25 October 2024 ~ Telegraph Restaurant Zelenogradsk Wired for Quality
“It’s all so confusing,” so says a friend of mine and quite often. He’s a scientist, now retired, so he should know. And he’s referring to life. When I echo his sentiments, “It’s all so confusing,” he invariably replies, “It often is,” and sometimes he will say, “… but it is also often quite exciting.” Sometimes, when reflecting on life, he opines, “It don’t make sense!” And although, ‘it’s all so confusing’ and also ‘often exciting’, it actually does make sense that there are two Telegraphs: one I wrote about recently, which is in Svetlogorsk, and the other of which I am writing now, this one is in Zelenogradsk. The Telegraph in Svetlogorsk is a cafe and an art gallery, whilst the Telegraph in Zelenogradsk a restaurant.
Each Telegraph has a different function, but both are eponymously named after the same function their buildings had when the world was a different place.
The Telegraph Restaurant
The Telegraph restaurant in Zelenogradsk occupies the building of the old German telegraph and post office, which was established in the coastal resort in 1896. It is located at the top end of the high street. However, as the terms ‘top end’ and ‘bottom end’ are absolutely subjective, serving no useful purpose to man or beast, let me qualify its location by adding that it lies at the end of Zelenogradsk’s high street nearest the bus and train stations and not the end where the public park and sand is.
Telegraph Restaurant Zelenogradsk
The old telegraph building is one of those solid, stalwart red-brick affairs, instantly identifiable within the Kaliningrad region as being authentically German. In the summer months, a small area is set aside on the pavement next to the building for al-fresco dining and drinking; in winter, during the festive season, this same area is requisitioned for Telegraph’s contribution to the town’s impressive transformation into an imaginatively lit and magically decorated New Year’s holiday wonderland.
Whilst it occupies the ground floor of the former telegraph office, the contemporaneous Telegraph is accessed by a flight of steps. “It don’t make sense!” “It rarely does!”, with the exception of this region, where ground floors are often elevated above the basements below them to let in light from windows at pavement level.
On entering into the stairwell, the scene is set for the Telegraph experience. The walls are bare, stripped of their plaster, exposing the brick beneath. A black facsimile telegraph pole stands in sharp relief, and further along an illusory hole containing some kind of map twinkles in the muted light from illuminated markers. This introduction tells you in no uncertain terms that the Telegraph’s interior will not be run of the mill. It prepares you for an industrialised look with novel touches of retrospective modernity in keeping with the telegraph legacy from which it takes its thematic cue.
The two rooms, which are actually one room joined but visually separated by a deep, broad arch, continue the bare-brick look. The ceiling has a patchy effect, as though some of the plaster has fallen off, but as none lies on the floor below, we must chalk this up to designer licence. The lightbulbs in the industrial lampshades are the visible filament kind, they compliment the shabby chic, and the untrunked cable which supplies their power openly climb the walls.
The here and now in which we live may be the ‘wireless age’, but back in the day when the Telegraph building fulfilled its original function, the term ‘hard wired’ was literal. Appropriately, therefore, no attempt has been made to conceal the wires that link the bulbs. They travel across the ceiling in an exhibition of bold impunity.
The world of wires and plugs, the working environment of yesteryear’s telegraph offices is captured in some detail in the large, framed black and white photographs arranged around the restaurant’s walls. Study these at your leisure to see just how much times have changed.
The theme of the mechanical age continues in the restaurant’s choice of tables. Old treadle sewing machines dating in manufacture and use from the 19th to mid-20th centuries make attractive tables once the machines have been removed.
The leading manufacturer of hand-operated and treadle machines was a company known as Singer, who suspended the Singer name in the mid-section of a wrought-iron framework, bridging the divide between whilst connecting the table’s end supports. The elaborate nature of the frame’s decoration is what gives the tables their appealing clout, and it is thumbs up to the Telegraph restaurant for retaining the tables’ pivoting foot pedals. Attractive features in themselves, should you be prone to tippy tapping, as in his youth was one of my brothers, these pedals will entertain your feet at the same time as you sit and eat.
Telegraph Restaurant Zelenogradsk
Telegraph is a restaurant, it isn’t really a bar, but it has a bar of sorts, and I like that. I never feel at home and cannot quite get comfortable drinking alcohol in a barless zone. Sitting in a restaurant, seated around a table without a bar in sight just doesn’t do it for me. I liken the experience to sitting in a car which does not have a steering wheel. Without a bar something is missing; most likely it’s the bar.
For all its designer emphasis on the basic nitty gritty, Telegraph is cozy. In the all-important lighting department, which is the principal component in any attempt at coziness, Telegraph scores 11 out of 10. Excuse me, whilst I correct myself, my maths are notoriously weak; I meant to say scores 12.
In one sense, this is not good. Telegraph is so terribly cozy that it’s hard to get me out of there. Thank heavens that buses and trains work to things called timetables, which is something else worth mentioning. Telegraph is but a short walk away from the town’s bus and train stations, making it, if you time it right, and I usually make sure that I do, the perfect stopping-off place on your outward journey and a convenient traveller’s rest at which to pause on your way in.
Talking of food, as we now are, Telegraph’s speciality is the promotion of Baltic cuisine. It must be up to snuff as the restaurant is duly cited in Wheretoeat [in] Russia 2024 and in December 2022 was awarded the regional title of ‘Baltic Cuisine’.
Another award that Telegraph deserves is for its truly handsome website, especially in the category of ‘best designed for ease-of-use’. Navigate to its menu pages for a comprehensive and mouth-watering insight into the range of dishes it has on offer. And just in case you are wondering if I intend to provide you with links to the website and to the restaurant’s menu, wonder ye no more. Here is the link to Telegraph’s website: https://telegraph.rest/ and here is the link to its menu: https://telegraph.rest/menu . And whilst I am at it, here is the link to its page on social media: https://vk.com/telegraph.rest .
Ah, but it’s a grand menu to get lost in, isn’t it? But now that you are back, ask yourselves a question, are you fans of quirky? I most definitely am, particularly when it involves valuing and sustaining dying traditions. Thus imagine my delight on discovering that the present-day Telegraph salutes its earlier namesake by enabling its patrons to buy, write and send postcards directly from its premises to anywhere in the world. Who needs digital messaging and who needs things like WhatsApp when you’ve a pen, a card, a stamp and post box! WhatsUp with that? Nothing!
My scientist friend, the one whom I mentioned at the beginning of this post, has a variety of different catchphrases to suit or not to suit as the case may be the topic of almost every conversation. For example, whenever we discuss Britain’s existential threat, the not-accidental migrant invasion, he will with cynicism and irony ask: “Well, what can we do about it?” When we are feeling philosophical, ruminating together on the mysteries of time, “Where would we be without it?” And when we discuss giants of history ~ politicians, generals, luminaries of the silver screen, pop stars, authors, artists and the figureheads of the American mob ~ his concluding remark is likely to be “And it didn’t do them any good!”
Let’s try to apply these questions and statements to the Telegraph in Zelenogradsk:
What can we do about it? Go there! Where would we be without it? Deprived. It didn’t do them any good! Well, obviously it didn’t. Because they decided to go somewhere else when they should have gone to Telegraph.
You see, when you look at it scientifically, it all makes perfect sense!
30 September 2024 ~ Summer in Kaliningrad and UK as it happened in 2024
Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore Edgar Allan Poe (1845)
As summer draws to a close, I made the mistake of accidently retorting, “It’s gone so fast that I hardly knew it was there!” To which came the curt and completely undeserving reply that it’s nothing short of marvellous that I knew it had arrived, the amount of time I spend locked away indoors immersed in antique and history books and spurning the light of day.
Hmm, as the collection of photographs displayed here show, the allegations against me are not entirely true.
It has also been said of me that on those few occasions when I do deign to go out, I am either surrounded by ‘junk’ or wallowing in history, locked out of the present for want of the past. Oh, and when I’m not doing that, I’m sitting and drinking beer.
Unfortunately, by some strange false-impression-giving mischievous quirk of fate, the visuals on this page would appear to lend uncanny credence to the case for the prosecution. I’ll let you, the jury, decide.
Summer in Kaliningrad 2024
Seen, and scene, on a brilliant, bright-blue summer’s day, what is it? If I was 350 years younger, I would, in referencing the shorter structure, have taken one look at the small arched windows nestled within the roof and said, “an octopus.” It isn’t. It is, of course, the Baltic coastal town of Svetlogorsk’s principal landmark (even more so now since they knocked down the Hotel Russ). It is, in fact, a water tower: a rather splendiferous example compared to Britain’s concrete plinths, designed in 1908 by Otto Walter Kukuck when Svetlogorsk was German Rauschen. Constructed in the fairytale style of German Romanticism, the tower and its rotunda meld the key concepts of Art Nouveau with architectural features native to the Königsberg region. You used to be able to have mud baths in this building, but the last I heard it was closed to the public. If they opened it up for business again, I would, wouldn’t you?
Crouching down in a field of dandelions whilst wearing a dandelion headdress may not seem like everybody’s idea of fun, but if in a former life you believe yourself to have been a shaman, have passed through the Art Nouveau stage, dallied with Art Deco and have now thrown in your lot with metaphysics and the 5th Dimension, then who can say what summer means to you?
Now here’s something that you don’t see that often, and why would you want to?: Me, armed with a paper bag not containing beer, standing outside of an avant-garde boutique, framed between some rather nice mauve and lettered heart-shaped balloons. We had, in fact, been out back, sitting at a table drinking coffee and eating biscuits, but the shop, which sells clothing and jewellery, as well as coffee, biscuits and snacks, is different enough in style and the items it has an offer to warrant a visit at any time of the year.
The greater proportion of Königsberg was destroyed in the Second World War, but seek and ye shall find architectural gems of the former German city. The Villa Schmidt, seen here bathed in summer sunlight, is one such fine example. It was constructed as a two-storey home in the Art Nouveau/German Romanticism style in 1909 by the celebrated Königsberg architect Wilhelm Warrentrapp. The villa escaped the worst effects of the Battle for Königsberg but fell foul in the years succeeding the war of the con-block, asbestos sheet and bucket-of-cement mentality by which many buildings suffered for want of sensitive restoration. Fortunately, come the 21st century, Villa Schmidt was acquired by someone who knew his restoration onions, and he has restored the property to its original spec.
Fancy meeting you here! > I was doing the shopping > And I was walking the dog
A mid-summer party, during which Soviet Constructivism’s stalwart ‘Captain Codpiece’ takes a break from renovation to enjoy the company of friends and supporters.
Above^ The technique worked superbly in the film Schindler’s List, so why not here? Enjoying a well-deserved beer (when is it not?) on a warm summer’s evening on the forecourt of a Kaliningrad bar.
Above> Nothing quite beats a late summer Baltic sunset. This one was captured this month (September 2024), location Zelenogradsk. I know it looks as though I took the photograph whilst running to the fallout shelter, but the truth of the matter is that although the sun was radiant, a stiff breeze had sneakily come from nowhere, forcing me into the nearest bar, where I continued to watch them both go down, my beer and the evening sun.
Below> This second sunset, another belter, made its way into my camera lens one late June evening from the new pier in Svetlogorsk. No wonder artists, like Victor Ryabinin, look upon this region with inspirational awe and attempt to capture the feeling using paint palette, brush and canvas.
The message is the sun is out, the skies are blue, I am celebrating, how about you? I did think of joining in, but there was quite a lot of seagulls about and, well, knowing my luck …
Summer in the UK 2024
Flint cottages and pan-tile roofs of a time-honoured street in the village of Walsingham, home of ancient religious shrines and throughout the middle ages a major pilgrimage destination. Both my brother and myself have made many pilgrimages to Walsingham, but since our last foray the chip shop had closed and on our recent visit, we abstained from visiting either of the two pubs, forsaking beer for something that was long overdue, a cup or two apiece of holy water. Just to confuse the pilgrims, and those people whose sole (not ‘soul’) interest is fish ‘n’ chips’, Little Walsingham (there is a larger one, too), is bigger than Great Walsingham, and it is to Little Walsingham the first pilgrims wended and wended again in the 20th century when the act of pilgrimaging was duly revived. Walsingham stands as the epicentre of North Norfolk’s historic and spiritual soul, without a visit to which no trip to the region would be complete.
Below: Scenes on a sunny day at Old Hunstanton. As luck would have it, we were entertained by a rare display of the RNLI hovercraft in action, although this photo captures the moment before the action took place.
You can’t have enough clutter! “Hello, operator, could you transport me back to the 1920s as quickly as possible, thank you.”
A number of pubs in England claim to be the oldest licensed premises in the country, but you have to admit that the Bell Inn, at Finedon in Northamptonshire, looks the part, and supporters of the claim’s veracity are only too willing to draw your attention to a license granted to the inn in 1042 by Edward the Confessor’s wife, Queen Edith. The pub personifies the ancient and traditional, including some of its drinkers.
Below:The tides out and the boats are grounded. A typical view across the North Norfolk mudflats and salt marshes.
Gallery above: The small, unassuming, but atmospheric village of Burnham Thorpe in North Norfolk is, as you were just about to tell me, the birthplace of one of England’s most famous naval heroes, Horatio Nelson, 1st Viscount Nelson. Here we have a snapshot of the village church where Nelson’s father, Mr Nelson, by all accounts, sometimes known as Edmund, was the vicar from 1750 to 1802. The photo was taken from the forecourt of the village pub (where else!), the eponymous Lord Nelson. The last picture in the gallery is me sitting behind Nelson drinking a pint of Norfolk’s finest, Wherry. And (below decks), there I am again across the field from the pub standing next to Burnham Thorpe’s very own Nelson’s Column ~ a tad shorter than the one that used to stand in Trafalgar Square, London, before they replaced it with a figural composition of a rainbow dinghy bristling with trans-migrants. (If only Nelson was alive today. What an excellent Minister of Immigration he’d make.) From a distance, through the window of the pub (where else!), this Nelson looks as though he has been cast from bronze, but once you’ve staggered over to him you find, in fact, that some enterprising fellow-me-lad has carved him out of a tree trunk. England expects that every man will do his duty … someone did.
Above: Dusk descends over the marshland coastline of Norfolk, an area of outstanding natural beauty, and across the carpark of the vibrant White Horse pub, a pub of outstanding beers of natural beauty, situated in Brancaster Staithe.
What is it about coach-based tours that have long been unappealing to me? And, if I faithfully eschewed them in the UK, why would I volunteer to go on one, here, in Kaliningrad? Well, I certainly had the means, the motive and the opportunity: at 15 quid I could just about afford it; I want to visit as many interesting places in the Kaliningrad region as I can; and we had a bus to go on. Nothing ventured, nothing gained!
“You’ll probably be the only man on the bus,” opined my wife. According to her, Russian women are predominantly more interested in matters of culture, art and history than Russian men. Ooh, that’s so sexist!
Well, she was wrong. There were three males on the coach, including myself, and one of them was the bus driver. I wonder what he was doing on this trip?
As with many events that are organised for me, I did not know where we were going or what we were going to see. I had been told that one stop on the way to Wherever It Was would be a cheese factory. I was rather looking forward to that. It’s a pity it never happened. However we did stop at two towns, two settlements, visited two museums and ate in an unconventional restaurant.
The job of the by-bus tour guide is very much a vocal one, and no sooner had the driver started the engine and put the bus in gear than the guide was giving us a dose of the verbals. She spoke too fast for me to catch everything she said, but I got the gist and where the gist escaped me, Olga brought me up to speed.
The first place where we came to rest was ‘The Big Meat Pie’. I don’t suppose for a moment that this is its real name, but I christened it that in the summer of 21, when we paused here for refreshments on route to Angel Park.
You would never have guessed it from the effigy of a big meat pie proudly rotating on top of a pole some forty feet above the carpark that this place is genuinely held in awe by lovers of big meat pies.
I am not sure whether anybody from our group partook of these exquisite delicacies, which look like giant turnovers, but I do know that there was a veritable stampede for the public incoveniences, which, located inside the premises, are one of those annoying places where to pee or to poo comes at a price.
Whenever I travel anywhere in the Eastern Hemisphere, I deliberately cut down on my fluid intake and was glad that I had today, because the toilet queue was rammed and the access gate unmanned, in other words it was coins or card. I can just imagine how happy folk would have been standing there with bursting bladders should a silly old fart of an Englishman jam the gate with the wrong coins or fail to use his card correctly.
There was another option: Outside in the carpark stood two of those little green Portaloos. I don’t like these, do you? No matter where you find them in the universe, more often than not they are stink-ridden, lack essential supplies for the paperwork and have, that is when they do have them, hand-gel sanitisers that have not seen gel since dinosaurs ruled the Earth. (Come back dinosaurs, we now have globalists!)
As in all the best sitcom films of the 1970s (Carry Ons and On The Buses etc), having peed or not, having stuffed a gigantic meat pie down our gullets or not, we all at a given moment filed back onto the bus and went roaring off in unison ~ destination, a town called Gusev.
A town called Gusev
Our bus drew to a halt in front of a large, ornate and, although I say so myself, impressive-looking Orthodox church domineering a vast piazza (no, that’s a pizza you are thinking of), which, before it underwent the modernisation of multicoloured block paving, substantial shrub and flower planters, street lamps of a retro nature and benches to watch the world go by on, would have been, I am sure, a large chunk of bland concrete on which the Soviets held parades and where its dignitaries and officials would have addressed the proletariat. If that was the sort of place it was, it was not that sort of place now.
Naturally, I took photos of what I could see, and naturally/unnaturally, depending upon your point of view, Olga asked for numerous photos to be taken of herself to go with her numerous selfies.
The Greg Wilcox bag, a fantasy military shoulder bag befittingly finished in olive drab, donated to me by my old friend Greg some time in the recent past, had been requisitioned for today’s trip. Hidden in it were sandwiches, sweets, fruit and a flask of coffee. This bag was slung over my shoulder as I stretched my legs in the square. Had you been nearby, over near the church, perhaps, or furtively lurking behind any one of several ornamental canons, you might have seen me extract from this bag a savoury roll and a large banana. A note to the uninitiated: Always take some snacks with you when embarking on a bus tour.
Stop over ~ Olga complaining that it was over too soon; that we had not seen enough ~ it was back on the bus: ‘chop, chop!’
Could it be Dobrovolsk?
After a brief interlude of highway driving, we left the beaten track. The Kaliningrad region (Kaliningrad Oblast) covers an area of approximately 15,000 square kilometres. In the past decade, a spanking new network of highways have made regional travel far more comfortable and infinitely more express, but the land is still criss-crossed with old Gerry roads, which are typically long, straight and narrow and lined on either side by sizeable trees.
It was by recourse to this web of smaller roads that we eventually ended up ~ and I choose the phrase ‘ended up’ with considered deliberation for its sense of where we felt we were ~ seemingly tucked away in a strangely quiescent nowhere hidden away in the back of beyond.
From the elevated vantage point of our bus windows ~ one of the advantages of travelling by modern bus is its height, since it allows you to see things which at eye level in an average-sized car would be at best half visible if not plainly indistinct ~ it appeared to us that we were driving into the centre of somewhere; a core area of something. But what exactly, I was not sure. It was a large space that would have been open was it not for the dominant presence of a prodigious, vented, cylindrical Soviet war monument, a tall obelisk arranged in three parts set in paved grounds surrounded by trees and shrubs.
To the right of this monument-occupied otherwise empty space stood a series of small prefab sheds, white with sloping roofs, which looked commercial in purpose. One, in fact, was a café, but whatever function the rest fulfilled all looked closed and vacant. The impermanent nature of these huts put me in mind of the sort of thing common to British seaside resorts back in the 1960s.
At the far end of this contrastive arrangement, a long, grey building presided, which had its origins in the German past. Although in part it contained the settlement’s shop, the spectacle of the Russian flag hoisted upon its front lent to the whole a distinctly municipal air.
The gravity and dignity which this building bestowed, counterpoised as it was with the row of little white huts, was not, however, salient. That accolade went to the war memorial, which, not in its size and scale but by virtue of its symbolic presence, dwarfed everything around it.
These centralising elements, particularly the preponderous nature of the carefully choreographed cenotaph, whilst engaging all normal senses, were yet softened and enveloped, near and far the same, by an already verdant call from a mid-summer fast approaching. But what was decidedly unaffected either by hand or by nature, nature, that is to say, divined at its most natural, was the felt presence of an invisible entity, an invisible mass of some description, which, whilst no one in their right mind would want to meet it at night, was, I am glad to say, in the full refulgence of open daylight at the better end of almost unbearable.
I am trying to remember another such brooding dominion in my life where the push-me pull-me forces were so exacting. I know there have been some, even perhaps too many, but in this place, at that time, the ambivalent impulse to stay and go exerted an indescribable strength, so strong in its contradiction that either nothing I had experienced was quite so remarkable of its kind or the power that it wielded had wiped the slate of memory clean.
It was, therefore, with regret and relief and a kind of mystical thank you that, with our explorations for now concluded, we clambered back on board the bus and took off for another world, one hopefully less unfamiliar.
Another long trek through the old East Prussian countryside on roads narrow and lined with trees and for the most part empty of vehicles, brought us by and by to another public space of note in the centre of what I guesstimated was a small provincial town but was later told had city status.
Here our bus was met by the head honcho of the town’s museum, who preceded to deliver what I have no doubt was a most informative lecture on the history of the township and the biographies of its great and good. Unfortunately, however, two factors weighted against staying the course of his holding forth, which were that (a) my work-in-progress Russian permitted me to catch only so much of what it was he was saying, and (b) all of us from the coach were standing there in the midday sun slowly baking like a tray of potatoes. Thus, we sincerely trust, without incurring lasting offence, we sidled off to renew our acquaintance with an old and thoughtful friend. It was Mr Vladimir Lenin, who, standing high upon a plinth with an air of requited authority was, for all his self-assurance, looking rather upstaged, we thought, so we gave him the benefit of our attention and made his day by taking a snapshot.
At length, with the man from the museum having reached the close of his not inconsiderable address, we rejoined our bus-prone group and allowed ourselves to be led away towards the town’s museum, passing on the way a group of local drunks who, observing our ordered formation on Russia’s Pioneers’ Day could not resist lampooning us, calling out with a snigger: “Are you pioneers?” They could not have made me feel more at home than had I been walking down Rushden High Street past the drunks that congregate outside the Rose and Crown. But we sallied forth away from them, like the cultured folk we were; away from their mid-day quips, away from their cool, their corrupting, their challenging, their callous and chilled cans of beer!
Krasnoznamensk and its museum
I like my museums like I like my antique auction houses: old buildings labyrinthed with rooms. Thus, Krasnoznamensk museum and I were destined to get on famously.
The exhibits contained therein are drawn from every-day life in the former East Prussian region, from and across the time when its occupants were German to and across the time when its occupants were Soviet. The displays range in type and scale from pottery fragments skilfully mounted between the frames of picture boards, a simple but effective technique which I must remember to try myself, to chunky household furniture, reconstructed Soviet kitchens and cottage-industry weaving machines. There is more than enough paraphernalia upturned into the present from its resting place within the past to make obsolescence a thing of the future, including ~ and these are my favourites ~ hand-written letters, objects of ephemera, 19th century postcards, diaries and scrapbooks ~ intimate records of social history on which I place the highest value.
It was of no insurmountable consequence that I struggle in reading Russian and that the only words I know in German, other than Adolf Hitler, are ‘achtung’ and ‘schnell’, since help was on hand to translate the Soviet texts (you cheat, you!), and I found the German scrapbooks largely understandable. The newspaper cutting headlines and snipped extracts from magazines could often be worked out, especially when there were images present, and the published and personal photographs were all but perfectly self-explanatory.
One exhibit which particularly caught my time-obsessive eye was a torn and mottled document, on which was written in a hand exquisitely calligraphic and laid out with the exalted precision fabled of the Germanic race, an inventory of goods and chattels belonging to the writer’s home. Completed comprehensively, this illuminating historical record had been carefully rolled into a scroll and slotted for safe keeping inside a metal cannister. The lid had then been screwed on tight and the time capsule secreted away within the wall of the writer’s house, and there it had remained undisturbed for over a century. Great galloping goose bumps Batman!
Above: The time capsule dates to 1905. It was discovered on 8th July 2019 in the wall of a building in Youth Street, Dobrovolsk, Kaliningrad region.
Above: Condition of handwritten document preserved as a time capsule.
Above: Close-up of the handwritten paper found within the time capsule.
By the time we emerged from the museum, time itself had moved on and taken the piss artists ~ that delightful bunch of fellows who had so kindly serenaded us earlier ~ with it, leaving us with a bench on which we could sit in peace and enjoy our ice creams. There are times when time can be nothing but cruel, and at other times awfully kind.
Once all of us pioneers had been assembled, we set off, guided-tour fashion, not in the direction of our charabanc but towards a piece of notable scenery.
The weather was made for meandering, and our walk, taken in low gear at deliberate tourist speed, took us down a steepish street with some lovely old houses on either side, the culmination of which was a landscape painter’s view of an archetypal red-brick church resting on a hill.
The pictorial composition with the church seen in the distance on top of its grassy eminence, bucolically framed by trees and meadows, its inverted mirror image reflecting in the river, made me reach for the brushes and easel that I have never had and oddly enough did not bring with me, and which, even if I had and did, I could not have used in a month of Sundays (this is where Victor is needed). So, I reached for my camera instead.
We had come to a halt on a small knoll leading up to the sluice gates of a dam. From this position, and along the lower embankment, the water barely moving, pooling in the river’s widest point before making its rapid descent over the crest of the barrier, the lucky sightseeing tourist is treated to a first-class display of contrasting natural elements. In the foreground ~ suspension, energy, drama, a continual state of momentum; away and to the rear ~ unity and balance, a time-honoured pastoral tranquillity. Juxtaposition holds its own on the fringe of this chocolate box scene but is exceeded by a clever aesthetic in which we and Harmony have no doubt that she is the pedastalled Goddess and Contrast her submissive.
Having seen the church from afar, it was no other trick of nature that in the space of a short bus ride we were at its gates and then inside. The once Lutheran institution, which, as far as the cursory eye could see, had undergone no dramatic changes to its external heritage, had surrendered within, however, to the will of the reigning Orthodoxy.
Mercifully, in this instance, the exchange of religious affiliation had done nothing to damage the age-old idea of church as a place for retreat and sanctuary, and neither was it sufficient to have harmed and/or eroded all that we had been taught as children, that irrespective of denomination a church is always a church, a temple within whose hallowed walls everyone talks in whispers. With this particular church, even the least devout of Christians would be hard pushed to come away without confessing some admiration for the splendiferous Orthodox décor and a love of the heavenly scent lifted into the air from a multiplicity of burning wax candles.
Among the congregation of the church, there were these three Storks ~ you know the sort of thing: those prehistoric, long-legged birds native to these lands ~ who were conspicuous for their absence. They were standing not so far away looking like beaks on stilts above their ginormous nests, which they had built without permission on the tall tops of some telegraph poles, protruding from the yard of a deserted industrial building. “We never saw nuttin,” they seemed to say. “We were here, at home, all day, minding our business as usual.”
Above: Did you know that storks can be camera shy? She sat down as I was taking the photo.
It may be of interest for you to know that stopping off for a bite to eat had been included in the price of our tour. As that was something that never happened at the ‘Big Meat Pie’, and by now it was half-past three, we were all getting rather peckish. “I should think you jolly well would be!” reasoned the storks. So we said our goodbyes to them, waved farewell to the church and shot off in the bus.
Seeing the Kaliningrad region by coach
On our way to somewhere else (Nemanskoye), it was made known to us that the restaurant awaiting our patronage was located in the same settlement where the last venue of the day, a museum to local and Soviet history, was our current destination. The master plan was simple: split the company into two groups; one group to the museum; the other off to the restaurant. We were in the restaurant group and that was fine with me.
By and by the bus came to rest on a piece of rough ground. I presumed that the large German building to the left of us with a giant mural on its gable end had to be our restaurant, but I couldn’t have been more wrong than had I won first prize in the Getting It Wrong on A Bus Tour show.
In my defence, however, there was nothing in the near vicinity remotely restaurant-like. Before us stood some old brick barns, worth their weight in golden history, and behind us a red-brick building with a broad and sweeping roof, which, judging by its maintained appearance and the tended garden in which it stood, was, I inferred, the museum. Give the man a coconut! This time I got it right!
Above: Vicarage when the region was German. Now a museum dedicated to Soviet social history.
Unlike the other venues we had stopped at on our journey, this hamlet had no centre. All it appeared to consist of was half-a-dozen humble cottages on either side of the road. Where on earth in a place like this could the restaurant be? I wondered.
I was still wondering this when the game of follow my leader began. We were heading in the direction of a typical row of East Prussian cottages, brief terraces under one roof often topped with asbestos; one-storey dwellings which logically could have been two, as almost all German houses built to this spec scattered across the region have room enough in their attics in which to hide a doodlebug.
We were walking across the opening to a yard which, with its sloping sheds, buckling barns, old wagons, oil drums, chickens and a cat, had ‘rural smallholding’ written all over it. What it did not have, however, was a sign saying ‘restaurant’. Nevertheless, before long, we would be stooping under a home-made porch, frightening off a gaggle of children who were hanging around outside and making the cat go ‘meow’. I replied in kind, of course; forever the well-behaved Englishman.
Above: View from inside the restaurant into the back yard.
Normally, a provincial building of this type would be segregated into three or four parts, that is to say three or four homes, with the front doors lined up in series along the longer edge, which is often, but not always, the side that borders the road. Bucking the trend, however, this building ~ it was our restaurant ~ was accessed through the gable-end wall. I imagine that at some time in its history the intersecting walls had been removed in order to transform the building into what it had become, one long rectangular room.
It was welcomingly cool within, if not a trifle chilly and definitely feeling and smelling unused, in the sense of quaintly damp. Several laid tables with four seats apiece were arranged in sequence along one side, the side with the windows that bordered the road.
The decoration was rather spartan and most of all it did not fit. And yet, its being so oddly mis-matched made it a place like nobody else’s, and a memorable one at that. The restaurant had a bar where similar things were going on. At first it was alluring, but faster than immediately, you could say quite at once, it lost its appeal and attraction, like a sequestered piece of ground might do if thought at first to be a garden when in fact it was a graveyard. Every bottle on every shelf and attached to every optic was as empty and forlorn as a liberal comedian’s repertoire and looked as if they had been that way before recollection had been invented. The bar did have Jim Beam, however! But, of course, it didn’t.
It was socially unacceptable, so many empty bottles, a little like reading the local obituaries first thing over breakfast to see which of your remaining friends had died the night before. With a heartfelt sigh, I turned away. I might even have said a short prayer. And if I didn’t, I should have done.
Above: Is there something a bit Old West going on here? The drinks had certainly gone west.
Ordinarily, I am not a fatty fry-ups man, but today I was so hungry ~ the proverbial hungry traveller ~ that I could have seen off a plate of bacon and eggs, no problem ~ minus the bacon, of course. However, the menu had but one thing on it, of which we had been forewarned but it did not follow had come forearmed.
Today’s special was billed as a traditional Lithuanian delicacy. It was normally stuffed with meat, but a vegetarian option, in which the animal parts had been replaced by potatoes, was about to make its debut. So, let it not be said that I had not been adequately catered for!
When the dish was slapped on our table, however, I greeted it with deep suspicion bordering on alarm. Whatever was it supposed to be? It embodied the shape of a Cornish pasty but had such a pallor of sickly white that the last to make its acquaintance must surely have been Count Dracula. It glistened from head to toe with something that looked like nitro-glycerine and was crowned with a caking of crispy brown stuff, which, I rightly or wrongly presumed, was a pinch or a sprinkling of bacon burnt. Vegetarian or not, it had an altogether living look, like an alien cheaply made for an early episode of Dr Who before Big Budget turned it woke.
I nibbled just a bit, just to be polite, but could not disguise my aversion. At the very least it reminded me of those rubbery, stodgy, suet dumplings routinely and far too regularly offered up as food at school (which you had better eat or else!) and which dropped from gullet to guts like British Navy depth charges onto states of panic in the turmoil below.
Politely saying, “I think I will pass”, was not on the menu either. There it sat, this delicious delicacy, as bold as bollocks upon my plate. It could only be a matter of time before the guards discovered that Appetite was missing and would drag me away for interrogation: “You don’t like it? Why? What is wrong with you? Why don’t you like it?” Every question they fired at me sounded like an accusation.
In fairness, and unfairness, we vegetarians are used to this. I myself have 48 years of used to. But it certainly is not everyday, especially in these enlightened times, that turning down a recipe on the grounds that meat might be lurking in it attracts such grave astonishment from an audience so astounded. Every person within the room, that is every person without exception, was gawping in my direction, some with their forks comically frozen midway to their mouths, as if they could not believe their eyes and ears. How could one be so rude to that lovely hunchbacked anaemic thing crouching on our plates.
I lowered my eyes to my own plate; it was right and proper to do so; such indefensible shame. The source of my torment grinned back at me in a state of half-mutilation: “Eat me! Eat Me!” it goaded. Where was Alice’s Wonderland when you needed to shrink in it most!?
“These people,” I thought to myself indignantly. “Why do these people complain?” (Although no one was complaining.) After all, whatever it was we were eating, or not as the case may be, had come from Lithuania. It was not as if I was turning down honest-to-goodness buckwheat or good old kapoosta pie; those I can eat ‘till the bears come home! I simply, but categorically, had lost myself in the critical fog of what, by all accounts, should have been that Lithuanian moment.
Glad I came to the restaurant, gladder when I came out, all I had left was the cat for a friend. It followed me to the roadside and saw me off with a last ‘meow’, saying “No one can blame you, Englishman. Given the opportunity, I wouldn’t have eaten it either.”
“Must be a Russian cat,” I thought.
Banquet over, I tightened my belt and put on my museum hat. It was by far the better thing to do. If museums be the food of love, move on!
Above: Museum as seen from the grass area on the opposite side of the road.
Nemanskoye Museum
The renovated but not spoilt building now occupied by Nemanskoye museum is devoted generally to an exposition of Soviet cultural history and specifically to life in the village of Nemanskoye from the end of the Great Patriotic War to the fall of the U.S.S.R.. In German times the house had doubled as the home of the vicar and village hall, a place where meetings could be held to air and discuss community matters.
Now, as a museum, the connection between the past and the present could not be more complete. It is as sharp as a contactless card: Cross the threshold it registers. The connection is a personal one. The museum so thoughtfully tended with personal love and care wires you into its memory banks quicker than you can say ‘Life was harder in those times but somehow remarkably more in touch with the core of who and what we are’.
The Soviet story of life in the settlement and the lessons learnt in humanity passed down through the decades from the vicarage that was, and the influence they brought to bear in creating this private museum, whether predetermined or acausal, have a humanist continuity that is worth revisiting at a later date and thus in a later post. Although my sound advice to the reader is go and see for yourself.
Epilogue
At the outset of this post, I confided in you my reservations about sailing off on coach trips. Never a beckoning finger or a tune that would have me dancing to it have persuaded me to think otherwise, but had I stuck to my prejudiced guns and been led by nothing but precedent, what, odds I wonder, would Ladbrokes have given me of my ever encountering the historic delights I experienced thanks to this tour?
True one or two of the stops we made had been little more than flying visits, such is the nature of coach tours, but they made an impressionable mark, so that should the compulsion assert itself, which I am fairly certain it will, then these introductions may pave the way for further exploration.
Thus, the moral of this story is, in case you have not deduced it yet, that, as with many things in life, and guided tours are no exception, give it the benefit of the doubt: ‘don’t knock it till you’ve tried it!’
Updated: 30 June 2024 | First Published: 29 January 2023 ~ Zelenogradsk Restaurant BALT a Lesson in Harmony
I’m sure, almost certain, that it was not there 18 months ago when I last visited Zelenogradsk (doesn’t time fly!), but it was there now. I am talking about a new restaurant ~ new to me ~ that sits smack bang at the midway point of Zelenogradsk’s serpentine high street: a large, impressive, luxurious establishment set back from the street inside a broad paved plaza, its plate-glass single-storey extension forming a scaled juxtaposition against the taller four-storey building to which it is attached, the latter meticulously refurbished to a grand and imposing standard.
In the winter months when we were in town, the first impression of this restaurant from the outside looking in was PC; that’s not politically correct, but plush and cosy.
It was bitterly cold that day, and if the hallmark of a successful bar or restaurant is principally defined by the pulling power it possesses to tempt one off the street, then rest assured Balt restaurant has it.
Oh, did I forget to tell you? The name of the restaurant is Balt.
The first impression from the exterior of the building, which is so categorically bourgeoisie that Lenin had turned his back to it, was swish. I made a mental note, a simple equation: plush+posh+impressive+coastal-resort-town-centre = expensive. So, let’s jump to the bill. We had three dishes, nothing elaborate, a speciality tea and a glass of beer. It didn’t break the bank.
The second impression the Balt conveys is ‘big’. “It’s so big!” say your senses, when perhaps what they should be saying is not that it’s so ‘big’ but “It’s so tall”! In keeping with the modern trend in bar and restaurant design, the Balt is undeniably big, but, initially and accurately, the spaciousness perceived is confined to the height of the ceiling. In fact, the seating area which leads away from the entrance hall is limited to the perimeter of the extended part of the building; it forms the letter ‘L’, being a long, but slightly wider than the word implies, corridor. This is because, once again conforming to popular predilections, the restaurant is built around the kitchen, in other words built to a plan in which a centralised kitchen is King.
In the olden days, restaurants concealed their kitchens as though they were the black sheep of the family, the philosophy seeming to be ‘out of sight, out of mind’. This closeted mentality was an excellent way of keeping patrons on edge, since they never knew come the following morning, having enjoyed their meal the night before, whether their friends would be ready and waiting to scream, “You didn’t eat there, did you!” and then hamming it up with relish, proceed to recount in lurid detail the latest hygiene scandal.
Today, there is no need to be told by the ‘well-meaning’ ~ friends, family or the media ~ what goes on in restaurant kitchens, because everything is on display and laid out for the eyes to see. Restaurant kitchens have come of age. They are open, accessible, uninhibited, something to be admired, something to be proud of, not hidden away like a seedy back room in the depths of a mucky book shop. Restaurant kitchens have been emancipated, and a large part of that liberation lies in the transformation from an observance of cautious propriety to out-and-out exhibitionism.
True, some bar and restaurant designs tend to over-egg the soufflé. Displaying a kitchen eagerly in all its stainless steel, hygiene-oriented, busy, industrious, functioning glory is one thing, but it is quite another and quite inexcusable to overdo the exposure. Thankfully, Balt’s kitchen is a far more sophisticated and in-keeping centrepiece, enabling it to escape comparison with a man in a mac on a hill surrounded by too little foliage. I think the word I am searching for is ‘subtle’.
In fact, everything about Balt, not in its individual accoutrements but taken as a job lot, regarded in its entirety, is the epitome of subtle. How this works exactly is rather clever, because Balt is far and away not without a surprise or two, not undernourished in novelty.
Zelenogradsk Restaurant BALT
We were able to appreciate both the component parts of this dichotomy and its overarching effect from the favourable location of the table to which we had been escorted. The seats to which we had been shown occupied the latter portion upon the longer extension of the ‘L’ shaped room, almost at its inflection, thus availing us of a first-class view of each and all the different elements, which, when assembled as a whole, add up to the Balt experience.
First off, we were close to the kitchen, just a few feet away from the serving area: a long, curved counter on which chefs add the finishing touches to the dishes they are preparing before popping them into the tandoor oven, and from which attentive waiters pick up meals that are ready to go.
From our vantage point, we had a privileged view of the kitchen and the floor-to-ceiling tandoor, a large cylindrical-shaped oven used for baking unleavened flatbreads and for roasting meat. Once the open oven door and blazing fire beyond had ceased to remind me of crematoria, it was fun to watch the chef at work, sliding the various dishes and breads into the wood-fired oven with the help of a peel, a long-handled shovel-like implement with a flat metal pan attached to its furthest extremity.
Looking straight ahead, I noted with satisfaction the high-backed wooden chairs belonging to the nearest table. The back rests consisted of two vertical ebonised planks slightly angled toward one another. Close to their highest point a pair of semi-circles had been cut out so that in alignment they formed a circle. The only other concession to decoration was the seemingly random inclusion of small, pierced motifs ~ simple shapes which donated a touch of mystique without disturbing the minimalist balance.
My forward view also provided examples of ingenious lighting styles, including a heavy, orange tassel-roped pendant and lampshades mimicking small sheaths of straw.
The tables to the left and behind me were objects to be marvelled at. The tops were made of marble, the ends scalloped to give an uncut look. They were supported on a cluster of angled posts, recycled wave-breaking poles, some of which had been allowed to protrude through the table’s surface, and hovering above them with remarkable pendulosity was a clump or cluster of shell-like bowls, off-white in shade and in shape asymmetrical, which had me wondering, out loud as it happens, if they were really made from the pumpkin skins I imagined they were or from moulded papier-mâché
Every item in the Balt’s atmospheric makeup is an imagistic letter in the word and concept of ‘Natural’: wood, stone, fire, rope, straw, vegetables. At one end of the subtle spectrum, Fred Flintstone and Barney Rubble would not look out of place, but the Balt’s natural is a polished natural that borrows as much for its appeal on the application of chic sophistry as it does from down-to-earth and back-to-nature.
For all its emphasis on the natural world, Balt’s designers’ have hedged their bets, choosing not to preclude but include the fashionable tried and tested, omniprevalent in bar and restaurant, distressed industrial look.
This approach has become so widespread that it has gone beyond ‘must have’ to ‘can’t do without’. In the Balt, it has gone one further, becoming ‘Would you Adam and Eve it, the concept actually works!’: rocks, marble, stoneware vases, corn plants, vegetables and pieces of tree, rub along quite nicely, thank you, with gnarled brickwork, whitewashed slat-board, old beam ceilings, exposed ventilation ducts and suspended arty farty spots.
It is a tribute to Balt’s interior designers that they have managed to pull off a subtle, seamless fusion of modern chic and reclaimed-rundown and then wrap it all up in an eco-friendly ethnicity.
In a nutshell ~ and I am sure that Balt would approve of the use of such natural imagery ~ the key word to Balt’s come-hither and dine-within appeal is harmony. Everything, including things that would normally be at odds with each other, are wedlocked. It might be a marriage of convenience, but one that is no less perfect for it. Even the ethnic music, with its emphasis on tom-tom beat and repetitive chanting, is low-key, Sade-like and subtle.
At the centre and everywhere else of this is lighting. I’ve said it before; I’ve said it again; I’ll say it again and keep on saying it: from Restaurant Guy Savoy in Paris to The Four Seasons B&B in Brightlingsea, if the lighting is not right everything else will be wrong. Lighting is the magic drawstring that pulls everything together.
Balt’s lighting is soft, suffused and artistically modulated: a harmonising integration of ambient-sensitive ceiling spots and downlighters, overhead table pendants ~ each paired with its own novel shade ~ soft-glow wall lights, natural fire and candles. It’s good, because it works. It works because it’s good.
At this juncture, I know what you are thinking: So much for the Balt’s design; what about the grub?
Those of you who have read any of my bar/restaurant reviews will know that when it comes to food I’m hopeless. Why do I go to bars? To drink. Why do I go to restaurants? Usually because the company I’m in wants to go to restaurants, and so I tag along, but also because, as you may have deduced, I am an ardent fan of interior design and a connoisseur of atmosphere.
As a baked-beans-on-toast man, a man who likes simple food, I cannot provide you with a gourmet breakdown of the range of food Balt has to offer or the quality of its meals, and neither shall I try. However, a quick twirl around the internet should satisfy your curiosity. It might even tell you all you need to know.
Our order at the Balt amounted to a snackette: a spicey vegetable platter on oven-baked bread ~ a white leavened flatbread similar in texture and taste to naan ~ and some exotic-looking poppadoms. It was not in the least expensive, but I will say that presentation took precedence over quantity. Now, were you to indulge in a main meal, the situation may be completely reversed or, like everything else at Balt, a happy medium struck.
I had a beer, naturally. It was palatable but served up in one of those peculiar ‘neither here nor there’ glasses, ie glasses that are neither small nor large, which frankly I find irritating. Half a litre, fine; half a half litre, fine; anything else exceeds my mathematical ability (see Soul Garden post).
The Balt, I am told, offers a range of dishes based on Indian subcontinent fare, which is something of a luxury in this part of the world. The prices are so-so, but not so expensive that they will tear the lining out of your pocket, and the carefully choreographed atmosphere, which is as restful and relaxing as it gets, beats anything I have experienced anywhere else in the Kaliningrad region or for that matter in the UK. Recommend the Balt? I’d buy it if I could!
The main thing Balt (restaurant) Kurortny Prospekt, 16, Zelenogradsk, Kaliningrad region
Angel Park Hotel > An inspirational rural recreation centre on the site of an East Prussian settlement Amber Legend Restaurant > Amber Legend Yantarny, a jewel in the coastal town of Yantarny Fishdorf Country Guest Complex > A family-oriented retreat, secluded and steeped in nature Fort Dönhoff (Fort XI) > An evocative 19th century redbrick fortress, part of Königsberg’s labyrinth defence network Polessk Brewery > Beer, history and German-Gothic architecture (that’s my personal order of preference!)
Promenade Apartments Svetlogorsk Showcase Stylish Living
30 May 2024 ~ Svetlogorsk Promenade a New Chapter in its History
At the point at which the new stretch of promenade on Svetlogorsk’s coastline meets the old, a broad canvas containing an evocative black and white photograph of the promenade as it appeared when Svetlogorsk was German Rauschen effectively softens the large metal fence behind which work is ongoing to upgrade the original walkway.
The photograph, which was taken in the early twentieth century at a time which we in England would call Edwardian, harks back to a quieter, more sedate and less populated period in the evolution of the modern world and in Svetlogorsk’s personal history. In those days, people dressed better (that is, those who could afford to do so), and life, at least in the pictures, had a better feel about it and seemed to move at a far more leisurely pace.
‘Oh! I do like to be beside the seaside! I do like to be beside the sea! Oh I do like to stroll along the Prom, Prom, Prom!’ ~ John H. Glover-Kind (1907)
Fast forward to the third decade of the 21st century:
Walking along the ‘Prom, Prom’ ~ as there are (or nearly are) two in Svetlogorsk ~ has not been the easiest thing to do in the Kaliningrad region’s coastal town for quite some considerable time.
First, there was the Sovietised prom left behind by the Germans; then there was a quiet, narrow stretch of beach left behind by perestroika; then there was the construction of a new promenade; then the promised construction of a sparkling, spanking new set of des-res apartments hugging the new prom coastline; and then … and then it stalled.
When the first stage of the new promenade reached accessibility, those of us who had not grown impatient and swapped allegiance for Zelenogradsk, strolled along the ‘prom, prom, prom’; some of us marvelling at what was to come and some, no doubt, bemoaning the loss of the rocky ribbon of beach, with its golden memories of long hot days, the basking bodies of former girlfriends, the odd kapoosta pie or two and a couple of tins of lager.
At this juncture in Svetlogorsk’s transformation from sleepy spa retreat to resort boutique, the old legacy prom with its cafes, restaurants, outside bars and amber-selling stalls was still firm favourite.
Then, possibly a couple of years ago (the memory grows dim), one evening, when the sea was particularly tantrum prone, a section of the old prom surrendered to its attitude problem and promptly fell apart, as old proms and seaside piers have the disturbing habit of doing.
The missing piece was soon replaced, but shortly afterwards came the announcement that the old prom would temporarily close for a period of refurbishment. And that is the way it has been for a proverbial month of Sundays and considerably more than a month of sunny summer days.
Behind the ubiquitous blue and white building-site fences, obscuring both prom and the sea, an extensive restructuring programme to defend the platform from the sea’s worst excesses labours on relentlessly, incorporating a face lift which, when it is finished, I should imagine, aims to bring the old prom cosmetically into line with its glossy, upmarket protégé.
The simultaneous reconfiguration of both of Svetlogorsk’s proms led to the loss of the beach from one end of its coastline to the other. The collateral damage was marked by a substantial tourist exodus from Svetlogorsk to Zelenogradsk, the Kaliningrad regions second resort, and indeed to the other resorts that share the Baltic coastline. Fortunately ~ for Svetlogorsk that is ~ stunning sea views from the uppermost reaches of the coastline’s steep embankment and a seamless stream of investment into the town’s inland facilities and its tourist attractions cushioned the brunt of the blow. And some of us kept coming back just to see how things were progressing. I was one of those someones.
Svetlogorsk Promenade a new chapter in its history
I returned to Svetlogorsk earlier this May, approaching the seafront via the Central Staircase, the great parade of steps that since 1974 has led to the giant sundial. The steps still go where they have always gone, but the sundial, including its brilliant tessera mosaic based on the signs of the zodiac, appears to have been uprooted.
Above: Svetlogorsk Sundial in June 2021 Below: The same location as it is today, photographed from the Central Staircase
In a less exuberant period, before Svetlogorsk was ‘discovered’, when a ‘permit’ was needed to enter the town by car, as it was then considered a health resort in which the ozone air was sacrosanct, the sun dial, designed by Nicholas Frolov, was counted along with the water tower as one of the town’s star attractions.
On an evening in the year 2000 ~ it was the month of December and blisteringly cold ~ I took hold of the sundial gnomon, the upright blade that casts the shadow. “I shouldn’t have done that,” I thought. “My hand is freezing to it!” And then I thought, “I am actually here. I am actually here in Russia!” That moment was quite symbolic; quite a personal moment. Let’s hope they put the sundial back. They ought to, don’t you think? If only just for me.
Svetlogorsk Promenade a new chapter in its history
As it is no longer possible to access the old promenade due to its debasement as a construction site, a temporary boardwalk filters pedestrians onto the new promenade (Novyy Promenade), where ~ lo and behold! ~ after what seems like a brief eternity, or the torturous interval we had once to endure between the opening times of English pubs, the foundations for a three-phase series of swanky new apartments are finally metamorphosising into the shape of things to come.
You can see what this stretch of coastline looked like in the earlier stages of the apartments’ construction by clicking on the following links:
This is the closet that I have been to a high-rise building site in years, and it must be said, for want of a better reason, such as getting onto the beach, it is worth toddling off to Svetlogorsk to see exactly how they do it, build buildings that high, I mean, and by becoming a casual observer catch history in the making.
Before gawping skywards, it is interesting to study first the full-colour canvas banners strapped to the baseline hoarding, each containing artist’s impression of how the built coastline will look when the job is completed. Then, when you have matched the buildings in the illustrations to their skeletal incarnations, marvel at the blokes aloft, hauling heavy and awkward building materials from one man to another up different levels of scaffolding and the audacity of those above them, who, defying the laws of gravity, precariously perch on slim steel girders, working away with hammer or drill some seventy feet above your head. It’s enough to remind you of what you could do, although you never would.
Looking upwards is sufficiently vertiginous without the encumbrance of climbing ladders. Best to look to the sea. It does not hurt your neck, and it can be therapeutic.
Above and beyond the promenade wall, which is hefty, tall and chunky, the sea is visibly seeable, but not without a distracting impediment. Someone, when no one was looking, appears to have gone and dumped thousands of tons of granite boulders over the seaward side of the wall, completely overriding what little was left of the beach.
I was asked, as if I was the prime suspect, whether these outsized chunks of stone would remain in their present location or be used to bolster the groynes (yes, I’ve spelt it right!), the heavy pole-shaped wave-breakers that march regimentally in parallel lines from Svetlogorsk’s shore out into its sea.
I knew the answer, of course, but I wasn’t about to let on. It could be that I was busy contemplating what it would be like to own and to live in a luxury apartment overlooking the Baltic Coast.
The sunsets along the Baltic Coast rank among the most spectacular anywhere in the world. Imagine sitting in your des-res flat. Would you ever tire of the spellbinding view? It’s doubtful.
Quotes from the appartment developers’ website “Promenade Life Health Resort A long-awaited project in which you can live, take care of your health, raise children, create and be proud of your heritage”
“PROMENADE is a hotel and health complex with more than 220 turnkey apartments with extensive infrastructure and a high level of service. It is located in a unique location – on the first line of the Svetlogorsk seaside – and occupies almost one and a half kilometers of coastal territory.”
“The Baltic coast is one of the most amazing and beautiful places on Earth. Both romantics and pragmatists will find refuge here. The first will be inspired by amazing seascapes, the second by the undoubted convenience of geography (the Baltic coast connects 9 countries). A place of power is a place where you can relax and conduct business in comfort.”
At present, the new promenade is serviced by one bar and one restaurant only, both integral features of the embankment lift. But when the residential complex is complete, apart from and in addition to the plush apartment interiors, nature in all its natural glory and everything else that Svetlogorsk has to offer ~ eclectic bars and restaurants, good shopping facilities, tranquil woodland walks, engaging cultural and social history, convenient road and rail links both to Kaliningrad and the region’s airport ~ those lucky promenade dwellers will have right upon their doorstep the use of a pump room, spa and clinic all wrapped up in a breathtaking view inside a great location.
You can find more about this desirable lifestyle by clicking the link to the developers’ website here > https://promenad-park.ru/
In the meantime, I will bide my time in the sure and certain knowledge that any day now I will hear the sound of keys dropping into my post box, heralding the arrival of a personal invitation to take complementary possession of a deluxe apartment on Svetlogorsk’s prom.
You have to admit, it’s nice of them. My thank-you note is already written.
17 May 2024 ~ Ozerki Lock Masurian Canal the brave and beautiful
Pursuant to our trip to Znamensk, we motored on that same afternoon to a lock on the Mazurski Canal (aka Masurian Canal), a German project implemented in 1911. The plan was for the canal to connect Königsberg (now Kaliningrad) with Lake Mauersee (aka Lake Mamry), but the project faltered and eventually failed due to Germany’s hyperinflation.
Travelling from Znamensk, we were to pick up the trail of the Mazurski Canal at the Ozerki Lock. There are no major roads servicing this region, thus the trip by car from Znamensk is seemingly protracted but on the way you get to appreciate views of woodland, open countryside and original East Prussian dwellings, some of which are delusively quaint for the sightseer, or, where standing empty and derelict, curious objects on which to dream and speculate. These are the homes of those who enjoyed, or did not, the day-to-day realities of an agrarian lifestyle and do, or do not, enjoy it today.
Ozerki Lock Masurian Canal
Popular theory has it that first impressions are often wrong and in the case of Ozerki Lock, they are often wrong and right. Yes, Ozerki Lock is a great slab of concrete, this is the first impression, but as with most first impressions, there is more to the subject than meets the eye.
Like a lot of things German, especially leading up to and during the Second World War, Ozerki takes you unawares, sitting there, as it does, on a 90-degree sharp bend, camouflaged to a certain degree (Them Germans were good and are good camouflagers.) by the outer reaches of a ragged coppice. But the real drama is concealed inside, waiting patiently to ambush your senses blitzkrieg style. It’s all so very German, isn’t it!
Pulling off the road, we came to a halt on a dirt track widened on the nearest side to the lock by constant use as a makeshift carpark. Although the number of vehicles in our retinue had diminished since we left Znamensk, some drivers having decided that it was time to head back home, the improvised carpark was yet insufficient to take all of the remaining retro club cars, thus those that could not be accommodated dutifully regrouped on the outside curve of the bend.
A metal staircase with an open rail, similar to those in England that climb the sides of control towers on disused WWII bomber bases, was the means by which we would ascend to the upper level of the lock’s superstructure
I am not very good when it comes to guessing heights, but I would say that we were about twenty-five feet above ground level when the old metal staircase on which we were climbing turned at an angle of 90 degrees. No great height, admittedly, but the unexpected discovery that age and rust had done for the handrail had quite an unnerving effect. It actually signalled what was to come, but nothing of a preparatory nature was in and of itself sufficient to subtract from first-hand experience.
The initial encounter is, to coin a phrase, breathtaking. There are no handrails, no safety rails of any type; nothing to stabilise or assist yourself with. You are standing upon a ledge little more than six feet in width, staring across the cut to its opposite half, a sheer and brutal-walled descent into a dark abyss of semi-stagnation. You follow this man-made ravine, drawn to what appears to be a solid wall of water at the farthermost end of the lock. It is nothing of the sort, of course, simply an illusion, created and perpetuated by a constant flow of water escaping at a uniform rate over the top of the lock gate. Nevertheless, the spectacle makes you pause, and then you are falling, visually down, carried by the sheet of water into the yawning gulf below ~ a precipitous man-made canyon entombed in reinforced concrete.
Hailing from Northamptonshire in England, to be a stranger to waterway locks would be more difficult than impossible. Along the river Nene and Grand Union Canal, many fine examples are to be found, some in fact quite deep, but nothing that comes nearly as close to the overpowering awesomeness of this giant concrete sandwich.
Ozerki Lock Masurian Canal
Far be it for me to confess that I shrunk from my response and instinctively made my way towards one of two small rooms that flank the structure at its roadside end. But had I gone in search of solace, I would not find it there, for not only was the chamber skeletised ~ it had no doors, no roof, its windows had no frames nor glass ~ it was in short as open to the world as any object could be ~ but also and often at floor level deep declivitous shafts, waterlogged some several metres below so that they borrowed in appearance from a staggered series of man-made wells, presented themselves as cunning traps intended to compromise life and limb. The feeling, or rather the inclination, that this combination of heights and pits engender, is an interesting voyage of self-discovery that is not to be fostered or encouraged.
A second doorway, second to the one through which I suspect I had passed in haste, also had no wood to close. It looked out high above the road, giving access to a narrow walkway, some of which was shattered, connecting either side of the lock to the other. It formed a bridge, a precarious one, between the two opposite chambers.
As myself and my male associate hesitated, contemplating the daunting prospect of crossing the narrow divide, the ladies in our company took the initiative for us and verily showed us up, as altogether in one mind and without a second thought, even pausing at the midway point to pose for several selfies, they traversed what we had not and eventually decided would not.
“Huh, anyone can do that!” I thought.
Back on terra firma (about two seconds after “Anyone can do that!”), I decided to walk in line with the lock and approach it again at the opposite end via an earthen bank. This I succeeded in doing with no incredible effort, arriving at the end of my circumventing labours once again at the top of the lock but overlooking the gate.
The vertical view at this point is altogether astonishing, invoking a sense of sublimity in the purest sense of the term.
A momentary distraction
A beautiful young lady with her midriff all on show, whom and at which I was looking purely because she and it offered some respite from the effect of staring giddily down into the swirling depths, had a large boyfriend with her, so I quickly looked away. But then, quite unexpectedly, it was he who became the object of my fascination, and for reasons understandable; for caring not a fig, even if he should have done (does anybody care a fig?) he strutted across to the other side of the ramparts and, without a care in the world, or care to remain within the world, judging by his temerity, proceeded to descend inside the bowels of the concrete monster via a series of cylindrical rungs embedded in its wall. Meanwhile, the voluptuous Miss Midriff, teetering on the edge of the platform arm in arm with her own excitement, leant out at a remarkable angle and snapped some photos of her man, who had decided to take his fate in one hand and also on one leg.
This ‘cast all caution to the wind and laugh in the face of danger’ stunt is one that I can readily associate with my English friends, the Wilcox family, who, in all the long years that I have known them, have never been backwards in coming forwards when Challenge throws down its gauntlet, no matter how dangerous that challenge may be or simply because it is dangerous.
I returned to the car and drank tea.
When we were all safely back inside the car, not talking about who had been brave and who hadn’t, it was time to motor off to a nearby glade opposite a dwelling place. Unbeknown to me, arrangements had been made to stop here for refreshments.
The occupants of the aforementioned house showed us to a picnic table at the side of the canal, whose footpath they had cleared. Here we were able to park our arses and partake of the picnics we had brought with us. Some people, those who had not signed a secret treaty many years ago with the Vegetarian Society, were occasioned with meat soup from a sizeable cauldron, so expertly slotted into a motor-vehicle hub mounted on a metal pole that customisation could not be ruled out.
The spot was perfect, but for the absence of a public lav? It was a long way to the bushes and without a rope and a course in abseiling, it would have been indecent, but rejoicing came in two flavours: one, that the owners of the nearby abode possessed a privy we were welcome to use, and two, it was outside.
What a thrill! Talk about reliving my childhood! Our family had, and had a reputation for having, the last outside loo in our village. It became so phenomenally unusual by virtue of its archaism and also so utterly embarrassing for reasons of the same that I cannot imagine what life would have been like without it: more difficult certainly, yet not so amusing. It furnished us with many a joke and anecdote and became so embedded in family folk lore and legend that it and it alone was enough to turn us one and all into after-dinner raconteurs.
It is difficult to explain such an honest affection honestly to someone with an outside loo without sounding condescending and raising the hackles of suspicion, but as in Monopoly I took a chance, and the people to whom the loo belonged took it in good part. It was far less controversial than the passionate urge to sing, on seeing Olga’s photograph, “Oh dear what can the matter be, xxx lady stuck in the lavatory.” Best not, ay! Discretion, as they say, is the better part of valour! I was heavily into discretion today.
From Ozerki lock to outside privies in one fell swoop, there’s an epic digression for you!
Ah hem: Getting back on subject, the Ozerki Lock. If I had been expecting somewhere National Trust protected, the lock renovated, enclosed within its own neat grounds, with a ticket office up front, a carpark in the near beyond and the whole outlay serviced by cafes and souvenir shops then, like they say of the teddy bears’ picnic, I would have been in for a big surprise. Seeing it as it is and exploring it in the raw, so to speak, and doing it all for free, has obvious advantages, but I would not be at all surprised if my fertile imagination does not one day give birth to fact and the vision that I have outlined is not a reflection of Ozerki’s future.
“Ozerki Lock! Tickets, please! And mind the steps as you go!”
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There are more things in Znamensk than meet the eye
9 May 2024 ~ Znamensk (Wehlau) Before You Go What to Know!
It is about 50km / 30 miles from Kaliningrad to Znamensk. That is no distance when you are whipping along in an all-mod-cons motor vehicle, but when you are travelling by classic car, such as a 1960s’ Volga, ‘Vorsprung durch Technik’ is less likely to spring to mind than ‘oversprung and lurch quite drastic’. But isn’t that just the fun of it!
As is the custom of the Kaliningrad Auto Retro Club, those members who were attending the latest meet, met up on the concourse of a filling station. As pre-planning goes, this strategy cannot be faulted. Most large filling stations have all you need for a temporary stop: fuel, food, tea and coffee, toilets, and, most importantly, a place to park and space to stretch your legs.
They are also perfect for saying hello to and shaking hands with people whom you may not have seen for months, and you can amble around and look at the cars and, of course, take numerous photographs.
All of these things we did, until, when all the participants were herewith assembled, we hopped into our respective motors and cavalcaded away.
Znamensk (Wehlau)
Znamensk, our destination, is a small rural settlement, population less than 5000, situated in the Gvardeysky District, east of Kaliningrad, Russia. As with many places in this region it has a chequered and violent history, changing hands many times over the course of centuries.
Wehlau, as Znamensk was known in Prussian times, fell to the Teutonic Order in the mid-13th century. Having populated it with Germans, the Order then went on to fill the town with horses. In the first half of the 14th century, civic charters were granted turning the hitherto sleepy settlement into a major centre for horse trading. Three horse fairs were held each year, one of which lasted for three whole days.
Opposition to Teutonic rule in the mid-fifteenth century sparked a war between the Kingdom of Poland and the Teutonic Order. Lasting for 13 years, someone with an eye for detail decided to call it the Thirteen Years’ War. The outcome of this conflict was that the eastern lands of old Prussia, including the town of Wehlau, was granted to the Teutonic Order as a fief and protectorate of Poland. The Teutonic Order had not been entirely vanquished, but it was certainly no longer the force it had been.
The sixteenth century came and went. It was not the best of times for Wehlau as it suffered a number of natural disasters, including a terrible fire. But in the 17th century, its fortunes changed. Frederick William, ‘The Great Elector’ of Brandenburg, acquiring full sovereignty over Prussia, proceeded to develop the country into a major power.
In January 1701, the Kingdom of Prussia was formed, and in 1871 Wehlau, along with the rest of Prussia, was absorbed by the German Empire.
During the 19th century and up until the mid-20th century, Wehlau grew into a handsome town and one with a thriving community. The town was served by all essential amenities, including a school, a court and a church. The Prussian Eastern Railway provided access to Königsberg and also to Berlin and from Berlin a link to St Petersburg.
On the 23 January 1945, Wehlau’s history ended. After two days of gruelling urban warfare, Russian troops wrested the town from its embedded German defenders. By the time the fighting was over, nearly all that was left of the old town centre was rubble. In the aftermath of war, the ruins were flattened and cleared, and the town in its pre-war form was never rebuilt.
WWII: January 1945, the Red Army attack and take Wehlau Wehlau (now Znamensk) was almost totally obliterated in the last year of the Second World War, but it was not an easy prize. Record has it that it took the Soviet forces two days of intense fighting to defeat the German defenders and, as with other East Prussian towns, the only way to rout the enemy was to confront them street by street, building by building. The Soviets eventually won the day but casualties were high.
Znamensk (Wehlau)
Before we set out on our trip today, I had been forewarned not to expect too much of Znamensk, as there was little left to see.
First impressions of the still-standing Seven-Arch Bridge over the Pregolya River and the bronzed cupola of St Jacob’s Church visible above the distant rooftops appeared to belie what I had been told. But after snaking our way through a narrow street with German buildings on either side, we emerged into nothing much — much of empty space but little of town. To the left stood the ruins of St Jacob’s church, to the right a block of flats, typically Soviet 1970s, rather rundown and tired and of no aesthetic value.
Trundling on, we eventually hung a right, which brought us into a little enclave of shops nestled against the side of the river. This partly developed oasis in the desert of Wehlau’s former glory is pretty much today what Znamensk is all about — a place to come if you own a boat and want to make use of the water. And what a lovely stretch of water it is!
We passed a rack of canoes and a vehicle with a boat in tow and pulled up beside a building, which, we would later be pleased to discover, was an attractive restaurant serving good food.
It was here on a narrow strip of ground that our Captain of Ceremonies, Arthur Eagle, would have the unenvious responsibility in his role of car-club president of marshalling the cars in our company into some kind of orderly parking
With no responsibility for us to abdicate, which is one of the joys of travelling passenger class, Olga and I disembarked, and, after a statutory session of photograph-taking, using the river as a picturesque backdrop, we took to the nearby restaurant.
Minimalist and light, bright and sensorially breezy, it is hard to picture a restaurant more inviting, especially after an hour or so of motoring classic style.
Halfway through our repast, however, Mr Eagle attempted to roust us out, we and the other club members who had sidled in for a bite to eat, for a guided tour of St Jacob’s, but the twin considerations of the restaurant being well-appointed and a paucity of enthusiasm when it comes to guided tours, we politely declined the order.
We would stroll to St Jacob’s church in our own good time, take in it’s red-brick architecture and feel our way back through the centuries to the dawn of its inception (1380), but as for the moment, it was comfy seats and coffee.
St Jacob’s Church Znamensk (Wehlau)
Like so many churches decommissioned by time, St Jacob’s is a shell, but it must have been born with survival in mind, because in 1540 a fire engulfed the town and the church was one of the very few buildings to resist complete destruction. Likewise, in 1945, most of Wehlau went up in smoke, save for St Jacob’s church. It seems that in this world of ours some things are heaven blessed, whilst others suffer the consequences of unmerciful indifference.
St Jacob’s church is often described as the only building of note in Wehlau to have survived the Second World War, but this is in fact untrue. Rising above the German buildings on the approach to the railway crossing, in all its faceted and Gothic glory, is the lead-crowned tented roof, complete with spire-topped dormer windows, of what easily could be mistaken for the bold, extravagant centrepiece of a medieval castle but which is in point of fact a 1913 water tower.
Standing on an abrupt eminence next to the railway crossing, the tower built according to the Gothic revivalist style cuts an imposing figure, its tall tapering brick arches contrasting with and complementing the railway lines it looks down upon, as they sweep past in opposing directions and vanish quite spectacularly into the distance of themselves.
Wehlau tower was love at first sight, which is probably why fate stepped in and prevented me from buying it. ‘You can’t buy love’, the Beatles warbled? And when I inquired is the tower for sale? I learnt the bitter truth that it had been for sale most recently but most recently had been sold.
Thwarted, thus, there was nothing more to be done than to cross to the other side of the tracks and find yourself in an abandoned graveyard.
Between two brick piers, minus their gates, the ground beyond was unkempt, and though not a spinney as such, it was interspersed with far more trees than would otherwise permit it to be described as open land.
Not exactly a stranger to graveyards, on the contrary I have tarried within and walked through many a graveyard in England, most of which are neglected to some degree, and yet I cannot recall witnessing one so complete in its desertion that, like the inmates it accommodates, it had fallen into abject decay.
I assumed this piece of ground was once the town’s main burial plot, dating at least to the mid-19th century, but should my assumption be correct, where was the immediate evidence of legacy German tombstones?
It had been the railing enclosures that first made it known to me that I was walking across a graveyard, and these, as I suspected and later would confirm, were not of German but Russian ancestry. All told, the sight they presented was emphatically forlorn, almost film-set in their sorry spectacle, randomly scattered among the trees, some with trees having grown up through them. The railings forming their compounds were for the most part intact, but with yellow, green and blue paint fading, bleached by the sun, scoured by the frost and the rain. And some of the enclosures lay at awkward angles, pushed up from the ground by tree roots or brought down into hollows by water-logged and sinking soil.
The tombstones, where surviving, were all to an object gnarled and cracked, their inscriptions barely legible. They shared their space with plastic containers, improvised make-shift flower vases, now destitute of purpose and strangled by the undergrowth. All were sad reminders of moments of grief in people’s lives, who, many years long since past had gathered at these gravesides to bid farewell to their nearest and dearest. They had placed their flowers upon the graves and continued with this ritual until, within the relentless march of time, they had either grown too old to visit, moved so far away that visiting was impractical or kept their own appointments with death and now, in turn, were the visited ones and would continue in this way until such a time would come when the reasons I have given would commit them to a solitude even greater than first inflicted. And now, in the here and now, was I, staring down at the graves of the dead-forgotten, among whose number we already belong in the eyes of those who are staring down at us and thinking the thoughts that I am thinking, but whom we will never know as they exist in a future that we have run out of.
Whilst I was engaged not in what I would define as a reflection of a morbid kind so much as a contemplation of mortality, Olga had gone on a mission, to hide from what I was seeing and not to share in what I was thinking. For a short while, therefore, but who is to say it was not an eternity, I was given free reign to immerse myself in the oddity of it all; to ponder on time’s mysteries and the obsolescence it inevitably brings. Znamensk is that sort of place, you know; it does this sort of thing to you and does it when you are least expecting it.
Suddenly a grating noise, as though Peter Cushing was dragging the lid from Christopher Lee’s sarcophagus, startled me from my solitary reveries. For a split second I knew not what to make of it, and then I remembered my smartphone ~ yes, I actually had one of those. It was ringing in my pocket, but not with a ding-a-ling-ling or a tune to make you look silly. It was ringing with a customised tone, the guttural sound of the TARDIS in the famous throes of it taking off. How very appropriate, I caught myself thinking.
There are no prizes for guessing who it was who was ringing me. It was not a long-distance call. She was, in fact, ‘next door’, having discovered, as she said, a ‘wonderful Catholic church’.
We made arrangements to meet there. Not bad things, these smartphones, ay?
The gardens of the church next door do have an air of wonder about them. They are neatly laid out, formal style, in stark contrast to the graveyard opposite, and the church which they contain alludes to renovation in a period not too distant to the one we occupy now.
I found Olga where she said she would be, sitting on a park bench with the caretaker of the church, whom she had told me was about to lock up and go home but was willing to wait a while to allow us to look around.
This church, the deserted graveyard, the gorgeous red-brick water tower, St Jacob’s church, the handful of old town buildings that had refused to give into destruction, the river bridge and near-river scenes, everything, in fact, that constitutes the town that was and the settlement that is, works a kind of magic. I could feel it in the air as surely as I could feel the warmth of the sun upon my body.
Don’t be fooled by what people tell you: There is much to see in Znamensk: much of what was and is. And that which you cannot see with your eyes, if you give in to your inclination, you will see with your mind and your heart, and something, call it imagination, will join the dots between.
Places to visit in the Kaliningrad region
Waldau Castle A 750-year-old castle, now under the auspices of a friendly curator-family from central Russia. The castle shares ground space with a fascinating museum. Nizovie Museum Once it was a multifunctional retail premise, then a school and now an evocative museum dedicated to local social history, vintage transport and Soviet militaria. Fort Dönhoff (Fort XI) One of the 19th century forts that formed historic Königsberg’s formidable ring of defence, now restored to a high standard and offering visitors a labyrinth experience on a scale and of a kind most likely never encountered. Angel Park Hotel A rural recreation centre on the site of an old East Prussian settlement set in a beautiful natural landscape replete with timeless mystique.
Fisherman’s House Museum Zalivino: a must for social history buffs
27 March 2024 ~ Fisherman’s House Museum Zalivino Kaliningrad region
If you are planning on visiting Zalivino lighthouse or taking a day trip to Zalivino, you should take the time to stop off at Zalivino marine and maritime museum, aka Fisherman’s House. Although it is tucked away, if you head to the sandy cove at the far end of the village, a short walk from the village’s second bus stop, and follow the road to the left, you will find you are almost there. Now, just look for a white building with a painted seascape mural on its wall.
Zalivino’s museum is dedicated to the village’s fishing heritage. It provides an unforgettable insight into the working lives of the people who lived there across successive eras and subsequent generations from when it was German Labagienen, then Haffwinkel, throughout its Soviet years.
The museum, or rather how it came to be a museum, has an interesting history of its own. During the perestroika years, Zalivino, a once thriving community, which relied on the water for its livelihood, had declined so substantially that even access to the lagoon had been rendered virtually impossible. Left to its own devices, the coastline had clogged itself with vegetation, turning the erstwhile open shore into a dense and impenetrable forest, choked with invasive reeds, wetland plants and willows.
In 2015, local residents, some of whom personally remembered the coastline’s former glory from their childhood days, got together to form a group to action the shoreline’s reclamation.
Calling themselves ‘Clean Coast’, the group’s hard work won them recognition in a fund-raising competition. The proceeds from this competition enabled the group to launch an assault on the stifling shoreline foliage. They trimmed back trees and bushes, removed strewn rubbish and, when the clearing job was done, used its remaining funds to purchase planks with which to make public benches.
Inspired by their success, the group’s next venture was to establish a museum, which would tell Zalivino’s story as a working fishing village. The property in which the museum is now housed came to fruition following the Clean Coast’s group successful application for a charitable foundation grant, which once obtained was used to develop both the building and the site.
Research suggests that in German times the renovated building was less likely to have been a private dwelling than a warehouse or stable. Personal recollections from the Soviet period see it as a sawmill and a wood-working shop, turning out an array of goods from oars and boat boards to coffins, and later, in the 1990s, when the sawmill was relocated, as the village’s communal bathhouse.
From bathhouse to social history museum, the first exhibit to mark the transition was a sleigh of German origin dragged from the lagoon. According to those in the know, such sleighs in Soviet times were given a new lease of life. Come winter, they were attached to and drawn by horses to trawl the ice-bound waters across the bay for fish.
Zalivino’s museum may be small, but it is also neat and compact, every space having been carefully utilised to bring the story of the settlement’s past to life. Photographs, display boards and documents intermesh successfully with the exposition’s tell-tale artefacts ~ the fishing lines, nets, floats, waders, kerosene lamps and household items ~ all of which have a part to play in the biography of the village.
But whilst they aid the visitor to reconstruct a picture of what life was like in the village many years ago, the museum’s greatest assets are by far its guides, who, because of their palpable love for their subject, enthuse and infuse in equal measure, turning the pieces the past has left for us into a thought-provoking dynamic.
In days of old a fisherman’s life was hard ~ some would say, still is. Relying for your livelihood on the quantity and quality of fish caught in the surrounding waters, and fishing those waters come rain or shine, day in, day out, and often at ungodly hours, was no faint-hearted occupation. The photographs in the museum’s collection underscore this hardship. But they also reveal expressively in the gnarled and weathered faces, in the look of determination, in the brightness of the villager’s eyes and the smiles upon their lips, a satisfaction almost bucolic, deriving from sometimes aligning with, sometimes doing battle with but always being respectful of the laws and forces of nature. After all, to coin a phrase, every villager was in the same boat.
Overall, there is nothing in the Fisherman’s House museum that fails to captivate. But if I was asked to select from the many exhibits one that hits the unusual spot, then the one I would be inclined to choose would be the weathervane.
I am not talking about a wrought iron something that typically spins in the wind high above a chimney pot but of an intricately carved and brightly painted sign-board made of wood which, whilst effectively showing the wind’s direction as any weathervane should, had as its primary function to identify the sailing ship to which it was attached together with the details of its owner. All Curonian sailing ships would be marked by such a device, and those who were acquainted with the lexicon of their symbols would be able to decipher them without a second glance.
Museum Fisherman’s House, Zalivino, is not just a venue for examining relics from a sepia-coloured bygone age, as entrancing as they are, it is a meeting place for the past and present, which will take you into a world and introduce you to a way of life made obsolete by the tides of time and the undercurrents of ‘progress’.
The world it preserves was different then and life in its way much harder, but, as the exposition depicts, it was strong in kinship and fellowship ties. Visiting this museum will help you to understand that it is also Zalivino’s social history as much as its natural landscape that infuses it with allurement and awakens the senses to timeless mystery.
The main thing
Fisherman’s House Zalivino, Kaliningrad region, 238633
Tel: 8 (962) 266 44 57
Opening times Monday to Friday 3pm to 5pm Saturday and Sunday 11am to 4pm
8 October 2023 ~ Herman Brachert Museum Königsberg Sculptor
Otradnoye [German: Georgenswald] is a small, unspoilt seaside enclave on Kaliningrad region’s Baltic Coast. It sits, relatively obscurely, on a wooded escarpment between the region’s two main resorts, Svetlogorsk (German: Rauschen) and Zelenogradsk (German: Cranz).
Otradnoye is worth discovering for its wonderful woodland walks, late nineteenth and early twentieth century German architecture and its small but white sandy beach (now smaller still, since a couple of thousand boulders have been netted there to tackle coastal erosion).
Herman Brachert Museum
Another reason for visiting Otradnoye is to acquaint yourself with one of its most famous and charismatic former occupants, the German sculptor Herman Brachert (1890~1972), whose home and studio has been faithfully preserved as a biographical record of his life and as a museum for his works of art.
Herman Brachert, who originated from Stuttgart, worked in Königsberg and the Königsberg region for 25 years. From 1933 to 1944, he lived and worked in the country retreat of Otradnoye.
The Brachert’s family home was built in 1931 by architect Hans Hopp. It was renovated in 1992 and became a museum the following year.
Much of Brachert’s work perished during World War II and/or was destroyed in the postwar years. Even so, the museum contains more than 700 exhibits, more than enough to be highly representational of the concepts, materials, forms and compositions with which Brachert is associated.
The museum’s curators continue to track down original Brachert items, aided in their quest by photographs, letters, documents and diaries from the sculptor’s family archive. Fortunately, Brachert’s wife, Maria, was an accomplished photo-artist, and many of her photographs are included in the museum’s display.
Herman Brachert Museum
Herman Brachert was particularly adept in the creation of small items, as evidenced by the museum’s collection of plaques and medals, arguably the most valued being the 1924 medal to the 200th Anniversary of the Unification of Königsberg. He also worked with plastics and jewellery.
The quality and detail of his work also shines through his larger projects, of which perhaps the most impressive, or at least most loved, is the figural sculpture Carrier of Water. This forlorn but beautiful woman rising from her knees clasping a pitcher of water upon her head is said to be the Goddess of Fate.
Carrier of Water. Herman Brachert Museum.
In the winter of 2000, I made the lady’s acquaintance. She was quietly and gently decaying beneath the snow-capped trees of Svetlogorsk’s Larch Park.
Two years passed before a rescue party came and whisked her away to St Petersburg, where, at the State Hermitage Museum, under the direction of artist-restorer VN Mozgov, she was lovingly restored and later transferred to the Brachert Museum.
Another favourite among the Brachert exhibits is the goddess Demeter. A two-third figural composition of a young nude woman, produced by Brachert in 1939 and donated to the museum by patron of the arts BN Bartfeld, Demeter is said to personify strength, equanimity and feminine beauty.
In addition to free-standing figural sculptures, Brachert was also an expert in the field of bas-reliefs, fine examples of which can still be seen upon the surviving buildings of Königsberg.
In 2015, the Brachert Museum acquired two rare plaques, dating to the early 1930s, produced by students from the Königsberg School of Arts and Crafts, where Herman Brachert taught.
Herman Brachert Museum
The exhibits of the House Museum of Herman Brachert echo a golden era of Germanic sculpture and architectural embellishment, many strongly influenced by the Art Deco design concepts that were prevalent during the 1930s.
The same artistic principals resonated throughout the interior design of the Brachert family home. Structurally, the house is uncannily presented in almost every architectural detail, and though the fixtures and fittings that graced the original abode have long since disappeared, it is yet possible, using numerous family photographs within the museum’s collection, to see exactly what the interior looked like when the Brachert family lived there.
One photograph in particular [see above] opens a poignant window into the past. Stand next to this photograph and look towards the far end of the room in the direction of the Carrier of Water, and you can easily reconstruct the entire room as it appeared during the Brachert era, locating with pin-point accuracy every piece of furniture and even Brachert himself sitting at his desk.
For time travellers, this is one of those ‘hairs standing up on the back of your neck moments’. A similar sensation can be replicated by gazing upon the portrait bust of the great sculptor himself.
The bust’s likeness of Brachert is so finely executed that his features seem to come alive before your very eyes, inviting you to think, ‘Here, indeed, is a man possessed of singular intellectual depth and charismatic intensity.’ He has the face of someone you would have liked to have known in person.
During their time in Otradnoye, not only did the Brachert’s have a modern country home nestled above the Baltic Coast, but they were also the fortunate owners of a large and pleasant garden, which follows the fall of the land to the edge of the wood beyond. Poignant photographs in the museum’s collection reveal the Brachert family in their natural setting: a woman leaning casually out of the ground-floor window and a boy with a sleeping dog, sitting and laying respectively, upon the garden terrace. Today, the garden is a quiet oasis, a green and tranquil backdrop for a cornucopia of widely differing sculptures, donated over the years by various artists.
Former Brachert home as it is today [October 2023]. Herman Brachert Museum.
Wandering recently through this exotic landscape, I wondered perchance would I meet again with my old friends Lenin and Stalin. Eighteen years ago, on a very wet and very cold day in January, I thrilled to the sight of them languishing incongruously in a hedge at the side of the Brechert Museum. Sure enough we were reunited, but now they had a proper station among the other exhibits. The plaque, which shows the ensemble before it succumbed to distress and decay, presents an ennobling tableau.
Plaque (above): ‘Lenin and Stalin in Gorkah’. Fragments of sculptural group, constructed in 1949, were discovered during building work in Svetlogorsk. Donated to the Brachert Museum in 2003.
Skull sculpture in the grounds of the Herman Brachert Museum by Evgeniy Dolmator and Gregory Bogachuk, Moscow, Russia (2016). A symbol of the continuity of life and a reminder that life should not be wasted.
The House Museum of Herman Brachert
The House Museum of Herman Brachert showcases the work of a highly talented individual who produced legendary sculptures and architectural plaques in a wide range of materials and on scales both large and small.
In spite of Königsberg’s fate, examples of Brachert’s work live on, reminding us of the important role he played in the architectural heritage of the city and its provinces. In all, he was the progenitor of more than 20 outstanding sculptures made in and for the region of East Prussia.
Whatever material Brachert worked in, his breadth of imagination, elaborate detail and the innate energy of his compositions, exerts a signature brilliance.
I will stop just short of using a word like genius as through frequency of use it is fast becoming an unsustainable concept, and besides far too many of us today are deserving of the appellation. Perhaps, we should simply say that Herman Brachert, Königsberg sculptor, is the exception to our rule.
Mick & Daniel Hart with Brachert’s bronze Nymph statue, Svetlogorsk (2004)
Svetlogorsk, on Kaliningrad’s Baltic Coast, contains a number of Brachert’s works, the most celebrated being his bronze Nymph statue, which is framed in a giant shell surrounded by different coloured mosaic in a prominent place on the sea-front promenade.
(Above:) This gatefold advertising leaflet for the Herman Brachert Museum was produced in 1992, making it a collector’s item in its own right! The calligraphic script featured on the front page is the work of our friend and artist Victor Ryabinin. Victor introduced us to the museum in the winter of 2005, to be precise on the 12th January 2005, as written in his inscription to us by hand in memory of that occasion.
The Herman Brachert Museum caters for individual and group excursions. It plays host to exhibitions by Kaliningrad, Polish, and Lithuanian artists as well as from the collections of Russian and foreign museums, and has established itself as a favourite venue for concerts and creative plenaries.
House-Museum of Herman Brachert Svetlogorsk, pos. Otradnoe, Tokareva Street, 7
Published: 5 February 2023 ~ Zalivino Lighthouse Restoration Reaches New Heights
Returning to Zalivino lighthouse last month, it was remarkable to see what progress had been made since we first explored the site in 2021. Let’s start with the cosmetic improvements first and then proceed in order of importance:
3. A new addition is the weather vane, with the intricately designed rotating ornament and stained-glass inclusions
4. The compound has been enclosed with a new fence and a gate at either end, the effect is both cosmetic and security oriented
5. The boardwalks laid down last year from the sandy cove to the compound perimeter have been extended into and across the site
6. The outlying buildings have been reroofed
7. The outlying buildings have been given new wooden doors; good solid stock, with a vintage chevron and diamond-pattern finish
8. Three solid-state buildings constructed from red brick have been added to the site. They consist of a utilities building, ticket office and the now completed tearoom, which on our last visit was at a functional stage minus proper windows.
Zalivino Lighthouse Restoration: the lighthouse keeper’s cottage
The most significant development is the structural renovation and the complete interior restoration of the former lighthouse keeper’s cottage.
The first photograph below denotes the condition of the cottage in 2021; the photograph beneath it, how the cottage appears today.
BEFORE
AFTER
The following account of our latest visit to Zalivino lighthouse is an extract from my personal diary:
Zalivino Lighthouse Restoration
At last, numb and red nosed, we reached the perimeter, by way of the coastal route, of Zalivino Lighthouse. Outside the lighthouse grounds, the old German buildings lining the water’s edge facing out across the Curonian Lagoon appear to have been given the once over, either that or I missed this fact on my previous visit. The brickwork looks cleaner, and the lovely wooden doors and window shutters strike me as being recent installations along with the terracotta-modelled roof.
Inside the compound, everything looked immediately more presentable. To the left and right are single storey buildings, red brick with Georgian-style roofs. One, I imagine, is the toilet block; the other the ticket office and, next to that, the completed tea and loitering room, which on my previous visit had thick translucent polythene sheeting where windows were wanting but wanting no more.
Olga Hart in proud receipt of her ticket from the ticket office
The former lighthouse keeper’s cottage, which had been nothing more than a shell, ravaged by time and cannibalised by thieves when the site fell derelict after perestroika, has been renovated to such a high standard that had I not witnessed the dereliction with my own eyes and taken photos to prove it, I would have scarcely believed it was the same building.
Although the museum it would like to become has a long way to go, for those interested in marine life, the old keeper’s cottage contains an interesting display of marine paraphernalia and artefacts associated with lighthouse history.
The two rooms of the cottage also contain some rather fetching reproduction antique furniture and other curios. For example, a not-for-the-squeamish stuffed and mounted seabird and a round-shaped Deco-style early plastic radio that may or may not be original but is endowed with vintage appeal. There is also a Vienna-style wall clock, two hefty wagon wheels and, in the centre of the room, a polished wooden dining table and corresponding chairs.
I think it is safe to say that this level of homeliness is not the one that the lighthouse keeper would have been accustomed to, and yet the warmth transcending the basic need for warmth on a bitterly cold winter’s day would have probably been no stranger to him.
What also affected me was the solidity of the building which, considering its exposed location, was reassuring indeed, since no amount of huffing and puffing was about to blow this house in. Strong, solid, durable and intuitively enriched, the lighthouse keeper’s cottage could hardly have been more welcoming.
Zalivino Lighthouse tower
A visit to Zalivino Lighthouse without climbing the tower would be like going to the pub and ordering an empty glass. Thus, even on this coldest of days, off and up we went.
At the time of our ascent, or rather a few minutes before, Zalivino suffered a power outage, so we had to climb the tower without the aid of electric lamps. The first few steps were enveloped in darkness, but the windows in the tower walls, as small as they are, are sufficient to light the way and as you reach the base of the lamp room the light pours in from the dome above.
The elevated view from the lighthouse window reveals the extent to which the outlying buildings and the site in which they stand have been improved and whilst up there in the Gods, we got to gaze across and enjoy the scene of the winter landscape complete with icicle-petrified coastline.
As stimulating as these prospects were, there were two impressions from the top of the tower whose tenacity cannot be equalled. The first was the sound of the wind, rushing across the lagoon, curling around the lamp room like the giant tentacles of a phantom sea squid.
The second was that of Olga daring to step outside onto the wind-swept lighthouse’s viewing platform so that I could take a photo of her. Of course, I was champing at the bit to get out on the ledge myself, make no mistake about that! But someone had to cower inside in order to take the photo.
The renovation and refurbishment of Zalivino lighthouse has come on in proverbial leaps and bounds in a relatively short space of time. If you are not personally acquainted with the near demolition site that it was in 2020 at the outset of the project, the photographic collage within the keeper’s cottage will give you a good idea of just how bleak the damage was, as will the photographs used in my earlier post.
You will also find in the keeper’s cottage a framed composition of images depicting where the restorationists want to be with the project by 2024. Unfortunately, the photograph that I took of the wall-mounted display is not good, as my hands were in need of a warm cup of tea and the light from the window reflected badly into the lens of the camera.
Comparison of the photographic evidence of the condition of the lighthouse, its ancillary buildings and site as they appeared in 2020 with the photos taken this year (2023) demonstrate the achievements to date, making the 2024 target a less ambitious objective than might otherwise be supposed.
Without a shadow of a doubt, a lot of work, care and attention has been invested in the project, not to mention wonga. The results so far are superlative, returning the lighthouse to its historical origins and turning it, metaphorically speaking, into a restoration beacon for other projects across the region to follow.
Support the project
Raising funds for the restoration of the lighthouse is an ongoing process, and any donation that you would care to make would be greatly appreciated. Your generosity will help to preserve an important element of marine cultural heritage and if that’s not reward enough, your part in the preservation will be forever a part of the lighthouse’s history.
