Schlagwort: 1010wien

One of the showpieces of the excellent Hofjagd- und Rüstkammer in the Hofburg is undoubtedly the so-called „Adlergarnitur“ from 1547, which the later Emperor Ferdinand I had made for his son, Archduke Ferdinand II of Tyrol. The name derives from the gilded eagles decorated on the surface, the heraldic animals of old Austria.

The knightly luxury armor, which was usually worn for representation purposes at tournaments, consists of 87 individual parts that can be combined as a modular system to 12 different armors for different occasions (on horseback, on foot, for field, tournament, foot combat, etc..). The „sporting equipment“, elegant due to its excellent execution and decoration, was created by the Innsbruck plater Jörg Seusenhofer.

To produce it, iron was fire-gilded, framed in black, engraved and rivet heads were made of brass. The considerable cost was equivalent to 12 years‘ salary of a high court official. The field armor is the largest preserved of its kind and, through illustration in the inventory of Archduke Ferdinand II, also the best documented.

The Theater Ronacher of 1872 was originally planned by Ferdinand Fellner & Sohn for the German theater director Heinrich Laube. After 20 years of successful management of the Burgtheater, Laube was rudely replaced and, together with the publisher of the „Neue Wiener Presse“ Max Friedländer, decided to build a privately financed rival theater to the Burg. This developed into a legendary duel between the houses, which was abruptly interrupted by a fire 12 years later.

The theater entrepreneur Anton Ronacher had the ruins rebuilt by the theater architects Fellner and Helmer in 1888 as the „Konzert- und Ballhaus Ronacher“. The building, which was repeatedly adapted, was used after WWII as an alternative stage for the castle, then later for TV productions and, after 10 years of vacancy, was expanded by the Vereinigen Bühnen Wien as a musical stage with more than 1,000 seats.

After a general renovation, in the 2000s there was still a controversial roof extension of the on 3 sides free-standing theater building in historicism with temple facade by Arch. Günter Domenig.

The Emperor Franz Monument in the Burggarten in classicist forms depicts Franz I Stephen of Lorraine, husband of Maria Theresa and as Franz I Roman-German Emperor from 1745-1765 on horseback. Vienna’s first equestrian statue was begun by Balthasar Ferdinand Moll during the emperor’s lifetime and completed in 1781 in cast lead.

However, the court did not purchase the monument and the sculptor left it to his family. In 1797 it was placed in the Paradeisgartel on the Bastei and in 1819 it was transferred to the former „Kaisergarten“. Moll, who came from Tyrol, is still known today, especially for the production of the 20 or so magnificent coffins in the Capuchin crypt.

Franz Stephan was a financial genius; in 1763 he was entrusted with the supreme management of finances and the reorganization of the national debt. Open to all modern trends (and to women) he invested in industrial settlements and mining), he devoted himself to collecting for his natural history cabinet (which became the Natural History Museum) and to acquiring a large private fortune.

The centerpiece of the Parliament, which was completed in 1871 (and has now been completely renovated) is the main work of the outstanding architect Theophil Hansen, is the monumental portico. In the style of an ancient peristyle with a glass gabled roof, supported by 24 monolithic columns of Salzburg marble, this space was also intended to function as the social center of the building. A meeting place for exchanges between the different chambers of the Imperial Council of the time.

The renovated floor of Karst marble slabs covers 40×23 meters. In the course of WWII there was severe damages after which 2 columns were replaced. The frescoes, which were painted by the Austrian painter Eduard Lebiedzki in a historicist style, are only preserved in fragments.

You can also see the pediment groups „Vaterlandsliebe“ (Patriotism) by Hugo Haerdtl and „Einigkeit“ (Unity) by Karl Sterre and between the columns there are figures of Roman statesmen.

As part of the current exhibition „The Fest“ at the Museum of Applied Arts (MAK), a form of courtly merrymaking and representation that has been popular since the Middle Ages is shown in the form of „schlittage“.

These were elaborately choreographed sleigh rides in groups, accompanied by music and the ringing of bells, in which horse-drawn sleighs, manned by a cavalier and a lady assigned to him, moved along predetermined serpentine lines and routes.

The sledges were elaborately designed and, if necessary, snow was brought from the surrounding countryside of the city. Events took place partly at night with torches, e.g. at the Hofburg, and partly during the day with a ride to Schönbrunn followed by a banquet or spectacle.

I am happy to offer a guided visit to the exhibition as part of a tour of the highlights of the MAK!

The red marble tomb of Emperor Frederick III in the apostle nave of the Cathedral Church of St. Stephen from 1517 is one of the greatest works of late Gothic sculpture. The top plate, weighing 8 tons and created by the Dutch sculptor Niclas Gerhaert van Leyden, shows the figure of the reclining Frederick; the sides and the surrounding balustrade of the sarcophagus are adorned with coats of arms, statues of princes and apostles, and reliefs of endowments of the first Habsburg to be crowned emperor.

That it is indeed a sarcophagus was clearly proven in an investigation presented in 2019. The ruler, known for his motto A.E.I.O.U., died in 1493 at the biblical age of almost 78 for those times and was reburied after completion.

The extensive figurine program of the sculpture, which can be visited during guided tours, shows among other things grimaces, mythical creatures, animals and skulls, which probably also symbolize the sinfulness in life. Monks and priests pray for his salvation, on the east side in the direction of view is emblazoned with an image of the Risen Christ.

The central highlight in the Schottenstift Abbey Museum is the late Gothic Viennese Schotten Altar, which was created between 1469 and 1475 by the Master of the Schotten Altarpiece. As the artist or artists (presumably from Nuremberg) are unknown by name, this designation is chosen.

The open winged altar (=Sunday side), originally made for the choir of the church of St. Mary in Schotten, shows a Marian cycle in 13 scenes, 3 panels are no longer extant, 2 panels can be seen in the original in the Belvedere and are shown as a copy. The closed state (=working day side) shows a passion cycle.

Due to the quality of the execution, the wing paintings are among the most important medieval works of art in Vienna. Particularly noteworthy is the panel „Flucht nach Ägypten“ (Exodus to Egypt) with a faithful representation of Vienna in the 15th century, unusually even with a starry sky.

Interested to have a closer look at the altar with the historical buildings? On request, I am happy to offer a guided tour of this unique museum of Vienna!

One of the most important baroque palaces in Vienna – the Palais Kinsky – built by Johann Lucas von Hildebrandt for the Field Marshal Wirich Philipp von und zu Daun was completed in 1719. After various changes of ownership, it was taken over by Rosa Countess von Kinsky in 1790 and is now owned by the foundation left by Billa founder Karl Wlaschek and also houses the mausoleum built for him there.

Behind the stylishly decorated façade with a portal based on the Roman model is the remarkable staircase as an optical frame for the ceiling fresco, which shows the glorification of Count Daun. Among other things, Daun was involved in important battles in the Spanish. He later succeeded Prince Eugene and was the father of Leopold Daun, the commander under Maria Theresa in the Seven Years‘ War.

The Bohemian noble family Kinsky was until 1945/1948 an extensive property owner in today’s Czech Republic and produced a number of important men and women in military and political positions, especially the Nobel Peace Prize winner of 1905 Bertha von Suttner.

St. Stephen’s Day on Dec. 26 is celebrated in memory of St. Stephen the deacon and arch-martyr, the namesake and patron saint of the Cathedral of St. Stephen in Vienna, Austria’s national shrine. The approx. 1.5m high original statue of the north tower from 1480-1490 is considered one of the highlights of the Wien Museum. The holiday was probably founded in the 6th century under the Roman Emperor Justinian.

Stephen was one of the 7 deacons ordained by the apostles in Jerusalem, came into conflict according to legend and was stoned to death after his defense speech as the first martyr of Christianity. This also explains the (youthful) depiction as a deacon with a gospel book and (often three) stones.

(Wien Museum inv. no. 556, CC BY 4.0, photo: Enver Hirsch – edited)

The „Wehrmann in Eisen“ (Soldier in Iron) from 1914 was erected to attract donations in the course of WWI to support war widows and orphans and is today located in the Rathausarkaden (City Hall Arcades) in Vienna’s Stadtplanungshaus (City Planning Building) directly next to the entrance to the MUSA, a location of the Wien Museum.

In the course of so-called war nailings, those willing to donate could hammer a nail into the limewood figure in the shape of a knight, designed by the avowed National Socialist Josef Müllner. Originally placed at Schwarzenbergplatz, there are about 500,000 nails in the sculpture. During WWII, the action was repeated in favor of the Heroes‘ Memorial in the Outer Burgtor and the base of the figure was nailed.

As a trigger for the idea, the medieval „Stock im Eisen“ (stick in the iron) on the square of the same name near St. Stephen’s Cathedral is considered the oldest surviving nail tree and found in the 20th century a large number of imitators throughout Europe.

The saying above the figure reads:

Der Soldat von Wien erinnert sich der Zeit,
Als unerschöpflich wie des Krieges Leid
Liebe war und Barmherzigkeit“

(The soldier of Vienna remembers the time,
When inexhaustible as the war’s suffering
Love was and mercy)