

We were in the vicinity of the Alte Nationalgalerie.

Make it a Greco-Roman temple, at least on the outside, King Friedrich Wilhelm IV must have said, though he didn’t live to see its completion in 1876. August Stüler was tasked with the design, but he didn’t live to see it done either.

The museum complex on Museum Island certainly deserves to be on the UNESCO list. A detail from the museum’s tourist leaflet shows the Old National Gallery in relation to the others, and the fact that the Pergamon Museum is “closed for refurbishment.” Dang.

We didn’t go directly to his gallery up on the third floor, but I knew the Casper David Friedrich was a priority at Alte Nationalgalerie. Like visiting an old friend. They say maintaining social relations is important for one’s health in older years, and maybe that’s so. But I’m sure visiting old friends makes your life better in the here and now. Mine, anyway. Including mainly people, but also places and favorites in art or entertainment.

My old buddy Casper’s canvasses are usually good for more than one detail. Such as “Abtei im Eichwald” (1809/10), sporting a good old Casper David Friedrich moon.

Or “Eichbaum im Schnee” (1829). The man had a gift for trees too.

This one is CDF and it isn’t, since it is a copy of one of his paintings, “Klosterrunie im Schnee” (1891), by an unknown artist. The original didn’t survive WWII.

There was even an appearance of CDF himself, at work, in a portrait by colleague Georg Friedrich Kersting (d. 1847).

There probably would have been more CDF on display, but as it happens, the place to be right now to see many of his works is the Met, which is hosting Caspar David Friedrich: The Soul of Nature until May 11. Seventy-five paintings, drawings, and prints by Friedrich are in that show.

No matter, the museum offers plenty else to see, with a collection of European art roughly from the French Revolution to WWI. The place wasn’t crowded, but a fair number of museumgoers were around.

We spent a while looking around ourselves.

Detail from “Die Pontinischen Sümpfe bei Sonnenuntergang” (“The Pontine Marshes at Sunset”) (1848) by August Kopisch, which has a Chesley Bonestell vibe.

Detail from “Doppleporträt der Brüder Jacob und Wilhelm Grimm” (1855) by Elisabeth Jerichau-Baumann.

Detail from “Tükische Straßenszene“ (1888) by Osman Hamdi Bey.

Detail from “Porträt Kaiser Wilhelm II” (1895) by Vilma Parlaghy.

Tough luck, Willie. But at least your hope didn’t end at the end of a rope.

Jama Masjid, Delhi

Posted on April 28, 2025 by admin

Part of the inspiration to visit India was the book City of Djinns: A Year in Delhi (1993) by the admirable Scottish writer William Dalrymple, which I’ve known about for years but only got around to reading late last year. Timing is important in one’s travels, even before going anywhere, and I happened to be reading that book as we discussed going to Japan in the coming winter. In a typical train of thought for me, I figured if we’re already in Japan, how much more effort would it take to go on to India? Some, as it turned out, mostly after we arrived, but worth the effort.

One memorable passage in City of Djinns involved Dalrymple’s visit to Jama Masjid in Delhi, during the end of Ramadan one year. A mass swirl of humanity came to the mosque on that occasion.

When we were there in February on an ordinary non-Friday, humanity was mostly represented by tourists, contributing our little bit to the upkeep — a reasonable $3.50 or so each at that moment in February. Plus another $1 or so baksheesh each to the young man watching your shoes.

As well we should visit. Extraordinary in its grandness, the place also reminds a North American just how far he is from home.

At the entrance of the prayer hall.

That hints at a history of video crews making, or trying to make, their works on the sly. Equipment doesn’t need to as large as it used to be.

Up.

Once again, what would modern India be without reminders of Mughal power and prestige? The mosque is the work of Shah Jahan I (d. 1666), fifth Mughal emperor, or rather the 5,000 workers hired for the job and supervised by his Grand Vizier. “Indians, Arabs, Persians, Turks, and Europeans” were among the workers, according to Wiki.

The mosque commands a hill in Old Delhi, rising on the edge of the marketplace maze that is Chandni Chowk. Its minarets rise 135 feet.

I didn’t have the urge to make a video at the Jama Masjid of Delhi, but I can see its omnidirectional visual appeal. The Mughal talent for architectural grandness shows up in pretty much every direction.

Orloj (The Prague Astronomical Clock)

Posted on April 24, 2025 by admin

They say petty con men hang out at Old Town Square in Prague, looking for marks for the likes of three-card monte or a shell game or bogus currency exchange schemes, which raises the question: who hasn’t heard of those cons? But I have to report that no one approached us at Old Town Square for trickery or anything else. Sometimes it’s good to be old men who are essentially invisible.

We had the idea at Old Town Square that we’d see the Church of the Mother of God before Týn, which has a cool church name. Distinctive, anyway, incorporating a very local place name. Týn Courtyard, next to the church, is a small area that hosted visiting merchants at one time, and whose largess helped build the edifice. There has been a church on the site for at least 900 years, with the usual story of modifications, rebuilding, replacement, fires, style changes and of course some sectarian strife now and then.

The church is a little off the square, but not far. In my image, it is behind the monumental memorial to Jan Hus and other Hussites, which dates only from 1915. The church wasn’t open when we dropped by. Too bad, I understand Tycho Brahe is buried near the altar; that would have been worth seeing all by itself.

Across the square is Old Town Hall, dating from the 13th century.

On the opposite side from my image, Old Town Hall is the site of the Orloj – the astronomical clock that doesn’t concern itself with whether most people can read it. The master clockmaker and the few learned men who could read it when it was new probably didn’t concern themselves with that fact either. Why would they?

The crowds don’t go to read it anyway, but to watch the mechanical figures move on the hour. We arrived just as that was happening early on the afternoon of March 12.

“Starting in the 13th century, astronomical clocks began springing up around Europe, using intricate functions to show information such as lunar phases, the position of the sun and moon, and the zodiac at any given moment,” My Modern Met explains.

Work on the Prague clock started a little later than that, in 1410. Again as usual with something that old, modifications and additions and changes and restorations have been made over the years, including as recently as 2018.

“The figurines, which were added in the 1600s, represent four vices [sic, death is a vice?]. Vanity is shown as a man admiring himself in a mirror, a miser holding a bag of gold represents greed, while another strumming an instrument is to show lust or ‘earthly greed.‘ The fourth sculpture, a skeleton, represents death and rings the bell each hour as the other figurines shake their heads.”

After the 1 p.m. movement of the figurines, the crowd thinned out.

If I understand correctly (no promises), the time-keeping aspects of the clock includes three different systems: a conventional 24-hour clock, a 24-clock that whose zero hour is at sunset – both new and competing systems when the clock was built – and an older system of unequal hours, whose length depended on the time of the year, something like the Romans used (12 hours by day, four watches at night), though it is thought to date back to Babylon.

“But the clock is about much more than telling time,” My Modern Met continues. “Two separate wands representing the sun and the moon move around the zodiac ring. The sun moves counterclockwise against the ring, and gives an indication of where the sun and moon are in their orbit around the Earth.

“The moon wand is half white and half black in order to show the current cycle of the moon. Interestingly, the rotation of the ball showing the lunar phases is entirely owed to gravity, something unique in this genre of timekeeping.

“A small golden star shows the position of the vernal equinox and sidereal time based on the Roman numerals.”

Most of that wasn’t anything I could understand just looking up at the clock, and I’m not entirely sure I can piece it together in the comfort of my home office. Still, the intricacies and metalwork are marvels to behold — representing a remarkable store of pre-modern knowledge and mechanical aptitude — and behold them we did.

The Jantar Mantar of Jaipur

Posted on April 22, 2025 by admin

Apparently Sawai Jai Singh II (d. 1743), Raja of Amber and founder and Raja of Jaipur, had a keen interest in astronomy, because he commissioned the construction of six naked-eye observatories — jantar mantars – in his realm in the early 18th century. The one in Jaipur itself is a complex of structures hard to understand without explanation. Or even with explanation a lot of the time.

I didn’t take that picture, since that vantage was unavailable, or at least I didn’t know about it. Someone calling himself Knowledge Seeker thoughtfully released the image into the public domain, however. It gives a sense of the layout of instruments in a sort of plaza, though it doesn’t depict the large sundial, except right at the lower left corner. Just behind the Jantar Mantar is City Palace, more about which eventually, but which Jai Singh II also had built. One of those busy kings, sounds like.

“The Jantar Mantar observatory in Jaipur constitutes the most significant and best preserved set of fixed monumental instruments built in India in the first half of the 18th century; some of them are the largest ever built in their categories,” UNESCO says, for indeed it is a World Heritage Site, which are thick on the ground in India. “Designed for the observation of astronomical positions with the naked eye, they embody several architectural and instrumental innovations.”

This is the kind of place that reminds me once again how little I know. Such as about Indian astronomy, thousands of years in the making. A familiarity with that subject might help answer the question I have – why didn’t Jai Singh II incorporate places for telescopes? I feel certain he would have had some, imported or locally made.

The Jantar Mantar is also good for some gee-whiz moments, such as looking up at the world’s largest sundial.

Our affable guide in Jaipar that day, Ali, points to the time on the enormous dial plate. The instrument is capable of measuring time to an accuracy of two seconds (with some caveats; see “How accurate is it?” on this page).

He asserted that the sundial is indeed the world’s largest, though I’ve seen other sources that weasel with such phrasing as “one of.” I’ll go with Ali on this one: the largest in the world, unless I find out about a bigger one, and I’m not going to look very hard.

Ali also told us that his father was a tour guide in Jaipur, as was his father before him, which is some span, since he might have been close to my age. He was knowledgeable enough that being in the family biz seemed likely. He also might have had information about the use of telescopes back then, but I forgot to ask.

Other instruments, whose descriptions I read on English signs next to the Hindi, but which are less easy to understand than a sundial, except to say they are useful for tracking objects in the sky.

More structures, either built upward or downward.

Of course each instrument has a purpose and a name – such as Samrat Yantra, Jaya Prakasa, and Rama Yantra, which supposedly Jai Singh II designed himself. Detailed information is at jantarmantar.org. Even without a tight grip on all the details, there’s no doubt that the Jantar Mantar of Jaipur is impressive, besides having an impressive name that rolls right off your tongue.

Church of Saint Nicholas, Prague

Posted on April 17, 2025 by admin

Regards for Easter. Back to posting on April 21.

Old Town Square, Prague, on a gray day in March.

Facing the Old Town Square, though not in those images, is the Church of Saint Nicholas (Kostel svatého Mikuláše), a site with a history as varied as it is long. There was a church there since at least the 12th century and, knowing how these things go, probably some sacred space well before that.

When Hussites had their moment, they used the church. Afterward, Premonstratensians used it, and then Benedictines set up a monastery there. When their time had run its course, the temporarily secularized building was for a time a storehouse, and – a little hard to imagine, but this is what a sign in the church said – a music hall. Religion returned in 1920 in the form of revived Hussites newly independent of Rome, who use the church to this day.

How many Czech Hussites are there these days? World Atlas asserts fewer than 40,000, which is fewer than 0.4 percent of the population. But that hardly counts as a long-term win for this particular Counter-Reformation, if you can call it that. The largest categories of religion in the modern Czech Republic are “Undeclared” and “No Religion,” together totaling nearly 80 percent.

The 21st-century visitor to St. Nicholas sees a bit of urban renewal from the 18th century, to use a term that the ecclesiastical authorities who wanted a new building back then surely didn’t use, even in the unlikely event they’d used English. I’ll bet the old Gothic church on the site was worn out and just so 12th century anyway. Out with Gothic, in with Baroque.

Looks like St. George, doing what is expected of him: dealing with the dragon.

Tsuyu Tenjinsha Shrine (Ohatsu Tenjin), Osaka

Posted on April 13, 2025 by admin

Tucked away in the Umeda district of Osaka – a sort of downtown, with a heavy concentration of office, hotels and retail, along with the city’s busiest train station – is a Shinto shrine whose early history tends to be described (in English, anyway) using such phrases as “said to be” and “legend has it.”

While crossing on a pedestrian overpass a few days after arriving in Japan, I noticed the main torii for Tsuyu Tenjinsha Shrine (Ohatsu Tenjin). I must have visited the shrine in the 1990s. But when I got there this time, I had no memory of it. An odd feeling.

Clearly not ancient construction, or even that old. The U.S. Army Air Corps swept the area with a broom of fire in 1945, necessitating a reconstruction a decade or so later. A machine translation from the shrine web site tells of its hazy early centuries.

“[The] shrine was established on its current site, which was one of the small islands in Osaka Bay, to worship Sumiyoshi Sumuji Sone no Kami, and it is one of the former sites of the Naniwa Yasoshima Festival…

“The date of its founding is unclear, but since the Naniwa Yasoshima Festival can be traced back to the third year of the Kasho era (850) during the reign of Emperor Montoku, and the area is said to have been in place by the time of Emperor Kinmei in the sixth century, the origins of this shrine can be inferred to date back to that time.”

One of many such old shrines dotting the Kansai, in other words, many of which may still be around but which are still small, honoring obscure kami. But this one happened to be at the heart of Osaka during the Meiji era boom, and apparently grew with the city.

“The opening of the first Osaka Station in 1894 and Hankyu Railway Umeda Station in 1905 spurred the development of the area, and this shrine has come to be revered as the central guardian deity of Umeda and Sonezaki, in the heart of Osaka’s ‘kita’ [north] area,” the shrine notes.

That may be, but that isn’t why many people go there in our time. They go to offer prayers asking for better fortune in their romantic lives, whatever form that might take. Since I visited only a few days ahead of St. Valentine’s Day – another example of any number of cross-cultural WTFs you can find in Japan – the shrine was thick with prayers written on pink paper hearts.

I understand these slightly more permanent wooden plaques, known as ema, are young girls praying for beauty.

Why is this shrine associated with romance? That’s better attested, and something of an accident of history.

“Today the shrine is better known for its romantic associations, as it is a key setting of the bunraku puppet play: The Love Suicides of Sonezaki,” notes Osaka Station.

“The play tells the tragic story of two star-crossed lovers, the geisha Ohatsu and the apprentice trader Tokubei, and it was supposedly based on a historical double suicide that took place at the shrine in 1703. In the play an unfortunate combination of family pressures, financial misfortune, and the betrayal of a friend, threaten to keep the lovers apart. Unable to live without each other, they meet at the shrine and take their own lives.”

What is the opposite of star-crossed lovers, anyway? Star-aligned, maybe; one of those couples who end up celebrating a diamond anniversary without having grown to hate each other.

The popular name of the shrine, Ohatsu Tenjin, refers to the geisha of the story. Ohatsu and Tokubei are acknowledged at the shrine.

The shrine is surrounded by the buildings of Umeda and from its precincts you can exit into a shopping street. As with most such pedestrian streets in Japan, there are many small eateries.

I didn’t go there, but I can’t say I wasn’t curious.

Ampelmann

Posted on April 10, 2025 by admin

Spend enough time as a pedestrian in the former East Berlin – and it doesn’t actually take that long – and you begin to notice that the Walk/Don’t Walk signals aren’t like anywhere else. Green and red, respectively, like everywhere else, but otherwise unique cartoon men in hats.

This is the Walk sign.

That probably would have remained a passing thought for us, but at the Berlin Hauptbahnhof we spotted a store selling goods and souvenirs based on the cartoon man, who has a name: Ampelmann, that is, Traffic Light Man. The postcards were a bit expensive, but I was so amused I bought one to send and one to keep.

I sent the Walk green Ampelmann and kept the card with the Don’t Walk red Ampelmann (see below), who stands in front of various noteworthy structures in Berlin, such as the Brandenburg Gate, the TV tower at Alexanderplatz, and the Victory Column in the Tiergarten. The Walk green Ampelmann card has the same structures, but he’s strolling past them.

We also picked up an fine intangible souvenir when we learned about Traffic Light Man and his robust gait and distinctive headwear. It’s hard to know when you’ll find those, but find them you do if you’re paying just a little attention. Also, he’s a bit of fun on the beaten path — what could be more literally a beaten path than a street crosswalk?

The woman behind the counter told me that the lights were created in East Berlin in the 1960s, and when reunified Berlin wanted to phase them out in the 1990s, Berliners east and west weren’t having it. By then he was no mere traffic accessory, but a small yet vivid cultural phenomenon, star of comic strips, games and radio spots. He was too popular to be erased from street crossings throughout the east. So he remains, a rare beloved relic of the DDR, though I understand his backlights are now thoroughly modern LEDs.

I got an additional souvenir in the form of a bag from the shop.

The story of Ampelmann, first drawn in 1961, is told by the web site of that name, including information about his creator, Berlin resident Karl Peglau (d. 2009), who is described as a traffic psychologist. I can’t ever remember hearing about that profession before, but I’d say that traffic in a lot of places could use professional help. Whatever your job, you could do a lot worse for a legacy than Ampelmann.

The main Ampelmann shop is on Unter den Linden. We must have walked right past it. But somehow we didn’t miss the DDR Museum a little further on, where the thoroughfare is called Karl-Liebknecht-Straße – another relic of East Berlin (before that, it was Kaiser-Wilhelm-Straße).

We didn’t feel like visiting the museum itself, but we did go to the gift shop.

As my wont, I got a few more postcards, while Jay got a refrigerator magnet. This one: Marx, Engels and Lenin. None of them, of course, lived long enough to encounter refrigerator magnets, but I’m pretty sure they would have denounced them as bourgeois frivolity. All the more reason to get some.

Been There, Seen That

By Dees Stribling

Category Archives: History