Hofburg Palace (Vienna, Austria)

Hofburg Palace Complex

The popular Hofburg, the extensive former imperial palace complex of the Habsburg dynasty rulers, was the political centre of the monarchy and was their principal imperial winter residence for over 600 years, as Schönbrunn Palace was their summer residence.  Previously, the castle of the Austrian rulers had been located on the Am Hof, a square near the Schottenstift (Scottish Monastery).

Check out “Schonbrunn Palace and Gardens

Since 1279, the Hofburg was the documented seat of government for various empires and republics,  housing some of the most powerful people in European and Austrian history including kings and emperors of the Holy Roman Empire of the German Nation (from 1438 to 1583 and from 1612 to 1806) and, thereafter, the seat of the Emperor of Austria of the Austro-Hungarian Empire until 1918. Today, part of it forms the official residence and workplace of the Austrian Federal President.

Originally a fortified Medieval castle built in the 13th century, the Hofburg area has, over the centuries, been expanded by each emperor to include various residences (with the Amalienburg), the Imperial Chapel (Hofkapelle or Burgkapelle), the Naturhistorisches Museum (Natural History Museum) and Kunsthistorisches Museum, the Austrian National Library (Hofbibliothek), the Imperial Treasury (Schatzkammer), the Burgtheater, the Spanish Riding School (Hofreitschule), the Imperial Horse Stables (Stallburg and Hofstallungen), and the Hofburg Congress Center.

Check out Kunsthistorisches Museum,”Imperial Treasury” and “Natural History Museum

This sprawling, asymmetric complex extends over 240,000 sq.m., consists of 18 wings, 19 courtyards and 2,600 rooms in which nearly 5,000 people still work and live today.

The Hofburg faces Heroes Square (Heldenplatz), ordered built under the reign of Emperor Francis Joseph, as part of what was to become an Imperial Forum (Kaiserforum), a two-winged structure reaching beyond the Ringstraße that was never completed. Standing at the foci of Heroes Square are the equestrian statues of Prince Eugene of Savoy and Archduke Charles, the two most important Austrian field marshals.

The statue of Archduke Charles

The Alte Burg (Old Fortress), the  oldest part of the Hofburg has, since the 18th century, been called the Schweizertrakt (Swiss Wing) after the Swiss Guards who served as the palace watch. Over the centuries, the palace underwent alterations and, thought the core of the Medieval fortress complex has been preserved, its four corner towers, most of the moat and the drawbridge had to make way for that.

The Swiss Court (Schweizerhof), built during the reign of Emperor Ferdinand I in the style of the Renaissance, corresponds somewhat to a square formed around the oldest sections of the castle which originate from the 13th century and were primarily constructed by the last of the Babenbergers or by Ottakar II of Bohemia. The lower section of this wing once accommodated the imperial kitchen.

Grace and the author at the Imperial Treasury (Schatzkammer)

Situated here are the Burgkapelle (the Vienna Boys’ Choir still sings on Sundays at High Mass), a Gothic chapel built in 1449; the Schatzkammer, the Imperial Treasury which holds, among other objects, the Imperial Insignia of the Holy Roman Empire (Reichskleinodien) and that of the Empire of Austria); and the Hofmusikkapelle (the Imperial Music Chapel).

Cheska and Kyle entering the Swiss Gate

Its famous Schweizertor, the red-black Swiss Gate, is the main motif in the silver 20 euro Renaissance commemorative coin.  The gate, designed by Pietro Ferabosco, is one of only a handful of Renaissance monuments in Vienna. It displays the many titles of Emperor Ferdinand I and the insignia of the Order of the Golden Fleece. It is flanked by two soldiers in period attire, a reminder of the unsettled times which saw Vienna besieged by Turkish armies in 1529, as well as the struggles between Protestants and Catholics during the Reformation.

The many titles of Emperor Ferdinand I and the insignia of the Order of the Golden Fleece at the Swiss Gate.

The formerly free-standing Amalienburg (Amalia Residence) wing, across from the Swiss Gate, was named after Empress Amalie Wilhelmine, who used it as her dower residence after the death of husband, Emperor Joseph I.

Grace and Vicky at Amalienburg

Constructed during the 16th century, in the style of the late Renaissance, as the Viennese residence of Emperor Rudolph II, it had already been in use for more than a century. Its last occupant was Empress Elisabeth, whose apartments are today open to the public. The small domed tower has an astronomical clock on its façade.

Astronomical Clock Tower at Amalienburg

The early Baroque Leopoldine Wing (the Leopoldischiner Trakt), connecting the Amalienburg with the Swiss Court, was designed by Italian architect-engineer Filiberto Luchese and built between 1668 and 1680 under Emperor Leopold I. After the Siege of 1683 by the Turks, the Leopold Wing was rebuilt by Giovanni Pietro Tencala with an additional floor installed.

The Leopoldine Wing

During the 18th century, it was occupied by Empress Maria Theresa and, after her death, its magnificent apartments were used as state rooms until the end of the monarchy. The architecture of this wing still bears a connection to the late Renaissance. Since 1946, this wing houses the offices of the Federal President. As well as that of the Amalienburg, the lower section of this wing served as the enormous wine cellar for the Hofburg.

Plaque at the Leopoldine Wing

The Imperial Stables (Stallburg), although not physically connected to the rest of the Hofburg complex, was started in 1559 and were originally built as a residence for Maximilian II, the son of Ferdinand I and the then crown prince. Later, this structure accommodated the art collection (which formed the core of the later Kunsthistorisches Museum from 1889) of Archduke Leopold Wilhelm, the art-inclined brother of Emperor Ferdinand III. The first Austrian parliament sat here in 1848. Only later was it used to house the imperial horses. Today, it is still used by the Spanish Riding School (Spanische Hofreitschule). The famous Lipizzan stallions, can be seen here daily (except on Mondays), at their morning training.

The Winter Riding School (Winterreitschule), where you can watch performances of Lipizzan stallions, is located across from the Stallburg and was also designed by the Baroque architects Lukas von Hildebrandt and Joseph Emanuel Fischer von Erlach.

Imperial Chancellery Wing (Reichskanzleitrakt)

The Imperial Chancellery Wing Reichskanzleitrakt, across from the Leopold Wing, was originally planned by Baroque architect Johann Lucas von Hildebrandt and completed in 1730.  It accommodated the Aulic Council (Reichshofrat), the offices of the Imperial Vice Chancellor (Reichsvizekanzler).  After the end of the Holy Roman Empire in 1806, this wing housed the apartments of the Duke of Reichstadt (Napoleon II) and, from the middle of the 19th century, those of Emperor Francis Joseph I.

Attika with Shield of Kaiser Karl VI

On the Chancellery portals are sculptures, representing the Labors of Hercules, by Lorenzo Mattielli. The Kaisertor (Emperor’s Gate), at the central section, gives access to the imperial apartments. The imposing armorial shield of Emperor Charles VI with the double eagle bearing the Austrian shield in the colors of red, white and red and surmounted by the imperial crown, rises from the edge of the roof.

The originally free-standing Imperial Library (Hofbibliothek), housed on the other side of the complex, was founded by Charles VI.  Now called the Prunksaal, it now houses the Austrian National Library (Österreichische Nationalbibliothek). Its construction was begun by Baroque court architect Johann Bernhard Fischer von Erlach and, after Johann’s death in 1723, finished in 1735 by his son Joseph Emanuel Fischer von Erlach.  This magnificent hall, the most significant part of the Hofburg in artistic terms, contains the precious book collection of Prince Eugene, an enormous ceiling fresco by Daniel Gran, and statues of emperors by Paul Strudel.

The exterior, decorated with Attika figures, was executed, in 1726, by Lorenzo Mattielli who placed a statue of Pallas Athene, riding on a quadriga, above the main entrance. He also situated Atlas, supporting the celestial globe and flanked by Astronomy and Astrology, on the left portion of the roof and, on the opposite side, Gaia with the terrestrial globe, flanked by allegories of Geometry and Geography.

The present Joseph Square (Josephsplatz), one of the most beautiful locations in Vienna, was created when, from 1763 to 1769, Nicolo Pacassi connected the Imperial Library to the other parts of the Hofburg and its other side to St. Augustine’s Church (Augustinerkirche).  At the center of Joseph Square is the equestrian statue of Emperor Joseph II by Franz Anton von Zauner.

On the southeast side of Joseph Square, adjacent to the Imperial Library, is the Baroque Augustinian Wing, so identified for its proximity to the Augustinian Church and Monastery.  The Augustinian Church (Augustinerkirche), used by the Habsburgs as their court church and also for weddings, was where Emperor Franz Joseph I and Empress Elisabeth, alias Sisi, were married.

As the Hofburg Palace expanded, the wing became part of it. Because of its structural connections to the Augustinian Monastery, the Archduke Albrecht Palace (formerly Tarouca-de Sylva Palace), home of the Albertina Museum, is also considered part of the Hofburg Palace after the renovation of the Albertina in the 1820s by Joseph Kornhäusel. In early years of the 19th century, Archduke Albrecht and, later, his nephew, Archduke Friedrich, Duke of Teschen, both members of the Habsburg Family, lived in the building.

The Hearts’ Crypt, behind the Loreto side chapel, is a semicircular-shaped annex, separated by an iron door, where 54 hearts of House of Habsburg members are kept in silver urns.

The magnificent  Zeremoniensaal (Ceremonial Hall), built for Emperor Franz II/I by the Belgian architect Louis Montoyer at the beginning of the 19th century, was nicknamed as the “Nose of the Hofburg,” derived from the fact that it, for almost a hundred years, formed a clearly visible protrusion at right angles to the Leopold Wing.

Neue Burg

Having a truly imperial aspect, the Zeremoniensaal, fully integrated into the New Castle (Neue Burg), has an ornate coffered ceiling, 26 crystal chandeliers (which once held 1,300 candles) and 24 Corinthian columns with an artificial marble finish (the surface is not real stone but a form of painted gypsum known as stucco lustro).

Check out “Neue Burg

During an exclusive Ball at the Court held here, Napoleon I asked for the hand of Marie Louise, the daughter of Emperor Franz II/I and, during a traditional Maundy Thursday ceremony, Emperor Franz Joseph and Empress Elisabeth invited twelve poor old men and women to have their feet washed.

The St. Michael’s Wing, originally planned by Joseph Emanuel Fischer von Erlach, was built from 1889 to 1893, utilizing a slightly altered plan of Ferdinand Kirschner. It serves as the connection between the Winter Riding School and the Imperial Chancellery Wing.

The Redoutensaele (derived from the French word “wikt:redoute” meaning an elegant masked ball), a 17th-century opera house converted into the beautiful dance and concert halls by Maria Theresia, became the setting for a cultivated style of entertainment. Its original plans were drawn up by Jean Nicolas Jadot de Ville-Issey (de), while the external facades are the work of Nicolò Pacassi and Franz Anton Hillebrandt (de).

Johann Strauss served as musical director to the court for the balls held at the Redoutensaele, and the audience was treated to music by Joseph HaydnNicolo Paganini and Franz Liszt and, in 1814, the premiere of Beethoven‘s 8th Symphony took place there. Over the centuries, in line with changing tastes, various modifications have been made in the balls. On November 27, 1992 the whole wing with the Redoutensaele was seriously damaged by fire and the reconstruction and faithful restoration work performed lasted five years. The Redoutensaele reopened in 1998 and, since then, became part of the Hofburg Congress Center.

Fiaker  (Horse-Drawn Carriage) inside the Hofburg

Hofburg Palace: Michaelerplatz 1 (Michaelerkuppel), 1010 Vienna, Austria. Tel: +43 1 5337570. Open 9 AM-6 PM.

How to Get There:

Underground: U3 Herrengasse

Tram: 1, 2, 71, D Burgring

Bus: 2A, 3A Hofburg

HOP ON HOP OFF: Red Line: Kunsthistorisches Museum / Heldenplatz

Kunsthistorisches Museum – Collection of Greek and Roman Antiquities (Vienna, Austria)

Collection of Greek and Roman Antiquities

From the Egyptian and Near Eastern Collection, a change of flooring and presentation, gave way to the delights of Ancient Greece and Rome with my entry into Gallery 10 and its Collection of Greek and Roman Antiquities.

The 2,500 objects in the collection, some on permanent display, span a period of more than three millennia and range from Bronze Age ceramics of Cyprus dating from the 3rd millennium B.C. to early Medieval finds.

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This collection, one of the best of its kind, covers three main areas in a beautifully atmospheric gallery layout – the unique and spectacular antique cameos and gemstones; the treasure troves dating from the period of the great migrations and the early Middle Ages (such as the golden Treasure of Nagy Szent Miklós); and the collection of vases (with such masterpieces as the Brygos Cup).

Votive Statue of a Man from Cyprus

Among the other highlights of the collection are the larger-than-life Votive Statue of a Man from Cyprus, the Amazonian Sarcophagus, the bronze tablet with the famous Senatus consultum de Bacchanalibus, the Theseus Mosaic from Salzburg and the Youth from the Magdalensberg, to name only a few.

Sarcophagus with Fighting Amazons

Sarcophagus of the Muses

Sarcophagus with a Scene of Abduction of Persephone by Hades

However, though a lot of thought has been clearly put by the curators into how the items were displayed in this collection, surprisingly there was little English information for such wonderful displays and we needed an guidebook or an audio guide to really appreciate what we’re seeing.

Youth from the Magdalensberg

At Gallery 11, we saw a huge original mosaic in the floor. Taken from a 4th century villa near Salzburg, it tells one of the versions of the story of Ariadne and Theseus (of Minotaur-slaying fame).

Marble Statue of Discobolus (2nd century AD)

Torso of the Javelin Bearer Doryphoros (2nd Century AD)

As we walked toward the entrance portal of Gallery 13, we were welcomed by a statue of a majestic Emperor Vespasian, his head is from 70 A.D. and his torso from sometime in the first century.

Gallery 13 (Busts)

This bust gallery, possessing an eerie quality enhanced by the subtle and varied lighting and shadows cast on the marbled floor, has a delightful display of busts, each on its own high column. We also saw mummy portraits placed on mummies in Rome-influenced Egypt in the second century AD.

Gallery 14 (Greek Vases)

Gallery 14 features real Greek vases and other ceramics (not the kind from souvenir shops in Athens and Kos).  The “Kabinetts,” leading off the rooms, each focus on a special topic such as Cypriot ceramics from the Bronze and Iron Ages, Etruscan Art, etc..

Gallery 14 (Greek Vases)

The magically dark Gallery 15 features bronze statues of the gods and other figures of mythology, each piece lit with pools of light that makes a dramatic impression, plus Roman tableware, jewelry, decorated oil lamps and fibulae (brooches for fastening clothing).

Marble Sphinx from Roman Egypt (150 – 200 AD)

The darkly lit Gallery 16, with wall cabinets and spotlights, features brightly-colored miniature reliefs (cameos) and engraved gems from Rome which were used as signet rings, pendants and other adornments. The room also features the famous Gemma Augustea, a large cut onyx stone, from 9-12 A.D., honoring the Emperor Augustus.

Spot-lit cabinets at Gallery 17 house a wide range of Roman and early Germanic jewelry and other items of bronze, silver and gold coming from various finds, such as Nagy Szent Miklós (in modern-day Romania) or Zalesie (modern-day Poland).

Collection of Greek and Roman Antiquities: Raised Ground Floor, Kunsthistorisches Museum, Maria Theresien-Platz, 1010 Vienna. Tel: +43 1 525 24- 4902. E-mail: info.ansa@khm. Open Tuesdays – Sundays, 10 AM – 6 PM, Thursdays, 10 AM – 9 PM.

Kunsthistorisches Museum – Kunstkammer (Vienna, Austria)

Kunstkammer

The Kunstkammer Wien, the most important collection of its kind in the world, has 2,162 fabulous artworks passionately collected by the Habsburg emperors (above all Rudolf II) and archdukes over centuries.

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Ibonized and ormolu cabinet of Ferdinand ll von Tirol

One of the most important chambers of art and wonders in the world, it was opened to the public on March 1, 2013 after years of extensive refurbishment (between 2002 and 2012).

Gold Platter with a Relief (Christoph Lencker)

This “museum within the museum” has 20 galleries which fills the lower eastern wing of the main building of the museum. On an area of 2,717 sq. m., more than 1,000 years of history can be experienced in the Kunstkammer.

Emperor Charles V (Leone Leoni, 1555, bronze)

A Carolingian ivory tablet from the 9th century is the oldest exhibit while a ceiling painting, from the year 1891, is the youngest.

Golden Candlesticks

The Kunstkammer, aside from showcasing the standout items of various Habsburg collections put together from the 16th century onwards, also demonstrated the best of nature and man’s creative abilities.

Altar of St. Jerome (Jacob Cornelisz van Oostsanen)

The encyclopedic and universal collections of the Kunst-und Wunderkammern (arts and natural wonders rooms) from the late Middle Ages to the Renaissance and Baroque periods attempted to reflect the entire knowledge of the day.

Jacob and Rachel (Democrito Gandolfi)

Of particularly interest are the desirable, exotic, rare, curious and unusual objects, often ascribed with magical powers, such as precious stones, ostrich eggs, coral and shark’s teeth, natural products from which artists created virtuoso works of art.

Cabinet of Archduke Ferdinand II

Among its highlights are numerous other art objects which have been collected since the Middle Ages such as carvings, timepieces, paintings, ivory sculptures, strange scientific instruments, wall-hangings, tapestries, coins, weapons, precious stone vessels, elaborate automatons, sumptuous game boards, drinking games and all sorts of humorous vessels, and a wide range of curiosities from the natural world.

Danae, part of a 6-piece Mythological Representation (Francesco Primaticcio, 1540-50)

They include examples of fabulous goldsmith work such as the celebrated and precious Saliera (“salt cellar,” which dates to the middle of the 16th century) by Benvenuto Cellini (at the heart of the collection) and the valuable  gold and porcelain breakfast service of Maria Theresia; the so-called “Natternzungenkredenz” (around 1450), including fossil sharks’ teeth, considered to be the mystical remains of dragons; the natural cast of a real toad; outstanding sculptures such as the Krumau Madonna; magnificent bronze statuettes; a “Narwalhornbecher” from the 17th century claimed at the time to be made from a unicorn horn (actually a narwhal tusk); the Dragon Bowl made from lapis lazuli; delicate and bizarre ivories; carved rhinoceros horns, a valuable musical clock in the shape of a ship, a glass container (tafelaufsatz) shaped like a heron with real heron feathers; etc.

Large tafelaufsatz in the shape of a heron (Saracchi Workshop, ca. 1590)

Each gallery, with its excellent design and layout carrying you along on a journey through changing times and techniques, has an overview explaining its theme and/or relevance to art and history.  As you move from room to room, different art forms progressed, at different rates, in different regions.

Kaiser Franz I (Camillo Pacetti)

Each item has an accompanying short description and touch screens provide further background information, more detail on selected exhibits and the genealogy of the Habsburg dynasty.

Gallery 19 (Golden Hall)

Gallery 19 (Golden Hall) impressed us with its huge ceiling painting “Mäcene the House of Habsburg,” the magnum opus of the now almost-forgotten history painter Julius Victor Berger which pays homage to the Habsburg art patrons and their favorite artists.

Mäcene the House of Habsburg (Julius Victor Berger, 1891)

In Gallery 20 is the ivory collection of Emperor Leopold I, nephew of Archduke Leopold Wilhelm. They include the impressive ivory piece, from 1700, depicting Archduke Leopold adorned with angels, with a foot resting on his vanquished Ottoman foes following the famous defeats of the Ottoman armies, most notably at the Siege of Vienna in 1683 (though he was nowhere to be seen at that time in Vienna).

Gallery 20

There’s also the detailed (check out the mind-blowing detail of the battle of Amazons) ivory and cedar reliefs, from the late 1600s and early 1700s, by Ignaz Elhafen; and the ivory reliefs by Johann Ignaz Bendl (he also contributed to the famous plague column in Vienna’s city center).

Ivory Goblet (Marcus Heiden)

Gallery 22 displays the Master of the Furies, gorgeous ivory statuettes by an unknown artist, and a delightful ivory phoenix from 1610/1620.

In Gallery 23 (to the side of Gallery 22), we found 17th century clocks and scientific instruments from the collection of Archduke Leopold Wilhelm.

Handstones

Gallery 24, which continues the theme of intertwining nature and art, features items from the 16th century Innsbruck collection of Archduke Ferdinand II including the so-called hand stones (pieces of ore with biblical or mining scenes carved into them, with added decorative elements and models); plus pieces of glassware and crystal ware from Milanese workshops (e.g. Saracchi, Miseroni), many of which mimic the human body, plants, animals, and shells and often incorporate natural materials and surprisingly practical functions (a tortoise becomes a powder flask, a nautilus shell becomes a drinking vessel, etc.).

Dragon Shell (Gasparo Miseroni, 1565-70) features a fierce dragon motif in gold, enamel, rubies, emeralds and pearls

Gallery 25 houses some of the sumptuous and artistic settings of the Habsburgs such as rhino horns and ostrich eggs.

Gallery 25

Often attributed with medicinal and magical powers by Europeans, these settings often served to emphasize the exotic nature of each of these items.

Displays include a figure of an African below an ostrich shell; a 1611 silver goblet made from rhino horn and decorated with warthog tusks; a giant 1592 basin and ewer decorated with pearl and garnets (its edges have metal casts of frogs and insects, in the 1500s people believed that putting one in a drink got rid of poison); and a large bezoar (indigestible masses found in the gastrointestinal system of animals, in this case a llama) on a gold, emerald and ruby base from the late 1500s.

Lidded rhinoceros-horn goblet with warthog tusks

Ornamental basin with ewer (Nikolaus Schmidt, ca. 1592)

Gallery 26, covering the stonecutting arts, features 17th century landscapes and cityscapes built, mosaic-like, from precious agate, jasper and hornstone.  On display are a small private altar, from 1590/1600, which features Christ and the Woman of Samaria at Jacob’s Well by Gian Ambrogio Caroni, constructed from precious gems and metals (rock crystal, jasper, agates, lapis lazuli, emeralds, amethyst, gold, enamel, gilded silver and pearls).

Gallery 27, holding items from the Prague collection of Emperor Rudolf II, showed us how art, science and engineering began to combine with its displays of various automatons such as a mechanical ship from 1585 (the sails are miniature paintings); mechanical clocks from the late 1500s and early 1600s; sundials; vessels made of precious stone (believed to have healing or restorative powers), and much more.

Automaton in the form of a ship (Hans Schlottheim, 1585)

There’s also a narwhal goblet, made of narwhal ivory, gold, enamel, diamonds, rubies, and agate, from 1600/1605; a gilded silver and enamel ornamental ewer and basin from 1601/1602; the bronze figure of a Flying Mercury, from 1585, by Giambologna; and the German Mercury figure.

Flying Mercury (Giambologna)

Gallery 28 features measuring instruments; precious, 16th and 17th century carved coconuts gilded with silver; a wood, bronze and pearl cabinet from 1560/1570 designed for storing art.

Vicky and Grace at Gallery 29

At Gallery 29, we found the famous 1543 Saliera by Benvenuto Cellini (also known as the Cellini salt cellar), a golden salt and pepper dispenser for the table estimated to be worth about US$65 million.  An allegory for the cosmos in gold, enamel, ebony and ivory, it was originally owned by King Francis I and given by King Charles IX of France, the king’s grandson, as a present to Archduke Ferdinand II.

Saliera or Salt Cellar (Benvenuto Cellini)

Stolen in 2003 by an opportunistic passerby who scaled the scaffolding during renovations and disappeared off with the work, authorities recovered the Saliera in 2006 unharmed, found interred in a forest near Vienna.

Winged Mompelgarder Altar

In Gallery 30 is the Mompelgarder Altar, a ca. 1540, bright and colorful winged altarpiece created in the workshop of Heinrich Füllmaurer, whose many panels bear inscriptions from Martin Luther’s German translation of the Bible.

Gallery 31 features a sensational, incredibly detailed (check out the small flowers and distant backgrounds accompanying the two horsed emperors), carved backgammon set, from 1537. A statement of power and prestige, its pieces depict intricate literary scenes and its board back shows representations of the Habsburg dynasty, its lands, and its spiritual (though not actual) predecessors, such as Roman emperors.

At Gallery 32, we saw how art spread beyond its original (mostly religious) context, with artists starting to push back the borders of what’s possible.  This is best illustrated by two bronze figures (ca. 1580), with its fluidity of apparent movement not seen in earlier bronzes, by Giambologna whose sculptures aim to create statues that invite you to walk around them. The gallery also displays an early automaton (or mechanical model) – a female musician from the late 1500s.

Busts of the family of Emperor Leopold I (Paul Strudel, 1695)

Gallery 34 displays 15th century figures and busts.  Highlights here include the Vanitas Group of three figures, representing the beauty and transience of youth, carved from a single piece of limewood; a bronze statue of Bellerophon taming Pegasus, from around 1481 by Bertoldo di Giovanni, a pupil of Donatello (creator of the famous bronze David) and a teacher of Michelangelo (creator of another famous David); and a collection of plaquettes (small bronze reliefs) from the 15th century and later.

Vanitas group by Michel Erhart or Jörg Syrlin the Elder, ca.1470-80

In Gallery 35 is the so-called Adder’s Tongues Credenza from around 1450, an ornament embedded with fossil shark’s teeth (considered to be dragon’s tongues, they were thought to sweat or change color when near poisoned food or drink) as well as a tiny, finely detailed boxwood rosary pendant displaying the Passion of Christ, a truly astonishing work of art.

Galleries 36 and 37 mainly feature ecclesiastical items from the 11th to 14th centuries which dominated early art. On display are a griffon-shaped aquamanile, basically a water jug used for the ritualistic washing of hands, from around 1125.

Kunskammer Wien: Raised Ground Floor, Kunsthistorisches Museum, Maria Theresien-Platz, 1010 Vienna. Tel: +43 1 525 24- 4902. E-mail: info.ansa@khm. Open Tuesdays – Sundays, 10 AM – 6 PM, Thursdays, 10 AM – 9 PM. Audio guides, in both English and German (see here for general visitor tips for the museum), are also available in the museum entrance hall..

How to Get There: take U1 going to Leopoldau at Keplerplatz, transfer to U2 going to Aspernstrabe at Karlsplatz, exit at Volkstheater.

Kunsthistorisches Museum – Picture Gallery (Vienna, Austria)

The author beside the painting of Helene Fourment (Peter Paul Rubens), Picture Gallery, Kunsthistorisches Museum

The Picture Gallery of the Kunsthistorisches Museum, developed from the art collections of the House of Habsburg (notably Rudolf II in the late-16th/early-17th century and Archduke Leopold Wilhelm in the mid-17th century), is one of the largest and most important of its kind in the world with numerous masterpieces from European art history.

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Grablegung Christi (Tizan)

Ecce Homo (Tiziano Vecellio, 1543)

It occupies two wings of the first floor with one wing focusing on 16th-century Venetian painting (Titian, Paolo Veronese, Tintoretto, etc.), Spanish and French works and the other on Dutch painting (Jan van Eyck, Rogier van der Weyden, etc.), 17th-century Flemish painting (Peter Paul Rubens, Sir Anthony Van Dyck, etc.) and German Renaissance painting (Albrecht Dürer, Lucas Cranach, etc.).

John the Baptist Preaching (Bernardo Strozzi)

Mary with Child and Saints (Perugino)

The gallery includes the world’s largest collection of works by Pieter Brueghel the Elder, painted depictions of 16th century life which are unique worldwide and are an absolute joy.

The author (left) beside the painting of The Peasant Wedding of Pieter Bruegel the Elder (1568)

Tower of Babel (Pieter Bruegel)

The Massacre of the Innocents (Pieter Bruegel the Elder)

It features such famous works as the iconic The Tower of Babel (1563), The Fight Between Carnival and Lent (1559), Children’s Games (1560),  The Procession to Calvary (1564), The Gloomy Day (February-March, 1565), The Return of the Herd (October-November, 1565), The Hunters in the Snow (December-January, 1565), The Peasant and the Nest Robber (Bauer und Vogeldieb, 1568), The Peasant Wedding (1568/69) and The Peasant Dance (1568/69).

Madonna of the Meadow (Raphael)

Madonna and Child with Saints Catherine and James (Lorenzo Lotto)

Among the other highlights hanging in the hallowed museum walls of the Picture Gallery are its holdings of masterpieces of Europe’s greatest artists from the 15th, 16th, 17th, and 18th centuries such as:

Homecoming of Hagar (Pietro da Cortona)

Hercules, Dejanira and the centaur Nesius (Paolo Veronese)

The paintings, though hanging in tall galleries, are more or less at eye level, making them easy to view from lovely upholstered sofas.

Cimon and Iphigenaia (Peter Paul Rubens)

The Four Rivers of Paradise (Peter Paul Rubens, 1615)

The protective rails feature accessible, individual descriptions in both German and English.

Bird hunting in Brussels (David Terniers, 1652)

Around 1890, Gustav Klimt, Ernst Klimt and Franz von Matsch painted the areas between and around the arches and columns on the north wall of the main staircase.

Advent … Elizabeth’s Moment (Luca Giordano)

The Triumph of Bacchus (Michaelina Woutiers)

Picture Gallery: First Floor, Kunsthistorisches Museum, Maria Theresien-Platz, 1010 Vienna. Tel: +43 1 525 24- 4902. E-mail: info.ansa@khm. Open Tuesdays – Sundays, 10 AM – 6 PM, Thursdays, 10 AM – 9 PM.

How to Get There: take U1 going to Leopoldau at Keplerplatz, transfer to U2 going to Aspernstrabe at Karlsplatz, exit at Volkstheater.

Kunsthistorisches Museum (Vienna, Austria)

Kunsthistorisches Museum

The Kunsthistorisches Museum (Museum of Art History), also often referred to as the “Museum of Fine Arts,” is housed in its festive palatial building, on the RingstraßeThe term Kunsthistorisches Museum applies to both the institution and the main building.

L-R (standing): Popong Flores, Jandy Layug, the author, Grace Layug, Manny Sta. Maria, Freddie Sta. Maria and Isko Dionela. Seated: Cheska and Kyle Layug

It was opened by Emperor Franz Joseph I of Austria-Hungary around 1891, the same time as the Natural History Museum (Naturhistorisches Museum) across Maria-Theresien-Platz.

Check out “Natural History Museum

The ornate interior

The two museums, with identical exteriors,  were commissioned by the Emperor in order to find a suitable shelter for the Habsburgs‘ formidable art collection and to make it accessible to the general public.

Apotheosis Of The Renaissance (Mihaly Munkacsy, 1844-1900, Hungary)

Both were built between 1872 and 1891 according to plans drawn up by Gottfried Semper and Karl Freiherr von Hasenauer.

This rectangular building, with its sandstone façade, is topped with a 60 m. high octagonal dome.  Its interior is lavishly decorated with marble, stucco ornamentations, gold-leaf, and paintings.

Jandy beside sculpture of Theseus Defeats the Centaur (Antonio Canova)

Here are some interesting trivia regarding the museum:

The collections of the Kunsthistorisches Museum  include the Picture Gallery, the Egyptian and Near Eastern Collection, the Collection of Greek and Roman Antiquities, Kunstkammer (Collection of Sculpture and Decorative Arts), the Coin Cabinet and the Library.

Check out “Kunsthistorisches Museum – Egyptian and Near Eastern Collection,” “Kunsthistorisches Museum – Collection of Greek and Roman Antiquities,” “Kunsthistorisches Museum – Picture Gallery” and “Kunsthistorisches Museum – Kunstkammer.”

Kunsthistorisches Museum: Maria Theresien-Platz, 1010 Vienna. Tel: +43 1 525 24- 4902. E-mail: info.ansa@khm. Open Tuesdays – Sundays, 10 AM – 6 PM, Thursdays, 10 AM – 9 PM.

How to Get There: take U1 going to Leopoldau at Keplerplatz, transfer to U2 going to Aspernstrabe at Karlsplatz, exit at Volkstheater.

 

Natural History Museum (Vienna, Austria)

Natural History Museum (NHM)

The Museum of Natural History (NHM, GermanNaturhistorisches Museum),  amongst the most splendid of the buildings that line the Vienna Ringstrasse, houses one of the largest natural history  collections in the world.

The author trying out a microscope

Cheska and Kyle viewing a brown bear

Jandy beside a coelacanth (Latimeria chalumnae)

Founded 250 years ago by Franz Stephan von Lothringen, the Natural History Museum was built as a cathedral to the natural sciences between 1872 and 1891 according to plans drawn up by Gottfried Semper and Karl Freiherr von Hasenauer.

The main staircase

The building itself, a masterpiece of historical Neo-Renaissance architecture, was opened in 1889 as the Imperial Natural History Museum, at the same time as the Kunsthistorisches Museum. The two museums, on the Ringstraße, facing each other across Maria-Theresien-Platz, have identical exteriors.

The ornate interior

Built to house the huge collection of the Habsburgs, it has timeless elegance.  Its ornate decoration, furniture and precious exhibits make it a feast for the eyes for those interested in arts, scienceand architecture. The building itself is an artifact for historical preservation.

One of 39 exhibit halls – ornithological display

Copernican Planetary Machine

Archelon ischyros – world’s largest turtle

Its collection, in 39 exhibit halls against a backdrop of magnificent halls and spread out in 8,700 sq. m. (94,000 sq. ft.), has grown to approximately 30 million objects and artifacts (as of 2011), 25 million of which are the essential basis for the work of over 60 staff scientists.

Dinosaur skulls

Venus of Willendorf

Trilobites

The scientists’s main fields of research cover a wide range of topics, from the origins of the Solar System and the evolution of animals and plants to human evolution, as well as prehistoric traditions and customs. It forms the basis for natural sciences research at the NHM.

Lake Nyrshany – a Carboniferous Ecosystem

Early Sharks and Lobefins (Coelacanths)

Allosaurus fragilis

On display at the first floor are a variety of species from the animal world, from protozoa to insects to highly developed living mammals in modern terraria and aquaria.

A pirarucu (arapaima) from the Amazon River, Brazil

Whale Shark

Zebras

Herpetological display featuring taxidermied crocodiles

Turtles and Tortoises

Anaconda

Those over 200 years old, on their own account, are of particular interest as historical records for the history of science and the art of taxidermy.

Japanese Spider Crab

Komodo Dragon

Tiger-headed Python

Numerous stuffed animals, of species either long-extinct (such as Steller’s sea cow)  or extremely endangered, have made the collections truly famous and irreplaceable.

Skeleton of Steller’s Sea Cow

Skeleton of a Fin Whale

Pteranodon ingens

Skull of a Sperm Whale

The upper floor (Hochparterre) displays the following:

Austrian Meteorites

Amethyst

Diamonds and Quartz Crystals

Gold nuggets

The giant topaz crystal

Iron Meteorites

Some of the signs and explanations in the museum are in German but, following a recent renovation, much of the museum is now in German and English.

Bradysaurus baini

Dunkleosteus terrelli

Prodeinotherium bavaricum

Natural History Museum :  Burgring 7, 1010 ViennaAustria. Tel: +43 1 521770. Open 9 AM – 6:30 PM. The museum’s website provides an overview in the form of a virtual tour.

Österreichische Galerie Belvedere (Vienna, Austria)

Osterreichische Galerie Belvedere

The highlight of our tour of the Belvedere Palace, the summer residence of  the great art patron and collector Prince Eugene of Savoy (1663–1736), was our tour of the Österreichische Galerie Belvedere (Austrian Gallery), an art museum housed in the Upper Belvedere, one of two palaces that make up the Belvedere.

Check out “Upper Belvedere

The author

Named as such in 1921, this museum houses an extensive and permanent collection which includes several thousand masterpieces from the Middle Ages and Baroque up to the 21st century contemporary art, focusing on Austrian painters from the Fin de Siècle and Art Nouveau period complemented by the works of international artists.

Further attractions at the museum include key works of French Impressionism and the greatest, outstanding and most important collection of Viennese art from the Biedermeier Collection as well as highlights of the Baroque and Medieval Collection.

Duke Ernst the Iron Saves Cimburgis (Franz Dobyaschofsky, 1850, oil on canvas)

The collection threw a fresh and exciting light on artworks by well known Austrian artists that includes the world’s largest collections of paintings by Ferdinand Georg Waldmüller and Gustav Klimt and the Character Heads by Franz Xaver Messerschmidt. Other Austrian artists with works displayed include Rueland Frueauf the Elder, Erika Giovanna Klien, Egon Schiele, Helene Funke, and Oskar Kokoschka.

Cheska admiring “Count Moritz Christian von Fries and his Family,” an oil on canvas painting by François Pascal Simon Gérard

The museum’s display concept offered fresh approaches to these masterpieces of art through four innovative and thematically organized galleries (Austrian Baroque; Habsburg – Myth and Truth; Austria in Exile: Artists in Exile – Destinies in Dark Times; and Austria on the Move) that enlivened the path through the chronologically arranged periods of art in the permanent collection, sparking a multi-layered dialogue between the classics of art history and contemporary artists, for example Erwin Wurm and Christian Philipp Müller.

Empress Maria Theresa with her Children (Heinrich Fuger, tempera on parchment, 1776)

Conceived as a deliberate pause, the magnificent staterooms provides an opportunity to engage with, as well as focus on, issues and questions concerning Austria’s art, identity and history over the course of different epochs. An exciting interaction between past and present, we encountered and experienced an almost complete overview of the development of over 500 years of art history in Austria and, thus, an insight into the country’s history, rediscovering old favorites in a new context.

The Chess game (Josef Danhauser, 1839)

A section in the exhibition is dedicated to the tempestuous history of the Belvedere covering Prince Eugene’s building of the palaces, the foundation of the museum, the signing of the Austrian State Treaty, and its role today as a modern museum.

Gustav Klimt, The Kiss (Lovers), 1908–1909. Measuring 180×180 cms., the ornamental character of this masterpiece is enhanced with gold and silver. According to a contemporary rumor, the couple depicted is the artist himself and his lifelong partner Emilie Flöge. which was Bought in 1908 by the Moderne Galerie, Klimt reached the pinnacle of his “golden” phase with “The Kiss.”

At the Galerie des 19. und 20. Jahrhunderts (Gallery of 19th- and 20th-Century Art), I found works by the artists of the 1897 Secessionist movement. Most outstanding is Gustav Klimt (1862-1918), one of the movement’s founders.  The heart of the presentation of “Art around 1900” is the collection of 24 of his works (portraits, landscapes, and allegorical scenes), the world’s largest collection of his paintings, which allowed us to trace the evolution of his style, from elegant portraiture (e.g. 1897/1898’s Sonja Krips), through to portraits with abstract elements (1906’s Fritza Riedler), impressionist landscapes (1907’s Flowering Poppies) and, of course, the golden pictures The Kiss (1907/08), his most famous painting, and Judith (1901).

Napoleon at the St. Bernard Pass (Jacques Louis David, 1801. Oil on canvas, 246 x 231 cm.)

Sharing almost equal billing with Klimt is Egon Schiele  (1890-1918).  The museum hosts some of Schiele’s masterpieces, including The Wife of an Artist, The EmbraceDeath and the Maiden, and The Family (a self-portrait painted just months before his death in 1918 from Spanish flu; the expressions on their faces suggest that Schiele and his wife almost seem to know what’s coming).

Österreichische Galerie Belvedere: Upper Belvedere, Prinz Eugen-Straße 27, 1030 ViennaAustria. Tel: +43 1 795 57-0 and +43 1 79557134. Open: 10 AM -6 PM. E-mail: info@belvedere.at. Website:  www.belvedere.at.  Admission (Upper Belvedere): €16 (adult)

How to Get There: take U1 going to Reumannplatz at Stephansplatz, exit at Hauptbahnhof, then walk.

Kollegienkirche (Salzburg, Austria)

On our way to Mozart’s Geburtshaus, we passed by Universitätsplatz (“University Square”) where a farm market takes place here every Monday to Friday.  The square lead up to  the Kollegienkirche (Collegiate Church, sometimes called the Universitätskirche), another elaborate Baroque church of Salzburg. Grace and I went in for a visit.

Kollegienkirche (Collegiate Church)

Kollegienkirche (Collegiate Church)

The church, dedicated to “Unserer Lieben Frau” (Our Blessed Lady), was built between 1694 and 1707 from the local Benedictine university founded in 1622. The university was disbanded in 1810 but reopened in 1962 as part of the University of Salzburg whose main campus is in the suburb of Nonntal. After Napoleon Bonaparte’s invasion of 1800, the church was converted into a hay store. Kollegienkirche functioned as a military church and, under the Austro-Hungarian monarchy, was a classical secondary school. In 1922, the premiere of the Great World Theater was held here. With the reopening of the University of Salzburg, Kollegienkirche regained its original purpose.

The bright and spacious interior

The bright and spacious interior

One of the most celebrated churches in Austria and he largest church in Salzburg from the Baroque period, it was designed by the great Baroque architect Johann Bernhard Fischer von Erlach (who also built the Mirabell Garden, Holy Trinity ChurchMarkuskirche and Dreifaltigkeitskirche). Attached to the church  is the Furtwänglerpark, a lovely piece of green, and the oldest buildings of the university.

Altar built by Josef Anton Pfaffinger in 1735

Altar built by Josef Anton Pfaffinger in 1735

The Kollegienkirche, built on a modified Greek cross (cruciform) plan, has a unique, ornamental north-facing convex façade with many finely wrought details. It is flanked by two free standing bell towers.  On the top of the façade are four tapering statues resting on a coping which is bordered by balustrades.

Figures above the tabernacle

Figures above the tabernacle

Its spacious and bright interior, with its very steep proportions, is one of the most impressive and unusual creations in Baroque style. It is filled with elaborate stucco works, large windows surrounded by delicate decorative features, the coat of arms of Archbishop Johann Ernst von Thun set in the closing gable area, angels and an eye-catching Maria Immaculata statue, designed by Fischer von Erlach and Diego Francesco Carlone, framed by statues of the Four Evangelists on the left tower and of the four Church Fathers on the right, all done by Michael Bernhard Mandl. The porch is separated from the nave by three round-arched arcades. The cupola and transept are situated exactly in the center.

Side Altar (1)

Side Altar (2)
Initially, instead of a high altar, the Kollegienkirche choir originally held only a high tabernacle of stone.  Today, however, the church does have an altar, made by Josef Anton Pfaffinger and dating from 1735. Its seven classical columns (representing the Seven Pillars of Wisdom), of red marble, in the center hall, are topped by angels, with St. Michael the Archangel in the middle.

Side Altar (3)

Side Altar (4)

Around the tabernacle are figures, surmounted by throned allegorical figures representing Faith, depict the various aspects of the human spirit. Above the angels is a stucco aureole of clouds, rays and putti (cherubs) encircling the floating Immaculate Virgin. This design, by Fischer von Erlach, was executed by Diego Francesco Carlone and Paolo d`Allio.

Side Altar (5)

Side Altar (6)

The elaborate side nave altars bear remarkably intense colors. The altar paintings on the left hand side were made by Johann Michael Rottmayr in 1721 and depict St. Barromäus. The painting is flanked by St. Rupert and St. Vergillius.  The altar paintings on the right hand side, painted by Rottmayr in 1722, depicts St. Benedict baptizing a pagan chief.  It is flanked by St. Erentrude and St. Scholastika. The Stations of the Cross, depicting the passion of Jesus Christ, adorn the spandrels.

Statue of St. Joachim

Statue of St. Joachim

Statue of St. John

Statue of St. John

The statues in the side chapels refer to the “Fakultäten,” the schools of the university: St. Thomas Aquinas (school of theology), St. Luke (school of medicine), St. Ivo (school of law) and St. Catherine (school of philosophy). The sparse use of sculptures and stucco works aims to highlight the architecture.

Statue of St. Leonard

Statue of St. Leonard

Kollegienkirche: Universitätsplatz (University Square), 5020 Salzburg, Austria. Tel:+43 662 841327.  Open daily, 9 AM – 6 PM.

Residenz Palace (Salzburg, Austria)

Residenz Palace

Salzburg Residenz, a Baroque  palace located at Domplatz and Residenzplatz in the old part of the city has, throughout the centuries, been the residence of the Archbishops of Salzburg (who used the palace to present and represent their political status) as well as a place of public gatherings and state affairs, all taking place in a setting that reflected power and grandeur.

Along with Salzburg Cathedral and St. Peter’s Abbey, the Salzburg Residenz is one of the three buildings which provide the backdrop for the Dom Quartier (opened in 2014). The Residenz Palace is also, alongside with the Hohensalzburg Fortress and the Salzburger Dom, probably the most important historic building of Salzburg.

Check out “Salzburg Cathedral,” “Hohensalzburg Fortress“ and “St. Peter’s Cemetery

Today, the Salzburg Residenz, one of the most impressive attractions in the city, houses the Residenzgalerie (visited separately from the palace), a museum intended to replace the art collection of the prince-archbishops, which had been lost during the Napoleonic wars in the early nineteenth century.  Intended to support a planned academy of art, as well as promote tourism, it houses paintings from the sixteenth to the eighteenth century, and Austrian paintings from the nineteenth century.

The so-called Tuscany Wing (Toskanatrakt), in the north, is used by the School of Law and the law faculty of Paris Lodron University of Salzburg.    The palace is also used during the Salzburg Festival, for state receptions, conferences and international congresses can also be rented for private occasions.  The Knights’ Hall, with its excellent acoustics, is ideal for concerts and other events.

We were able to visit the palace using our Salzburg Card but photography wasn’t allowed inside. During our visit, the exhibit “Seduction: Tempting Beauty, Deadly Charm” (July 10 – November 1, 2015) was ongoing.

Here is the historical timeline of the palace:

  • The earliest recorded reference to the bishop’s palace was in a document dated 1232. Construction began under Archbishop Conrad I.
  • In the sixteenth century, several changes and additions to the structure were made.
  • Under the auspices of Wolf Dietrich von Raitenau (1587–1612), the bishop’s palace took on its present appearance.
  • In 1606, the Hofbogengebäude and Wallistraktwere finished.
  • In the early seventeenth century, work began on the south wing, which included the addition of the large staircase and the Carabinieri-Saal, a section that connected the palace to the Franziskanerkirche and a large courtyard.
  • To allow the Residenz Palace to blend in visually with the Salzburger Dom, Prince Archbishop Guidobald Reichsgraf von Thun (1654 to 1668) added a floor to the main building.
  • In 1660, the Carabinieri-Saal was enlarged
  • In 1689, the elaborate stucco work and the three paintings on the ceiling of the  Carabinieri-Saal were  finished
  • In 1690, the additional floor at the Wallistrakt was completed.
  • Around 1710, the façade was renewed under Prince Archbishop Franz Anton von Harrach according to a design by Johann Lucas von Hildebrandt.
  • In 1714, the ceiling paintings at the Rittersaal were completed.
  • During the 19th century, the Residenz Palace was temporarily used as a private palace by some members of the Austrian royal family as well as the line of Habsburg-Toskana.
  • Through to the end of the eighteenth century, the successors of Wolf Dietrich continued to expand and refine the palace.
  • On May 1, 1816, Emperor Francis I accepted homage and the oath of allegiance from the civic leaders of Salzburg at the Knights’ Hall, marking the beginning of Salzburg as a part of Austria.
  • In 1867, Emperor Franz Joseph I received Emperor Napoleon III at the Residenz.
  • In 1919, a plan to assemble an art gallery was proposed by the Residenzmuseum.
  • In 1922, planning for the Residenzgalerie was completed by Eduard Hütte, the official curator of Salzburg.
  • In 1923, the Residenzgalerie was opened

Ticket counter

During our visit, we first stepped into the  Carabinieri-Saal, the sala grande of the Salzburg Residenz.  The Carabinieri-Saal, used as a common room for the Prince Archbishop′s bodyguards, but also for theatre and banquettes or balls, and Rittersaal Halls, also called Prunkräume or “glorious rooms” (State Apartments), are the two most important halls for representative purposes in the Residenz Palace.

The elaborate stucco work of the Carabinieri-Saal was made by Francesco and Karlo Antonio Brenno and Antonio Carabelli. The three paintings on the ceiling, painted by Johann Michael Rottmayr depict representations of the four elements – Neptune rules over the wind (water and air), the Calydonian hunt for boars (earth) and the workshop of Vulcanus (fire). The smaller artworks in the corners represent the four gods of wind. The four gates, made of marble, date back to around 1610.

Illuminated fountain at Residenzgalerie yard

The Rittersaal, bordering the Carabinieri-Saal, has ceiling paintings, done by Johann Michael Rottmayr, depicting scenes from the life of Alexander the Great, mainly his taming of the horse Bucephalus.  Over the mantelpieces are plastic allegories and armor trophies. A gate towards the east, dating back to 1770, connects the Residenz Palace with the Salzburger Dom.

The Wallistrakt, a wing of the prince archiepiscopal Salzburg Residenz, is a composition of various architectural components built during different construction stages. The only original wing contains a two-storey hall with a central pillar in Tuscany style that was taken from the old cathedral.

Due to several re-constructions and changes of proprietors, the apartment here hasn’t been dealt with as a part of the prince archiepiscopal residence.  It connects the Residenz Palace with a pillar hall over the Franziskanergasse alley.

On the northern side of the Wallistrakt are two Roman mosaics from the 3rd century, found during the 1964 to 1965 renovation work, added to the arcades.

The so-called Hofbogengebäude was originally a place of accommodation for the apartment of prince archbishop Wolf Dietrich of Raitenau.

There was enough space in the medieval Frohnhof (the forecourt of the cathedral) to quickly build a new living unit for the prince archbishop without disturbing the procedures of the residence or having to redeem civic houses. After the Hofbogengebäude was completed, the medieval Residence was open to further renovation and modernization.

To the north, the Hofbogengebäude was connected directly to the Carabinieri-Saal hall. From there, the second floor apartment extended southwards to the prince archbishop’s private chambers in the very south of the building. From there, a richly stuccoed staircase led to a garden hall which opened towards the Hofgärtl, a giardino segreto (secret garden) located in the west surrounded by a high garden wall.

Jandy, Cheska, Kyle and Grace making their way down a stairway

The buildings of the Toskanatrakt wing, ordered erected by Prince Archbishop Hieronymus von Colloredo (1772–1803), replaced former wings from the time of Prince Archbishop Wolf Dietrich von Raitenau (Colloredo planned to rebuild the western wings in Neo-Classic style, but only the Toskanatrakt wing was altered).

Its façade bears decorations around the windows that date back to the late 18th century. The northern wing consists of arcades, built in the early 17th century, with ionic pillars that span two floors. The southeast corner, dating back to the first building period of the Residenz Palace, contains a staircase and stucco work from around 1600.

The first floor Steinsaal hall contains elaborate stucco decorations from the 18th and 19th century while the second floor Toskana Appartement (Tuscany apartment) contains a ceiling and walls with stucco work from 1862.

Odysseus and the Sirens (Ferdinand Alexander Bruckmann, 1829)

Salzburg Residenz: Residenzstraße 1, München, Salzburg, Austria. Tel: +49 89 290671. Open 10 AM – 5 PM.

Salzburg Cathedral (Austria)

Image

Salzburg Cathedral

This cathedral, of the Roman Catholic Archdiocese of Salzburg, is dedicated to Saint Rupert and Saint Vergilius. It was founded by St. Rupert on the remnants of a Roman town. The first cathedral was built under Saint Vergilius of Salzburg, who might have used foundations by St. Rupert.

The present seventeenth-century  Baroque cathedral was built in the seventeenth century under Prince-Bishop Wolf Dietrich Raitenau  (also responsible for the building of the nearby Alten Residenz, which is today connected to the cathedral), a patron and supporter of modern Italian Baroque architecture, having seen it from its origins in Italy and particularly Rome.

Statues of diocesean and cathedral patrons. The coats-of-arms of Prince Archbishop Guidobald von Thun and Prince Archbishop Johann Ernst von Thun are at the bases.

Here’s a historical timeline of the cathedral’s construction:

  • In 774, the first Dom was recorded.
  • From 767 to 774, the so-called 66 m. long and 33 m. wide Virgil Dom was built
  • Archbishop Arno (785 – 821) was the first to arrange renovations of the Dom, which was in place for less than 70 years.
  • In 842, the building burned down after being struck by lightning.
  • Three years later, the re-erection of the building started.
  • Between 1000 and 1080, under Archbishop Hartwig, a long choir with a crypt was built and an extension of the rebuilt cathedral was built towards the towards the west
  • From 1106 to 1147, under Archbishop Konrad I, the west towers were built
  • In 1167, the Virgil Dom was seriously damaged in a fire.
  • In 1181, the cathedral was rebuilt during the reign of Archbishop Konrad III
  • During the early Middle Ages, the original church experienced at least three extensive building and rebuilding campaigns, the final result of which was a somewhat ad hoc Romanesque basilica.
  • In 1598, the basilica was severely damaged in a fire
  • After several failed attempts at restoration and reconstruction, Prince-Bishop Wolf Dietrich Raitenau (Archbishop from 1587–1612) ordered that the building be finally demolished.
  • In 1614, Mark Sittich von Hohenems (Archbishop from 1612–19 and Wolf Dietrich’s successor),  laid the cornerstone of the new cathedral.
  • In 1628, remarkably in less than 15 years, the cathedral was completed. That same year, the Marienglocke and the Virgilglocke, the oldest bells in the cathedral, were both cast.
  • On September 24, 1628, the cathedral was consecrated by Prince Archbishop Paris Lodron.
  • In 1652 and 1655, the towers were finished.
  • Between 1766 and 1771, the Maria Immaculata (Immaculate Mary) column was executed by brothers Wolfgang and Johann-Baptist Hagenauer.
  • During World War II, the cathedral was damaged when a single bomb crashed through the central dome over the crossing.
  • From 1945 to 1959, the Salzburger Dom was rebuilt in its original shape and reopened by Archbishop Andreas Rohracher.
  • On September 24, 1961, 5 new bells were added.

Coats of arms of Markus Sittikus and Paris Londron at the tympanum

Here are some interesting trivia regarding the cathedral:

  • The present cathedral was built partially upon the foundations of the old basilica. Indeed, the foundation stones of the preceding church building may be seen in the Domgrabungen, an excavation site under the cathedral that also features mosaics and other artifacts found here when this location was the forum of the Roman city Juvavum.
  • Italian architect Vincenzo Scamozzi was hired by Wolf Dietrich to prepare a plan for a comprehensive new Baroque building but the present cathedral was designed by Santino Solari, who fundamentally changed the original Scamozzi plan.
  • At the cathedral’s consecration, 12 choirs positioned in the marble galleries of the cathedral sang a Te Deum composed by Stefano Bernardi,   the Kapellmeister to the Salzburg court. The score has since been lost.
  • One other surviving relic that predates the Baroque edifice is the 14th century Gothic baptismal font.
  • Salzburg Cathedral still contains the baptismal font in which composer Wolfgang Amadeus Mozart was baptized.
  • When the cathedral was completed, the relics of St. Rupert were transferred here.
  • The finished church is 466 ft. long and 109 ft. high at the crossing/dome.
  • The Baroque style can be seen in the choir and the nave.
  • The Salvatorglocke (“salvation bell”) of the cathedral, weighing 14,256 kgs., is the 2nd largest bell in Austria, after the Pummerin bell in Vienna Cathedral

Statues of the Four Evangelists

The cathedral is located adjacent to Residenzplatz and Domplatz (accessed by three open arcade arches in the north, south, and west) in the Altstadt (Old Town) area of Salzburg.

Statue of St. Paul

The “cathedral arches” unite the cathedral with the Salzburg Residenz and St. Peter’s Abbey , forming a unique self-contained square. It is 101 m. long, 69 m. wide and 81 m. high.

Statue of St. Peter

The richly decorated façade, made of bright Untersbergmarmor (Untersberg mountain marble) and divided into three horizontal sections, is framed by two towers and a curved gable.

Statue of St. Rupert

Three high round arches or portals, at the lower section, provide access to three bronze doors and are flanked by four large sculpted figures representing the diocesean and cathedral patrons.

Statue of St. Virgilius

The mitered figures of St. Rupert, holding a salt barrel, and St. Virgilius, holding a church, were created c. 1660 by Bartholomäus van Opstal. The inside figures of St. Peter, holding keys, and St. Paul, holding a sword, were sculpted c. 1697 by Bernhard Michael Mandl, who also created all the pedestals.

Interior of the cathedral

The coats-of-arms of Prince Archbishop Guidobald von Thun and Prince Archbishop Johann Ernst von Thun are at the bases. The mantelpieces, over the central windows, contain a lion and an ibex (the animals depicted in the coats-of-arms) and a golden crown that aligns with the Marien column in the Domplatz.

The main altar

The statues of the Four Evangelists (Saint MatthewSaint MarkSaint Luke and Saint John), at the central section of the façade, represent the salvation offered through their preaching.  The coats-of-arms of the builders of the cathedral, Markus Sittikus and Paris Londron, are at the top section tympanum.

The cathedral dome with frescoes depicting scenes from the Old Testament around it.  Above it are the coats-of-arms of Prince Archbishop Paris Lodron and Archbishop Andreas Roracher. At the corners are paintings of the Four Evangelists.

The figure group on the pediment, representing the Transfiguration of Jesus on Mt. Tabor, shows Christ as Salvator Mundi, with Moses holding the tablets on the left and the prophet Elijah to the right. Tommaso di Garona, the mason who built the Residenz Fountain, created the three statues in 1660. An old oven, used for baking communion bread, is housed in the north tower.

The main nave with paintings showing scenes from the life (10 smaller ones) and passion (15 large ones) of Christ, done by Donato Mascagni and Ignazio Solari.

The three bronze gates inside the portals, representing the 3 divine virtues (Göttliche Tugenden) of faith, hope and love, were erected in 1957 and 1958.  The Gate of Faith (Tor des Glaubens ), on the left, was created by Toni Schneider-Manzell (1911-1996); the Gate of Love (Tor der Liebe), at the center, was created by Giacomo Manzù (1908-1991); and the  Gate of Hope (Tor der Hoffnung), on the right, was created by Ewald Mataré (1887-1965). The flanking towers, also divided into three horizontal units, bear clocks and the bells.

Paintings on the main nave, showing scenes from the life (10 smaller ones) and passion (15 large ones) of Christ, were done by Donato Mascagni and Ignazio Solari. The stucco works were done in white (and crested by black stucco)  by Guiseppe Bassarino around 1628.  Four chapels, on each side along the main nave, each have a side altar and palatine frescos.

The 71 m. high dome, with two rows of eight frescos each, displays scenes from the Old Testament that relate to the life and passion scenes from the nave. They were also painted by by Donato Mascagni and Ignazio Solari.

On top of these paintings are paintings of the Four Evangelists (Mark, Luke, Matthew and John) and, beyond that, the coats-of-arms of Prince Archbishop Paris Lodron and Archbishop Andreas Roracher.

On the left and right side of the nave are motives of St. Francis and Virgin Mary respectively. To the left and right of the St. Francis Altar are epitaphs of Prince Archbishops Leopold Anton von Firmian (died in 1744), Guidobald von Thun (died in 1668), Max Gandolf von Kuenburg (died in 1687) and Jakob E. von Liechtenstein (died in 1747).

Around the Virgin Mary Altar are epitaphs of Prince Archbishops Andreas J. Dietrichstein (died in 1753), Johann E. Thun (died in 1709), Franz A. Harrach (died in 1727) and Siegismund Schrattenbach (died in 1772).

The main altar, probably built by Santio Solari in 1628, has a painting depicting the Resurrection of Christ and made by Donato Mascagni.

Above the painting are statues of St. Rupert and St. Virgil as well as allegories of Religio and Caritas. Between the figures is an inscriptions that reads: Notas mihi fecisi vias vitae (“You showed me the way of life”).

On top of the altar there are statues of angels holding golden crucifixes.  The right and left hand side of the main altar has epitaphs of Prince Archbishops Markus Sittikus (died in 1619) and Paris Lodron (died in 1653) respectively.

The main altar backdrop with a painting depicting the Resurrection of Christ made by Donato Mascagni

On the right hand side of the main altar is the entrance to the crypt (the tombs of the Archbishops of Salzburg) based on the foundations of the Romanesque Virgil Cathedral.

The Zehneckraum (“Ten corner room”) contains the tombs of the Prince Archbishops from the 17th to the 18th century. In the round tower is a mosaic showing the scale of the former Salzburger Dom in comparison to today′s cathedral.

The new organ built in 1988

The organ that is in use for services today was built in 1988.  The old organ is essentially the same as the one built by the famous organ builder Josef Christoph Egedacher in 1703.

The old organ built in 1703 by Josef Cristoph Egedacher

Salzburg Cathedral: Domplatz 1a, 5020 Salzburg, Austria. Tel: +43 662 80477950. Open 8AM-5PM. From June to September, there is a one-hour organ recital every Wednesday and Saturday at 11.15.