Published: 30 August 2021 ~ A Memorial Garden for Victor Ryabinin
The idea to create our own, modest memorial garden to Victor Ryabinin came to us when we were deliberating on what name to give to the dacha. My wife, Olga, said that she wanted to name it ‘Boat with Flowers House’ after one of Victor’s paintings, which was also used as an illustration for the front cover of his and Sam Simkin’s book on East Prussian poetry.
Victor Ryabinin’s ‘Boat with Flowers’, shown here as the front-cover design for his and Sam Simkin’s book on East Prussian Poetry
We already felt obliged, motivated by our sensibility for history and heritage, to renovate the statue that stands in our garden. The statue is that of a fisherman. We did not put him there and neither did the Germans. In German times the dacha was the village hall, but in the Soviet era it became a hostelry for fishermen. Now it is a place where Olga plays houses and gardens, and I drink beer that I have bought from the local shop. And although I believe that a statue of me with a pint glass in my hand would be something that Nigel Farage would approve of, as the fisherman was there first, there he should remain.
The statue is Captain Codpiece. That is not his real name, of course, but one that has been bestowed upon him by my brother. I don’t think Codpiece minds. He knows we respect him, and he has certainly benefitted from our recent ministrations.
A Memorial Garden for Victor Ryabinin
I started the ball rolling by removing the moss, most of which had gathered on the plinth of the statue, and cleaned the flaking concrete from it, then some chaps from the village, whose building skills are far superior to mine, reconstructed the plinth using wooden planks for shuttering and pouring fresh concrete into the mould.
The statue with its new plinth under construction
Last week, our friend Chilikin, artist and conservationist, drank beer and vodka with me, and he also gave Codpiece the once over with a wire brush before saturating him in a transparent sealing compound, which will also act as a base substrate for the paint job that is to follow. In Soviet times, the statute was bright silver; the paint acted as a weather-shield, but it also transformed the concrete man into something resembling a metallised robot. Times change, and as the silver has worn off and with it the sheen of dubious taste, we have decided to act on Chilikin’s advice and go for a mottled bronze. The ‘distressed’ look will preserve antiquity, and a fresh coat of paint will give the statue a new lease of life.
Valordia Chilikin restoring the statue of the fisherman
Whilst Codpiece will stand tall, literally head and shoulders above the ensemble, iconic to the composition will be the boat we acquired some weeks previously, which will be used to recreate Victor’s Boat with Flowers.
Mick Hart applying preservative to the boat that will be used in Victor Ryabinin’s memorial garden
A memorial plaque has been commissioned and is in the process of being made. Next week we hope to find a suitable boulder on which to mount the plaque.
If we adhere to our timetable and complete the garden by mid-September, there is talk in the air of commemorating the event with a private gathering of clans. The occasion, I have been told, will not be black or white tie, but all attendees will be expected to wear some kind of hippy dress that backdates them to the 1960s. Codpiece was erected in the 1960s, so somehow it only seems right.
Published: 13 July 2021 ~ It Happened at Waldau Castle Kaliningrad
Take a 750-year-old castle, a friendly curator-family from central Russia, an impressive and well-stocked museum, two classic Volgas and a vintage Hanomag car, a guided tour by a youthful tour guide better informed than Tacitus, home-baked bread the delights of which I have never tasted before made by a child baker, a female troupe in full traditional German dress demonstrating Prussian folk dancing, first-class quality beer and cognac, a rousing speech by our friend Grozmani about the book that took him 29 years to research and write, an opera concert performed in the open air by professional opera singers, a grand finale supper with large iced cakes, and what you have is one of the most unusual and interesting birthday parties that I have ever had the good fortune to have been invited to.
The curious location of this event, to which we were driven in style in our friend’s, Arthur’s, classic Volga, was Waldau Castle, thirty minutes or so by car from Kaliningrad.
We had called at the castle at the end of the Kaliningrad Retro Car Club’s rally a couple of weeks before, on which occasion I had been attracted to the castle on many levels but immediately by the feel of what it was and what you would not expect it to be.
It Happened at Waldau Castle Kaliningrad
No sooner had we passed through the gate into the castle grounds than I was smitten with an enveloping sense of calm, a convalescent repose, which had it been a churchyard or a monastery would have excited no further response but, given the purpose for which it had been constructed and by which it had lived out most of its life, fortification, seemed oddly at variance with its military biography.
My first impression had been no aberration, for the same singularity stepped out to greet me when we passed through the castle gate this evening. There was no challenge, no rattle of sabres or priming of firearms, in fact nothing to authenticate its militaristic legacy, only an inviting, calling, sense of calm, the kind that those who seek and who are fortunate to find might speak of in terms of sanctuary.
We had pulled up in our Volga not at the front of the house but a short distance from it and parked at the side of the drive. Although the castle’s surviving principal building was visible from where we were, it was yet indistinct, only a glimpse of its tall, grey walls asserted itself through the wooded area that lay between us, the tree trunks and branches obscuring whilst the leafy canopy overhead cast a thoughtful but not unpleasing shade over the tranquil prospect and introduced a welcome coolness in which refuge could be taken, for although it was early evening the heat of the day had not yet abated.
Set in the middle of this entreating copse stands a solid monument of large, rectangular proportions surmounted by an apex top. It is dedicated to those who fell in the First World War. This is a German monument which has on both of its narrower ends an incised representation of the imperial military cross and along the top edge of the monument’s greater width words of commemoration.
There is something so touchingly melancholic about this monument immersed within the shade of Castle Waldau’s trees. I detect in it an attitude of self-consciousness, as if it plainly understands that whilst symbolism is timeless, the land on which it is stationed, and for which the men it pays tribute to gave their lives, is now but a point of historical record and has lost all claim to anything else.
Be this as it may, I could find nothing in the calm that I have already described to suggest the slightest trace of rancour, just a gentle, quiet, contentment. So, if there are ghosts in the grounds of Waldau Castle, you are less likely to hear them rattling chains than to catch them occasionally sighing.
It Happened at Waldau Castle Kaliningrad
The path that leads away from the German memorial led us in a straight line to the front door of the castle. We stood on the opposite side of the sweeping driveway taking in the Teutonic might with which all German buildings of a certain age and stature in this part of the world are redoubtably invested. Bold, solid and, apart from the section of the building devoted to the doorway and its encasement, austere, the structure embodies typical if mythical German virtues and has an impregnability about it that perceptibly transcends bricks and mortar, effortlessly overshadowing the knowledge and laws of mere physics.
Waldau Castle facade
The only concession that the architect of this building has made to the decorative lies in the perpendicular that projects, surrounds and extends vertically from the main entrance, a feature which supports two sets of simple Gothic windows, three in parallel, both sets incorporating tracery and both arranged within a rectangular oriel supported by a stepped, pyramidical corbel. Enrichment takes the form of a small number of various blind, recessed arches, with the oriel culminating in a crenelated cornice and the perpendicular typically concluded as a broad stepped gable, the last horizontal platform of which makes the perfect base for Mrs Stork and her nest.
Two photographs (see above) depicting Waldau Castle entrance and the Gothic nature of the embellishing features
To the right of the building, orienting from the position of observer standing at the front of the castle, is a second three-storey building connected to the principal by a high wall. This second building houses the castle museum.
The museum at Castle Waldau, Kaliningrad region, Russia
Both the castle and its grounds have passed through innumerable transitions in its 750-year history and no better appreciation of this can be found than by visiting the on-site museum, which occupies the cellar, ground and second floors of the surviving wing of the castle.
It is impressive in its collection of artefacts, impressive in its layout, impressive in its inventive displays and impressive in the past that clings to it in every tread of its ancient steps and every nook and cranny. It is so impressive that it needs to be covered in its own article, so we will put it on hold for the time being and revisit it at a later date. Ghosts and God willing!
It Happened at Waldau Castle Kaliningrad
In the wall that connects the two remaining parts of Waldau Castle, there is a small, low archway, the kind in historic buildings that must be walked through in order that the apparition that you will eventually become can follow in the footsteps of those that once like you were physical forms. It is truly a time-honoured ritual, in every sense of the word, but do not forget to lower your head!
On the other side of this portal, we found ourselves on a piece of wild ground, on a slight eminence looking over more ground of an even wilder nature: lush, green, overgrown and silent. This is the last step on the road to complete tranquility that you would want to take of your own volition. We ambled along, Olga, our friend Inara and I, stopping now and again to move fragments of brick with our shoes or to pick up a piece of pottery, deep in the thought of moments past.
The back of the castle is not in the best of health. There is no denying its solid state, but the wall rendering has given way in places and the castle’s eyes, the many windows spread out across its awesome width and height, are covered in a mess of makeshift cataracts. I cannot remember when, if ever, I last beheld such an incongruous and anomalous sight, in which doors of all shapes, sizes, makes and periods have been requisitioned for use as wooden blinds to eye-patch empty window sockets. But work proceeds, and as Waldau Castle knows, possibly better than anyone, nothing remains the same for long or forever.
Returning to the front of the castle was a lot like having swapped Leonard Cohen for VE Day. The vintage cars had been lined up on the opposite side of the drive to the castle entrance and the party guests were busy assembling in the middle of the driveway.
A troupe of ladies all dressed in period Prussian costume were about to demonstrate the art of traditional Prussian dancing. The music and footwork in clogs set the party spirit in motion, but before getting down to the serious business of sampling the beer and cognac, we were about to be given a guided tour of Waldau Castle’s ground floor rooms.
On the other side of Waldau Castle’s entrance sits a great hall, which owes its present restored condition to the hard work and volunteer commitment of one family, the Sorokins, whose tender loving care can be seen and felt everywhere. Observing and appreciating is one thing, but it is quite another to have to clean and repair acres of wooden floorboards, bricks by the thousands and dusty, peeling plasterwork and have to construct hefty, wooden, external doors and massy window frames when by trade you are not a carpenter but are the sort of valuable person who can turn your hand to anything.
When my wife mentioned this feat to the head of the Sorokin family, he modestly confirmed, “No, I am not a carpenter by trade, but I believe that everyone has an innate knowledge that they rarely ever use, and if necessitated can turn their hand to anything.” I would like to have concurred, and I did note the professionalism of his castle doors and windows, but I also recalled in secret embarrassment how, back in the 1970s, my one foray into DIY had resulted in the humiliating experience of witnessing the wall-mounted can opener that I had screwed to the wall lasting for less than a day before it fell off ~ and so I had my doubts. As the saying goes, “Horses for courses.”
In the process of describing Waldau Castle it is next to impossible not to resort to words like strong, solid, robust, but it is only when you get inside that you are able to fully appreciate the exactitude with which these attributions apply. The windows, sitting as they do at the front of broad, deep brick arches, reveal the thickness of the walls to be at least three feet, and the quality of the brickwork, in all its restored glory, leaves you in little doubt that endurance and longevity have always been the castle’s watchwords.
But restoration in terms of visitor attraction is not confined to structural work. Also to be considered is, for want of a better word, the inclusion of suitable ‘props’, the seeking out, acquiring and emplacing of interior décor and household items best able to create a medieval atmosphere. Central to this objective, and situated in the main hall of the castle, are two suits of armour ~ a matching pair (I did not stop to check if it was ‘his’ and ‘hers’), conjoined with wall-mounted hunting trophies, intricate tapestries and a ceiling pendant made from a heavy wooden wheel entirely surrounded by antler horns. I’ll have the full Hermann Göring baronial hunting-lodge works, please!
Olga Hart with tapestry at Waldau Castle
Wall thickness Waldau Castle
The tapestries, which are as colourful and imaginative as they are intricate, are made to order for the Sorokin family from specific patterns that they provide to a specialist company. Now that my wife had seen these, I wondered how long I would have to wait. It was not long: “I really want to buy one of these!” Olga exhaled.
Our tour guide was the oldest son of the Sorokin family, who not only had an incredible knowledge of the history of the castle, but was fluent, articulate and completely unphased when it came to holding court to so many adult strangers. My Russian gets better every day (I boast ye not), but my present knowledge was no match for the speed and confidence with which this young man discharged his verbal duty.
Our guide led us from the main hall into an adjoining room. There are no corridors, at least between rooms, in this part of Waldau Castle, thus access to the three great rooms at ground level is obtained on a door-to-room basis.
The second room, though large, was of smaller dimensions than the first, but as with the former had undergone extensive renovation and as with the former was work in progress.
From here we were taken into the kitchens, where, at the far end of the room, two hefty brick-built ovens encased in rusting white metal testified to the gargantuan task of cooking meals on a banquet scale. The ovens were quiet today and the castle interior cool, but one can imagine how unbearably hot and sweaty this environment would once have been when full of cooks and servants and the ovens in full swing.
In this room there was another oven. Tall, slim, far more elegant than the ones I have described, made of ebonised cast iron, with a succession of white porcelain knobs protruding from rows and layers of doors, this oven was of German manufacture. It had a German precision-build quality about it that was undeniably superior, and I should not imagine for one moment that anyone among our company was in the least surprised to learn that this fine example of industrial German craftsmanship, which is almost 170 years old, is as functional today as it was on the day it was made.
Not a grandfather clock!
Two other features in this kitchen that caught my eye were the heavy wooden serving hatch in the wall to the back of me and a nineteenth century iron ceiling column, with an intricately wrought Corinthian capital.
Whilst our young tour guide was fulfilling his duty, a man entered the room who was immediately recognisable to us. It was our friend Ivan. At first, I thought what a coincidence, and in a way I was right. I knew that Ivan was renovating an old German building of his own, but I had not realised that it was just up the road from Waldau Castle. And a second coincidence, it was his birthday, too.
We were greeting each other just as the tour guide was explaining about the intrinsic dangers of old building restoration. Apparently, in the process of their labours the Sorokin family had uncovered Schweinfurt paint, or Emerald Green as it was generically known.
Emerald Green was an extremely popular colour in the early nineteenth century. It was used in paint, wallpapers and a number of other pigmented and dyed products, and it was used extensively. But whilst most of us know about the dangers of friable asbestos, less people are acquainted with the fact that many old green paints and green-coloured wallpapers, those made from a compound in which arsenic was one of the main ingredients, could, did and can kill. Highly toxic when it was produced, the dust from this arsenic derivative continues to pose a serious threat to health and retains its lethal potential.
Right on cue, no sooner had our tour guide apprised our fellow tourers of this warning from the past, than a playful poltergeist or two, decided to shake the ceiling. A small amount of dust descended, enough to make our company beat a hasty retreat.
In the first room, where we had now re-assembled, I had noticed earlier that opposite the main entrance there was a carved, Gothic screen in wood, which, on closer investigation, I discovered was employed to separate the area in which we were standing from a corridor that ran the entire length of the back of the building. This was an unusual arrangement, at least it was not one that I was familiar with in the large historic houses and castles that I had visited in England. In the wall of the corridor, a few feet back from the screen, I also observed a great wooden staircase that could be closed off, if need be, by two incredibly large and heavy doors.
We were not privy to this section of the castle today or to its upper storeys, but I hope we may be allowed to explore at a later date.
There are many things that can inculcate a thirst, and history is one of them. A table in the main hall had been laid out with food, bottles of beer and cognac and, on the word ‘go’, it was every man for himself (I have no idea what the women were doing?). To accompany my cognac, I chose a large, flat, round bread roll, and was glad that I did. I cannot recall tasting bread half as delicious as this. The second surprise was that the baker of this delicacy turned out to be a young boy, the youngest son of the Sorokin family. When Olga praised him for the bread, he threw his arms around her and thanked her for her kind words, saying that it was the nicest thing that anyone had said to him. I endorsed her praise, adding Königsbacker beware!
Our friend Yury and I were in full flow about the quality of the beers when, in true Russian party fashion, it was announced that we all had to congregate outside on the drive to do something? When I discovered what that something was, an attempt by the hosts to dragoon us into a dance routine, I swiftly excused myself. Our friend Ivan followed my lead, but Yury stepped up to the challenge, and I was only too happy to play the part of photographer as he was twizzled around the tarmacadam.
Yury Grozmani demonstrating the art of Prussian folk dancing; and above, the talented boy who bakes the bread
We had not long been back inside, and not too far from the table, when a second announcement was made. It was now time to witness an operatic performance, which would take place on the granite stone courtyard at the front of the Sorokin house.
It would be dishonest of me to claim that I have any love or affection for opera, but, by the same token, it would be no less dishonest if I did not admit that I enjoyed this performance immensely. The Sorokin family’s house made a superb backdrop, the large open window with wrought-iron lattice work emitted the piano accompaniment perfectly and, from where we were sitting, gave us a first-rate view of the pianist at work.
I marvelled at the fact that the performers required no artificial amplification systems to project their voices, which were either remarkably well toned, aided by the acoustics of the building that lay behind them, or both.
Before the performance commenced, our friend, Yury Grozmani, delivered a speech as requested by the host, about the book he had researched and written on the vintage cars of Königsberg. Yury is what you would call a natural speech maker and, as he admitted himself, once fired up it was difficult for him to come back down.
Yury delivers a speech about the book that he worked on for 29 years
When both performances reached their respective conclusions, the tables were rearranged and laid out for supper. I refrained from indulging in the big iced cakes but was quite pleased that we had enough time and enough cognac left for one or two for the road before being chauffeured home in style by Arthur in his Volga.
Essential details (not of the party, but of Waldau Castle):
Waldau Castle Kaliningradskaya Ulitsa, 20 Nizov’e, Kaliningrad Oblast, 238313, Russia
Tel: 007 (963) 299-85-43
Opening hours 7 days a week ~ 10am~5pm
How to get there By car, taxi, bus. The approximate journey time is 30 minutes
