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Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Bodh Gaya, Gaya, Bihar, India.
Bodhgaya is the place where Buddha got enlightenment after seven weeks of meditation , so it's the most sacred place of Buddhism.
location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
for educational purpose only
please do not use without permission
AMDG
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Heraklion Archaeological Museum Annex
New Palace period (griffin)
Final Palatial period (shields and sacral knots)
Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia
for educational purpose only
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AMDG
Baptism of Christ on the other side of the panel
provenance: St Elizabeth Cathedral in Košice
location: East Slovak Museum in Košice
for educational purpose only
please do not use without permission
Basilica of St Aegidius, church with the largest number (11) Gothic altars in Europe, in their original setting, UNESCO´s World Heritage site
Bardejov, north-eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
for educational purpose only
please do not use without permission
AMDG
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location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
for educational purpose only
please do not use without permission
AMDG
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Reportage.
Luogo: Cossoine.
Questa è la prima parte del reportage. A breve posterò le altre foto.
Le immagini che inserirò sono sconsigliate a chi è vegetariano e a chi ha lo stomaco debole.
L'uccisione del maiale è un rito antico, quasi sacrale, dove il rosso del sangue si mischia a quello del vino.
Macropus sp
The KangarooMarsupialia - Diprotodontia
Skeleton. Vertebrae:- Cervical 7, thoracic 13, lumbar 6, sacral 2, caudal 18 in this specimen, normally 23. The atlas is peculiar in that it does not ossify ventrally, the space being filled up with cartilage. The neural spines of the thoracic vertebrae are large and there are 13 pairs of ribs, of which 4 pairs are floating. The lumbar vertebrae have well developed metapophyses and anapophyses, and transverse processes curved forwards. The tail has vertebrae with very long centra. Near the sacrum they have long processes like those of the lumbar vertebrae, but further back they lose these. Chevron bones occur between the vertebrae. The tail is used as an organ of support. The skull is flattened along the occipital, tentorial and basi-cranial planes as in the Dasyure, 278. The zygoma is complete, but the orbit has not a perfect posterior boundary. The malar is large, reaches the lachrymal anteriorly and extends posteriorly to form part of the outer wall of the glenoid fossa. The perforation of the lachrymal is outside the edge of the orbit. There are large vacuities in the palate and the pterygoids are small. The tympanic is not ankylosed to the cranium and the bulla is formed by the alisphenoid. The peri-otic has a distinct mastoid process, which occupies a vertical position between the squamosal and ex-occipital and there are also par-occipital processes. The mandible has an inflected angle. The Number of incisors in upper and lower jaws is dissimilar in all the members of the group except one. Macropus belongs to the Diprotodontia, which have two large anterior incisors and the rest of the incisors and canines small or absent. The dental formula is 3.0.1.4 .
1.0.1.4
In the pectoral girdle, the scapula is of the normal type, with a long acromion process articulating with the clavicle. Slender clavicles are present. Strongly developed deltoid and supinator ridges occur on the humerus, and a supra-condylar foramen is present. The olecranon process of the ulna is long. Five clawed digits are present. The pelvic girdle is vertical. The ilia curve slightly outwards and are fused to the sacral vertebrae. They are no larger than the ischia. The pubic symphysis is long and ossified, its pectineal tubercle is well developed and is situated near the acetabulum. A pair of flattened, curved bones, movably articulated to the anterior edge of the pubis near the symphysis, occur. They are known as ‘marsupial’ bones and are sesamoid in character. The hind limb is exceedingly long, being nearly three times the length of the fore-limb. Tibia and fibula are fused distally. The foot shows great modification. It is long and narrow, with an elongated metatarsus. The cuboid is large and is prolonged backwards at the heel; the rest of the tarsal bones (navicular and 3 cuniform bones), with the exception of the astragalus, are small. The 4th metatarsal and digit are enormously developed, the 5th moderately so, the 2nd and 3rd are very attenuated, but are nearly as long as the 5th. There is no rudiment of a hallux. Distribution of Macropus: Australian Region - Australia, New Guinea and the eastern half of the Austro-Malayan transitional region.
The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.
(please do not use without permission)
Reportage.
Luogo: Cossoine.
Le immagini che inserirò sono sconsigliate a chi è vegetariano e a chi ha lo stomaco debole.
L'uccisione del maiale è un rito antico, quasi sacrale, dove il rosso del sangue si mischia a quello del vino.
location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
for educational purpose only
please do not use without permission
AMDG
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Interesting document of the counter-reformation sacral art - 17th century roman-catholic Gothic Revival altarpiece in the style of local late Gothic altars with wings and predella. The upper part with the medallion depicting David with lions is a Baroque addition from 1687.
location: East Slovak Museum, Košice
for educational purpose only
please do not use without permission
Answers:
1. They are T2 images, as can be identified from the hyperintense CSF surrounding the intrathecal segments of the sacral nerve roots on the lower right image (green arrows). The foraminal segments of the nerve roots cannot be used to make this assessment as they are surrounded by similarly hyperintense perineural fat.
2. The lesion is a subtle but definite blurring of the right sacro-iliac joint margins (yellow arrows). The extent of adjacent marrow oedema, if any, is difficult to assess on FSE T2 images, which have bright fat signal - see, for example, the lower middle image. It is not possible to say if the high signal in the right sacral ala or the posterior ilium, or both (or neither!), is oedema or fat.
3. Marrow oedema is best assessed by correlating with a T1 sequence, or better yet, a fat-suppressed (STIR or CHESS) T2 sequence, as shown on the next slide.
(Back to Slide 1.)
RHMRQA_0709 WS 1680x1050.014.jpg
WHF657693_MRI
property of the Archdiocesan Museum in Krakow, Poland
for educational purpose only
please do not use without permission
AMDG
provenance: Richvald, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
a.k.a:
Master of the Historia Friderici et Maximiliani
Meister des Pulkauer Tafelbilder
Master of the Pulkau Altar
Historia-Meister
Meister der Historia Friderici et Maximiliani
On the reverse of this table painting is the scene of Finding the Grave of Saint Stephen the Protomartyr.
location: Slovak National Gallery
(please do not use without permission)
In the vicinity of Jelšava, an old mining village Rákoš hides a quiet church with unique Gothic paintings. The church was built on an elevated site in the northern part of the village under the slope of Železník Hill on top of which a castle of the Bubek Family was once standing.
The Roman Catholic Church of the Holy Trinity is an early Gothic single-nave building from the mid-13th century. It has still a Romanesque horseshoe-shaped apse and slotted Romanesque windows, but the entrance portal is already formed by a Gothic arch. The nave has a flat wooden painted ceiling from the end of the 17th century. In front of the church stands a Baroque brick belfry with a wooden superstructure.
Wall paintings from the last third of the 15th century cover the walls and the vault of the chancel and almost the entire northern wall of the nave. High-quality Italian fresco paintings can be seen, a piece of art ordered by the wealthy noblemen from the House of Bubek. Travelling through northern Italy in the service of King Louis the Great, they had an opportunity to acquaint themselves with the best works of Italian masters whom they brought to the Kingdom of Hungary to decorate churches in Plešivec, Štítnik, and Rákoš. The vault of the sanctuary depicts the Christ Pantocrator with angels, the four church fathers and the symbols of the Evangelists (Matthew – angel, Mark – lion, Luke – bull, and John – eagle). On the walls of the sanctuary, we can find prophets, apostles and three saint kings: Ladislaus, Stephen, and Emeric. In the window lining, there are figures of women saints: Catherine, Barbara, Elisabeth and Margaret of Hungary. One of the most interesting parts is the unconventional depiction of Christ standing in a grave held by Mother Mary. The scene is complemented with the figures of an angel and of St. John the Baptist. Figures of saints, prophets, a depiction of the ten virgins, a partially damaged figure of the Virgin Mary Protector and a very well-preserved sitting figure of God with three faces giving blessings are on the walls of the triumphal arch. This unusual way of portraying the Holy Trinity which has been later banned by the Trident Council for its striking resemblance to the pagan god Triglav, still appears in two other locations in Slovakia – Ochtiná (logo of the Gothic Route) and Žehra.
The northern wall of the nave is almost entirely covered with murals in three horizontal bands. The upper band depicts scenes from the St. Ladislaus legend, it shows lancer horse riders of the St. Ladislaus’s royal entourage at the forefront, in a dynamic moment of fight with the Cumans. The second and the third band below portray the Last Judgment with the central figure of Christ the Redeemer with angels and a number of saints on the sides. Right below them we can see open graves from which dead are rising. Archangel Michael divides them into two groups, the saved ones, who walk to the left towards the heaven‘s gate, and the damned ones, whose chains are bound by the devils to the gate of hell. The most recent of the paintings date back to the first half of the 15th century; they depict the Assumption of the Virgin, individual figures of saints and the Stigmatization of St. Francis. We have chosen the hand of St. Francis with a stigma as the logo of the church. On the outer southern wall of the church, fragments of the painting of Madonna and Child have been preserved. Since 1992, there have been intermittent renewal activities of the church taking place, during which the restoration of murals was included. Furniture is stored and it would be returned into the church, once the restoration works are finished.
Basilica of St Aegidius, church with the largest number (11) Gothic altars in Europe, in their original setting, UNESCO´s World Heritage site
Bardejov, north-eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
for educational purpose only
please do not use without permission
AMDG
dôležitá informácia v Profile
First settlements around the Roman roads of the area developed around the year 1000. In 1428, the name Im Schöff is mentioned for the first time, but this name was lost when the copy of a sacral painting from Passau was installed in a chapel of the graveyard, which came to be known as Mariahilf ("Mary's help").
More intensive settlement started only after the Second Turkish Siege of Vienna in 1683. The area was of some importance because the road to Schönbrunn Palace led through it.
Gumpendorf was mentioned in 1130 for the first time and developed from a Roman watchtower. It was subject to various feudal lords and was sold to the municipality of Vienna in 1798.
Magdalenengrund was originally known as Im Saugraben an der Wien auf der Gstätten ("In the sow pit on the Wien on the meadow") and consisted only of vineyards. In 1698, some plots were released for construction.
The Laimgrube (clay pit) is probably the oldest part of Mariahilf. It was mentioned in 1291 for the first time, but has existed already since the 11th century. Its name is derived from the clay soil, which was used to produce bricks.
Windmühle (windmill) developed from a feudal holding used by various monastic orders. In 1529 it was destroyed during the First Turkish Siege. Emperor Ferdinand I had the ownerhsip transferred to Johann Francolin, subject to the condition that he should build windmills there. However, he had only one mill built.
On March 6, 1850, the five Vorstädte of Gumpendorf, Mariahilf, Windmühle, Magdalenengrund and Laimgrube became part of Vienna as the Fifth District, Mariahilf. When Wieden was split into two districts in 1861, it became the 6th District. In 1862, some areas north of Mariahilfer Straße were ceded to the 7th District (Neubau).
Towards the end of the 19th century, Mariahilf had developed to become an important business district of Vienna. The Mariahilfer Strasse was a major shopping street; however, the big department stores were beyond the district boundary, over in the 7th District. The Mariahilfer area influenced the roads for mainly small and medium-sized businesses.
Between 1890 and 1907, the Kaunitzgasse steam power plant became one of the first electricity works in Vienna. Following the acquisition of the originally privately operated power plant, by the municipality of Vienna, it was decommissioned and converted into a substation.
Mariahilf is home to many of Vienna's gay and lesbian residents and contains a sizable concentration of bars, clubs, restaurants and shops catering to the community, along with the Rosa Lila Villa community center.
In the 1990s, there were two minor changes in the district boundaries: in 1995 in the area of the belt on the border at the 15th District, and 1996 in the Europe Square in front of the West Railway Station, where the 6th, 7th and 15th District meet. Both border changes affected mainly the transport structures. The district affiliation of residential areas did not change.
The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.
(please do not use without permission)
vista of the original Gothic Louvre palace behind St John Baptist
for educational purpose only
please do not use without permission
The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.
(please do not use without permission)
property of the Archdiocesan Museum in Krakow, Poland
provenance: Krakow (?)
IMHO the painting is much older, from 1450s
for educational purpose only
please do not use without permission
AMDG
property of the Archdiocesan Museum in Krakow, Poland
for educational purpose only
please do not use without permission
AMDG
Esztergom was the capital of Hungary from the 10th till the mid-13th century when King Béla IV of Hungary moved the royal seat to Buda. During the same period, the castle of Esztergom was built on the site of ancient Roman castrum. It served not only as the royal residence until the 1241 (the Mongol invasion), but also as the center of the Hungarian state, religion, and Esztergom county.
After changing his residence to Budapest, Béla IV gave the palace and castle to the archbishop. Following these events, the castle was built and decorated by the bishops. The center of the king’s town, which was surrounded by walls, was still under royal authority. A number of different monasteries did return or settle in the religious center.
Meanwhile, the citizenry had been fighting to maintain and reclaim the rights of towns against the expansion of the church within the royal town. In the chaotic years after the fall of the House of Árpád, Esztergom suffered another calamity: in 1304, the forces of Wenceslaus II, the Czech king occupied and raided the castle. In the years to come, the castle was owned by several individuals: Róbert Károly and then Louis the Great patronized the town.
The Ottoman conquest of Mohács in 1526 brought a decline to the previously flourishing Esztergom as well. In the Battle of Mohács, the archbishop of Esztergom died. In the period between 1526 and 1543, when two rival kings reigned in Hungary, Esztergom was besieged six times. At times it was the forces of Ferdinand I or John Zápolya, at other times the Ottomans attacked. Finally, in 1530, Ferdinand I occupied the castle. He put foreign mercenaries in the castle, and sent the chapter and the bishopric to Nagyszombat and Pozsony.
However, in 1543 Sultan Suleiman I attacked the castle and took it. Esztergom became the centre of an Ottoman sanjak controlling several counties, and also a significant castle on the northwest border of the Ottoman Empire. In the 17th century Esztergom was besieged and conquered several times during the Ottoman-Habsburg Wars. Most of the buildings in the castle and the town that had been built in the Middle Ages were destroyed during this period, and there were only uninhabitable, smothered ruins to welcome the liberators.
In 1761 the bishopric regained control over the castle, where they started the preliminary processes of the reconstruction of the new religious center: the middle of the Várhegy (Castle Hill), the remains of Saint Stephen and Saint Adalbert churches were carried away to provide room for the new cathedral.
Pieta, stone, c 1400, sculptor from Bratislava or Vienna
mourning angels, mid-18th century, ascribed to Ľudovít Gode
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