Melk Abbey – Stiftskirche (Melk, Austria)

Facade of Stiftskirche (Abbey Church)

Facade of Stiftskirche (Abbey Church)

The highlight and end of our Melk Abbey tour, though, is certainly the full-on Baroque  Stiftskirche (Abbey Church) with its 200-ft. tall dome, symmetrical towers and astonishing number of windows.

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Dome

The 200 ft. tall dome with frescoes of the heavens opening

This grand finale, resplendent in a golden hue, is richly embellished with marble and altar paintings and frescoes by Johann Michael Rottmayr, with help from Paul Troger.

Pulpit

Pulpit of Giusseppe Galli-Bibiena

Jakob Prandtauer and, after his death, by his nephew Joseph Munggenast were the leading architects.  For the interior design and sketches for the frescoes, Antonio Beduzzi definitely was involved in the planning.

Interior of church

Ceiling frescoes by Johann Michael Rottmayr

Together with other prominent artists and masters in their fields such as Giuseppe Galli-Bibiena (designs for the pulpit and high altar), Lorenzo Mattielli (design for the sculptures), Peter Widerin (sculptures) and many others, they created a synthesis of the arts to the glory of God, an unparalleled, indisputably classic example of Baroque.

High Altar

High Altar

The inscription (from 2 Timothy 2,5), on the high altar, reads “non coronabitur nisi legitime certaverit” (“Without a legitimate battle there is no victory”). The left side altar (Coloman Altar), in the transept, contains, in a sarcophagus, the skeleton of St. Coloman of Stockerau.

St. Coloman's Altar

St. Coloman’s Altar

St. Benedict's Altar

St. Benedict’s Altar flanked by statues of St. Scholastica and St. Berthold of Garsten

The altar to the right is dedicated to St. Benedict.  It cenotaph (empty sarcophagus) bears the inscription “erit sepulchrum eius gloriosum” (“his grave will be glorious”). To the right of the altar is the statue of St. Scholastica (Benedict’s sister) while on the left is St. Berthold of Garsten.

St. Michael's Altar

St. Michael’s Altar

Glass sarcophagus of St. Clemens

Glass sarcophagus of St. Clemens

The St. Michael Altar has a glass sarcophagus with the skeleton of a so-called catacomb saint, given to the monastery in 1722 by Viennese nuncio Cardinal Alessandro Crivelli, and given the name Clemens.

St. John the Baptist Altar

St. John the Baptist Altar

Glass sarcophagus of Friedrich

Glass sarcophagus of Friedrich

Opposite is the St. John the Baptist Altar, also with a glass sarcophagus of a catacomb saint given as a gift to the monastery by Maria Theresa and displayed here in 1762. The unknown saint received the name Friedrich.

St. Sebastian's Altar

St. Sebastian’s Altar

The Epiphany Altar

The Epiphany Altar

The altar painting at St. Leopold’s Altar, painted on a lead plate in 1650 by Georg Bachmann, is from the old abbey church.  It shows a depiction of the history of the foundation on the Melk monastery. Other side altars are dedicated to the Epiphany, St. Nicolas  and St. Sebastian.

St. Nicolas Altar

St. Nicolas Altar

St. Leopold's Altar

St. Leopold’s Altar

St. Benedict’s battle for virtue, the theme most strongly expressed by the nave’s fresco, depicts victory in this battle as portrayed, on the one hand, by the large victory crown on the high altar and the dome frescoes, in which the heavens open and, on the other hand, by the victor’s laurels over the monk, who has achieved spiritual fulfillment.

Melk Abbey:  Abt-Berthold-Dietmayr-Straße 1, 3390 Melk, Austria. Tel: +43 2752 5550.  Open 9 AM – 6 PM. Website: www.stiftmelk.at. Admission (abbey park and the bastion): Adults: (€4,00), Students (€ 3,00), Children (6-16  years) (€ 1,00).

Melk Abbey (Melk, Austria)

Melk Abbey

Melk Abbey

After our tour of Mathausen Memorial, we again boarded our van for the 86.8-km. (1-hour) trip, via the A1, to huge Melk Abbey (German: Stift Melk), one of Europe’s great sights located on a rock-strewn outcrop overlooking the banks of the Danube River.  Adjoining the Wachau Valley between Salzburg and Vienna, it is a Benedictine abbey above the town of Melk in Lower Austria. 

Inner (Prelates) Courtyard

Inner (Prelates) Courtyard

The 497-room (with 1,365 windows) abbey, founded in 1089 when Leopold II, Margrave of Austria gave one of his castles to Benedictine monks from Lambach Abbey (who turned it into a fortified abbey), contains the tomb of St. Coloman of Stockerau and the remains of several members of the House of Babenberg, Austria’s first ruling dynasty who ruled Austria from 976 until the House of Hapsburg took over.

Abbey gate

Abbey gate

A monastic school, the Stiftsgymnasium Melk, was founded in the 12th century and the abbey’s influence and reputation as a center of learning and culture spread throughout Austria.  The Name of the RoseUmberto Eco‘s popular novel, was researched by Eco in the abbey’s monastic library which is renowned for its extensive manuscript collection (the monastery’s scriptorium was a major site for the production of manuscripts).

Main Entrance with statues of Apostles Peter & Paul designed by Lorenzo Mattielli

Main Entrance with statues of Apostles Peter & Paul designed by Lorenzo Mattielli

As a tribute to the abbey and its famous library, he named the apprentice, one of the protagonists, as “Adson von Melk.” Members of the Melk monastic community have achieved significant success in the fields of natural science and the arts and among its alumni was the 19th-century Austrian dramatist and short-story writer, Friedrich Halm.

L-R: the author, Grace, Kyle, Cheska and Jandy

L-R: the author, Grace, Kyle, Cheska and Jandy

Since 1625 the abbey has been a member of the Austrian Congregation, now within the Benedictine Confederation. During the Reformation and the 1683 Turkish invasion, Melk Abbey suffered damage but it was spared direct attack when the Ottoman armies were halted just outside Vienna.  In 1701, a Baroquization of the abbey church was planned but, after 1701, at Abbot Berthold Dietmayr’s instigation, a complete reconstruction of the church took place, following plans by architect Jakob Prandtauer, and completed in 1736.

Kaisergang (Emperors' Gallery)

Kaisergang (Emperors’ Gallery)

Between 1780 and 1790, under Emperor Joseph II, many Austrian abbeys were seized and dissolved but, due to its fame and academic stature, Melk managed to escape dissolution. The abbey also managed to survive the Napoleonic Wars and the period following the Anschluss in 1938, when the school and a large part of the abbey were confiscated by the state. After the Second World War, the school was returned to the abbey and now caters for nearly 900 pupils, of both sexes, in secondary and preparatory school. Today, the institution survives, funded by agriculture and tourist visits.

Rule of St. Benedict at Room 1 - Listen with Your Heart

Rule of St. Benedict at Room 1 – Listen with Your Heart

In 1947, the abbey church was damaged by fire but, after a 10-year long restoration, financed with help from the state and federal government, was finished in 1987. To celebrate the 1,000th anniversary of the first reference to a country named Österreich (Austria), another grand restoration project,  financed in part by the sale of the abbey’s Gutenberg Bible to Harvard University (which was later donated to Yale University), was completed by 1996.

Room 2 - A House for God and Man

Room 2 – A House for God and Man

Room 3 - The Ups and Downs of History

Room 3 – The Ups and Downs of History

Upon arrival, we entered Benedict Hall, above which is a leitmotif with the Latin words “absit gloriari nisi incruce” (“Glory is found only in the cross”) and a huge copy of the Melk Cross, one of the abbey’s greatest treasures (the original is hidden in the treasury, viewable only with special permission).

Room 4 - The Word of Life

Room 4 – The Word of Life

We first visited the imperial rooms with its restored inlaid wood floors, currently home to the most modern abbey museum in Austria, passing through the art-lined Kaisergang (Emperors’ Gallery) which stretches for 197 m. (644 ft.) and is decorated with portraits of Austrian royalty.

Room 5 -Now we are seeing a dim reflection in a mirror … (1 Cor. 13,12)

Room 5 -Now we are seeing a dim reflection in a mirror … (1 Cor. 13,12)

The museum’s current exhibition, entitled “The Path from Yesterday to Today – Melk Abbey in its Past and Present,” was designed by architect Hans Hoffer, also the designer of the “Klangtheater Ganzohr” in Vienna and the director of the “Linzer Klangwolke” several times.   The exhibits chronicle the ages of the abbey, and each room is lit up with a symbolic color.

Reusable coffin at Room 7 - In the Name of Reason

Reusable coffin at Room 7 – In the Name of Reason

Room 9 - The Path to the Future

Room 9 – The Path to the Future

They are divided into the blue-colored “Listen with Your Heart,” the green-colored “A House for God and Man,” “The Ups and Downs of History,” “The Word of Life,” “Now we are seeing a dim reflection in a mirror … (1 Cor. 13,12),” “Heaven on Earth,” “In the Name of Reason,” “The Whole Person,” “The Path to the Future,” “To Glorify God in Everything and The City on the Mountain” and “Motion Is a Sign of Life.”

Room 10 - a very complicated lock box that operated with a single key

Room 10 – a very complicated lock box that operated with a single key

Model of the 497-room Melk Abbey at Room 11 - Motion Is a Sign of Life

Model of the 497-room Melk Abbey at Room 11 – Motion Is a Sign of Life

The Prelate’s Hall, with its Baroque painting gallery, is one of the most beautiful rooms in the monastery. Though not open to the public, it is used by the abbot for representative purposes.

The Marble Hall

The Marble Hall

From the museum, we proceeded to the Marmorsaal (Marble Hall), the gorgeous room that served as a dining hall for the imperial family and other distinguished guests, as well as a festival hall. Containing pilasters coated in red marble and walls of stucco marble, it has impressive allegorical painted ceiling frescos, by Tirolean Paul Troger (1731), and an optical illusion framing it. The architectural painting, done by Gaetano Fanti, gives the impression that the ceiling rises up and curves higher than it does but is, in fact, flat.

Marble Hall (6)

It shows, in the middle, Pallas Athena on a chariot drawn by lions as a symbol of wisdom and moderation. To her left is Hercules who symbolizes the force necessary to conquer Cerberus (the three-headed hound of hell), night and sin. Both Pallas Athena and Hercules allude to Emperor Karl VI, who liked to be celebrated as a successor to the Roman emperors in the Hercules legend. In effect, it shows the essence of the House of Habsburg – the ruler brings the people from darkness to light, from evil to good.

The ceiling frescoes

The ceiling frescoes of Paul Troger depicting Pallas Athena and Hercules

The doors, with frames  made of genuine marble from Adnet and Untersberg (in the province of Salzburg), are inscribed with quotes from the Rule of St. Benedict, indicating the purpose of the room – “Hospites tamquam Christus suscipiantur” (“Guests should be received as Christ would be”) and “Et omnibus congruus honor exhibeatur” (“And to each the honor given which is his due”).

The abbey terrace

The abbey terrace connecting the Marble Hall with the library

From the Marble Hall, we went out into the abbey’s terrace, a balcony connecting the Marble Hall and the library. Napoleon probably used it as a lookout when he used Melk as his headquarters for his campaign against Austria. From here, we had a wonderful view of the Danube River, the western facade of the abbey church, the scenery of the Wachau Valley and the town of Melk.

View of the town of Melk from the terrace

View of the town of Melk and Danube River from the terrace

From the terrace, we entered the 12-room library  which rises two floors. Second only to the church in the order of importance of the rooms in the Benedictine monastery, the library houses around 80,000 volumes of priceless medieval manuscripts  including a famed collection of musical manuscripts,  750 incunabula (printed works before 1500), 1,700 works from the 16th century, 4,500 from the 17th century and 18,000 from the 18th century.  Together with the newer books, it totals approximately 100,000 volumes with about 16,000 of these found in this library room. They are organized by topics: beginning with editions of the Bible in Row I, theology (Rows II to VII), jurisprudence (Row VIII), geography and astronomy (Row VIIII), history (Rows X to XV) and ending with the Baroque lexica  in Row XVI.

The Library

The Library (photo: www.stiftmelk.at)

The monks had a high regard for their library as seen from the valuable artistic decoration.  The ceiling fresco, also by Paul Troger (1731 to 1732), shows, in contrast to the secular scenery of the Marble Hall, a symbolic depiction of Faith. In the center is a recognizable female figure, the allegory of Faith. She is surrounded by four groups of angels, who stand for the four Cardinal Virtues: Wisdom, Justice, Fortitude and Temperance. The four wooden sculptures are depictions of the four faculties – Theology, Philosophy, Medicine and Jurisprudence.

Spiral Staircase

Spiral Staircase

The Small Library room contains mainly historical works from the 19th century onwards. The spiral staircase, with Rococo grate, leads to the two upper floor reading rooms of the library, which are not open to the public. Its ceiling fresco, by Paul Troger, shows an allegorical portrayal of Scientia (Science), while the architectural painting on the ceiling fresco was done by Gaetano Fanti. From the library, we proceeded to explore the Stiftskirche (Abbey Church)

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Abbey Garden

Abbey Garden

Just outside is the abbey’s park, designed as a baroque park in 1750 and, in 1822, replanted as an English landscape garden.  It has a picturesque Baroque garden pavilion, built like a small belvedere by Franz Mungenast in 1748.  It houses some fine frescoes exotic animals and plants, jungles and native people created by Johann Wenzel Bergl in 1764.

Baroque Garden Pavilion

Baroque Garden Pavilion

It was renovated from 1998-1999 and, since 2000, has been opened to the public. The pavilion was once situated above the Danube River which was once much wider, reaching as far as the rock below the gardens.  Within the pavilion is a self-service café. Murals, in the courtyard, are modern additions that blend in well with the look of the place. Each is a representation of the four virtues: Prudence, Justice, Fortitude, and Temperance.

Self-service cafe at Baroque Garden Pavilion

Self-service cafe at Baroque Garden Pavilion

Before leaving, we dropped by the Stiftsrestaurant Melk, the abbey restaurant located near the entrance. It serves hot meals and monastery wine in beautiful Baroque and outdoor surroundings. Here, we had some ice cream sundae.

Stiftsrestaurant Melk

Stiftsrestaurant Melk

Melk Abbey:  Abt-Berthold-Dietmayr-Straße 1, 3390 Melk, Austria. Tel: +43 2752 5550.  Open 9 AM – 6 PM. Website: www.stiftmelk.at. Admission (abbey park and the bastion): Adults: (€4,00), Students (€ 3,00), Children (6-16  years) (€ 1,00).

Mauthausen Memorial (Mauthausen, Austria)

Mauthausen Memorial

Mauthausen Memorial

Come morning, after breakfast at our hotel, Grace, Manny, Jandy, Cheska, Kyle and I were met by my wife’s cousins Popong and Freddie at the hotel lobby.  Once assembled, we boarded the rented van driven by Freddie that would take us on our 88.7-km.  journey to Mauthausen Memorial, site of the first concentration camp established by the Nazis in in Upper Austria after their annexation of country in March 1938 and one of the last remaining concentration camps from World War II in Europe.

Mauthausen

The idyllic Mauthausen countryside today

On our way out, we also picked up Vicky, another of Grace’s cousins, and her husband Isko who were to join us on our trip. Our journey took us a little over an hour, with a short stopover for snacks and a toilet break.  Upon arrival, Freddie parked the van at a big parking area just outside the complex. Upon alighting, we first walked to the new, raw gray concrete visitor’s center, just outside the site’s walls.

The modern Visitors Center

The modern Visitors Center

Designed by architects Herwig MayerChristoph Schwarz, and Karl Peyrer-Heimstätt, the center was inaugurated in 2003.  It  covers an area of 2,845 sq. m. (30,620 sq. ft.). and has a book shop, information desk, workshop, toilets and a cinema. There is also a cafe but it has different opening hours depending on the time of year.

Inside the Visitors Center

Vicky, Freddie, Grace, Manny and Popong inside the Visitors Center

The camp, situated on a 265 m. (869 ft.) rise of above Mauthausen town (2014 population: 4,913),  on the Gusen River that flows into the Danube River, presently has a serene setting that belies its sordid past as, during World War II, Mauthausen was a labor camp designed to kill its inmates. The main camp of Mauthausen consisted of 32 barracks surrounded by an electrified barbed wire, high stone walls and watch towers.

Barracks and guard watchtower

Barracks and guard watchtower

From its beginnings, in August 8, 1938 (when prisoners from the Dachau concentration camp were sent to Mauthausen to begin the camp construction), to its liberation by the US 11th Armored Division, 3rd US Army on May 3, 1945, the concentration camp, one of the largest labor camp complexes in the Third Reich, worked people to death mining granite to build the granite fortress-prison of the main camp, pave the streets of Vienna and build Adolf Hitler‘s grandiose architectural projects. About 190,000 people from all over Europe were imprisoned in Mauthausen.

Czechoslovakia Monument

Czechoslovakia Monument

They included non-Germanic people groups (Jews, Slavs, Soviet prisoners, Czech and Polish intelligentsia, Roma, gypsies, etc.) who didn’t fit the Nazi ideal of racial superiority, perceived social threats (homosexuals, Jehovah’s Witnesses, etc.), and political dissenters (Social Democrats, Communists, anarchists, etc.). Mauthausen’s most famous inmate was Simon Wiesenthal who created the Simon Wiesenthal Center after the war to locate fugitive Nazi war criminals.

Poland Monument

Poland Monument

Inmates here were literally worked to death at the rock quarry (known as the “Wiener Graben”) and their daily diet was only half the calories necessary for subsistence.  Certain groups were simply summarily executed (including via a gas chamber) by the Nazi regime.

Soviet Union Monument

Soviet Union Monument

Over 100,000 people died. In 1949, it was declared a national memorial site and, on May 3, 1975, 30 years after the camp’s liberation, Bruno Kreisky, the Chancellor of Austria officially opened the Mauthausen Museum . The Mauthausen site remains largely intact, but much of what constituted the sub-camps of Gusen I, II and III is now covered by residential areas built after the war. Today, Mauthausen Memorial stands as a reminder of the darkest days of Austria’s history.

Mongol Gate

Mongol Gate

We entered the camp via the main entrance that former prisoners referred to as the Mongol (or Mongolian) Gate. The two identical guard watchtowers towers above the gate give the appearance of Chinese architecture. As there was a ready supply of granite, there was extensive use of this stone, making Mauthausen as the most ornate concentration camp during the war. The camp’s stone construction also made the camp look the same as when it was built in 1938.

Courtyard of SS Garage

Courtyard of SS Garage

There was once a metal eagle and swastika above the gate but it was removed when the camp was liberated in 1945. The stairs on the right lead down to the S.S. Garagenhof (garage yard) which was used  for S.S. celebrations and as an assembly area for inmates during delousing actions. Overlooking the garage is the balcony where camp commandant S.S. Col. Franz Ziereis would give speeches to his S.S. guards and inmates.

Roll Call Square

Roll Call Square

Once inside the camp, we stood on a wide open courtyard called “Roll Call Square” located in front of the hospital and gas chamber. Each day, there were 3 roll calls held in this courtyard (reduced to 2 after 1943) and inmates were assembled to hear speeches and instructions from Ziereis. The prisoner’s working day started at 4.45 AM in the summer and 5.15 AM in the winter. The day ended at 7 PM.  A number of memorials to the victims of Mauthausen are located in the roll call area.

Sarkophag Memorial

Sarkophag Memorial

Straight ahead is the “Klagemauer” (“Wailing Wall”). When prisoners first arrived here, they had to pass an initiation ritual which included passing hours and, sometimes days, standing facing “The Wailing Wall” while chained to iron rings set in the wall.

Memorial plaques at Wailing Wall

Memorial plaques at Wailing Wall

They were also interrogated and brutally beaten.  Today, the “Wailing Wall” and the wall on the left now have numerous personal memorial tablets placed there by families of the victims and a wide range of countries. There’s also a memorial to Pope John Paul II‘s visit to Mauthausen Memorial on June 24, 1988.

John Paul II Visit Memorial

John Paul II Visit Memorial

Behind the granite wall, on the right, is the quarantine camp while the building on the left, with 2 chimneys, is the hospital which contained a gas chamber in the basement. In the former kitchen is a Catholic church. The majority of the prisoners sent to Mauthausen were Catholics.

Catholic chapel

Catholic chapel

To the left of the Mongol Gate are some of the remaining wooden prisoner barracks that have been restored using the same materials used during the camp construction. These barracks were overcrowded and the sanitary conditions deplorable.

Barrack interior

Barrack interior

Each barrack had two bedrooms and two living rooms located on the left and right sides of the entrance. The prisoners were not allowed to spend much time in the living room, being forced to stay in the bedrooms, with two or three in the same bed. In front of the entrance, in the middle of the barrack, was the bathroom.

Barracks bathroom

Barracks bathroom

At the ground floor of the old infirmary is a very well explained (they also have an English translation) museum, opened in May 2013, covering the history of Mauthausen, from its inception in 1938 to the liberation of the camp on May 3, 1945.

Exhibits (8)

Museum exhibits

Museum exhibits

On display are samples of letters, clothes (the prisoners were forced to wear colored triangles in order to identify the category to which they belong – Gypsy, gay, Jewish, political prisoners, etc.) and other artifacts seen inside the camp.  This kept us occupied for quite a long time.

Typical striped concentration camp inmate clothes

Typical striped concentration camp inmate clothes

Next, we went down the basement where we followed the scene of the crime and the murder of prisoners. The gas chamber, refrigeration room, dissection room and crematorium complex, the very disturbing sections of the camp, are definitely not for the squeamish or for children.

Disinfection Room

Disinfection Room

The gas chamber, completed and used by the spring of 1942, could murder 120 people at one time and it is estimated that around 10,200 prisoners were gassed in this room. However, its construction was inefficient and the prisoners often died of suffocation rather than the gas. The Judas Opening, a hole in the door of the gas chamber, allowed the curious or, better said, the sadists, to see what is happening inside the chamber.

Crematorium

Crematorium

The dissection room was were, after a person was gassed, they were taken to have their gold fillings removed. The box on the right was for the collection of the fillings.  After their fillings were removed, their bodies were stored in the refrigeration room before being taken to the crematorium.

Portion of the high-voltage electric fence

Portion of the high-voltage electric fence

The dissection room was also used for cruel medical experiments and for taking organs from living people. The organs were bottled and stored on shelves.  The crematorium ovens was the final procedure in the murder process of tens of thousands of inmates of Mauthausen.

Crematorium Memorial Room

Crematorium Memorial Room

Then there is the Room of Names which displays and lists the etched names of 81,000 known victims (the names are also available to view via the internet) onto various horizontally placed black glass plates.  We then left the building and walk a short distance before returning to an older part of the museum.

Room of Names

Room of Names

On a green field at the entrance in the concentration camp, between the main camp and the quarry steps, is the Memorial Garden, originally the site of the S.S. administrative barracks.

Hungary Monument

Hungary Monument

Jewish Memorial

Jewish Memorial

In 1949, the site was turned into a memorial garden with the first memorial being donated by France. Today, there are now 22 monuments and more than 30 inscribed plaques, donated by numerous nations subjugated by Germany during the World War II, to remember their prisoners from Mauthausen.

Bulgaria Monument

Bulgaria Monument

Monument to Women

Monument to Women

Also inside the camp are many graves of different nationalities. Barracks 21–24 and Camp II, formerly used as quarantine camps after 1944, now house remains of the inmates from the “American cemeteries” which were transferred here in 1961.

Camp II (Quarantine Camp)

Camp II (Quarantine Camp)

Just past the Memorial Garden Prisoners is the “Todesstiege” (“Stairs of Death”), were Jewish inmates were forced to run up the 186 steps carrying huge packs with 25 kgs. of blocks of granite on their backs from  the Wiener Graben. The weight was gradually increased and, as the prisoners tired, they would fall backwards striking other prisoners, some of them being killed by the blocks that fell, and causing a domino effect, with the S.S. guards placing bets on who would fall.

Remembering the dead at Barracks 21-24

Remembering the dead at Barracks 21-24

For their sick entertainment, the sadistic S.S. guards would frequently take those that survived that fate to the top of the quarry and often forced them to jump or push them, over the narrow ledge of the quarry, to their deaths in a procedure called the “parachute jump,” cynically referring to them as “Fallschirmspringer” (“parachutists”). Today, the ledge is now overgrown with trees and bushes but, from an observation point, we can see the valley below.

Stairs of Death

Stairs of Death

Our visit to this concentration camp was educational, making us see the awful conditions the inmates were forced to live when the world was at war, and also left us speechless as we understood the pain people here experienced at this place.  It was like taking a trip back into time that, even though it is horrific, it is still part of history, a history that, for the sake of the world’s future, none should ever forget or pretend that it doesn’t exist. The Mauthausen Memorial truly deserves a visit, not just for the camp itself, but for the memory of all the people who lost their lives here.

L-R - Isko, Manny, PPopong, the author, Grace, Kyle, Jandy, Vicky and Cheska

L-R:- Isko, Manny, Popong, the author, Grace, Kyle, Jandy, Vicky and Cheska

Mauthausen Memorial: Erinnerungsstraße 1, 4310 Mauthausen, Austria. Tel: +43 7238 22690. Fax: +43 7238 2269 40. Admission: 2 EUR. Open daily, 9 AM – 5:30 PM (March 1 – July 10); Tuesdays – Sundays, 9 AM – 5:30 PM (July 11 – October 31) and Tuesdays – Sundays, 9 AM – 3:45 PM (November 1 – February 28).  Audio guides, in a variety of languages, are available for 3€. There are a number of guided tours available but it is a case of checking the website or phoning the visitor’s centre. During winter, some parts of the camp aren’t accessible for safety reasons (ice). Website: www.mauthausen-memorial.at.