A Portal Passage — Day 2

As goodbyes from the Riversleigh Manor residents still reverberate in the distance, deep fog in the woodsy landscape swirls about me. I find myself taking cautious steps, arms outstretched in front of me. Within minutes my hands touch a damp wall of mossy wet granite. I am perplexed; I do not remember rock formations in this part of the forest. The mist turns into rain, but luck is with me, for I fdiscover an opening in the rock. I duck into the drippy hole, a small cave in which I can barely kneel upright. As I move further inside the space diminishes, until I can only continue by slithering on my belly.I push my pack through the hole, wriggling it back and forth until it slides forward. Then Pigeon struts through, flapping its wings in excitement. But before I can follow, there is a firm tap on my back. I look into the shadows and am surprised to see le Enchanteur motioning for me to come to her.

“I have a gift for your journey, my dear. See? A tiny bag,” she says, smiling and holding a silken pouch towards me.

Curious, I inch towards her. I open the bag’s tie strings, emptying its contents on a clean cloth she has spread upon my lap. There is a tiny metallic paper packet marked ‘Ten Dream Seeds. Use with care!’ Then I find a pair of spectacles, old-fashioned granny glasses, but I see nothing remarkable when I gaze through the lenses. Next I pull out a candlestick, (why a candlestick?), a tiny anchor which is surprisingly heavy in my palm, a well-worn medallion with the imprint of a faded Unicorn on it, and a set of miniature wings which unfolds like a very large map. I catch a speck of writing on one of the wings. There IS a map imprinted lightly on the nylon mesh. A double use — a set of wings and a map combined! “How clever,” I whisper to myself.

Le Enchanteur hears me and dips her head slightly. “One more gift,” she says in a pleased voice.

I search in the bag and in one of the corners, I find a wee bit of gossamer. Opening it in my hand, I discover a pair of amber scissors set with crystal blades.

“Be careful. They are so sharp they can cut through a brick of diamond ,” cautions le Enchateur, “and do not let this bag out of your site. Hang it around your neck and keep it well-hidden until it is needed.”

I place the pouch under my shirts, resting it against my heart. When I look up to thank le Enchanteur, I see only the swish of her cape as she disappears into the rain. Breathing heavily, I return to squiggling through the hole. Ahead I see Pigeon illuminated by light, watching and waiting for me.

I finally poke my head into the light, blinking my eyes as I pull myself through the portal. I am awe-stricken. Before me lies the land of Lemuria. I lean my back against the cave’s wall to catch my breath and nearly fall. There is nothing but air behind me. The hole has evaporated into space. I am alone in a mystical country of strangers with no means of returning to familiar land.

I think of this only momentarily. Then all of my senses are magnetized. As my eyes adjust, I see I am surrounded by pure light, but it is a light without sun. The luminosity is spread across an endless sky. I wonder if night ever falls in Lemuria.

A breeze drifts across my face, singing a whistling melody. I strain to hear the sound as it fades, then crescendos, then fades again. Aromas float in the air — a mild scent of mint and lavender. I become even more aware of my surroundings — it is forever a greenery of shrubbery and plants of all types, sizes, and color. I recognize only a few common herbs, nothing else in all of this vast region.

I take a step back, stunned with the beauty surrounding me. And suddenly I gasp in surprise. I bump into rock — again! I turn around and see that I am standing on a rocky outcropping protruding from a tall mountain. I now understand why the view has become so magnificent. I am high and I can see everything succulent and lush, shining in its glory. The country feels welcoming; I feel relaxed.

Gradually I feel drowsy. I sink down onto the rock ledge, lean against the mountain, and use my pack as a pillow. I sleep deeply. Until I am jolted awake by a deafening sound.

Visit Potsdam

After spending four days in Berlin Darryl and I reached Potsdam by car, managing to park quite close to the Palace Sanssouci. In the 17th and 18th century it was summer residence of Prussian Kings and German Emperors. On their orders the best architects and artisan-craftsmen of their era produced outstanding pieces of art, whereas Sanssouci is the most famous one - an ensemble of baroque castles and marvellous buildings in a huge park complex.

Potsdam is an amazing, vast complex and we were staggered as we wandered from one idyllic corner to another. In truth we barely scratched the surface of this amazing haven of the muses and one day I may just find my way back to soak in some of the beauty and remember.

The lay-out of Sanssouci Park followed the same principle as the design of Sanssouci Palace. Frederick II wanted to create a place where he could spend his time ’sans souci’, in other words carefree, and dedicate himself to the Muses. In 1744, he ordered the cultivation of the ‘waste hill’ in the north east of Potsdam, building six terraces to grow wine and fruit. A year later, the foundation for his summer residence was laid. Following the terracing of the vineyard and the completion of the palace crowning the hill, Frederick also paid attention to the surroundings.

Contrary to the classical organisation of Baroque parks, the central avenue did not lead directly to the palace, but was built parallel to it, thus creating a more casual “en passant” atmosphere. A Baroque flower garden with patches of lawn, flower beds, hedges and trees was laid out at the foot of the hill, while the slopes were used for fruit and vegetable gardens. This horticultural theme can be found in all the park. Over the years, more palace buildings arose in the gentle hilly landscape. The park was expanded over the next one hundred years. Under Frederick William IV, the completion of the park proceeded. Charlottenhof Palace, the Roman Baths, the Orangery Palace and the surrounding garden areas bestowed the park with its southern air. Peter Joseph Lenné, a garden architect of genius, converted the new garden areas into an open landscape park. Broad meadows created visual avenues to the older parts of the park, thus joining old and new.

One of the nicest places in the Potsdam Sanssouci park is the Tea House.

he New Palace (German: Neues Palais) is a palace situated on the western side of the Sanssouci royal park in Potsdam. The building was begun in 1763, after the end of the Seven Years’ War, under Frederick the Great and was completed in 1769. It is considered to be the last great Prussian baroque palace.The building of the palace commenced at the end of the Seven Years’ War, to celebrate Prussia’s success. The war is also variably referred to as the Third Schleswig War, owing to the dispute over the duchy of Schleswig-Holstein. In an architectural form, Frederick the Great sought to demonstrate the power and glories of Prussia attributing it as fanfaronade, an excess of splendor in marble, stone and gilt.

For the King, the New Palace was not a principle residence, but a display for the reception of important royals and dignitaries. Of the over 200 rooms, four principal gathering rooms and a theater were available for royal functions, balls and state occasions. During his occasional stays at the palace, Frederick occupied a suite of rooms at the southern end of the building, composed of two antechambers, a study, a concert room, a dining salon and a bedroom, among others.

After the death of Frederick the Great in 1786, the New Palace fell into disuse and was rarely occupied as a residence or entertainment venue. However, starting in 1859 it became the summer residence of the German Crown Prince, Frederick William, later Emperor Frederick III. The palace was the preferred residence of Frederick and his empress, Victoria, throughout the 99 Days’ Reign. During the short reign of Frederick III, the palace was renamed Friedrichskron Palace (Schloß Friedrichskron) and a moat was dug around the palace. The ascension of William II saw renovation and restoration within the palace being carried out with the installation of steam heating, bathrooms in state apartments and electrification of the chandeliers which Frederick the Great had collected from across Europe. Until 1918, it remained the preferred residence of William II and the Empress Augusta.

 

After the November Revolution and the abdication of Emperor William, the New Palace became a museum and remained such until the Second World War. Preceding the plundering of the palace’s treasures by the Soviet Army, the palace retained much of its Frederician décor and furnishings.

 

Photographs by Darryl Blakey 2001