begun in 1694, dedicated 1707
My family just returned from 2 wonderful months in Europe. When I asked them what their favourite city was, and would they write it up for me, they said “1. Vienna; 2. here are our super photos; 3. read TourMyCountry yourself”. Grrrrr
Johann Fischer von Erlach (1656-1725) was born in Graz. He was trained as a sculptor by his dad, artist Johann Baptist Fischer. Only after did he select architecture, travelling to Rome in 1670, where he was deeply impressed. He stayed in Rome for years and in 1684 moved to Naples, continuing his work and studies. Two years later he returned home where he was welcomed as one of the best architects then, and one of the very few that were not Italian.
From 1690, he taught architecture to the Prince of Austria-later Emperor Joseph I, adapting Italian Baroqueto local needs and traditions. He won great acclaim for 2 triumphal arches in Vienna to celebrate Joseph I's coronation! Wise man! In 1693, von Erlach transferred to Salzburg to serve to the Prince Archbishop. There he enriched early Baroque Vienna with high buildings, especially with the Church of the Holy Trinity. von Erlach was appropriately knighted at court, in 1696.
Also note the very impressive Collegiate Church, a very important baroque church. It looked back on an exciting history as the Uni of Salzburg’s church on University square, and gained a reputation in the City of Mozart as a venue for art and music. Still does.
In 1694, when he was ready to start work in Salzburg, von Erlach became the Imperial Court Architect and Engineer.
His most productive and important years came when the final design of the Salzburg churches was done, as well as the formalisation of Schönbrunn Palace design which was completed by 1711. This design of Schönbrunn is the one he was remembered for: it was to overshadow Versailles near Paris and nearly did.
1696
Interior, Schönbrunn Palace, Vienna
begun 1696
His most important buildings included the Imperial Stables-now Museums Quartier; Collegiate Church and Trinity Church, Salzburg; winter Palace of Prince Eugene/now Ministry of Finance; Böhmische Hofkanzlei on Judenplatz Square; Schloss Niederweiden Lower Austria; and Karlskirche Church.
von Erlach was rightly considered one of the 2 most important architects of Austria’s late Baroque age, along with Lucas von Hildebrandt (1668–1745). I will mention only two shared pieces of architecture:
a] Palais Schwarzenberg was started in Vienna in 1697 under von Hildebrandt. But sadly the prince owner died while the Palace was being built; it was bought in 1716 by Prince Adam Franz of Schwarzenberg who had it completed in 1728 by von Erlach.
Palais Schwarzenberg, Vienna
finished 1728
b] The Hofburg was originally a medieval imperial palace. In 1700 Hildebrandt became Hofburg court engineer and finally in 1723, Hildebrandt became Hofburg Court architect. But Hildebrandt struggled against the two von Erlachs. Unlike the monumental works of Johann von Erlach, Hildebrandt’s works seemed more personal, and included more middle class decorative elements. Hildebrandt united Italian-French elements and shaped the baroque style in South Germany and Austria.
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finished 1728
b] The Hofburg was originally a medieval imperial palace. In 1700 Hildebrandt became Hofburg court engineer and finally in 1723, Hildebrandt became Hofburg Court architect. But Hildebrandt struggled against the two von Erlachs. Unlike the monumental works of Johann von Erlach, Hildebrandt’s works seemed more personal, and included more middle class decorative elements. Hildebrandt united Italian-French elements and shaped the baroque style in South Germany and Austria.
von Hildebrandt's and Johann Fischer von Erlach's parts of the Hofburg.
National Library, Hofburg, Vienna, 1722
Johann died in the city of his masterpieces, Vienna, in 1723. Afterwards his son Joseph Emanuel Fischer von Erlach supervised many of the projects that dad had started, including the superb Karlskirche with its large cupola. The church was consecrated to the patron saint of the Habsburg emperor, Saint Charles Borromeo.
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von Erlach, Karlskirche, Vienna
Johann died in the city of his masterpieces, Vienna, in 1723. Afterwards his son Joseph Emanuel Fischer von Erlach supervised many of the projects that dad had started, including the superb Karlskirche with its large cupola. The church was consecrated to the patron saint of the Habsburg emperor, Saint Charles Borromeo.
begun 1715
Joseph took over his father′s offices at court, although he faced opposition from the old rival Lucas von Hildebrandt. Despite his early success, Joseph withdrew from architecture and pursued another career.
** Baroque architecture of the 17th and 18th centuries used complex plan shapes, dynamic spaces, heightened feeling of motion and drama. So did it continue into the C19th? Yes!
Joseph took over his father′s offices at court, although he faced opposition from the old rival Lucas von Hildebrandt. Despite his early success, Joseph withdrew from architecture and pursued another career.
** Baroque architecture of the 17th and 18th centuries used complex plan shapes, dynamic spaces, heightened feeling of motion and drama. So did it continue into the C19th? Yes!
Planning of Vienna's Ringstrasse began in 1857, to unite and display the imperial collections in a grand new building. The Ringstrasse was 5.3 ks, long enough to provide space for many monumental buildings designed from 1860s-1890s eg Vienna State Opera.
A competition was held to design Kunsthistorische/Museum of Fine Arts. The Viennese architects in 1867 were Hansen, Löhr, Ferstel and Hasenauer. When they failed to agree on a winner, famous architect known for museum designs Gottfried Semper was called in 1868 to advise. The Emperor commissioned Semper to enlarge and complete the plans initially presented by Hasenauer. Semper wanted to create an imperial Roman forum i.e he wanted symmetrical buildings aligned with the two museums, each of which enjoyed a semi-circular façade. These two buildings were to flank the wing of the old palace erected for Emperor Leopold. Work on the museums ended in 1871 and opened to the public.
Semper’s façades featured a complex historical programme of sculptures. The internal building used two architectural traditions: the entrance hall and cupola hall that honoured the imperial patron and his line. More elegance came from the circular opening in the entrance hall ceiling, giving visitors a glimpse of the cupola hall, the apex of imperial display. And the rich marbles of the grand staircase glow with lustrous colour. Going up these stairs, visitors pass Antonio Canova’s Theseus Slaying the Centaur. A wealth of neo-baroque decorations created a most splendid interior of late-C19th Vienna, perhaps in all of Europe.