HILDEBRANDT, Johann Lukas von

The designs for the Upper Belvedere were decidedly more majestic than those for the Lower Belvedere. The super-elevated central middle pavilion with the marble hall is preceded by the staircase hall and a vestibule with a curved segmented gable. Each wing terminates in an octagonal pavilion, their circular domes continuing and concluding the rhythm of the various floor levels. It is a novel and unusual scheme. The wings are layered: the first five bays on each side of the central pavilion have a second storey that stretches behind the gable of the vestibule. Behind it the central pavilion rises, its roof crowning the whole structure. The continuous lower storey, with its entablature carried right across and round the corner pavilions, provides the unifying principle of the system.

The picture shows the exterior elevation of Upper Belvedere.

The designs for the Upper Belvedere were decidedly more majestic than those for the Lower Belvedere. The super-elevated central middle pavilion with the marble hall is preceded by the staircase hall and a vestibule with a curved segmented gable. Each wing terminates in an octagonal pavilion, their circular domes continuing and concluding the rhythm of the various floor levels. It is a novel and unusual scheme. The wings are layered: the first five bays on each side of the central pavilion have a second storey that stretches behind the gable of the vestibule. Behind it the central pavilion rises, its roof crowning the whole structure. The continuous lower storey, with its entablature carried right across and round the corner pavilions, provides the unifying principle of the system.

The picture shows the exterior elevation of Upper Belvedere.

The dynamic fa�ade of the Upper Belvedere reveals Hildebrandt’s feeling for three-dimensionality and its effect. The same applies to the interiors, especially the staircase hall. Here he found an elegant solution creating a “sliding” spatial sequence between the Sala Terrena, the entrance hall and the marble hall. From the vestibule, the visitor enters the staircase hall, where two outer flights rise to the Marble Hall and apartments at the side. The centre flight descends to the Sala Terrena.

The picture shows the staircase hall.

The dynamic fa�ade of the Upper Belvedere reveals Hildebrandt’s feeling for three-dimensionality and its effect. The same applies to the interiors, especially the staircase hall. Here he found an elegant solution creating a “sliding” spatial sequence between the Sala Terrena, the entrance hall and the marble hall. From the vestibule, the visitor enters the staircase hall, where two outer flights rise to the Marble Hall and apartments at the side. The centre flight descends to the Sala Terrena.

The picture shows the Sala Terrena.

Prince Eugene intended to build a residence outside Vienna. In the 1690s, Hildebrandt had started work on laying out the terraces of the garden outside the gates of Vienna. In 171 he devoted himself to building the Lower Belvedere, a lengthy single-storey building that has an upper floor only in the modest centre elevation. Work was completed two years later.

The picture shows the garden front of the Lower Belvedere.

Prince Eugene intended to build a residence outside Vienna. In the 1690s, Hildebrandt had started work on laying out the terraces of the garden outside the gates of Vienna. In 171 he devoted himself to building the Lower Belvedere, a lengthy single-storey building that has an upper floor only in the modest centre elevation. Work was completed two years later.

The picture shows the central elevation of the garden front of the Lower Belvedere.

Hildebrandt appreciated Fischer von Erlach’s popular palace design, which he adapted in the garden palace of Mansfeld-Fondi (later Schwarzenberg palace), built in 1697. A central oval block, accessed by two flights of steps on the garden side, is flanked by a pair of wings.

Hildebrandt was unable to finish the building. Until 1716, when Prince Schwarzenberg acquired it, it remained a shell. Four years later, Fischer von Erlach was awarded the job of fitting out the now renamed Palais Schwarzenberg. Fischer altered the external appearance, replacing the ornate aedicules with round arches and making the articulatory features such as cornice and pilasters more prominent and three-dimensional. The decorative design typical of Hildebrandt, which included the oval central projection, was not implemented. Fischer moved the central oval forward as an independent and prominent architectural feature.

The picture shows the main front of the palace.

Hildebrandt appreciated Fischer von Erlach’s popular palace design, which he adapted in the garden palace of Mansfeld-Fondi (later Schwarzenberg palace), built in 1697. A central oval block, accessed by two flights of steps on the garden side, is flanked by a pair of wings.

Hildebrandt was unable to finish the building. Until 1716, when Prince Schwarzenberg acquired it, it remained a shell. Four years later, Fischer von Erlach was awarded the job of fitting out the now renamed Palais Schwarzenberg. Fischer altered the external appearance, replacing the ornate aedicules with round arches and making the articulatory features such as cornice and pilasters more prominent and three-dimensional. The decorative design typical of Hildebrandt, which included the oval central projection, was not implemented. Fischer moved the central oval forward as an independent and prominent architectural feature.

The picture shows the garden front of the palace.

Hildebrandt appreciated Fischer von Erlach’s popular palace design, which he adapted in the garden palace of Mansfeld-Fondi (later Schwarzenberg palace), built in 1697. A central oval block, accessed by two flights of steps on the garden side, is flanked by a pair of wings.

Hildebrandt was unable to finish the building. Until 1716, when Prince Schwarzenberg acquired it, it remained a shell. Four years later, Fischer von Erlach was awarded the job of fitting out the now renamed Palais Schwarzenberg. Fischer altered the external appearance, replacing the ornate aedicules with round arches and making the articulatory features such as cornice and pilasters more prominent and three-dimensional. The decorative design typical of Hildebrandt, which included the oval central projection, was not implemented. Fischer moved the central oval forward as an independent and prominent architectural feature.

The picture shows the garden front of the palace.

This townhouse has a distinguished appearance, with a richly decorated fa�ade. The pilasters of the slightly projecting central elevation re-emerge in the lower third, where they are coarsely fluted. The window pediments are varied on the upper floor - some are elegant segments and others are ogee arches. Above an upper mezzanine floor a graceful balustrade is crowned with classical figures on lofty pedestals.

The picture shows the main front of the palace.

This townhouse has a distinguished appearance, with a richly decorated fa�ade. The pilasters of the slightly projecting central elevation re-emerge in the lower third, where they are coarsely fluted. The window pediments are varied on the upper floor - some are elegant segments and others are ogee arches. Above an upper mezzanine floor a graceful balustrade is crowned with classical figures on lofty pedestals.

The picture shows the entrance on the main front of the palace.

The fa�ade of St. Peter’s bears an elegant curve between the two flanking and somewhat recessed bell towers. A huge dome rises above the concave central elevation.

Hildebrandt’s imaginative and yet formal style also characterizes his church buildings. He submitted plans for the Piaristenkirche in Vienna in 1698, but construction was begun only in 1716. Later, Kilian Ignaz Dientzenhofer became involved in the scheme.

The picture shows the nave.