Just another day at the lake. #lovetirol #discoveraustria #igeraustria #lake #boats #mountainlake #mountains #blue #water #nature #summertime #summer #austria #visitaustria

 

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Ein Roadtrip der anderen Art: auf ins #WeingutSchauer in Kitzeck im Sausal, mit Abstecher nach Gamlitz ins #Genussregal und Heimschuh zur #ÖlmühleHartlieb. Da #Zotter in Bergl sonntags geschlossen hat, eine kleine Wanderung auf die Riegersburg und ein herrlicher Buschenschank im südlichen Burgenland bei #Wachter-Wiesler :D

 

#winelover #visitstyria #visitburgenland #happyblogger #discoveraustria #heißerscheiß #einfachcool #igersaustria #visitaustria #wienerin #blogger_at #travelgram #travelblogger

The Sohlstufe Lehen hydroelectric power station is a run-of-river power plant in the Salzach between the Lehen district and the Itzling district in the north of the city of Salzburg in Austria . It has a bottleneck capacity of 13.7 MW . The structure is also a connecting route for pedestrians and cyclists between the two districts.

 

General

The Sohlstufe Lehen power plant was put into trial operation on July 2, 2013 after three years of construction and construction costs of 85 million euros; regular operation followed on September 13, 2013. The system consists of two Kaplan PIT turbines with a capacity of 250 m³/s, with a head of 6.6 m. The structure was designed by Max Rieder and Erich Wagner and was awarded the European Concrete Construction Prize in 2014

 

The Salzach flows here towards the north-northwest (NNW). To the right bank in the east there are 4 weir fields, to the west of which is the power house. The fish pass leads some water out on the left bank 70 m above the barrage, the Salzach flows about 150 m downwards and, after turning left, back 70 m, all in an approximately 1.5 m narrow concrete, mostly open channel. After the underpass of the Uferbegleitstrasse, a natural, wider channel begins here, which meanders westwards with a length of 300 m and flows from the right into the Glan, which flows in a straight line towards the NNE and after a further 300 m flows from the left into the Salzach, in the tailwaters of the power plant. This last 600 m of the fish ladder has around 40 sleepers, mostly made of rows of natural stone.

 

Furthermore, the construction improved flood protection in the urban area and reduced the progressive deepening of the Salzach riverbed. Thanks to the fish ladder attached to the power plant, the Salzach became accessible to fish again. For the residents, the power plant creates a new connecting bridge between the two banks of the Salzach, as well as newly created local recreation areas.

The Heiligengeistkirche in Klagenfurt am Wörthersee is a branch church belonging to the Roman Catholic parish of St. Egid . It is located on Heiligengeistplatz on the western edge of the city center.

 

The Holy Spirit Church was first mentioned in a document in 1355. In 1381 it was mentioned together with a cemetery and hospital . Between 1563 and the Counter-Reformation in 1600 it served as a Protestant prayer house , and in 1582 the church was rebuilt. From 1630 to 1639 it was largely rebuilt and remodeled by the master builder Adam Kolerig , who also designed the Kreuzbergl Church . The church was then consecrated by Bishop Leonhard von Lavant . In 1670 the Estates called the Ursulines to Klagenfurt and handed the church over to them. In 1674 the foundation stone for the monastery was laid, and it was consecrated four years later. During the French occupation in 1809/1810 the monastery and church were used, among other things, as stables and storage facilities. The church was owned by the Carinthian Estates until 1848 and was taken over by the Ursulines in 1849. Damage was caused by a fire in the tower in 1681; the entire complex burned down in the town fire in 1723, and the church was damaged by bombs in World War II . Restorations took place in 1886, 1928, 1932 and 1960.

 

The church is integrated into the monastery building from the 17th century, and the front is the long southern side facing Heiligengeistplatz. The core of the church is Gothic , but has a strong Baroque influence. The west tower has an articulated onion dome . The four windows facing the square, two in the nave and two in the choir , are Gothic and were enlarged in the Baroque period; there is a round window to the west. The main portal on the south side has a classicist porch (ca. 1800) with double columns ; the portal was redesigned by Werner Hofmeister in 2014 .

 

The interior is a single-nave hall with four bays , the barrel vault with lunettes rests on pilasters . The organ gallery above a cross vault has rich acanthus decoration and dates from 1710. The choir is only slightly recessed from the nave and has a 5/8 end . Its cross-ribbed vault rests on round supports .

 

The vault of the nave bears two large paintings by Josef and August Veiter from 1886: the Nativity and the Ascension of Christ . In the spandrels there are pictures of prophets and church fathers . On the triumphal arch wall there are scenes from the story of creation .

The Athena Fountain (Pallas-Athene-Brunnen) in front of the Parliament was erected between 1893 and 1902 by Carl Kundmann, Josef Tautenhayn and Hugo Haerdtl, based on plans by Baron von Hansen. In the middle is a water basin and a richly decorated base. The four figures lying at the foot of Athena are allegorical representations of the four most important rivers of the Austro-Hungarian Empire. They represent at the front the Danube and Inn, in the back the Elbe and Vltava (German: Moldau) rivers. On the sides, little cupids ride dolphins. The statues of the Danube, Inn, and the cupids were executed by Haerdtl, those of the Elbe and Moldau by Kundmann. The female statues above represent the legislative and executive powers of the state and were executed by Tautenhayn. They are again dominated by the Goddess of Wisdom, Athena, standing on a pillar. Athena is dressed in armour with a gilded helmet; her left-hand carries a spear, while her right carries Nike.

The Pallas Athene Fountain in Vienna is located in front of the Austrian Parliament building on Dr.-Karl-Renner-Ring in the 1st district , the Inner City .

 

The fountain was designed by Theophil Hansen in 1870 as part of the Parliament ensemble, in front of the originally separate manor house , where the Palais Epstein now stands. However, construction work did not begin until 1898, 15 years after the building was completed. In 1873 an allegorical depiction of Austria was planned as the main character. However, this idea was rejected in favor of Pallas Athene , who was more neutral for the multi-ethnic monarchy .

 

The figures of the monument, unveiled in 1902, were made by sculptors from Lasa marble : Athena as well as the allegories of the Elbe and Vltava by Carl Kundmann , the river allegories of the Danube and Inn by Hugo Haerdtl and the allegories of the executive and the legislature by Josef Tautenhayn . The fountain was completely renovated in 2005.

 

Description

In the middle of the symmetrically designed fountain there is a group of figures, the center of which is the 5.5 meter high statue of Pallas Athene standing on a column. [4] The Greek goddess of wisdom holds a spear in her left hand and the goddess of victory Nike in her right . Next to the column sit the allegorical representations of the legislative and executive powers - to the left the legislature with a book, to the right the executive with a sword.

 

The statue of Athena stands on a classically designed column, the capital of which shows an owl on each corner. With outstretched wings, the four owls, as Athena's companion animal and a symbol of wisdom, carry the colossal statue and together watch over the separation of powers, which is shown below as personifications of the legislative branch (with a tablet of law) and the executive branch (with a scale and a sword).

 

The four most important rivers of Old Austria are depicted as reclining figures above two raised water basins in front of and behind the column: in the front the Danube as a woman and the Inn as a bearded man, in the back the female figures of the Elbe and Moldau embracing each other . On either side there are two winged putti riding on dolphins.

 

The fact that the goddess of wisdom turns her back on the parliament building led to various jokes and mocking words in the Austrian vernacular that wisdom could not be found in parliament.

The Hofburg is the former principal imperial palace of the Habsburg dynasty in Austria. Located in the centre of Vienna, it was built in the 13th century and expanded several times afterwards. It also served as the imperial winter residence, as Schönbrunn Palace was the summer residence. Since 1946, it has been the official residence and workplace of the president of Austria.

 

Since 1279, the Hofburg area has been the documented seat of government. The Hofburg has been expanded over the centuries to include various residences (with the Amalienburg and the Albertina), the imperial chapel (Hofkapelle or Burgkapelle), the imperial library (Hofbibliothek), the treasury (Schatzkammer), the Burgtheater, the Spanish Riding School (Hofreitschule), the imperial mews (Stallburg and Hofstallungen).

 

The palace faces the Heldenplatz (Heroes' Square) ordered under the reign of Emperor Franz Joseph I, as part of what was planned to become the Kaiserforum but which was never completed.

 

Numerous architects have executed work at the Hofburg as it expanded, notably the Italian architect-engineer Filiberto Luchese, Lodovico Burnacini and Martino and Domenico Carlone, the Baroque architects Lukas von Hildebrandt and Joseph Emanuel Fischer von Erlach, Johann Fischer von Erlach, and the architects of the Neue Burg built between 1881 and 1913.

 

The name translates as "Castle of the Court", which denotes its origins when initially constructed during the Middle Ages. Initially planned in the 13th century as the seat of the Dukes of Austria, the palace expanded over the centuries, as they became increasingly powerful. From 1438 to 1583, and again from 1612 to 1806, it was the seat of the Habsburg kings and emperors of the Holy Roman Empire, and thereafter until 1918 the seat of the Emperors of Austria. Since then, the palace has continued in its role as the seat of the head of state and is today used by the Austrian Federal President.

 

It is also the permanent home of the Organization for Security and Co-operation in Europe (OSCE) and also houses the Vienna Office of the Permanent Court of Arbitration (PCA).

 

The whole palace complex is under the administration of the governor (Burghauptmann), who in turn is part of the Burghauptmannschaft, an office which has been in existence since the Middle Ages under the auspices of the Burgrave. At present the Burghauptmannschaft is under the jurisdiction of the Federal Ministry of the Economy.

 

In September 1958, parts of the Hofburg were opened to the public as a convention centre. In the first ten years, the Burghauptmannschaft operated the convention centre; since 1969 a private company (Hofburg Vienna – Wiener Kongresszentrum Hofburg Betriebsgesellschaft) has been managing the international congress and events centre. Every year the convention centre hosts about 300–350 events, with around 300,000–320,000 guests. Among the events are conventions and meetings as well as banquets, trade fairs, concerts, and balls.

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Leopoldschlag is a municipality in the district of Freistadt in the Austrian state of Upper Austria. It is located on the European continental divide between the watershed of the Elbe and the Danube, on the border with the Czech Republic.

The Sohlstufe Lehen hydroelectric power station is a run-of-river power plant in the Salzach between the Lehen district and the Itzling district in the north of the city of Salzburg in Austria . It has a bottleneck capacity of 13.7 MW . The structure is also a connecting route for pedestrians and cyclists between the two districts.

 

General

The Sohlstufe Lehen power plant was put into trial operation on July 2, 2013 after three years of construction and construction costs of 85 million euros; regular operation followed on September 13, 2013. The system consists of two Kaplan PIT turbines with a capacity of 250 m³/s, with a head of 6.6 m. The structure was designed by Max Rieder and Erich Wagner and was awarded the European Concrete Construction Prize in 2014

 

The Salzach flows here towards the north-northwest (NNW). To the right bank in the east there are 4 weir fields, to the west of which is the power house. The fish pass leads some water out on the left bank 70 m above the barrage, the Salzach flows about 150 m downwards and, after turning left, back 70 m, all in an approximately 1.5 m narrow concrete, mostly open channel. After the underpass of the Uferbegleitstrasse, a natural, wider channel begins here, which meanders westwards with a length of 300 m and flows from the right into the Glan, which flows in a straight line towards the NNE and after a further 300 m flows from the left into the Salzach, in the tailwaters of the power plant. This last 600 m of the fish ladder has around 40 sleepers, mostly made of rows of natural stone.

 

Furthermore, the construction improved flood protection in the urban area and reduced the progressive deepening of the Salzach riverbed. Thanks to the fish ladder attached to the power plant, the Salzach became accessible to fish again. For the residents, the power plant creates a new connecting bridge between the two banks of the Salzach, as well as newly created local recreation areas.

DSC_2609med

The journey is important, but sometimes the destination is amazing too. VIDEO: youtu.be/qVhx-SJl_rQ #igerstirol #igersaustria #lovetirol #discoveraustria #myaustria #bestmountainartists #nature_perfection #sunrise #serles #sunrise_sunsets_aroundworld

 

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When walking around the streets of Vienna, it is easy to see that the country was once a big and powerful empire, and this city was its capital. Many people are also surprised to learn that Vienna is also very weed-friendly. Currently the recreational use of marijuana is illegal in Austria, but it is hardly enforced and many of the locals and visitors choose to smoke.

 

Where to get marijuana in Vienna:

Finding weed in Vienna isn’t too hard, especially with the help of our guide. There are many cities in Europe, including Vienna, where the train and subway stations are popular locations for dealers to frequent. If you are looking for more specific advice, the U-Bahn stations: MuseumsQuartier, Praterstern and Westbahnhof are all good places to look for weed being sold.

 

Marijuana is also available for purchase in several other locations in Vienna, such as Stadtpark and near Schottenring station. These locations follow similar rules to the abovementioned stations.

 

Arab or black dealers may approach you and offer to sell you marijuana, particularly if you are a younger person that is dressed more casually. Usually, in Vienna, the dealer gives you a nod, and if you nod back, they will approach you and lead you to a location where the weed is hidden or where they can sell it to you without too many people seeing what is happening.

 

The quality of cannabis in Vienna can vary greatly, with street dealers often selling low-quality, brown weed. Hashish in Vienna is generally of better quality, likely due to the majority of dealers being Arab and having access to better sources. It is common for dealers to give you less than the amount you paid for, and you can expect to pay around 10 euros for marijuana. However, the price may be negotiated higher and it may be necessary to negotiate it down. It is also always a good idea to look

 

Is Marijuana legal in Austria?

Cannabis is illegal in Austria, despite how many people smoke it. Medicinal marijuana, on the other hand, is legal which shows that the government is aware that cannabis is not only bad. However, the country as a whole is relatively conservative, and recreational use is still illegal.

 

In Austria, possession, and use of cannabis recreationally are illegal. However, the possession of small amounts of cannabis for personal use is generally tolerated and may be subject to a fine rather than criminal prosecution.

 

Generally, when the police catch you, they will determine if the weed on you is for personal use or for selling. For small quantities, the maximum penalty is six months in prison. However, it is uncommon for individuals to receive the maximum penalty, especially if they are tourists. In such cases, a warning or a fine may be issued instead. For locals, enrollment in a rehabilitation program may be required. It is important to be aware of and respect the laws of the place you are visiting, but don’t worry too much about weed in Vienna

   

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The Joseph Fountain is a fountain on the west side of the Plague Column on the Graben in Vienna's 1st district , Innere Stadt . On the east side of the Plague Column is the Leopold Fountain with very similar architecture and construction history ( 48° 13′ N , 16° 22′ E )♁ . Both are often referred to in the literature as the Graben Fountain .

 

A classicist square base is located in the center of an octagonal fountain basin . Two metal relief panels with the scenes Flight from Egypt and Angel Appears to Joseph in a Dream are attached in the southeast axis, and a water-spouting metal lion's head is attached in the east-west axis. On the base is a lead figure depicting Saint Joseph in ancient clothing and with a staff, bending down to a boy who is holding a scroll, Joseph's family tree.

 

The Leopold Fountain is architecturally identical, with the relief panels depicting the scenes of the discovery of the Margravine 's veil and the laying of the foundation stone of Klosterneuburg . The main figure shows Saint Leopold in armour with a crown holding a flag, and to the right a boy with a drawing of the Klosterneuburg church .

 

There are written records that in the middle of the 15th century a fountain was built on the Graben. The water from the fountain was piped from the Hofburg gardens. It was called the "Lion Fountain" because of the four lion heads, which probably served as gargoyles. From 1651 onwards there was a statue of Jupiter in the middle of the fountain , designed by the sculptor Johann Jakob Pock . In the middle of the 16th century another fountain was built on the east side of the Graben. The court master stonemason and sculptor Antonius Bregno (also called Premb ) and the court painter Stephan Simpeckh also worked on the fountain . After the Plague Column was erected (1679), Emperor Leopold I wanted the two fountains on either side of the column to be rebuilt and to be decorated with portraits of "Saint Joseph" and "Saint Leopold" . The fountains were re-erected in 1680–1681. Around 1730–1740, the fountains were significantly altered. In 1804, the sculptures of saints designed by the sculptor Johann Frühwirth were replaced by lead figures by Johann Martin Fischer and the fountains were restored or redesigned.

 

In 1904/05, Vienna's oldest underground public toilet, the Public Public Toilet on the Graben , was built beneath the Joseph's Fountain. For this purpose, the Joseph's Fountain had to be dismantled and then rebuilt. During the renovation of the public public toilet in 1987/88, the Joseph's Fountain above it was also renovated.

Nikolaus Copernicus (born February 19 , 1473 in Thorn ; † May 24, 1543 in Frauenburg ; actually Niklas Koppernigk , Latinized Nicolaus Cop [ p ] ernicus , posthumously Polonized Mikołaj Kopernik ) was a canon of the Prince-Bishopric of Warmia in Prussia as well as an astronomer and doctor also devoted himself to mathematics and cartography .

 

In his main work De revolutionibus orbium coelestium from 1543, he describes a heliocentric world view , according to which the earth is a planet, rotates on its own axis and also moves around the sun like the other planets. The reception of the work led to the upheaval that is referred to as the “ Copernican turn ” and in historical science represents one of the turning points that mark the transition from the Middle Ages to modern times . In addition, in the work he interprets for the first time the slow shift of the vernal equinox as a result of a change in the orientation of the earth's axis .

 

Nikolaus Copernicus was the son of Niklas Koppernigk , a wealthy copper dealer and alderman in Thorn, and his wife Barbara Watzenrode. The Koppernigk family belonged to the German-speaking citizens of the Hanseatic city of Thorn in Kulmerland , the oldest city in Prussia , which broke away from the Teutonic Order state in association with the Prussian Confederation in the Thirteen Years' War and joined the King of Poland in 1467 as part of the autonomous Royal Prussia had subordinated to the patron. Copernicus' father had moved to Thorn between 1454 and 1458 from Kraków , where he had worked as a copper merchant. The mother's family was also wealthy. She originally came from Wazygenrode . In 1370 she came to Thorn, where Copernicus' grandfather Lukas Watzenrode (the elder) worked as a lay judge from 1440 and later as lay judge.

 

For a long time, the house at St. Annengasse 15/17 was considered the birthplace of Copernicus, which is why it was given the name “Copernicus House” and the entire street was renamed “Kopernika”. However, even before Copernicus was born, his parents had also purchased houses on the ring road around the town hall in the city center, where the most respected citizens lived. It is now assumed that the family had moved into their newly acquired semi-detached house on the ring in 1468 (today Rynek Staromiejski No. 36) , in the second half of which the Watzenrodes had lived for a long time, so Copernicus was probably more likely there was born.

 

The Koppernigk family was elected to the Third Order of St. Dominic accepted. When his father died in 1483, Nicholas was ten years old. His mother's brother, Lucas Watzenrode , Prince-Bishop of Warmia since 1489 , took care of the education of the four orphans after their parents' death . The older brother Andreas, like Nicholas, also became canon in Frauenburg, but fell ill with leprosy around 1508 , was later excluded and died around 1518, probably in Italy . The older sister Barbara Koppernigk became abbess in the monastery of Kulm , the younger Katharina married Barthel Gertner, a Krakow merchant.

 

Training

Copernicus was initially educated at the St. John's School in Thorn. In the years 1488 to 1491 he attended a secondary school. While some Copernicus researchers would like to see this school in Leslau ( Włocławek ), [6] there are numerous reasons for visiting the particular of the brothers' life together in Kulm (Chełmno), in particular the close connection of the Koppernigk and Watzenrode families to this neighboring town of Thorn , where several of Copernicus' female relatives lived in the Cistercian monastery, including Copernicus' step-aunt Katharina and later his sister Barbara as abbesses. Lukas Watzenrode was also particularly drawn to Kulm, so much so that in 1488 he even requested at the Polish Reichstag in Petrikau that the Kulm Cathedral Chapter, of which he was a member at the time, be moved from Kulmsee ( Chełmża ) to Kulm.

 

From 1491 to 1494, Copernicus attended the University of Kraków with his brother Andreas , where he studied the Seven Liberal Arts . He was a student of Albert de Brudzewo , among others , but did not obtain a degree there. During this time he also met the Silesian scholar Laurentius Corvinus , who later worked in Thorn.

 

In 1495 Copernicus was appointed canon of the Warmian Cathedral School in Frauenburg . His uncle Watzenrode sent him to the University of Bologna , where he began studying both laws in the winter semester of 1496/1497, but did not yet acquire an academic degree in it, and, as only became known after the middle of the 19th century, in the Matricula Nobilissimi Germanorum Collegii and Annales Clarissimae Nacionis Germanorum of the Natio Germanica Bononiae with the entry Dominus Nicolaus Kopperlingk de Thorn - IX grosseti is mentioned. In Bologna, Copernicus studied not only Greek with Urceus Codrus, but also astronomy and learned about newer theories on the movement of the planets with Domenico Maria da Novara . There he acquired the title of Master of Arts . [ Novara introduced him to the world of Neoplatonism , for which the sun was of particular importance as a material image of God or the One .

 

In 1500 Copernicus left Bologna and spent some time in Rome on the occasion of the Holy Year before returning to Frauenburg in Warmia in 1501 . He requested permission to extend his study stay in Italy and began studying medicine at the University of Padua that same year . At the same time, he continued his law studies. During this time, Copernicus was given the office of scholastic of the Breslau Kreuzkirche , which he did not exercise personally, but held until shortly before his death. Copernicus and his brother Andreas, who had also received a study permit, also stayed temporarily with the Curia in Rome as representatives of the Frauenburg Cathedral Chapter.

 

Copernicus received his doctorate in canon law ( Doctor iuris canonici ) from the University of Ferrara on May 31, 1503 . He did not obtain an academic degree in medicine.

 

In 1503 he returned to Warmia and began working as a secretary and doctor for his uncle Lucas Watzenrode, the Prince-Bishop of Warmia. Copernicus became a doctor and, through his uncle, got a job in the Warmian Cathedral Chapter in Frauenburg , in hoc remotissimo angulo terræ (“in the furthest corner of the world”), as he described the location of his workplace in the preface to the Pope in his main work . Watzenrode planned to have his nephew also become prince-bishop.

 

As an administrator, Copernicus had to regulate government affairs. In the negotiations over the reform of the Prussian coinage system, he worked out the position of the Prussian cities. He published a letter about this that was still seen as groundbreaking for monetary theory centuries later. In 1504 Copernicus took part in the Prussian state parliaments in Marienburg and Elbing , and in 1506 he spoke at the Prussian assembly of estates in Marienburg. As an administrator, he wrote the Locationes mansorum desertorum ( The Distribution of Abandoned Farms ) from 1516 to 1521.

 

Despite the difficult situation in Prussia, where cities and people fought for and against the Catholic government, Watzenrode, as prince-bishop and sovereign, and his nephew Copernicus were able to preserve Warmia's independence from the order and self-government powers from the Polish crown. Copernicus was elected chancellor of the Warmian Cathedral Chapter in 1510, 1519, 1525 and 1528. In 1510, Copernicus' first official act as chancellor was to travel to Allenstein , together with the later Prince-Bishop Fabian von Lossainen . The following year he attended the wedding of Sigismund I as his uncle's representative . After the death of the previous Bishop of Warmia , Mauritius Ferber, Copernicus was proposed as bishop by Tiedemann Giese in 1537, but was defeated by Johannes Dantiscus von Höfen .

 

In the military conflicts between the Teutonic Order and Poland, Copernicus, like his uncle, represented the side of the Prussian Confederation , which was allied with Poland against the Teutonic Order. After the destruction of Frauenburg by troops of Albert I of Brandenburg-Ansbach in 1520 in the so-called Equestrian War , Copernicus moved his residence to Allenstein . There he organized the defense of the city against the knights. Copernicus returned to Frauenburg in 1521. He became part of a royal Polish embassy to the Grand Master of the Order and Commissioner of Warmia for the restitution of properties belonging to the Polish Crown. From King Sigismund of Poland he obtained the release of places in Warmia that were occupied by (friendly) Polish troops. However, it was not possible to release locations occupied by Teutonic Knights troops.

 

Copernicus was still practicing as a doctor in his 69th year when Duke Albrecht wrote to him on April 6, 1541, asking him to assist the sick Georg von Kunheim the Elder , governor of Tapiau . Copernicus used either Latin or German for his correspondence until his old age.

 

Works

Astronomical research

Own observations

Copernicus worked as an observing astronomer, although with tools that were quite primitive compared to the possibilities of his time. It is not known exactly what type of instruments he had; The only thing that seems safe is the use of a three-rod . Only 63 of his own observations are known, of which he only used a small part for his main work . The accuracy he aimed for was 10 minutes of arc , which he sometimes missed considerably, while Tycho Brahe achieved the accuracy of half a minute of arc a short time later.

 

In Frauenburg, Copernicus also struggled with nature: “Because of the vapors” of the Vistula to the west , he was never able to observe the innermost planet Mercury or even determine its location. He therefore borrowed corresponding observations from contemporaries, such as the Franconian astronomer Johannes Schöner . His main work was largely based on the ancient data available to him.

 

History of origin About the changes in the heavenly circles

→ Main article : De revolutionibus orbium coelestium

In his unpublished Commentariolus , Copernicus put forward his theory of the revolution of the planets around the sun and the apparent movement of the fixed stars caused by the rotation of the Earth. Shortly before his death in 1543, he published his work De revolutionibus orbium coelestium , in which he explained the precession of the vernal equinox by a slow movement of the earth 's axis. When describing the orbits of planets, Copernicus used superpositions of uniform circular motions with a center near the sun. All of Copernicus' predecessors followed Hipparchus' view , who assumed that the cause of the precession was a slow rotation of the fixed star sphere. Copernicus' friends, in particular Bishop Tiedemann Giese and Cardinal Nikolaus von Schönberg , as well as Johannes Dantiscus von Höfen , tried to persuade Copernicus to publish his astronomical works. Cardinal Schönberg offered to cover the costs of printing the book. He hesitated for a long time, possibly because his partially inaccurate calculations of the planetary orbits, based on Aristotle 's idea - the circle as an ideal, harmonious, perfect mathematical structure - could not be supported by observations; There was therefore a risk of rejection by the scientific or ecclesiastical establishment. The British historian Hugh Kearney, on the other hand, suspects, citing Copernicus' student Georg Joachim Rheticus , that he refrained from publishing it due to his Neo-Platonic background, because in the Neo-Pythagorean - esoteric tradition of this school of thought, these important truths are only allowed to be presented to people with mathematical training, not but make it accessible to the masses.

 

With Rheticus' help, the Narratio prima was printed in advance by Rhode in Danzig in 1540 . Shortly before Copernicus' death in 1543, Pope Paul III was printed by Johannes Petreius in Nuremberg . dedicated to the main work De revolutionibus orbium coelestium ( On the revolutions of the heavenly circles ). Copernicus was not the first scientist at the turn of the modern era to consider a heliocentric system. Before him, this idea was discussed by Nicholas of Cusa , who, however, lacked the means for mathematical elaboration, and by Regiomontanus , whose early death brought his work to a premature end. Copernicus built on the works of these two scientists.

 

The reformer Andreas Osiander had also added a foreword on his own initiative and anonymously, in which the new world view was presented as a mere calculation aid, as a mathematical aid to simplify the calculation of the planetary orbits. In doing so, he had falsified Copernicus' statements and made them contradictory. In fact, the Prussian tables newly created by Erasmus Reinhold using Copernicus' model were easier to calculate than the older Alfonsine tables .

 

Aftermath

In particular, Copernicus' heliocentric cosmic model was passed over or ignored by the majority after it became known, both among Catholics and Protestants . [It was only approved by some Neoplatonists. Contrary to popular belief, the propagation of the heliocentric worldview during his lifetime was by no means seen as heresy, but at best as a fantasy. After all, the geocentric system, anchored by the then scientifically undisputed reference figures Ptolemy and Aristotle, seemed to be much more in line with common sense than a moving earth: when moving, you should feel a wind, and falling objects have an oblique path ; The opponents of Copernicus argued that the fixed stars should also carry out an apparent circular movement over the course of the year, in accordance with Ptolemy 's teaching , but this could not subsequently be confirmed with astronomical observations, for example by Tycho Brahe .

 

The new mathematical calculations of planetary movements, which Copernicus had created together with the heliocentric cosmic model, were widely received and applied, because with them many hoped that they would finally be able to create precise ephemerides for specific astronomical and astrological purposes. However, the ephemerides based on Copernicus' planetary orbit calculations, such as the Prutenian tables , also showed clearly recognizable deviations from the actually observed planetary positions over the years and decades, as was the case with the inaccurate Alfonsine tables , which had been used for centuries based on the Ptolemaic planetary orbit calculations. Another hindering effect was that Copernicus still needed the ancient epicycle theory and had stuck to the ancient sphere or spherical shell model, but Tycho Brahe's astronomical observations of a comet passing through the supposed sphere of Venus in the 1570s had no effect whatsoever provided clues to the existence of the 'sphere', which has been thought of as 'solid' since ancient times. Brahe himself did not recognize Copernicus' heliocentric cosmic model. It was Johannes Kepler who first abandoned the model of circular spheres that had been traditional since antiquity with the elliptical planetary orbits, which he described in his three laws , and created the correct mathematical calculation bases that are still valid today. With the law of gravitation , Isaac Newton ultimately provided the physical justification of Kepler's laws, on which the heliocentric worldview is based. However, empirical proof was only achieved by James Bradley in 1728 with the discovery of the aberration of light as a result of its finite speed and the movement of the earth, and in 1838 by Friedrich Wilhelm Bessel with a fixed star parallax calculated for the first time from celestial observations .

 

A rejection specifically of the central position of the sun in Copernicus came from the Protestant side, among others. by Melanchthon . In 1549, in his work Initia doctrinae physicae , he claimed that Copernicus' teaching was merely a renewal or repetition of the heliocentric theory of the ancient astronomer Aristarchus of Samos , which Archimedes described in his so-called "sand calculation". In fact, the Opera Archimedis (Works of Archimedes) were only published for the first time in 1544, a year after the death of Copernicus. During his lifetime, only Aristarchus's only extant writing, On the Size and Distances of the Sun and the Moon , was known, which Aristarchus wrote from a geocentric perspective. The heliocentric system described by Copernicus in the Commentariolus cannot therefore be based on Aristarchus. Therefore, in an effort to prove that he was not the only one who viewed the Ptolemaic worldview as incorrect, Copernicus could only always refer to the teachings of Philolaus , Eudoxus of Cnidus and Heracleides of Pontus . Nevertheless, the error of judgment crept into the history of science from the Aristararchic suggestion of Copernicus. However , from a passage deleted by Copernicus himself in his handwritten manuscript of De revolutionibus at the end of the 11th chapter of the first book, it emerges that, alongside Hiketas , Philolaus, Ekphantos , the Pythagoreans and Herakleides, he also considered Aristarchus of Samos, at least by name knew one of those ancient astronomers who assumed that the earth had some kind of proper motion, for example according to the then available writings of Aetius , Vitruvius and Plutarch (e.g. De facie in orbe lunae , c. 6, 922 F - 923 A).

 

Martin Luther is credited with making a critical statement in the Table Speeches of 1539, i.e. before the publication of Copernicus' main work, about Copernicus's central thesis, according to which Copernicus was a fool and the heliocentric worldview of the Bible contradicted, since the Old Testament says, In the fight against the Amorites, Joshua ordered the moon and sun to stand still Jos 10:12-13 LUT . The term “fool” does not appear in one of Anton Lauterbach’s notes, but only in Johannes Aurifaber’s adaptation . Like Werner Elert, the physicist and science historian Andreas Kleinert describes it as a “palpable historical lie” to assume that Luther inhibited the spread of the new world view with this statement in a small group. As he can prove, it was only in the 19th century during the Kulturkampf that two Catholic historians made Luther an opponent of the Copernican world system. Since only this one statement by Luther is known, it seems reasonable to conclude that the reformer was not at all interested in this topic.

 

Economics and coinage

In the Teutonic Order state there was a uniform and relatively well-regulated currency . With its decline beginning in the 15th century , all of the coin lords who now existed ( Grand Masters , Kings of Poland , West Prussian Association of Cities ) continually made their coins lighter. Copernicus dealt with coinage from 1517 and was the first to formulate the quantity theory of money, according to which inflation arises from an increase in the money supply.

 

He regularly took part in meetings to develop a new coinage regulation in an advisory capacity. In his coin memorials , Copernicus, as a theoretically trained thinker, went back to the terminology to clarify practical problems and found the dual function of money, being at the same time a measure of prices and a means of circulation. Even before Thomas Gresham, he formulated what later became known as Gresham's law , according to which bad money with a low precious metal content displaces good money with a high precious metal content. The matter was decided provisionally by the Polish King Sigismund I in his coin regulations of 1528 and without taking Copernicus' findings into account. In addition to his power as supreme sovereign, the king had the advantage that his position was roughly between that of the estates and that of the duke in Prussia. The Prussian cities retained their previous rights to strike their own coins. The comparable coin values ​​of royal and ducal Prussian, Polish and Lithuanian currencies created the largest currency area in Europe at the time.

 

The bread price regulations designed by Copernicus were part of his administrative work. The order is characterized by mathematical considerations that were atypical for the time. Copernicus establishes a functional connection that leads to a hyperbola that could not be described analytically in the 16th century. In it he dedicates himself to a problem that probably has Roman origins and is known in practical mathematics as the penny bread.

 

Ignaz Jastrow estimates that Copernicus' economic writings are simply the most important monetary theoretical achievement of the 16th century . Copernicus was the most important economic thinker after Aristotle and before the bourgeois classical era of economic theory . He was the first to break through the natural economic barriers that had been placed on economic thinking at the end of the Middle Ages by describing the rise and fall of the monetary value explained without contradictions, thereby recognizing and acknowledging the laws of this movement and consequently treating it as a fact that could only be interpreted economically.

 

cartography

In 1526, Copernicus worked with Bernard Wapowski on the map of the unified state of the Kingdom of Poland - Grand Duchy of Lithuania , and in 1529 he also made a map of the Duchy of Prussia . Georg Joachim Rheticus , until then a university professor in Wittenberg , came to Frauenburg for three years in 1539 to study with Copernicus.

 

Commemoration

Each of the 16 canons in Frauenburg was assigned one of the 16 column altars in the nave. The question of which Copernicus' altar was has not yet been fully resolved.

 

In 1866, the Copernicus researcher Leopold Prowe decided on the seventh column altar in the right row, firstly because the canons were usually buried at their altar and in the immediate vicinity of this altar was the Copernicus epitaph of the Warmian bishop Martin Cromer , which was named after him Decision was placed on the cathedral wall near Copernicus' grave, secondly because this altar is the fourteenth altar if you start the count with the cathedral provost's altar and then continue counting alternately from left to right. Prowe saw this as a connection to the Fourteenth Numerical Canon, which Copernicus held.

 

In 1942, Hans Schmauch published a resolution of the Frauenburg Cathedral Chapter of January 11, 1480, through which the altars were reassigned to the canons when they returned to Frauenburg after a twenty-five-year absence (due to war). It was stipulated that the canons always have to take over the altar of their predecessor. The possibility of an altar option was only granted in the event that the predecessor's altar could no longer be determined or "if individual altars had become vacant as a result of the election of their previous owners as prelates [provost, dean, custodian or cantor]". [49] Since the fourth pillar altar in the right row was assigned to Copernicus' predecessor in the fourteenth numerical canonical book, Johannes Zanau, Schmauch concluded that his successor Nikolaus Copernicus took over this altar after Zanau's death in accordance with the statutes. Schmauch saw this conclusion as secured by the fact that later successors of Copernicus also held this altar in the fourteenth numerical canonical record between 1562 and 1639. However, no documentary evidence has yet been found regarding Copernicus himself and his immediate successor Johannes Loitze.

 

Eugen Brachvogel replied to Schmauch's conclusion in an article of the same year that when a prelate was promoted, a canon always gave up an altar in order to take over his prelature altar. The canon who took over the vacated altar also released an old altar, which in turn could be taken over by another canon, so that a change of prelature resulted in, or at least could have resulted in, several changes of altar. Brachvogel therefore admitted the possibility that Copernicus could have occupied the sixth or seventh columned altar in the right row in the year of his death - as Prowe suspected - and was therefore buried there.

 

Since there were no changes in prelature between 1480, when Johannes Zanau, Copernicus' predecessor, was assigned the fourth columned altar in the right row, and 1495, when Copernicus was appointed canon, it can be assumed that Copernicus took over its altar. However, in the following 48 years up to Copernicus's death, at least 16 changes of prelature took place, with certainly even more subsequent altar changes. It cannot therefore be viewed as certain that Copernicus still occupied the same altar in the year of his death that he was assigned when he took office. On the other hand, this cannot be ruled out either.

 

Two canons employed at the same time as Copernicus at Frauenburg Cathedral, Georg Donner and Leonhardt Niederhoff, who handled Copernicus' estate, were later also buried in Frauenburg Cathedral.

 

The four tombs in Frauenburg Cathedral

 

Text of the original epitaph by Martin Cromer , 1581

Copernicus epitaph by Bishop Cromer (1581)

In the 16th century, the Frauenburg canons were usually buried near their altar in the floor of the cathedral, although a grave slab with an inscription was only made in exceptional cases, if the deceased left the funds for it in his will or his relatives arranged for it. Copernicus' grave initially received no epitaph. However, his book De revolutionibus, published in 1543 , prompted scholars and admirers to visit his grave in Frauenburg Cathedral decades after his death. In 1580, the reigning Bishop of Warmia and historian Martin Cromer wrote to his cathedral chapter:

 

“Since Nicolaus Copernicus was an adornment not only of his church during his lifetime, but also of the whole of Prussia, his homeland, and still is now, after death, I consider it inappropriate that he should be honored after his departure “There is no need for a tombstone or monument, which, I have heard, is sometimes requested by learned guests and visitors from abroad.”

 

In 1581, Cromer had an epitaph in memory of Copernicus placed on the outer wall of the cathedral near the seventh columned altar in the right row. Since the visitors did not complain that the grave could no longer be precisely located, but only that a memorial plaque was missing, the location of the grave was obviously still known precisely at that time. This is also supported by the fact that Cromer in no way gave the order to find the exact location in the cathedral. Rather, he gave the clear written order to put the epitaph “on the wall near his grave” (parieti ad sepulcrum eius affigi) . The one in 1551, d. H. Cromer, who came to Frauenburg as canon only eight years after Copernicus' death, also had ample opportunity to speak to living witnesses of Copernicus's burial from among the canons. How important this epitaph was to Cromer can be seen from the fact that he wrote its inscription himself and also assumed the entire cost of its production and installation.

 

It can therefore be considered certain that Copernicus was buried in the cathedral floor in front of the outer wall near the seventh column altar in the right row. However, it cannot necessarily be concluded from this that Copernicus also held the seventh pillar altar. Burial at the altar was common at the time, but exceptions occurred, as did the change of altars in the event of a prelate's promotion. Cromer also writes in his letter not ad altare , but ad sepulcrum .

 

In the following centuries, church interest in appreciating Copernicus waned after some passages from his main work De revolutionibus were included in the index of banned books in 1616 . So in the 18th century, the Cromer epitaph had to give way when, in 1746, a wall monument was added to commemorate Szembek after his death in the same place, a few meters east of the entrance to a side chapel built fourteen years earlier by the Warmian bishop Christoph Andreas Johann Szembek became. According to documentary evidence, Cromer's Copernicus epitaph should be reinstalled in the immediate vicinity. However, this plan was ultimately not carried out and the epitaph was lost.

 

Copernicus epitaph with picture (1735)

Presumably as a replacement for the lost Cromer epitaph, in 1735 the Warmian Cathedral Chapter had an epitaph in honor of Copernicus attached to the second column on the left (Michaelis Altar) with the inscription carved in marble:

 

“Nicolaus Copernicus of Thorn, the former canon of this cathedral in Warmia, the very famous astronomer, whose name and fame filled both circles [terrestrial and celestial]. The prelates, canons and the entire Warmia chapter erected this monument as a sign of their brotherly love and appreciation.”

 

Bust of Copernicus (1973)

In the 20th century, the cathedral chapter had a bust of Copernicus attached to the seventh column on the right (Bartholomew Altar) with the inscription:

 

“The warmland cathedral chapter pays homage to Nicholas Copernicus on the 500th anniversary of his birth.”

In 2004, the local historian Jerzy Sikorski took up Hans Schmauch's assumption that the grave, if it still existed, must be near today's Holy Cross Altar (fourth altar column on the right). At the suggestion of the responsible bishop, a team led by the Polish archaeologist Jerzy Gassowski began research. In the summer of 2005, it discovered the remains of 13 graves, some of which were severely damaged, near the altar, one of which contained the remains and skull of a 60 to 70 year old man. In November 2005, a reconstruction of the face was created based on the skull.

 

A DNA analysis should follow for identification. A search for living relatives of Copernicus in the maternal line was unsuccessful, as only one of his sisters had descendants and their maternal descendants could only be traced back to the 18th century. Nine hairs were found in a book that was once owned by Copernicus and then found in the library of Uppsala University as spoils of war during the Polish-Swedish Wars of the 17th century (Calendarium Romanum Magnum). Usable genetic material was obtained from four hairs. They belonged to three different people. On November 20, 2008 , Polish archaeologist Jerzy Gassowski and Swedish DNA expert Marie Allen announced that DNA analysis of two hairs from the book and a tooth from the skull found showed that both were highly likely to be the Astronomers can be assigned. However, DNA analysis also revealed that the skull belonged to a person with light (blue or gray) eye color, which differs from all historical color portraits of Copernicus, which always depict him with dark brown eyes and dark hair. [57] At a Copernicus conference in Krakow in 2010, genetic analysis was discussed by several scientists.

 

The remains were ceremoniously reburied as those of Copernicus in Frauenburg Cathedral on May 22, 2010. [59] On the fourth pillar on the right is the inscription:

 

“† Nicolaus Coppernicus · natus 02/19/1473 Thoruniae · defunctus 05/21/1543 Frauenburgi · astronomus · heliocentrismi artifex · canonicus warmiensis“

 

Monuments

In 1807 , one of the first Copernicus busts was made by Johann Gottfried Schadow on behalf of Crown Prince Ludwig of Bavaria, which is exhibited in the Walhalla, which opened in 1842 , which led to Polish protest .

 

One of the first complete Copernicus monuments was created by the Danish sculptor Bertel Thorvaldsen in 1822 and executed by the Warsaw bell founder Jan Gregoire in 1833, with the base inscriptions in Polish and Latin proclaiming that the (Polish) compatriots had erected the monument as thanks to the fatherland . After the Warsaw Uprising, the monument was torn down by the German occupiers in October 1944 and taken to the Neisse area in Upper Silesia to be melted down , but this never happened again. After the war, the monument was rebuilt on July 22, 1945.

 

The hometown of Thorn, which belonged to Prussia from 1793 to 1807 and from 1815 to 1920, had been trying to get a monument since the end of the 18th century, especially since the Prussian royal family had promised support. A committee was formed for this purpose and erected a monument created by Friedrich Tieck in 1853 . The Monument Committee gave rise to the Coppernicus Association for Science and Art in Thorn , which in the following decades researched the history of the city and its most famous son, which led, among other things, to the German translation of his main work and to Prowe's biography. Prowe also demanded that Copernicus should not be viewed as a Pole but as a German. Prowe summarized the memory of Copernicus among posterity up to around the middle of the 19th century in an essay.

 

A Copernicus exhibition (with a Foucault pendulum ) and a monument are located on the cathedral hill in Frauenburg. Under an epitaph there is a plate with a stylized bronze palm branch with the Polish inscription “For Nicholas Copernicus on the first anniversary of the recovery of Warmia - May 1946. The Government of the Republic of Poland”. In addition, to mark the 500th anniversary of Copernicus's birth in 1973, a monument was erected at the foot of the cathedral hill in Frauenburg. In the Castle of Allenstein ( Olsztyn ) there are exhibits about Copernicus and original manuscripts on calculations to justify the Copernican worldview in a special section. A bronze sculpture depicting Copernicus is placed in front of the entrance to the castle.

 

Various Copernicus Streets were named after him.

 

Honors

The heliocentric worldview is often referred to as the “Copernican worldview.” The chemical element Copernicium , the star Copernicus , the lunar crater Copernicus and the asteroid (1322) Coppernicus were named after Copernicus, as were the university founded in Toruń in 1945 and the multimedia science center Centrum Nauki Kopernik , which opened in Warsaw in autumn 2010 .

 

To mark his 500th birthday, numerous commemorative events took place in Poland, the two German states and around the world. To this day, Copernicus is claimed by the German and Polish sides for their own nation, sometimes at the highest political level: on June 12, 2003, the Polish Senate , the second chamber of the Polish parliament, passed a declaration in memory of the great Pole Mikołaj Copernicus.

 

On the occasion of its 500th birthday, the Nuremberg Planetarium was renamed the Nicolaus Copernicus Planetarium in 1973 . Wroclaw Airport has borne his name since December 6, 2005 . On February 19, 2010, his 537th birthday, the web portal Nicolaus Copernicus Thorunensis, maintained by scientists from the University of Thorn, was activated.

 

A plant genus Copernicia Mart is named after Copernicus . ex Endl. from the palm family (Arecaceae).

 

May 24th is his memorial day in the calendar of the Evangelical Lutheran Church in America .

 

In 2010, the chemical element with atomic number 112 was named Copernicium after him .

  

The church on the Magdalensberg in Magdalensberg , Carinthia , Austria , on the summit of the 1058 meter high Magdalensberg is a branch church of the parish church of Ottmanach . It is dedicated to Saint Helena and Mary Magdalene , although the patronage of Helena was the original one and that of Mary Magdalene only came into being after 1583.

 

In the late 12th or early 13th century, the Lords of Osterwitz built a church on Magdalensberg, which probably consisted of a flat-roofed nave and a round apse or choir square. In 1262 , Pope Urban IV confirmed the ownership of the church to a priest named Heinrich, “sancte Margarete in Otmaniach et monis sancte Helene … quarum una dependet ex alia …” An extension to the church begun by a master Mothe (Matthias) in 1462 was not completed until the end of the 15th century. A larger building was added to the side, so that the original church forms today's southern aisle. St. Veit's citizen families made significant contributions to the expansion and furnishing of the church, and are also associated with the emerging Vierbergelauf , the starting point of which is the church. For example, the tradesman Hans Kaltenhauser had a now lost relief stone attached to the church.

 

The medium-sized late Gothic church consists of a high nave, a slightly lower, narrow main choir, and a southern side choir. In the southwest corner of the nave, a transept-like section with a gable was formerly known as the treasury. In the northern corner of the choir stands the tower crowned by a pyramid roof; its coupled sound windows were replaced after a fire in 1571. The bell was cast by Anton Kosmatschin in 1703. The church is supported by tall, stepped buttresses that are placed at an angle to the choir and crowned by pointed gables and fragmentary pinnacles . In contrast, the buttresses on the side choir are simple and clumsy. The church has tall, two-track tracery windows in the choirs and on the south side of the nave . The rectangular window above the walled-up Gothic south portal was broken out in the Baroque period , and the two windows to the sides of the west portal were restored in 1971. The round windows on the west and south sides have Gothic quatrefoil tracery . The narrow pointed-arch west portal with iron-clad Gothic door has richly profiled Gothic jambs and a straight corbel lintel and is decorated with Christ's monogram and two stars on the arched area . The church building is uniformly covered with stone tiles. The faded St. Christopher fresco on the south façade dates from the Baroque period.

 

Inside, the three-bay nave is a two-aisled hall with a lower southern side aisle. The star-ribbed vault is decorated with stars, flowers, coats of arms and stonemason's marks on the keystones . The five cluster pillars in the nave are designed differently. The late Gothic gallery with cross-ribbed vault and three pointed arch arcades facing the church has a fluted field parapet.

 

The four-bay choir with a three-eighths end is offset from the northern axis compared to the central nave. The net rib vault rests on consoles and two five-sided services interrupted by canopy niches . The statuettes of the two church saints in the canopy niches probably come from an altar. A low pointed arch portal leads from the north wall of the choir into the sacristy on the ground floor of the tower. Pointed, slanted transverse arches open the southern side choir to the main choir and the southern side aisle.

 

The late Gothic high altar from 1502 contains a large carved figure in the shrine from the older Villach workshop , depicting Saint Helena with a model of the church and a cross. In the delicate frieze are the figures of a seated Madonna and Child, as well as Saints Catherine and Barbara , and at the top a Man of Sorrows , who probably came from a St. Veit workshop. In the painting in the predella, Saint Helena is asking the Jews of Jerusalem where the cross is hidden. On the fixed wings, Saints Margaret and Wolfgang are depicted on the left , and Saints Dorothea and Ulrich on the right . The paintings on the inside of the movable wings show scenes from the legend of the cross : top left, the search for the cross and Judas being thrown into the well; top right, the testing of the miraculous power of the cross by raising a dead person; bottom left, Emperor Heraclius tries in vain to bring the cross to Jerusalem in triumph on horseback; bottom right, he carries it humbly on his knees through the city gate. On the right outer side, Christ is depicted with the twelve apostles and on the left non-figurative architectural painting.

 

Die drei Seitenaltäre entstanden um 1700. Der linke Seitenaltar trägt eine barocke Muttergottes mit Kind und ein Aufsatzbild mit Gottvater und dem Heiligen Geist. Der Altar am rechten Pfeiler zeigt im Altarblatt den Evangelisten Markus, im Aufsatzbild den heiligen Sebastian sowie einen Märtyrerpapst. Die seitlichen Figuren stellen wahrscheinlich die bethanischen Geschwister Martha und Lazarus dar. Im Seitenchor, der Magdalenenkapelle birgt der Altar im Schrein eine um 1520–25 geschnitzte spätgotische Magdalenenfigur. Seitlich stehen die barocken Figuren der Apothekerheiligen Cosmas und Damian. Außen sind vier spätgotische Relief aus dem frühen 16. Jahrhundert in barockes Rankenwerk eingearbeitet. Dargestellt sind Szenen mit Maria Magdalena links oben die letzte Kommunion der Heiligen, links unten die Fußwaschung, rechts oben die Erhebung und rechts unten die Meerfahrt eines Fürstenpaares mit Himmelserscheinung der Magdalena. In der Aufsatznische steht die barocke Statuette des Auferstandenen und darüber eine geschnitzte Noli-me-tangere-Gruppe.

 

The basket of the pulpit, which was built around 1660/70, is now used as an ambo . Also worth mentioning is the grey-green, cylindrical basin with a hollow top and three head reliefs, which probably dates back to the late Middle Ages. The church's other furnishings include a crucifixion picture in the Nazarene style on the south wall and a crucifix from the 17th century on the north wall.

The Donnerbrunnen

 

Drop into Neuer Markt square and your eye drifts naturally to the large fountain at the centre. Although overshadowed (figuratively and, sometimes, literally) by many nearby historical buildings, the Donnerbrunnen has its own claim to fame.

 

Completed in 1739

Figures are bronze copies from 1873

Early example of secular public art

See also:

Austriabrunnen

Albrechtsbrunnen

18TH-CENTURY FOUNTAIN

 

Completed in 1739, the Donnerbrunnen was actually a municipal commission. Given the date, you might expect imperial reliefs or Christian motifs to dominate.

 

Not so.

 

This was possibly the first piece of such public art to forego the usual religious and Habsburgian imagery.

 

That novel secular approach perhaps reflected the growing self-confidence of the city authorities in an era of absolute monarchs. Though I can imagine there were one or two nervous faces at the unveiling.

 

(Apparently, that unveiling took place on the Emperor’s names day, which seems like a sensible way to placate any potential imperial ire.)

 

The Donnerbrunnen name comes from the sculptor who designed the fountain: Georg Raphael Donner (1693-1741). Another name you find used is the Providentiabrunnen, since the central figure is Providentia: the personification of the virtue of making provision for the future.

 

Other elements in Donner’s ensemble piece have river connections.

 

Below Providentia, for example, you find four putti handling various local fish species. And the four figures around the fountain’s edges personify tributaries of the Danube that would have run through the core Habsburg lands around Vienna: the March, Ybbs, Enns and Traun rivers.

 

Rivers make an obvious and common theme for fountains: see, for example, the Albrechtsbrunnen just up the road below the Albertina art museum or the Austriabrunnen on the Freyung.

 

The river figures on the Donnerbrunnen feel more varied than your typical watery statues, though.

 

Take the two men, for example. One elderly gentleman rests languidly with oar in hand, while a more youthful chap leans over the basin, trident poised to spear a fish below.

 

Now, sharp-eyed observers will see the date 1873 inscribed on the fountain, which seems suspicious given the 18th-century origins.

 

Sadly, the lead-based statues designed by Donner proved a little too needy in terms of repair and restoration.

 

As a result, bronze copies later replaced Donner’s figures. Fortunately, the originals remain in the collection of the Wien Museum. Experts consider them important works of mannerist art and far more animated than their 19th-century equivalents.

 

The square hosting the Donnerbrunnen sits right in the middle of Vienna, so various sights and attractions occupy the surrounds.

 

Two places of particular interest lie on Neuer Markt itself:

 

The Capuchin church in the southwest corner with the Kapuzinergruft crypt. This provides a home for the mortal remains of dozens of emperors, empresses and their families. Inside, look, especially, for the Gothic horror-like decoration on the sarcophagus of Emperor Karl VI.

The area has plenty of cafés and restaurants, but I have a soft spot for the Konditorei Oberlaa at the northwest corner of the square with its conservatory-like extension. I’ve always had fast and friendly service inside.

The Athena Fountain (Pallas-Athene-Brunnen) in front of the Parliament was erected between 1893 and 1902 by Carl Kundmann, Josef Tautenhayn and Hugo Haerdtl, based on plans by Baron von Hansen. In the middle is a water basin and a richly decorated base. The four figures lying at the foot of Athena are allegorical representations of the four most important rivers of the Austro-Hungarian Empire. They represent at the front the Danube and Inn, in the back the Elbe and Vltava (German: Moldau) rivers. On the sides, little cupids ride dolphins. The statues of the Danube, Inn, and the cupids were executed by Haerdtl, those of the Elbe and Moldau by Kundmann. The female statues above represent the legislative and executive powers of the state and were executed by Tautenhayn. They are again dominated by the Goddess of Wisdom, Athena, standing on a pillar. Athena is dressed in armour with a gilded helmet; her left-hand carries a spear, while her right carries Nike.

Hallstatt

Anna Chromy (18 July 1940 – 18 September 2021) was a painter and sculptor of Czech-German descent. At the end of World War II, Chromy's family was expelled from Bohemia to Vienna, Austria. Her family did not have enough money for her to attend art school however, so only after she married and moved to Paris was it possible. She received her education at the École des Beaux-Arts. It was here she realised an interest in Salvador Dalí and other surrealists, and began using the soft colours of William Turner in her paintings.

 

A life-threatening accident in 1992 meant that Chromy was unable to paint for eight years. She turned her attention to sculpture using bronze and marble as her media.

 

Anna was born to a Czech mother and a German father on 18 July 1940, in Krumau, Czechoslovakia. Anna's childhood in Bohemia provided her with her first indulgence in art, and she was often fascinated with images of ancient palaces displaying sculptures, graphics and paintings. After World War II, at the age of five, Anna and her family were forced to leave Krumlov and move to Austria. While in Austria, the musical culture of Vienna and Salzburg made a lasting impression on Anna, and would eventually be the inspiration for many of her works of art. In 1970, Anna and her husband, Wolfgang, moved to Barbizon, France, which is southeast of Paris. Here, Anna was surrounded by artists who came from far and wide to paint the beautiful forests of Fontainebleau. While in Barbizon, Anna began to study at the Academy de la Grande Chaumire in Paris.

 

It was during her studies in Paris that Anna met her mentor, Salvador Dalí, who also became a personal friend. As his pupil, Dali inspired Anna's imagination and creativity with his personal style of art known as surrealism. Anna developed an appreciation of Dali's style, and her paintings drew from her admiration of Dali and other artists of surrealism such as Max Ernst, Rene Magritte. She did a charcoal of Dali and Gala titled "Homage Dali & Gala," and Dali's image appears in her 1981 oil painting, "The Boat of Cadaces."

 

Beginning in the 1980s, Anna's work began to be the image of many widely publicized events. In 1985, Anna created three sketches called the Faces of Peace for the United Nations Year of Peace in New York. Her painting, Man, Earth, Universe, which was Anna's interpretation of transcendence to a better world, became the official painting of the 1992 World's Fair, also known as EXPO 92, in Seville, Spain. In 1985, Chromy and her husband established a new home in Cap Martin, France, on the Côte d'Azur, where she and her husband enjoyed many years with their three dogs and several cats. In this villa, Anna had the room to display all her works of art, turning her home into her own exclusive museum. Anna found pleasure adding her own individuality to this villa. She painted a mural of angels on one of the ceilings and dancing figures across her wardrobe doors. She turned one of the rooms into a studio where she painted her "Last Supper." Today, Anna's sculpture, "Coat of Saint Martin", sits at the entrance of Cap Martin.

 

Anna died on 18 September 2021 at the age of 81.

 

Anna Chromy has studios in Pietrasanta, Tuscany where she also has her bronze foundries, Fonderia Artistica Mariani and Massimo Del Chiaro. For her marble sculptures she worked at the studio of Massimo Galleni in Pietrasanta. In Carrara, she sculpted at Studio Michelangelo of Franko.

 

While living in Cap Martin, Anna began sculpting marble at the studio of Massimo Galleni in Pietrasanta and Carrara, Italy, as well as at Studio Michelangelo of Franko Barattini. In 2002, Anna's sculpture, "The Heart of the World," was presented to Pope John Paul II in St. Peter's Square in the Vatican. In 2008, Anna received the "Primo Michelangelo" which is the highest award for a sculptor in Italy. Never forgetting Austria's musical influence, Anna was the first sculptor to do the characters of Don Giovanni in life-size bronze. In 2000, Anna had her showing of her Don Giovanni and the Sound of Bronze Exhibition in Prague. This exhibition was an enormous success and brought her great exposure. Today, Anna's fountain of Czech musicians is located in Prague's Semovazni Square. Her sculpture, "The Cloak of Conscience," is located in the front entrance of the Stavovske Divadlo. In Prague, Anna has received several prestigious awards, including the Masaryk, Dali, and Kafka Awards. Anna's interest in Greek and Roman mythology influenced her to create sculptures such as "Europe" and "Olympic Spirit." All of Anna's sculptures of mythical figures were displayed on the front terrace of the National Archeological Museum in Athens, Greece.

 

In 2009, China invited Anna as the first foreign sculptor to join the Chinese Academy of Sculpture and her work is mainly perceived as a message of peace and harmony. Anna's sculpture, "Carmen," will be the showpiece of the new opera house in Guangzhou and her sculpture, "Sisyphus," has a place of honor in the Museum of Modern Art in Guangzhou. Also that year, Anna"s sculpture, Olivier d'Or, was presented by Albert II, Prince of Monaco, to the Nobel Peace Prize Winner, Elie Wiesel.

 

Anna has been sculpting for over twenty years and has created many astonishing sculptures that can be seen in several countries. One sculpture in particular, "The Cloak of Conscience", is by far Anna's most monumental sculpture; it is her legacy. In 2008, Anna presented a model of "The Cloak of Conscience" to Pope Benedict XVI in the Vatican to mark the creation of the Conscience Institute, an organization devoted to the development of the arts. "The Cloak of Conscience," a statue of an empty, draping cloak, whose true essence is hidden, has become Anna's motivation and inspiration. Anna has been sculpting this invisible hero standing against corruption, this symbol for hope, love and peace, from a 200-ton block of marble derived from Cave Michelangelo in Carrara. An unwavering amount of strength, courage, and devotion to this profound sculpture has spanned over five years and is close to completion. Anna Chromy's other sculptures of the Cloak of Conscience can be seen at the National Archeological Museum in Athens, Foundation Ferrero, Foundation C'a la Ghironda, Bologna, Museo dei Bozzetti, Pietrasanta, Italy, in Austria at the Salzburg Cathedral, at Keitum Church, Sylt, Germany, and at the Grimaldi Palace, Principality of Monaco.

 

Chromy's best-known piece is the empty coat, known as The Cloak of Conscience, Piétà or Commendatore, located in Cathedral in Salzburg, Austria, Stavovske divadlo in Prague, National Archeological Museum in Athens and elsewhere. Chromy has since transformed The Cloak into a chapel over four metres high, carved out of a block of white marble weighing 250 tons in the Cave Michelangelo in Carrara.

 

Other important works include the Olympic Spirit, to be placed in front of the new library in Shanghai; and Europe, a contemporary reinterpretation of the old myth, to be placed at the European institutions. In 2009 her “Olivier d’Or” was presented by Albert II, Prince of Monaco to Nobel Peace Prize winner, Elie Wiesel. In 2008 she presented a model of The Cloak of Conscience to Pope Benedict XVI at Saint Peters in Rome to mark the creation of the Conscience Institute.

 

In 2012 at the London Olympic Games, Chromy's Olympic Spirit was positioned in the Olympic Village, the home of the athletes for the duration of the games. It was provided as a gift from Lord Moynihan, Chairman of the British Olympic Association, and a compliment to the sportsmen and women competing at the Games. Some of them posed next to it to have their photograph taken, including Matthew Mitcham who climbed to the top of it for his photo. Ulysses, another of the Olympic collection, was positioned in the harbour of Monaco in 2011, and Sisyphus has been positioned at the University of Pisa.

 

Chromy draws inspiration from music, opera in particular; classic dance; and the ancient myths. Her paintings contain references to the Vienna School of Fantastic Realism and other Central European artists. Her colours, sometimes used also on sculptures, have a subtle Turner-like touch. She is said to be a quintessential European.

 

Exhibitions

Don Giovanni and the Sound of Bronze (2000) in Prague (Czech Republic)

Il Canto di Orfeo (2004) Pietrasanta (Italy)

Europe (2005) Place Vendôme, Paris (France)

Mythos Revisited (2007), National Archeological Museum, Athens (Greece)

Dream of the East (2009), Beijing (China)

Myths of the Mediterranean (2011), St. Tropez (France)

Spiritus Mundi (2012), Foshan (China)

 

The Chromy awards were conceived by Anna Chromy following her study and practice of conscience art. The first award ceremony, in 2013, honoured those individuals who were nominated for their diligence and service to saving humankind or the Earth, or both, in the work they do. The first nominees included people like Bill Gates, Desmond Tutu, Aung San Suu Kyi and Gene Sharp. Following completion of The Cloak of Conscience, and on further reflection of her life's work, Chromy painted a series of oils on canvas in 2012 called Chromology. These were created to reflect the emotion, purpose and meaning of those who might win a Chromy award. These paintings were later added to, and the entire collection became Chromatology.

 

Anna Chromy has gathered interest in China since 1995 when she was honorary guest at the Guangzhou-art-fair. In the time since then her popularity has grown in the region. In December 2011, at her exhibition in Foshan, Qiao Hua, Director of the Grandfather Art Gallery, formalised her popularity when he said her works have won the favour of collectors in China. She has been invited to exhibit her entire collection for the first time at the National Museum of China, on Tiananmen Square in Beijing. In June 2012, during the placement of Chromy's Olympic Spirit in the National Academy of Sculpture in Beijing, Wu Weishan, Director of the Academy appointed Anna Chromy Honorary Fellow in the National Academy.

Hallstatt

The Burgtheater; literally:"Castle Theater" but alternatively translated as "(Imperial) Court Theater"), originally known as K.K. Theater an der Burg, then until 1918 as the K.K. Hofburgtheater, is the national theater of Austria in Vienna. It is the most important German-language theater and one of the most important theatres in the world. The Burgtheater was opened in 1741 and has become known as "die Burg" by the Viennese population; its theater company has created a traditional style and speech typical of Burgtheater performances.

 

History

The original Burgtheater was set up in a tennis court (called a 'ball house' at the time) that the Roman-German king and later emperor Ferdinand I had built in 1540 in the lower pleasure garden of the Hofburg after the old ball house fell victim to a fire in 1525.

 

The theater opened on 14 March 1741, the creation of the Habsburg Empress Maria Theresa of Austria, who wanted a theater next to her palace. Her son, Emperor Joseph II, called it the "German National Theater" in 1776. Three Mozart operas premiered there: Die Entführung aus dem Serail (1782), Le nozze di Figaro (1786), and Così fan tutte (1790), as well as his Piano Concerto No. 24 in C Minor (1786). Beginning in 1794, the theater was called the "K.K. Hoftheater nächst der Burg". Beethoven's 1st Symphony premiered there on 2 April 1800. The last performance, in October 1888, was of Goethe's Iphigenie auf Tauris.

 

The theater's first building adjoined the Hofburg at Michaelerplatz, opposite St. Michael's Church. The theater was moved to a new building at the Ringstraße on 14 October 1888, designed by Gottfried Semper and Karl Freiherr von Hasenauer, and St. Michael's Wing of the Hofburg Palace was erected at the vacated site.

 

In 1943, under Nazi rule, a notoriously extreme production of The Merchant of Venice was staged at the Burgtheater—with Werner Krauss as Shylock, one of several theater and film roles by this actor pandering to antisemitic stereotypes.[6]

 

On 12 March 1945, the Burgtheater was largely destroyed in a USAF bombing raid, and one month later, on 12 April 1945, it was further damaged by a fire of unknown origin. After the war, the theater was rebuilt between 1953 and 1955. The classic Burgtheater style and the Burgtheater-German language were groundbreaking for German-language theater.

 

Directors

Johann Koháry. After encountering financial difficulties in 1773, he convinced Joseph Keglevich to act as curator. The director of the theater, Wenzel Sporck, who was the great nephew of Franz Anton Sporck, who had brought the french horn and Antonio Vivaldi to Prague, established a committee to finance the theater under the chairmanship of Franz Keglevich in 1773, and Karl Keglevich became the director of the Theater am Kärntnertor in 1773. Joseph Keglevich declared the theater bankrupt in 1776 and the state, under Joseph II, took over its operation in 1776. Wenzel Sporck and Franz Keglevich were released from their duties in 1776 and the University of Trnava, whose rector was Alexander Keglevich in the year 1770/71, received permission to move into the Buda Castle. Until 1776, the theater had been financed de facto, but not de jure, by the University of Trnava of the Society of Jesus, which were suppressed by the order of Pope Clement XIV in 1773. Francis II decided on 4 July 1792 to lease the theater again, but couldn't find a tenant. Finally, Ferdinánd Pálffy became the tenant in 1794, until 1817; his finances originated from the mining institute in Banská Štiavnica, the first technical university in the world.

 

NameStart End

Joint direction by 15–22 senior

members (Künstlerrepublik)17761789

Franz Carl Hieronymus Brockmann17901790

Direction by 5 senior members

(Regiekollegium)17901794

Peter von Braun17941806

Direction by a group of senior courtiers

(initially 8) (Kavaliersdirektion)18071817

Joseph Schreyvogel18141832

Johann Ludwig Deinhardstein18321841

Franz Ignaz von Holbein18411849

Heinrich Laube18491867

Friedrich Halm (pseudonym of

Eligius Freiherr von Münch-Bellinghausen)18671868

August Wolff18681870

Franz Freiherr von Dingelstedt18701881

Adolf von Wilbrandt18811887

Adolf von Sonnenthal18871888

August Förster18881889

Adolf von Sonnenthal18891890

Max Burckhard18901898

Paul Schlenther18981910

Alfred Freiherr von Berger19101912

Hugo Thimig19121917

Max von Millenkovich19171918

Joint direction by Hermann Bahr, Max Devrient

and Robert Michel (Dreierkollegium)19181918

Albert Heine19181921

Anton Wildgans19211922

Max Paulsen19221923

Franz Herterich19231930

Anton Wildgans19301931

Hermann Röbbeling19321938

Mirko Jelusich19381938

Ulrich Bettac19381939

Lothar Müthel19391945

Raoul Aslan19451948

Erhard Buschbeck19481948

Josef Gielen19481954

Adolf Rott19541959

Ernst Haeusserman19591968

Paul Hoffmann19681971

Gerhard Klingenberg19711976

Achim Benning19761986

Claus Peymann19861999

Klaus Bachler19992009

Matthias Hartmann20092014

Karin Bergmann20142019

Martin Kušej2019

 

Theater and renowned actors

The Burgtheater remained a strongly traditional stage with a distinct culture until the late 1960s. From the early 1970s on, it became a venue for some of Europe's most important stage directors and designers. With many debut performances of plays written by Thomas Bernhard, Elfriede Jelinek, Peter Handke, Peter Turrini, and George Tabori, Claus Peymann managed to affirm the Burgtheater's reputation as one of Europe's foremost stages.

 

Among the best known actors in the ensemble of about 120 members are: Sven-Eric Bechtolf, Klaus Maria Brandauer, Kirsten Dene, Andrea Clausen, Bruno Ganz, Karlheinz Hackl, Philipp Hochmair, Robert Meyer, Gertraud Jesserer, August Diehl, Jutta Lampe, Susanne Lothar, Michael Maertens, Tamara Metelka, Birgit Minichmayr, Nicholas Ofczarek, Hedwig Pistorius, Elisabeth Orth, Martin Schwab, Peter Simonischek, Ulrich Tukur, Franz Tscherne, and Gert Voss.

 

Some famous former members of the ensemble were Max Devrient, Josef Kainz, Josef Lewinsky, Joseph Schreyvogel, Adolf von Sonnenthal, Charlotte Wolter, Ludwig Gabillon, Zerline Gabillon, Attila Hörbiger, Paula Wessely, Curd Jürgens, O. W. Fischer, Paul Hörbiger, Otto Tausig, Peter Weck, Fritz Muliar, Christoph Waltz, Ignaz Kirchner, and Gert Voss. Particularly deserving artists may be designated honorable members. Their names are engraved in marble at the bottom end of the ceremonial stairs at the side of the theater facing the Volksgarten. Members of honor include: Annemarie Düringer, Wolfgang Gasser, Heinrich Schweiger, Gusti Wolf, Klaus Maria Brandauer, and Michael Heltau.

 

The Burgtheater has seen productions staged by directors like Otto Schenk, Peter Hall, Giorgio Strehler, Luca Ronconi, Hans Neuenfels, Terry Hands, Jonathan Miller, Peter Zadek, Paulus Manker, Luc Bondy, Christoph Schlingensief, and Thomas Vinterberg. Among the staged and costume designers were Fritz Wotruba, Luciano Damiani, Pier Luigi Pizzi, Ezio Frigerio, Franca Squarciapino, Josef Svoboda, Anselm Kiefer, Moidele Bickel, and Milena Canonero.

 

Notable performances include the world premiere of Des Feux dans la Nuit in 1999, whose choreography was done by Marie Chouinard.

Wörthersee is a lake in the southern Austrian state of Carinthia. The bathing lake is a main tourist destination in summer.

 

Wörthersee is Carinthia's largest lake. It is elongated, about 16.5 km (10.3 mi) long and 1.5 km (0.93 mi) wide, and stretches from the outskirts of the Carinthian capital Klagenfurt in the east to the bay of Velden in the west. Situated within the Klagenfurt Basin, its shores are flanked to the north and south by the foothills of the Gurktal Alps and the Karawanks range, all covered with dense forests beyond which snow-capped Alpine peaks are visible. The lake's water is of a distinctive blue-green colour and transparent.

 

Lake Wörth and its basin in the central Carinthian foothills were largely formed by glaciers during the last ice age. The lake is divided into three basins by several islands and peninsulas. The western basin stretches from Velden to Pörtschach, the central basin from Pörtschach to Maria Wörth and the eastern basin from Maria Wörth to Klagenfurt. Numerous brooks flow into the lake; its sole outlet is the Glanfurt river in the east, eventually flowing into the Drava (Drau) river via the Glan and Gurk tributaries.

 

The northern shore is densely built up with the main resort towns of Krumpendorf, Pörtschach, and Velden. The Süd Autobahn motorway and a railway mainline occupy the narrow space between the steep hills and the shore. The southern shore is quieter and less developed.

 

The water surface (epilimnion) can reach up to 25 °C in summer. In winter, the region is often covered by snow and approximately every 10 years the lake freezes over, attracting numerous ice skaters. Lake Wörth's fauna is dominated by fish typically found in alpine lakes. The most common species are the pike (Esox lucius) and the common whitefish (Coregonus lavaretus).

The Central Alps , also known as the Central Eastern Alps , form the main Alpine ridge of the Eastern Alps in Austria and the neighboring regions of Switzerland , Liechtenstein , Italy and Slovenia . The term Central Alps is primarily used in the geography of Austria , where the Austrian portion of the mountain group represents one of the country's seven fundamental large landscapes, and in geology, where it represents the zone of the old crystalline basement of the Eastern Alps ( Central Eastern Alps ). The Central Eastern Alps are spoken of in particular within the framework of the Alpine Association of the Eastern Alps (AVE). The Central Alps form the eastern part of the Main Alpine Ridge, the central chain of the Alps, including the parallel chains to the north and south.

 

The Central Alps as a large landscape in Austria

In Austria, the Eastern Alps are divided into the Northern Alps , the Grauwacken Zone , the Central Alps and the Southern Alps . The latter are located in southern Carinthia , but mainly in northern Italy .

 

The Central and Northern Alps are separated by the northern longitudinal valley furrow , consisting of the lines Klostertal - Arlberg - Inntal (to Wörgl ) and Salzach Valley to Schwarzach im Pongau - Wagrainer Höhe - upper Ennstal - Schoberpass - Mürztal Alps - Semmering - southern Vienna Basin .

 

The Central Alps and the Southern Alps are separated from each other by the southern longitudinal valley range Pustertal ( Rienztal - Toblacher Feld - upper Drautal) - Drautal - Klagenfurt Basin - Mieß / Meza, or the periadriatic seam , which is not entirely congruent with the longitudinal valley furrow, but runs through the Gailtal .

 

Geomorphology

They feature the highest peaks in the Eastern Alps and are the most heavily glaciated . In the transition between the Eastern and Western Alps, their peaks clearly tower over the surrounding area to the west ( Piz d'Err , Piz Roseg ). On the outskirts, however, there are also less high, often gentle mountain ranges, such as the Gurktal Alps and the eastern foothills.

 

The Eastern Alps are separated from the Western Alps by a line between Lake Constance - Rhine - Splügen Pass - Lake Como .

 

Geology

The central eastern Alps consist mainly of gneisses and crystalline schists with some clearly pre- Permian protolith ages. These are interpreted as the basement or equivalents of the basement of the Permo - Mesozoic sedimentary units of the Northern Limestone Alps. The metamorphism of these rocks took place partly pre-Alpidic (with Alpidic overprinting) and partly only in the Alpidic period. Like the Eastern Alpine as a whole, the central Eastern Alpine is also divided into ceiling units . A distinction is made between three large nappe complexes from the tectonically deepest to the tectonically highest: the Lower Eastern Alpine , the lower Central Eastern Alpine (formerly the “Middle Eastern Alpine”) and the upper Central Eastern Alpine (with, among other things, the Grauwacken zone ), with the Central Eastern Alpine and the Northern Calcareous Alps being summarized under the term Upper Eastern Alpine . From the outcrop area, the Central Eastern Alpine clearly dominates over the Lower Eastern Alpine. In addition to the basement rocks, the central Eastern Alps also have Permo-Mesozoic overburden , which is considered equivalent to the units of the Northern Calcareous Alps. These include, among others, the Engadin Dolomites , the so-called Brenner Mesozoic (named after the Brenner Pass ), the Drauzug and the Mesozoic of the North Karawanken . However, in contrast to the unmetamorphic Northern Calcareous Alps, the Mesozoic of the central Eastern Alps is weakly to moderately metamorphic.

 

The Eastern Alpine nappes are thrust onto the Penninic , which is exposed in the Lower Engadine Window and the Tauern Window . There, Lower Eastern Alpine rocks are found together with oceanic sediments and relics of oceanic crust in the border zone from the Penninic to the Lower Eastern Alpine ( Matric Zone, Arosa Zone). They testify to the paleogeographical transition from the Piedmont-Ligurian Ocean (Penninian) to the Adriatic continental block (East Alpine).

 

On the eastern edge of the Alps, the Northern Limestone Alps and the central Eastern Alps submerge beneath the Cenozoic sediments of the Vienna and Styrian Basins . The corresponding fracture zone on the eastern edge of the Alps shows low-activity volcanism and relatively strong seismic activity (see thermal line ). On the southern edge of the central eastern Alps, some granitoids of Alpine origin occur locally ( Bergall and Rieserferner ) . Their melts probably penetrated the periadriatic suture .

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Hallstatt

The Stift Sankt Peter , also Archabbey of St. Peter ( Latin Archiabbatia sancti Petri Salisburgensis ) in Salzburg , is the oldest existing monastery of the Austrian Benedictine Congregation and in the German-speaking area in general. The monks live according to the Rule of St. Benedict . The entire area (St. Peter district 1 to 10) is under national monument protection (§ 2a Monument Protection Act, Federal Law Gazette I No. 170/1999).

 

History

St. Peter was founded or revived by St. Rupert around 696 for a mission in the southeast Alps. Finds of wall remains under the altar of today's collegiate church, which were dated to the fifth century, indicate that as early as the time of St. Severin there was a first church building at this point, which was probably built by a small Romanesque monastic community and expanded by Rupert. Until 987, the office of Salzburg bishop was linked to that of abbot through a personal union , but despite the separation of the two offices that year, St. Peter remained the archbishop's residence until 1110.

 

In the Middle Ages, Saint Peter's Abbey was known for its central location, extensive properties and excellent St. Peter's School . It is also the mother monastery of the Benedictine Admont Abbey in Styria. In 1074, 12 monks were sent from St. Peter to Admont to begin a monastic life. The women's monastery of Peter's Women formed a double monastery with St. Peter's from 1130 to 1583 . In the 15th century the monastery joined the Melk reform . In 1622, Archbishop Paris von Lodron established the Benedictine University of Salzburg , which was closely linked to the monastery in terms of space and personnel until it was abolished in 1810. Many of the professors were Benedictine monks from St. Peter.

 

In 1927 it was elevated to an archabbey as a result of efforts to found the St. Benedict College in 1926. During the time of National Socialist rule, the monastery was confiscated on January 6, 1941 and gradually expropriated from that point on. Almost all the monks were expelled, but the monastery was not abolished under canon law. The majority of the monks returned in 1945.

 

On January 30, 2013, the convent of the monastery elected Prior Korbinian Birnbacher as the new Archabbot of St. Peter. On April 21, 2013, he received the abbot's blessing from the Archbishop of Salzburg in the collegiate church. He is also a chairman of the Austrian Order Conference, in which the country's 106 women's and 86 men's orders are organized.

 

The monastery currently has 22 monks (as of September 2020).

 

Collegiate church

The first monastery church of St. Peter was built around 696 when Rupert (Hruodpert) renewed the Romanesque monastic community that had probably existed there since late antiquity. The core of today's church goes back to a building that was built between 1125 and 1143 and consecrated in 1147. The mighty church tower, which was raised in Romanesque style around 1400, essentially dates from the 9th century.

 

The main organ was built on the rood screen in 1444 by the Mainz organ builder Heinrich Traxdorf . The Gothic ribbed vaults have been preserved in the vestibule. The church itself was redesigned in the Renaissance style in 1605/06, vaulted in 1619/20 and given a slender crossing dome in 1622. The distinctive baroque onion dome was built under Abbot Beda Seeauer in 1756. The two high altars were essentially designed by Martin Johann Schmidt (“Kremser-Schmidt”). The Maria Column altar with a Madonna from 1425 is also known. The interior of the church was redesigned in the Rococo style in 1760–66 with rocaille stucco and ceiling paintings with rich rococo furnishings with the collaboration of Franz Xaver König , Lorenz Härmbler , Johann Högler , Benedikt Zöpf and others been designed, but the Romanesque building structure remains clearly visible. The magnificent rococo grille was designed by Philipp Hinterseer.

 

To the north and south of the vestibule there are two chapels: the Wolfgang Chapel (site of the Holy Sepulcher ) and the Holy Spirit Chapel (today a candle chapel).

 

The small St. Catherine's Chapel (Mariazeller Chapel), donated in 1215 by Duke Leopold VI. , is attached to the southern cross arm of the church and was consecrated in 1227. It has groin vaults . The rococo stucco work from 1792 was carried out by Peter Pflauders.

 

The nearby Marienkapelle (formerly called St. Vitus Chapel), built into the monastery district of St. Peter, has completely retained its Gothic spirit; Today the monks perform the Liturgy of the Hours in this chapel. It is probably the oldest surviving Gothic building in the city. Abbot Johannes Staupitz († 1524) is buried here, who was once the superior of Martin Luther 's order (as an Augustinian working in Erfurt ) .

 

St. Peter's Abbey Music

The St. Peter Monastery has always been known for its musical culture. Mozart's Great Mass in C minor is said to have been premiered in the collegiate church, probably on October 26, 1783 with his wife Constanze as soprano soloist. Today, the monastery music and the St. Peter monastery choir make a significant contribution to the design and setting of church celebrations. Above all, works by Haydn, WA Mozart and others (including contemporary composers) are performed.

 

Peter's Cemetery

The prayer caves, popularly known as “ catacombs ,” in the rock that forms the northern wall of the cemetery are not catacombs in the literal sense: they would have to be underground to be able to do so. Nevertheless, they are credible traces of Salzburg's early Christian community. Christians were already praying here before the arrival of St. Rupert and through many centuries to come. An altar was consecrated in 1178 in the St. Gertrauden Chapel, which is located in a rock cave. The oldest surviving buildings in Salzburg can be found in the cemetery attached to the monastery. Location, monuments and well-kept graves make the cemetery one of the most impressive in Central Europe. Mozart's older sister Maria Anna and Michael Haydn were buried there. Georg Trakl's atmospheric poem about it ( All around is rock loneliness... ) is internationally known.

 

St. Peter houses the oldest library in Austria. The most valuable of the 800 manuscripts is the Brotherhood Book , created in 784 by Bishop Virgil. Through continuous expansion, the library has grown to 100,000 volumes, with works on Benedictine monasticism , medieval church history, art history and Salisburgensia being the focus of the collection. Special holdings include the incunabula and early prints, as well as the graphic collection with the devotional picture collection of P. Gregor Reitlechner and the map collection.

 

After the constant expansion of the book collection and the monastery's participation in the founding of the Academic Gymnasium (1617) and the Paris-Londron University (1622), book holdings were made accessible to students through the opening of the Upper Library (1653). It is still in use today and is located above the medieval Vitus or Lady Chapel. A second, adjacent hall followed in 1660. When the upper library no longer met the requirements around 1700, the so-called cell library (seven rooms with an open passage) was set up one floor lower and in the chapter square and was completed in 1772. These more “intimate” rooms are richly decorated with ceiling paintings, emblems, lemmas and the abbot’s coat of arms. A directory from 1793 lists 17,000 volumes in the Upper Library and 14,000 in the Lower Library.

 

The prelature (abbot's apartment) has always been used as a library room, but not since the 20th century. The abbots Martin Hattinger and Dominikus von Hagenauer bought on a large scale; Hagenauer's prelature collection comprised 935 volumes.

 

Several catalogs were created in the 19th century, but they remained precursors to the epoch-making library achievement of the Swiss secular priest Johann Baptist Näf , who created a 13-volume general catalog in fourteen years of work (1872–1886).

 

When Ernst von Frisch , the director of the Salzburg Study Library, took over responsibility for the archabbey's library in 1941, the collection numbered 90,000 volumes and 2,100 manuscripts. The monastic holdings should be merged with those of the study library because under National Socialism there was only one academic library in the Salzburg district.

 

Abbots and Archabbots

Korbinian Birnbacher has been Archabbot of St. Peter since 2013 .

Michael Lori (1728–1808), mathematician, theologian and university professor

Vital Mösl (1735–1809), philosopher and monastery archivist

Johannes Evangelist Hofer (1757–1817), university professor of biblical studies

Corbinian Gärtner (1751–1824), university professor, lawyer and historian

Johannes (1808–1855) OSB and Jakob (1808–1865) Gries, botanist

Amanda Jung (1814–1889), historian

Petrus Egerer (1820–1897), clergyman, writer and educator

Albert Mussoni (1837–1897), biblical scholar

Thiemo Nussbaumer (1825–1900), founder and editor of the daily newspaper Salzburger Chronik

Edmund Hager (1829–1906), general director of the Childhood of Jesus Work, the Don Bosco of Austria

Gislar Egerer (1844–1911), writer in homiletics and classical philology

Pirmin Lindner (1848–1912), historian and librarian

Gregor Reitlechner (1849–1929), pastor and specialist writer

Josef von Strasser (1870–1939), monastery archivist and editor of studies and communications on the history of the Benedictine order and its branches

Vital Jäger (1858–1943), natural scientist and numismatist

Adalbero Raffelsberger (1907–1952), pioneer of the liturgical movement

Bruno Spitzl (1887–1962), military chaplain in the First World War, monarchist

Benedikt Probst (1898–1973), dean of the Theological Faculty in Salzburg

Maurus Schellhorn († 1973), Dean of the Theological Faculty in Salzburg, Superior in Maria Plain

Anselm Schwab (1910–1983), head of the Austrian Liturgical Institute, general secretary of the catholica unio , superior in Maria Plain

Friedrich Hermann (1913–1997), archivist and professor of church history

Victims of National Socialism from the Convention

Romuald Gottfried Neunhäuserer (1882–1941): poisoned in the Hartheim nursing home near Linz.

Cölestin Förtsch (1896–1944): imprisoned in the Ravensbrück concentration camp because of monarchist sentiments, then transferred to the Ravensbrück concentration camp; murdered on February 10, 1944 in the Barth subcamp.

Anton Johann Fuchs (1886–1971): gardener as a lay brother in Martinsbühel; Arrested by the Gestapo in 1939 for alleged legitimist sentiments. He spent 17 months in Innsbruck prison, then in Landshut prison until August 1944, when he was released.

Bruno Rudolf Spitzl (1887–1962): the former military chaplain worked as a pastor in Vienna and was arrested twice, in 1938 because of his legitimist viewpoint and in 1942 because of a May sermon he gave in Vienna Reindorf. He was subjected to repeated interrogations by the Gestapo.

Petrus Josef Grader (1904–1976): as a chaplain in Dornbach (from 1931) he was summoned to the Gestapo three times and arrested because of his preaching activities. He was banned from school activities.

Hartwik Eduard Josef Schwaighofer (1903–1992): as church rector of St. Leonhard near Grödig (July 1939 to September 1941), he was banned from school on April 28, 1941.

Alkuin Johannes Stark (1903–1991): His parents were persecuted in Germany by the NSDAP, so P. Alkuin was transferred to Einsiedeln (Switzerland) in 1936 for his protection. From there he had to emigrate to Argentina.

Gregor Martin Seethaler (1912–1989): the chaplain in Abtenau (from 1939 to 1941) had to be transferred to Dornbach on the orders of the Gestapo.

Personalities around the monastery

Franz de Paula Hitzl (1738–1819), sculptor

Karl Santner (1819–1885), composer and civil servant

Johann Piger (1848–1932), sculptor

Peter Behrens (1868–1940), architect of the St. Benedikt College in the St. Peter district

Franz Martin (1882–1950), art and regional historian

Franz Wagner (1872–1960), a founder of the old town renovation of Salzburg

Adolf Hahnl (* 1938), art historian and librarian

  

The Neue Hofburg on Heldenplatz is the youngest part of the Vienna Hofburg and was built from 1881 to 1913 in the Neo-Renaissance style . Only the southeastern castle garden wing of the complex was built; the northwestern Volksgarten wing and the central throne room wing were not built. This means that the Imperial Forum designed by Gottfried Semper for Franz Joseph I of Austria remains unfinished to this day. The New Hofburg houses the reading rooms, the Papyrus Museum and the House of Austrian History of the Austrian National Library , as well as the World Museum , the collection of old musical instruments , the Court Hunting and Armory Chamber and the Ephesus Museum of the Art History Museum .

 

History

Monarchy (until 1918)

After the expansion of Vienna as a result of the demolition of the city's fortifications in the 1860s, the Hofburg underwent its last major expansion. An Imperial Forum was planned, a two-wing building that extended beyond the Ringstrasse, with the twin museums ( Art History Museum and Natural History Museum ) as flanks and an end at the old court stables. The project was led by Gottfried Semper and later by Karl Freiherr von Hasenauer. The museums were completed in 1891, but construction of the rest of the forum dragged on as costs rose and no real function could be found for the huge construction project. In 1913 the New Castle was completed as the southwest wing. The Imperial Forum remained a torso. [1]

 

After the two court museums had been under construction since 1871, in 1881 the emperor approved the construction of the “Hofburg wing against the Imperial Garden,” as the New Castle was officially called. After Hasenauer's death, his students Bruno Gruber and Otto Hofer from 1894 to 1897, as well as the civil servants Emil von Förster and Julian Niedzielski from 1897 to 1899, managed the construction more or less unsuccessfully until Friedrich Ohmann was appointed Hofburg architect in 1899. Among other things, he was able to build the glass house in the castle garden .

 

The construction has become very expensive on the one hand due to the local conditions and on the other hand due to constant changes to the plan [2] . The foundations had to be dug up to 25 m deep because the site was in the loosened area of ​​the former city moats and underground defenses. The porous Leitha lime sandstone from Winden am See was used for these foundations. The particularly stressed parts of the supporting stone facade are made of hard Wöllersdorf stone . The base is made of the white limestone from Duna-Almás near Süttö west of Esztergom in Hungary . The cladding of the masonry is made of chalk karst limestone from Marzana in Istria , from the island of Brač , Croatia . [3] Numerous locksmith and ironwork works were created by Alexander Nehr .

 

After Emperor Franz Joseph appointed his nephew and heir to the throne Franz Ferdinand of Austria-Este as protector of the castle construction in 1906, Ohmann was replaced by Ludwig Baumann , who continued the construction until 1923, but was no longer able to complete it.

 

First Republic (1919–1934)

At the end of the monarchy, the huge Hofburg building complex was far from being completed as a fully developed residence. The unfinished state of construction refers, on the one hand, to the missing second wing, but above all to large areas of the interior. At the beginning of the First Republic, the design of the outer facade was completed except for a few figures, but inside the New Castle was still largely a construction site. Only the so-called Corps de Logis facing the Ringstrasse was completed (today the World Museum of Vienna and the image archive and graphic collection of the Austrian National Library). [2] From 1921, the Neue Burg was used for 15 years for the Vienna Trade Fair, which used the staircase and individual rooms for exhibition and sales purposes (so-called “commercial product exhibitions”). [2] Plans at the time to accommodate large museums failed, as did a large-scale hotel project by the architect Ludwig Baumann and an entertainment and cinema center that Marcel Kammerer had proposed.

 

Corporate state (1934–1938)

While the exaggeratedly ostentatious shell from the late Habsburg Monarchy had represented something of a foreign body in the First Republic, the New Castle fit perfectly with the self-portrayal of the Austrofascist dictatorship . As early as 1933, the building came into the focus of authoritarian urban planning with its own ideological thrust: the first major exhibition with which the New Castle was made accessible to the public was the historic weapons collection of the Kunsthistorisches Museum in 1934, characterized by a romanticized view of the city Austrian past and the Habsburg dynasty, in which chivalry and bravery were taught as virtues in order to convey the Catholic, reactionary Austria as a “better Germany”. The presentation of history here also served to justify the destruction of democracy. Little hidden, the achievements of great men in history also reflected the leadership cult of Dollfuß propaganda. Starting in 1941, the National Socialists added stolen weapons from French museums to this exhibition. [5] The Austrofascist monument culture also shaped the use of the outer facade: After the murder of the dictator Dollfuß by Austrian National Socialists, the New Castle served as the backdrop for a major political rally in August 1934. The entire middle section was covered with an oversized death mask. From 1936 onwards, a lot of work was done to transform the outer façade into a Kaiser Franz Josef monument , but this was not completed before the “ Anschluss ”.

 

National Socialism (1938–1945)

After the Anschluss, the Neue Burg was the ideal building for the Nazi regime to make its own claims to power visible. Adolf Hitler's speech from the terrace above the main entrance to the Neue Burg became the central moment in Austria's National Socialist history. Several plaques and inscriptions in the floor and on the parapet of the terrace of the New Castle were intended to permanently occupy the site for Nazi propaganda . [8] This interpretation changed in 1945: from a place of triumph and “completion of the German mission” it became a place of shame. The Heldenplatz and the “Hitler Balcony” of the Neue Burg became the most important reference points for the culture of remembrance and contemporary history in Austria. The images of Nazi propaganda went around the world: today the “Hitler Balcony” is one of the central places in the history of National Socialism of European importance. For the first time, Hitler's Germany's expansion policy ended the existence of a sovereign state.

 

The National Socialists completed the New Castle to use it for major exhibitions, organizing art theft and propaganda. The shells were completed in 1938 and 1939 for “leader visits”. Afterwards, the Neue Burg served as an exhibition hall: in 1940 a show focused on “The Vienna Forum in Plans and Models”, in 1942 the propaganda exhibition “Victory in the West”.

 

From 1938 onwards, the first floor of the Neue Burg was used to organize art theft: the Art History Museum and the Monuments Authority operated the “Central Depot of Confiscated Art Objects” of stolen works of art and art objects from large Viennese collections here. These were first recorded and then distributed to various museums and to private beneficiaries of National Socialism. However, one of the largest exhibitions in the Neue Burg served to make this art theft visible to everyone.

 

Present (since 1945)

Site plan of the wings in the Hofburg

Ballroom wing , Neue Burg and Corps de Logis in the Hofburg ensemble

The New Castle houses several museums. On the mezzanine floor, on the left, is the reading room of the Austrian National Library , the central academic library of the Republic of Austria . In total it has more than 12 million objects, around 4 million of which are books. Maps have been collected in the associated map collection since the 16th century ; Attached to it is the world's only museum for globes , in which 695 globes and other astronomical instruments are kept.

 

The papyrus collection and the papyrus museum are housed above in the mezzanine . With 180,000 objects from 3,000 years of Egyptian history (around 1500 BC - 1500 AD), the Vienna Papyrus Collection is one of the most important collections of its kind in the world. In 2001, the core of the collection, the “Erzduke Rainer Papyrus Collection” (1st Fayyumer Find) , was added to UNESCO ’s World Documentary Heritage . It is supplemented by an extensive papyrological library with 19,500 works. The Ephesus Museum has been located in the left part of the New Castle since December 1978 . The finds in the collection arrived from Ephesus on a total of seven transports between 1896 and 1906 and are part of the collection of antiquities at the Kunsthistorisches Museum in Vienna.

 

The House of Austrian History (HGÖ) has been located centrally across the floors since November 10, 2018 . [13] [14] All of these museums can be reached via the main entrance to the New Castle. The approximately 250 m² large terrace ( altane ) above the portal, where Adolf Hitler announced the “ annexation of Austria ” to the German Reich in 1938, is part of the HGÖ and is currently not open to the public. Separately, in the Corps de Logis , are the Weltmuseum Wien , the Hofjagd- und Rüstkammer (one of the most important weapons collections in the world) and the collection of old musical instruments . The ballroom wing with the approximately 1,000 m² ballroom is part of the Hofburg Conference Center.

 

Sculpture jewelry

As part of the construction of the New Castle, the monumental equestrian statues of the two Austrian generals, Prince Eugene of Savoy and Archduke Charles , were erected on Heroes' Square.

 

The large cast-iron, decorated gates and grilles by Anton Biró at the New Castle and Corp de Logis were originally painted green and gilded. Over time they were painted black and the original color scheme was forgotten. In the course of renovation work at the beginning of the 21st century, the original colors came to light again and were reconstructed.

 

The facade facing Heldenplatz is decorated with 20 statues of figures from Austrian history, which were created between 1895 and 1901 based on an image program by Albert Ilg (list from left to right):

 

Johann Scherpe : Marcomanna

Wilhelm Seib : Roman soldier

Anton Brenek : Bajuware

Carl Kundmann : Messenger of faith

Johann Koloc : Slav

Edmund von Hellmer : Franconian count

Rudolf Weyr : Hungarians

Viktor Tilgner : Crusaders

Josef Valentin Kassin : sailor

Stefan Schwartz : Knight

Edmund Hofmann von Aspernburg : Master

Hugo Haerdtl : merchant

Emmerich Alexius Swoboda of Vikings : Citizen

Werner David : Miner

Anton Schmidgruber : Landsknecht

Franz Koch : Wallenstein soldier

Anton Brenek : Pole 1683

Richard Kauffungen : Viennese citizen 1683

Anton Paul Wagner : Liberated farmer

Johann Silbernagl : Tyrolean 1809

The Maria Plain pilgrimage church stands prominently on the Plainberg in the Maria Plain district of the Salzburg municipality of Bergheim , clearly visible north of the city of Salzburg . The parish church and pilgrimage church , consecrated on the feast of the Assumption of Mary , belongs to the Bergheim deanery in the Archdiocese of Salzburg . The entire Maria Plain complex and the Maria Plain pilgrimage site are listed as historical monuments.

 

History

Construction of the pilgrimage church began in 1671 under Archbishop Max Gandolf von Kuenburg , which was carried out between 1671 and 1674 by Giovanni Antonio Dario . The southern German Benedictine monasteries, which had been confederated since 1618, repeatedly contributed to the church's furnishings. On August 12, 1674, the archbishop consecrated the church and handed it over to the Benedictines, who ran the University of Salzburg at the time and who also founded the Maria Trost Brotherhood in 1681 . In 1676, Max Gandolf also brought the original of the miraculous image to Maria Plain, which had now reached Augsburg. As a result, pilgrimages increased and miraculous healings occurred, for example in 1653 and 1692. The first votive pictures also date from 1653. Between 1698 and 1731 the original picture was in the treasury, and a copy by Zach was exhibited. Until 1810 it belonged to the university , since 1824 and was handed over to the Abbey of St. Peter in 1824 according to the statute of the foundation .

 

Pope Pius XII elevated the basilica to a minor basilica in 1952 . In 1974 the basilica and the adjacent monastery building were renovated to mark the 300th anniversary. In 1998 a new organ was built by Georg Westenfelder . In 2003/04 the exterior of the pilgrimage church was renovated, in 2005/06 the Calvary.

 

Architecture and furnishings

The church is a north-facing, single-nave building. It has side chapels and a choir . The nave is covered by a gable roof , the choir has its own, lower gable roof with an attached lantern . The side chapels are lower than the nave and have lean-to roofs . The choir is adjoined to the west and east by three- or two-story sacristy extensions. In the south is the double-tower, three-story and five-axis facade. Pilasters structure the facade vertically, the horizontal structure is achieved by a wide base and wide cornices between the floors. The second upper floor is formed by the two side bell floors of the towers, which have a bell helmet with a lantern, and the central gable field. The latter has a double window and a triangular gable. The structure of the towers continues on the west and east sides; on the rest of the facade there is no floor division, just a surrounding base.

 

Facade

The south facade has two semicircular niches with the four evangelists (1673) on the ground floor and on the first floor. Viewed from top left to bottom right, they correspond to the arrangement that can be read for the first time in the prophet Ezekiel : And their faces looked like this: A human face (all four looked forward), a lion's face looked to the right in all four A bull face on all four to the left and an eagle face on all four (towards the back) (Ez 1.10 EU ). In the gable of the central portal there is the coat of arms of the builder, Archbishop Max Gandolf von Kuenburg , above which there is a relief with Mary and the child. The two side portals are also crowned with a triangular gable.

 

Interior

The nave consists of two full bays and one half bay in the north and south. The single-bay choir, which has a 3/8 end, is connected to a round-arched triumphal arch. There are two side chapels adjoining the entire bay in the west and east, which are located between the towers in the south and the staircase of the sacristies in the north. A groin vault with stucco mirrors covers the nave, choir and side chapels.

 

The entrances to the tower spiral staircases lead off to the side of the half yoke in the south. Above this there is a two-story gallery that runs the entire width of the half bay. It has three naves, groin vaults and opens towards the ship with round arches or segmental arches. There are also galleries above the side chapels.

 

High altar and side altars

The high altar dates from 1674 and was donated by Archbishop Max Gandolf of Kuenburg. The altarpiece is by Frans de Neve and shows the Assumption of Mary. The upper picture shows the Holy Trinity. The side console figures represent Saints Vitalis and Maximilian , who in the essay represent Saints Rupert and Virgil . They come from the master of the Salvator statue on the cathedral facade .

 

In front of the altarpiece is the miraculous image of Maria Plain, a portrait from the early 17th century. It was crowned in 1751. In 1732 the frame from 1679 was given a halo and in 1751 it was decorated with rocailles. Below the portrait there is a silver embossed coat of arms of Archbishop Max Gandolph. The tabernacle dates from the mid-18th century.

 

The two side altars are similar in structure. The altarpiece is held by angels, the panorama in the top by putti. The left side altar was donated by Polycarp of Kuenburg , Bishop of Gurk , in 1674. The altarpiece shows the crucifixion of Christ and is marked François von Roethiers 1724 , the circular picture shows the ascension of Christ and dates from the first half of the 18th century. The right side altar was donated by Abbot Edmund I Sinnhuber of St. Peter in 1673. The structure and figures are by Thomas Schwanthaler. The altarpiece shows the marriage of Mary, the circular picture shows the flight into Egypt. On the canteens of both altars there are large reliquaries with the two saints Dionysius and Christina. The statuettes on the shrines represent the four church fathers , Gregory and Augustine on the left , Jerome and Ambrose on the right . They were made in 1733 by Johann Georg Hitzl.

 

Side chapels

The first altar was donated by the city of Salzburg in 1676/77. The altarpiece shows the holy family with God the Father and the Holy Spirit, the circular picture in the top shows the Christ child conquering the serpent and death. The console figures on the side represent Saints John the Baptist and John the Evangelist. The cafeteria picture shows Saint Anthony of Padua.

 

The second altar was donated by Abbot Ehrenbert Schreyvogel von Kremsmünster in 1676 . The altarpiece shows the Holy Family with Saints Benedict and Scholastica. The picture is a copy of a painting in Kremsmünster. The upper picture shows a vision of St. Benedict. The console figures represent the saints Maurus and Placidus. Angels cavort on the beams. The top crown shows the coat of arms of those of Kuenburg and the city of Salzburg. The tabernacle shows the crucifixion in relief.

 

The third altar is constructed like the second and was donated in 1676 by Abbot Placidus Hieber of Lambach Abbey . The altarpiece shows the holy family, the upper image shows God the Father. The console figures show Saints Kilian and Wolfgang, and in the essay Saints Meinrad and Benedict. The top crown shows the donor's coat of arms.

 

The fourth altar is similar in structure to the first. It was donated by Countess Justine Lamberg and completed in 1679. The altarpiece shows the Fourteen Helpers , the upper picture shows Mary with her parents. The console figures show Saints Peter and Paul, the cafeteria picture shows Saint Walburga.

 

Pulpit and other furnishings

The pulpit was donated in 1682 by the Abbot of Garsten, Anselm Angerer. The painting on the pulpit shows the fire in the Regen market, the pilgrimage to Maria Plain, the original chapel and Moses knocking water out of the rock. Abbot Angerer's coat of arms is attached to the back wall. The staircase shows the three cardinal virtues .

 

In the central nave, a silver-framed wooden figure of a crowned Mary with baby Jesus in a halo floats on a stylized rosary cord. It is a votive offering from 1675. Other furnishings include the following console figures: Immaculata around 1680; Man of Sorrows and Mater Dolorosa, Saints Gertrude of Nivelles and John Nepomuk, all early 18th century; a Rosary Madonna around 1674.

 

In the panels of the two doors to the gallery entrances there are popular illustrations of the history of the miraculous image.

 

Eight pictures from around 1765 come from Kremser Schmidt with the following motifs: St. Leonhard, consoling prisoners; hl. Maurus; hl. Benedict at St. scholastics; the wine miracle of St. Benedict; hl. Wolfgang; hl. Placidus; Mary and John. The Stations of the Cross images date from the second half of the 18th century.

 

The four confessionals with rocaille carvings and rich inlays come from the Salzburg court carpenter Simon Thaddäus Baldauf (around 1760). The benches have baroque cheeks. Two holy water fonts date from around 1675.

Hallstatt

Eduard Richter (born October 3, 1847 in Mannersdorf am Leithagebirge , Lower Austria; † February 6, 1905 in Graz , Styria) was an Austrian geographer, historian, glacier researcher and alpinist.

 

Life

Richter grew up in Wiener Neustadt , the home of his mother and the home of his maternal grandparents after his father, a lawyer and imperial administrator, died in 1848.

 

In 1866 he began studying German at the University of Vienna . In 1867 he was bought out of military service by his mother, finished his studies in German and began studying history and geology. In 1869, Theodor von Sickel (1826–1908) obtained admission to the kk Institute for Austrian Historical Research , of which Richter was a full member until 1871. In 1870 he passed the teaching qualification in geography and history for middle school. In 1870/71 he prepared for the institute examination , for which a kind of dissertation ( institute work ) had to be submitted on a freely chosen topic. Richter, completely uninfluenced by Sickel, made the Austrian possessions of the Freising diocese the subject of a historical-geographical study, which was applauded by the supervisors who examined it. Albert Jäger (1801–1891), the founder of the Institute for Austrian Historical Research, encouraged the subject to complete his habilitation in Austrian history . Since the prospects for this subject did not seem favorable at the time and Sickel, whose help would have been crucial, behaved coldly and negatively on the matter , Richter did not consider the habilitation process any further and also refrained from applying for a doctorate . He turned to the more modest but secure career of a high school teacher and, through the intervention of Friedrich Simony (1813–1896), with whom he had already studied geology, was a high school professor in Salzburg from 1871 (until 1886) . Eduard Richter was a member of the Viennese fraternity Silesia .

 

From 1883 to 1885 Richter chaired the Salzburg Alpine Club section and was president of the central committee of the DÖAV . After Richter had made up for his doctorate (from the Faculty of Philosophy) in July 1885, which he had missed in 1871 , he was appointed full professor of geography at the University of Graz on February 6, 1886 - and in a big ceremony on April 17, 1886 from Salzburg adopted. In 1886 he was elected a member of the Leopoldina .

 

In 1898/99 Eduard Richter was rector of the University of Graz, from 1898 to 1900 he was president of the International Glacier Commission, and in 1902 he became a full member of the Austrian Academy of Sciences .

 

Richter devoted himself primarily to the geomorphology of the high mountains and lake science, and worked in glaciology (glacier research) . Among other things, he calculated the size of 1,012 glaciers in the Eastern Alps and created a kind of glacier lexicon. He gave impetus to founding the glacier measurement service in the Alpine Association. [6] He led the preparatory work for the “Historical Atlas of the Austrian Alpine Countries”, which he was entrusted with publishing by the Academy of Sciences. The first volume, Salzburg, Oberösterreich, Steiermark , appeared a year after his death. [8th]

 

In 1872, Eduard Richter married Juli von Frey, the only daughter from Carl von Frey's marriage to his wife Anna Gugg and owner of the Freyschlössl . However, Juli von Frey died in 1873 when her daughter was born. In 1877 he married Luise Seefeldner († 1913), and this marriage produced three daughters, including: his daughter Bertha (1881–1970), who married the historian Leo Santifaller in Bolzano in the 1920s and presented a series of onomastic studies, especially on the Ladin Dolomite region.

 

Works (selection)

Climbing the Rothorn and Birnhorn in the Bernhorn (Marchant) group near Frohnwies. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1872, (Volume III), pp. 107–111, 1st department. (online at ANNO ).

—, Johann Stüdl : I. The Great Venice from Gschlöss. In: Journal of the German and Austrian Alpine Club , year 1872, (Volume III), pp. 276–281. (Online at ALO ),

II. Schlieferspitze. In: Journal of the German and Austrian Alpine Club , year 1872, (Volume III), pp. 281–286,

III. Order of leadership in Prägraten. In: Journal of the German and Austrian Alpine Club , year 1872, (Volume III), pp. 286–291,

IV. Umbalthal and Dreiherrenspitze. In: Journal of the German and Austrian Alpine Club , year 1872, (Volume III), pp. 292–299,

V. Attempt on the Daberspitze and ascent of the Röthspitze (Welitz). In: Journal of the German and Austrian Alpine Club , year 1872, (Volume III), pp. 299–307,

VI. Climbing the Hochgall. In: Journal of the German and Austrian Alpine Club , year 1872, (Volume III), pp. 307–316.

The glacier phenomenon. Popular contribution to the geography of the Alps. (With five illustrations). In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1874, (Volume V), pp. 1–52, 1st department. (online at ANNO ).

The war in Tyrol in 1809. Contributions to the history and geography of the Alps. II. (With an overview map). In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1875, (Volume VI), pp. 166–234, 1st department. (online at ANNO ).

600 heights in the Duchy of Salzburg. According to the results of the mapping of the country carried out from 1871-74. In: Announcements from the Society for Salzburg Regional Studies , born in 1876, (Volume XVI), pp. 40–62. (online at ANNO ).

Literature report. In: Announcements from the Society for Salzburg Regional Studies , born in 1876, (Volume XVI), pp. 196–206. (online at ANNO ).

Historical geography as a subject of teaching . In: Program of the Imperial-Royal State High School in Salzburg , Salzburg 1877, OBV .

Studies on the special map of the Austro-Hungarian Empire. 1:75,000. Contributions to the history and geography of the Alps III. With 2 panels. (No. III and IV.). In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1877, (Volume VIII), pp. 45–60. (online at ANNO ).

On the history of the Vernago glacier. Contributions to the history and geography of the Alps. IV. . In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1877, (Volume VIII), pp. 164–168. (online at ANNO ).

The finds on the Dürenberg near Hallein. In: Announcements from the Society for Salzburg Regional Studies , year 1879, (Volume XIX), pp. 184–191. (online at ANNO ).

The finds on the Dürenberg near Hallein. II. Addendums. In: Announcements from the Society for Salzburg Regional Studies , year 1880, (Volume XX), pp. 91–96. (online at ANNO ).

The Saracens in the Alps. Contributions to the history and geography of the Alps V. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1880, (Volume XI), pp. 221–229. (online at ANNO ).

Karrenfeld am Untersberg (drawing, plate 6). In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1880, (Volume XI), p. 176/1. (online at ANNO ).

The Duchy of Salzburg , Vienna 1881 (reproduction of the 1881 edition: Vienna 1998, OBV ).

List of locations where prehistoric and Roman objects were found in the Duchy of Salzburg. (With a card). In: Announcements from the Society for Salzburg Regional Studies , year 1881, (Volume XXI), pp. 90–97. (online at ANNO ).

An old landslide in the Salzach Valley. Contributions to the history and geography of the Alps VI. With a sketch map. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1882, (Volume XIII), pp. 260–265. (online at ANNO ).

The Salzburg Traditional Codices of the Xth and XI. century. II: Version and legal content of the acts contained in the Salzburg Traditional Codes . In: Communications from the Institute for Austrian Historical Research , Vienna 1882, OBV .

Observations on the glaciers of the Eastern Alps. The Obersulzbach Glacier 1880–82. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1883, (Volume XIV), pp. 38–92. (online at ANNO ). – Plate 1 , Plate 2 , Plate 3 .

Observations on the glaciers of the Eastern Alps. II. The glaciers of the Oetzthaler Group in 1883. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1885, (Volume XVI), pp. 54–65. (online at ANNO ).

The Alps according to HA Daniel 's description , Leipzig 1885, OBV .

Albrecht Penck , —: The state of Berchtesgaden. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1885, (Volume XVI), pp. 217–218. (online at ANNO ). – Associated map of the Berchtesgadner Alps, sheet IV. , p. 7, pictures

The Berchtesgadener Land. II. The condition of the population and its historical development. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1885, (Volume XVI), pp. 266–298. (online at ANNO ).

Studies on the historical geography of the former Bishopric of Salzburg and its neighboring areas , Innsbruck 1885, OBV .

To the hundred-year memory of Franz Thaddäus Kleimayrn's Juvavia. 1784–1884. In: Announcements from the Society for Salzburg Regional Studies , year 1885, (Volume XXV), pp. 1–13, self-published. Announcements. (online at ANNO ).

Are the Alps the most beautiful mountains on earth? In: Announcements from the German and Austrian Alpine Club , year 1885, (Volume XI), p. 1 f. (Online at ALO ).

The landslide at the Bocca di Brenta. In: Announcements from the German and Austrian Alpine Club , year 1885, (Volume XI), p. 72 f. (Online at ALO ).

—, H(ans) Stöckl: The V. International Alpine Congress in Turin. In: Announcements from the German and Austrian Alpine Club , year 1885, (Volume XI), p. 205 f. (Online at ALO ).

Snow line and snow patch region. In: Announcements from the German and Austrian Alpine Club , year 1887, (Volume XIII), p. 49 f. (Online at ALO ).

Cartographic forays. In: Announcements from the German and Austrian Alpine Club , year 1887, (Volume XIII), p. 111 ff. (Online at ALO ).

Observations on the glaciers of the Eastern Alps. III. The Karlinger Glacier 1880–1886. With a map, plate 1 (right: plate 2). In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1888, (Volume XIX), pp. 35–37. (online at ANNO ). – Plate 2, map above .

Observations on the glaciers of the Eastern Alps. IV. The Obersulzbach Glacier 1885–1887. With a map, plate 2. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1888, (Volume XIX), pp. 37–41. (online at ANNO ). – Plate 2, map below .

The glaciers of the Eastern Alps , Stuttgart 1888, OBV .

Settlement types in the high Alps. In: Announcements from the German and Austrian Alpine Club , year 1888, (Volume XIV), p. 65 f. (Online at ALO ).

†Ludwig Steub. In: Announcements from the German and Austrian Alpine Club , year 1888, (Volume XIV), p. 77 f. (Online at ALO ).

The completion of the special map of the Austro-Hungarian Empire. (Part One). In: Communications from the German and Austrian Alpine Club , year 1889, (Volume XV), pp. 2–5. (Online at ALO ). The completion of the special map of the Austro-Hungarian Empire. (Part II and conclusion). In: Announcements from the German and Austrian Alpine Club , year 1889, (Volume XV), p. 19 f. (Online at ALO ).

The glacier eruption in the Martello Valley and its return. In: Announcements from the German and Austrian Alpine Club , year 1889, (Volume XV), p. 231 ff. (Online at ALO ).

The remedies against eruptions of ice lakes. In: Communications from the German and Austrian Alpine Club , year 1889, (Volume XV), pp. 291–295. (Online at ALO ).

Annual overviews of the scientific literature on the Alps. I. 1886–1888. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1889, (Volume XX), pp. 504–528. (online at ANNO ).

Annual overviews of the scientific literature on the Alps. II. 1886–1889. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1890, (Volume XXI), pp. 467–487. (online at ANNO ).

The reservoir seen from a bird's eye view (drawing). In: S. (di Sebastian) Finsterwalder: The glacier eruptions of the Martell Thales. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1890, (Volume XXI), p. 25. (online at ANNO ).

A program for lake research. In: Communications from the German and Austrian Alpine Club , year 1890, (Volume XVI), pp. 115–118. (Online at ALO ).

History of the fluctuations of the Alpine glaciers. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1891, (Volume XXII), pp. 1–74. (online at ANNO ).

A history of the development of the Eastern Alps. In: Announcements from the German and Austrian Alpine Club , year 1891, (Volume XVII), p. 35 f. (Online at ALO ).

From the introduction to “Development of the Eastern Alps”. In: Announcements from the German and Austrian Alpine Club , year 1892, (Volume XVIII), p. 123 ff. (Online at ALO ).

Report on the fluctuations of the glaciers in the Eastern Alps 1888–1892. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1893, (Volume XXIV), pp. 473–485. (online at ANNO ).

— (Red.): The development of the Eastern Alps , Berlin 1893–94, OBV .

—, Franz Martin Mayer: Geography textbook for the lower classes of middle schools , Vienna/Prague 1893–1905, OBV .

Scientific research into the Eastern Alps since the founding of the Austrian and German Alpine Associations. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1894, (Volume XXV), pp. 1–94. (online at ANNO ).

Th. Trautwein †. In: Announcements from the German and Austrian Alpine Club , year 1894, (Volume XX), p. 169 f. (Online at ALO ).

Tourism in the Austrian Alpine countries 1892. In: Communications from the German and Austrian Alpine Association , year 1894, (Volume XX), p. 248 f. (Online at ALO ).

— (ed.), Albrecht Penck (ed.): Atlas of the Austrian Alpine Lakes , Vienna 1895–96, OBV .

Lake Wörther . Map designed by E. Richter. Eduard Hölzl, Vienna 1895, OBV .

Establishment of a hydrographic service in Austria. In: Announcements from the German and Austrian Alpine Club , year 1895, (Volume XXI), p. 58 f. (Online at ALO ).

Morphology of the earth's surface. In: Announcements from the German and Austrian Alpine Club , year 1895, (Volume XXI), p. 67 f. (Online at ALO ).

From Norway. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1896, (Volume XXVII), pp. 1–25. (online at ANNO ).

The observatory on Mont Blanc. In: Announcements from the German and Austrian Alpine Club , year 1896 (Volume XXII), p. 95 f. (Online at ALO ).

† Friedrich Simony. In: Announcements from the German and Austrian Alpine Club , year 1896 (Volume XXII), pp. 174 f. (Online at ALO ).

Sea studies. Explanations for the second delivery of the Atlas of the Austrian Alpine Lakes , Vienna 1897, OBV .

School atlas for high schools, secondary and commercial schools, teacher training institutes and other higher educational institutions , Vienna/Prague 1898, OBV .

The alpenglow. In: Announcements from the German and Austrian Alpine Club , year 1897, (Volume XXIII), p. 6. (Online at ALO ).

† Anton v. Ruthner. In: Announcements from the German and Austrian Alpine Club , year 1897, (Volume XXIII), p. 287 f. (Online at ALO ).

Heinrich Noë's last writing. In: Communications from the German and Austrian Alpine Club , year 1898, (Volume XXIV), p. 181. (Online at ALO ).

Prof. E. Richter on: “The pleasure in the beauty of the landscape”. In: Announcements from the German and Austrian Alpine Club , year 1898, (Volume XXIV), p. 283 f. (Online at ALO ).

Mountain uplift and valley formation. In: Journal of the German Alpine Club / Journal of the German and (of) the Austrian Alpine Club , year 1899, (Volume XXX), pp. 18–27 (online at ANNO ).

The limits of geography. Speech given at the inauguration as Rector Magnificus of the Imperial and Royal Karl Franzens University in Graz on November 4, 1899 , Graz 1899, OBV .

About the driving forces of mountaineering. In: Announcements from the German and Austrian Alpine Club , year 1903, (Volume XXIX), p. 53 ff. (Online at ALO ).

Construction and image of Austria. In: Announcements from the German and Austrian Alpine Club , year 1904, (Volume XXX), p. 108 f. (Online at ALO ).

Districts and tax communities in the state of Salzburg . Treatises on the historical atlas of the Austrian Alpine countries, Volume 3. Vienna 1907, OBV .

Salzburg, Upper Austria, Styria . Explanations for the historical atlas of the Austrian Alpine countries. Dept. 1, The regional court map, part 1. 2nd edition. S.l. 1917, OBV .

Awards, honors

Knight's Cross 1st Class of the Order of the Zähringer Lion (1885) [11]

Full member of the Imperial and Royal Academy of Sciences (1902) [11]

kk Hofrat (1904) [12]

The highest point on Salzburg's Mönchsberg has been named Richterhöhe since 1905 .

Streets in Mannersdorf, Graz and Weiz were named after him

Literature

G. Müller: Judge Eduard. In: Austrian Biographical Lexicon 1815–1950 (ÖBL). Volume 9, Publishing House of the Austrian Academy of Sciences, Vienna 1988, ISBN 3-7001-1483-4 , p. 122 f. (Direct links on p. 122 , p. 123 ).

Georg A. Lukas: Eduard Richter . In: Alfred Hettner (ed.), Heinrich Schmitthenner , Albert Kolb: Geographical Journal . Volume 12.1906. B. G. Teubner, Leipzig 1906 ( detailed obituary )

Karl Heinz Ritschel : Salzburg: Grace and Power , Otto Müller Verlag 2005, ISBN 3-7013-1098-X

HW ( ie Hans Widmann): Dr. Edward Richter. In: Announcements from the Society for Salzburg Regional Studies , born in 1905, (Volume XLV), pp. 16–21, Ges.-affairs. (online at ANNO ). – Obituary.

A(lbrecht) Penck : † Eduard Richter. In: Announcements from the German and Austrian Alpine Club , year 1905, (Volume XXXI), p. 29 ff. (Online at ALO ).

Georg A. Lukas: Eduard Richter - his life and his work . Tauber, Graz 1905, OBV . – Obituary including a complete list of Richter’s printed writings.

Guido Müller: Richter, Eduard Johann. In: New German Biography (NDB). Volume 21, Duncker & Humblot, Berlin 2003, ISBN 3-428-11202-4 , p. 525 ( digital copy ).

Hallstatt

Austria Showcase #DiscoverAustria

The Peterskirche (English: St. Peter's Church) is a Baroque Roman Catholic parish church in Vienna, Austria. It was transferred in 1970 by the Archbishop of Vienna Franz Cardinal König to the priests of the Opus Dei.

 

The first church

The oldest church building (of which nothing remains today) dates back to the Early Middle Ages, and there is speculation that it could be the oldest church in Vienna (see Ruprechtskirche). That Roman church was built on the site of a Roman encampment.

 

This church was replaced with a Romanesque church with a nave and two aisles. It is believed to have been established by Charlemagne around 800, although there is no evidence supporting this view. At the outside of the church, there is a relief sculpture by R. Weyr consecrated to the founding of the church by Charlemagne. In any case, a church of Saint Peter in Vienna is first mentioned in 1137. Around the end of the 12th century, the church became part of the Schottenstift.

 

The mediaeval church had three altars, with an apse in the south instead of the normal eastern orientation. This unusual feature has triggered many discussions among experts, and it is suspected that the church was adapted from a previously secular building. The church was surrounded by shops, and a nearby building housed the Stadtguardia, a forerunner of the modern police. The old church burned down in 1661 and was given only makeshift repairs. The decision to build a new church was taken up with the arrival of the Fraternity of the Holy Trinity of which the emperor Leopold I was a member. He had taken a vow to rebuild this church when Vienna was ravaged by the plague in 1679–1680.

 

The new building

The construction of the new Baroque church was begun around 1701 under Gabriele Montani, who was replaced by Johann Lukas von Hildebrandt in 1703. The design was inspired by the St. Peter's Basilica of the Vatican in Rome. Francesco Martinelli was the main architect. By 1722, most of the building was finished, and in 1733 the Peterskirche was finally consecrated to the Holy Trinity. The new church was the first domed structure in baroque Vienna. Due to the confinement of available space, it was built in a compact form, with its oval interior housing an astonishing amount of space and rectangular attachments. The church's interior has a lot of gold stucco.

  

View of the dome and altar

The turreted dome was mainly designed by Matthias Steinl, who was also responsible for the interior decoration and the pews with cherubic heads. The frescoes were originally painted by the Italian Andrea Pozzo, whose paintings were removed after his death.[clarification needed] As a result, in 1713, Johann Michael Rottmayr was able to start a completely new set. The fresco in the cupola represents the Coronation of Our Lady. On the triumphal arch one can see the coat of arms of emperor Leopold I. In the spandrels around the dome are portrayals of the four Evangelists and four Fathers of the Church, painted by the Viennese artist J.G. Schmidt. The same artist also painted the altarpiece in the side chapel of St. Michael.

 

The Baroque high altar was created by Antonio Galli Bibiena and his Bolognese workshop (construction) and Martino Altomonte (1657–1745) (altarpiece). The altarpiece portrays the Healing of the Lame by St. Peter and St. John in Jerusalem. The same artist also painted the altarpiece in the side chapel of the Holy Family. The small painting of the Immaculate Conception above the high altar is by the 19th century artist Kupelwieser. The shrines in the side chapels of the Holy Family and St. Michael contain martyrs from Roman catacombs, donated by Cardinal Kollonitz in 1733. They were clothed in this period and placed in the glass coffins.

 

The gilded pulpit is a work by Matthias Steinl (1726) having, on top of the canopy, a representation of the Holy Trinity. Opposite the pulpit there is a gold-and-silver representation of the Martyrdom of St. John of Nepomuk, sculpted by Lorenzo Mattielli. On top of it is a statue of The Mother of God.

 

Over the years, the paintings had become darker, and the interior began to take on a grey appearance. From 1998 to 2004, the church underwent a renovation, which returned the paintings to their original colouring and brightness.

 

Access

The Peterskirche is located on Petersplatz, right next to Graben and just west of the Pestsäule. The street Jungferngasse cuts through the pedestrian zone and leads directly to the church. The Peterskirche is largely obscured by the surrounding buildings, and can only be seen clearly from directly in front.

Minimundus is a miniature park in Klagenfurt in Carinthia, Austria. It displays over 150 miniature models of architecture from around the world, built at a ratio of 1:25.

 

Since its opening in 1958, more than 15 million visitors have visited the 26,000 square meters park. The proceeds benefit the children's help organization Rettet das Kind ("Save the Child"), which owns the park.

 

A small selection of the models:

St. Stephen's Cathedral

Statue of Liberty

Saint Peter's Basilica

Cathedral of Brasília

Toronto CN Tower

Eiffel Tower

Hochosterwitz Castle in Austria

Sydney Opera House

Tower of London

White House

Taj Mahal

Baiturrahman Grand Mosque

Castillo de Coca

Atomium

Many trains of Europe

The Space Shuttle and its launch pad

Most of the models are transportable and are moved to other areas during off-season winter.

Mirabell Palace in Salzburg's Right Old Town in Austria is one of the most popular tourist destinations in the city due to its history, the famous baroque staircases created by Georg Raphael Donner , and its gardens.

 

The entire complex with all outbuildings and horticultural monuments is a listed building and is part of the UNESCO World Heritage Site (see also Historical Center of the City of Salzburg ). The interiors are largely used by the Salzburg city administration; The state hall ( Marble Hall ) serves as a concert and wedding hall and is often used by international guests.

 

Mirabell Palace, now located in the Neustadt of the city of Salzburg, was built around 1606 by Archbishop Wolf Dietrich von Raitenau outside the then city walls for the archbishop's lover or secret wife, Salome Alt, and was initially called Altenau Palace . It was "a beautiful, large, quartered, magnificent building, like a castle or fortress, with a cloud-covered, gleaming tower covered with Plech and decorated and furnished inside and outside with beautiful gardens of all sorts of flowers, plants and fruits." Remains of this building have been preserved in the southwest corner of the current building in the basement. The sovereign, who was always caring for his family, obtained legitimacy from the emperor as legal heirs for his 15 children, and elevation to the hereditary nobility for his children and loved ones. Mother and children now called themselves Alt von Altenau . However, that was of little use later. After Wolf Dietrich's fall and solitary confinement at Hohensalzburg Fortress in 1612, his successor and nephew Markus Sittikus von Hohenems soon expelled his wife and children from Altenau Castle. In order to completely erase the memory of his predecessor, Markus Sittikus now called the castle Mirabell . Mirabell is a female first name from Italian ( mirabile 'admirable' and bella 'beautiful').

 

During the Thirty Years' War between 1620 and 1642, Prince Archbishop Paris von Lodron had Mirabell Palace and its gardens included in the new, strong fortification belt on the right bank of the Salzach. In contrast to Markus Sittikus, he enjoyed living in the castle and also died here.

 

From 1721 to 1727, on behalf of Archbishop Franz Anton von Harrach, the well-known baroque builder Johann Lucas von Hildebrandt converted it into a magnificent baroque palace complex, a four-wing complex with an inner courtyard, which, after tough discussions, is no longer used as a parking lot. In 1818, a devastating city fire caused extensive damage. The reconstruction was carried out on behalf of Emperor Franz I , who himself gave precise instructions for it. However , the concept of court building officer Peter Nobile was too expensive for the emperor, which is why he commissioned the Salzburg district engineer Johann Wolfgang Hagenauer to plan and carry out the construction. As a result, the building lost much of its former unique baroque appearance. The mighty tower in the middle of the east facade was demolished, the delicate gable structure with the slightly projecting corner projections on the east side disappeared, as did the roof ledges richly decorated with numerous vases and 28 figures. Fortunately, the western courtyard façade and the garden façade to the west were largely preserved. The rhythm of sculpturally protruding risalits and well-structured wall surfaces convey an idea of ​​the original appearance of the baroque masterpiece, although the former artistic roof top and figures are also missing here.

 

From 1810 to 1816 under Bavarian rule, Mirabell Palace was the residence of the Bavarian Crown Prince. Prince Otto of Bavaria , later King Otto I of Greece, was born in the castle on June 1, 1815 .

 

The father of the Salzburg painter Hans Makart also worked here as a room attendant before 1849. Archbishop Cardinal Maximilian Joseph of Tarnóczy resided in this castle from 1851 to 1863 . The aged Capuchin priest and Tyrolean freedom hero Joachim Haspinger († 1858) spent the last four years of his life here in a ground floor apartment.

 

In 1866 the castle, together with the Kapuzinerberg, became the property of the city of Salzburg for compensation of 50,000 guilders. The emperor had donated the Mirabell Gardens to the city two years earlier. Between 1947 and 1950, the official residences of the mayor and his deputies, as well as the municipal administration and some municipal departments, were set up here.

 

Mirabell Castle Church

The Georg-Raphael-Donner staircase is a magnificent staircase that extends from the ground floor to the second floor and is located in the north corner of the west wing. The balustrade of the staircase is richly intricate and decorated with various putti, which can be seen in a variety of postures, sitting, lying and playing. There are niches set into the walls containing mythologically inspired marble sculptures. There are antique busts above the doors.

 

The Marble Hall is clad in marble, imitation marble and gilded stucco. In between there are decorative stucco fields. The former large ceiling painting by Johann Michael Rottmayr was lost in the fire in 1818. Because of its ambience and very good acoustics, the hall is now used for weddings and classical concerts. As part of the Salzburg Palace Concerts under the musical direction of Luz Leskowitz , and from 2016 under the direction of Konstantin Hiller, well-known ensembles such as the Salzburg Soloists, the Bartók Quartet and the Twins Quartet as well as famous soloists such as Jörg Demus and Igor Oistrach perform.

 

Before the fire of 1818, the castle chapel (the church of the Old Catholics since 1938) had a ceiling painting by Bartolomeo Altomonte and is dedicated to Saint Nepomuk . Severely damaged in the fire, it was re-inaugurated in 1837 by Archbishop Friedrich Johann Jacob Cölestin von Schwarzenberg . The altar with its sculptures of Augustine, Rupert, Virgil and Martin essentially dates from 1722. The altarpiece of Saint Nepomuk, which was destroyed in the fire, was recreated and inserted by Johann Michael Hess in 1830. The castle church has been a parish church of the Old Catholic Church of Austria since July 1938 ; previously the services took place in the Marble Hall. The small church was renovated in 1952 and 1988. The Old Catholic Church in Mirabell Palace takes part in the ecumenical Long Night of the Churches every year . Since 2012, classical music concerts have also taken place in the church at regular intervals.

 

In addition to parts that have been built up today (e.g. by the Mozarteum University ), the palace's gardens include the large parterre , the hedge theater , the water bastion , the rose garden and the original dwarf garden , as well as the spa garden in place of the demolished old Mirabell bastion .

 

The gardens were largely preserved when the castle burned. In today's complex, it was largely designed by Johann Bernhard Fischer von Erlach and was modified by Anton Danreiter around 1730 .

 

The orangery with the adjacent palm house as a greenhouse was built around 1725. The Salzburg Baroque Museum has been located south of it since 1973 .

 

The small, elongated hedge theater with its symmetrical paths surrounded by cut trees and its central open spaces was built between 1704 and 1718 on the Lodron defensive wall. It is still occasionally used today for small theater performances or concerts.

 

The historic baroque dwarf garden south of the raised water bastion - i.e. in front of the fortifications - was transformed into an English garden around 1800, which has long since been preserved. Old plans document its original condition. There were originally 28 grotesque marble gnomes in the garden, created in 1690/91 as part of the baroque redesign by Johann Bernhard Fischer von Erlach and Johann Ernst Graf Thun. They were sold in 1811 and could no longer be completely assembled; they were then temporarily placed on the small, preserved Lodron water bastion. The restoration of the original baroque garden. as part of Fischer von Erlach's total work of art remains an important concern.

The Liebenberg monument is located in Vienna's 1st district, Innere Stadt. It is located on Universitätsring between house numbers 8 and 10 at the junction of Mölker Bastei and Schreyvogelgasse in the Ring, opposite the main building of the University of Vienna.

 

The monument is dedicated to Johann Andreas von Liebenberg, who was mayor of the city of Vienna from 1680 to 1683. As early as 1679, he earned great merit in combating a plague epidemic in the city. His greatest achievement, however, was in 1683 during the Second Turkish Siege of Vienna, when he supervised the defensive work and organized a vigilante group in great need. His activities made a decisive contribution to promoting and maintaining the perseverance of the besieged citizens. Liebenberg did not live to see the success of his efforts, as he died two days before the decisive battle of the relief army against the Turks. The monument therefore refers to him as the victor over the Turks.

 

The Liebenberg monument was commissioned on March 17, 1887. The design comes from the architect Franz von Neumann, the figure decoration was created by the sculptor Johann Silbernagel. The monument was unveiled on 12 September 1890. During the Second World War, the monument was shelled and damaged. In December 1949, the repair of the damage and the restoration of the monument was completed.

 

The late historicist monument is located in an enclosed meadow. A 9-metre-high stone obelisk rises on a stepped pedestal. On the steps in front of it is a life-size reclining lion made of bronze. On the side facing the Ringstrasse, two bronze putti hold a gilded portrait medallion of Liebenberg. On the steps at the back is a bronze cartouche with the double eagle. The obelisk is crowned by the gilded figure of the goddess of victory, Victoria. On the back of the obelisk there is an inscription tablet.

via Instagram ift.tt/1Sc6HGy

Salzburg is the fourth-largest city in Austria. In 2020, it had a population of 156,872.

 

The town is on the site of the Roman settlement of Iuvavum. Salzburg was founded as an episcopal see in 696 and became a seat of the archbishop in 798. Its main sources of income were salt extraction, trade and gold-mining. The fortress of Hohensalzburg, one of the largest medieval fortresses in Europe, dates from the 11th century. In the 17th century, Salzburg became a center of the Counter-Reformation, with monasteries and numerous Baroque churches built.

 

Salzburg's historic center (German: Altstadt) is renowned for its Baroque architecture and is one of the best-preserved city-centers north of the Alps. The historic center was enlisted as a UNESCO World Heritage Site in 1996. The city has three universities and a large population of students. Tourists also visit Salzburg to tour the historic center and the scenic Alpine surroundings.

Hallstatt

Lavamünd ( Slovenian Labot ) is a market town with 2,829 inhabitants (as of January 1, 2023) in the Wolfsberg district in Carinthia .

 

Geography

Lavamünd is located in the southeast of Carinthia on a headland at the confluence of the Lavant and the Drau , which also forms the southern border of the municipality. The height is 348 m above sea level, making Lavamünd the lowest point in Carinthia. In order to protect Lavamünd from a hundred-year flood, construction of a 1.5 km long protective wall began on October 16, 2018. Two new bridges will also be built over the Lavant so that there will no longer be any blockages . The flood protection should be completed by 2023.

 

Community structure

Lavamünd is divided into ten cadastral communities , Slovenian names are given in brackets (see also Carinthian Slovenes ):

 

Ettendorf

Großlamprechtsberg

Hard

Lamprechtsberg-Hartneidstein

Lavamünd

Lorenzenberg

Magdalensberg

Rabenstein

Weissenberg

Miracle sites

The municipal area includes the following 20 towns (the population in brackets as of January 1, 2023):

 

Achalm (147)

Ettendorf (304)

Hard (152)

Krottendorf (135)

Lamprechtsberg (182)

Lavamünd(302)

Lorenzenberg (67)

Magdalensberg (436)

Parish village (334)

Plestatten (87)

Rabenstein/ (31)

Rabensteingreuth (76)

Schwarzenbach (103)

St. Vincent (6)

Unterbergen (71)

undergrowth (54)

Weissenberg (185)

Witternig (23)

Places of wonder/(82)

line (52)

Neighboring communities

St. Paul in the LavanttalSt. Georgen in the Lavanttal

RudenCompass rose pointing to neighboring communitiesEibiswald

NeuhausDravogradDravograd

 

History

The municipal area near the Elbitz, an area east of where the Lavant flows into the Drau , was already populated in Roman times , as finds of graves and coins show, so that the oldest settlement in today's Lavamünd was probably established here. A tomb of a Roman stone grave, which today stands in front of the Gasthaus zum Adler, bears witness to this time.

 

In 1091, Count Engelbert von Spanheim donated a barn in Lavamünd to the St. Paul Monastery, which he had founded . A street market developed at the foot of the castle by the 14th century, which gained importance due to its location at the meeting point of the Lavant and the Drau. The Lavamünd market is believed to have been founded in 1240; the first documented mention of the place comes from 1334. In 1461, Emperor Friedrich III. the market the blood jurisdiction .

 

The village was affected by floods from the Drau several times , and in 1851 even the main square was flooded.

 

The community, founded in 1850, was expanded in 1921 to include the parts of the community of Kienberg that did not fall to Yugoslavia (cadastral communities of Lorenzenberg and Rabenstein) and in 1958 and 1973 to include parts of the dissolved communities of Legerbuch and Ettendorf .

 

With the construction of the Lavanttalbahn in 1878, Lavamünd was opened up by railway. In 1879 the first train ran from Wolfsberg to Unterdrauburg (today's Dravograd ) via Lavamünd. After the First World War, the Unterdrauburg railway junction fell to the then SHS state. The corridor traffic was operated until 1965. The construction of the Jauntalbahn created a domestic connection from Wolfsberg to Klagenfurt , but the Jauntalbahn branches off from the Lavanttalbahn near St. Paul im Lavanttal. Lavamünd was therefore on a dead track to Yugoslavia. The Lavamünd – Unterdrauburg section of the route was demolished after the Jauntalbahn opened.

 

At least until the 19th century, the language border ran near Lavamünd.

 

After the First World War, Yugoslav troops marched into Lavamünd and St. Paul via Unterdrauburg on December 3, 1918 and threatened to penetrate further into the Lavanttal. However, as a result of Carinthia's defensive battle, Lavamünd was liberated again before the end of the year. A ceasefire followed, which was broken by a renewed Yugoslav offensive on April 29, 1919. As a result, Lavamünd was again occupied by Yugoslavia until the Carinthian referendum on October 10, 1920. During the referendum, the demarcation line ran directly through the municipal area. In the vote, 92.9% in the municipality of Lavamünd voted for Austria. Since this was the second best result for Austria, the motif of the municipal coat of arms was changed in 1959 from a bowl with the head of St. John to a stylized ballot box.

 

From 1991 to 2001, Lavamünd had a positive birth balance (+121), but a negative migration balance (−391). In the following 10 years there were already 24 more deaths than births and 400 more people moved away from the community than immigrated.

 

At the time of the 2001 census, the market town of Lavamünd had 3,548 inhabitants, 97.9% of whom were Austrian citizens. 98.2% stated German, 0.3% Slovenian and 0.7% Croatian as their colloquial language. 96.8% believed in the Roman Catholic Church, 0.5% in the Protestant Church and 0.4% in Islam. 1.7% of the population had no religious belief.

 

Energy

Significant parts of the Lavamünd power plant (a run-of-river power plant on the Drau) and the Koralpe power plant , a pumped storage power plant , are located in Lavamünd . During renovation work in the storage area of ​​the Lavamünd power plant, the Lavamünd natural swimming lake was artificially created in the 1970s .

 

Traffic

Road: In the community, the B80 , which was considered a branch of the guest workers route , intersects with the B69 , which runs over the Soboth .

Rail: The community does not have a rail connection. The tracks of the former Lavanttalbahn were dismantled.

Hiking trails: Lavamünd is the starting and ending point of the Lavanttaler Höhenweg . The Südalpenweg , an Austrian long-distance hiking trail , runs through Lavamünd . Furthermore, the Way of St. James in Western Styria flows here into the Way of St. James in South Austria , which follows the course of the Drau.

 

Politics

The local council has 19 members.

With the local council and mayoral elections in Carinthia in 2003, the local council had the following distribution: 11 SPÖ, 8 ÖVP, 3 FPÖ and 1 non-party. (23 members).

With the local council and mayoral elections in Carinthia in 2009, the local council had the following distribution: 10 SPÖ, 8 ÖVP and 5 BZÖ. (23 members).

With the local council and mayoral elections in Carinthia in 2015, the local council had the following distribution: 12 SPÖ, 8 ÖVP and 3 FPÖ. (23 members).

With the municipal council and mayoral elections in Carinthia in 2021, the municipal council has the following distribution: 7 List Wolfgang Gallant (LWG), 7 SPÖ, 4 ÖVP and 1 FPÖ.

 

Mayor

until 2013 Herbert Hantinger (ÖVP)

2013–2021 Josef Ruthardt (SPÖ)

since 2021 Wolfgang Gallant (LWG).

 

Coat of arms

Since the 17th century, the Lavamünd market has had a market coat of arms with the so-called “St. John’s Bowl” as its motif. H. the severed head of John on a bowl, showed. After the community no longer considered the drastic depiction to be contemporary, the decision was made in 1959 to create a new community coat of arms. It was decided to create a stylized representation of the 1920 referendum : a ballot box in mixed colors with a green ballot paper (representing Austria, the ballot paper for Yugoslavia was white) reminds us that the community went to Pustritz with 96.9% in the plebiscite (today part of the municipality of Griffen ) brought the best result for Austria. In the base of the shield the silver wavy lines represent the rivers Lavant and Drau.

 

The official blazon of the municipal coat of arms reads: “A shield divided by a silver line, the lower blue field of which is divided by two silver wavy lines. In the upper field, divided by gold and blue, there is an urn in alternating colors that rests on the division line and grows out of the column line, from which the upper part of an inclined green ballot paper protrudes."

 

The coat of arms and flag were awarded to the community on March 1, 1963. The flag is blue and yellow with an incorporated coat of arms.

 

Personalities

Sons and Daughters of the Church

Herbert Pansi (1920–1988), SPÖ politician , member of the Federal Council 1963–1964, member of the National Council 1964–1979, third President of the National Council 1979

Hubert Urach (* 1945), musician and composer

Anton Pistotnig (* 1949), musician and military bandmaster of Lower Austria (1980–2011)

Josef Pachler (* 1950), boxer

Peter Stauber (* 1953), SPÖ politician , member of the National Council (2006–2013), mayor of St. Andrä im Lavanttal (1997–2020)