( 1725-1806), J. B. Hagenauer ( 1732-1810), J. M. Fischer ( 1740-1820), and the
portrait-sculptor F. X. Messerschmidt ( 1723-83). The architect Peter von
Nobile ( 1774-1854) and the sculptor Franz Zauner ( 1746-1822) were the lead-
ing artists of the 'Empire' period.
Vienna has possessed an Academy of Art since 1692, but the develop-
ment of its school of painting has been tardy. At the beginning of the
19th cent. the younger men of talent, such as Moritz Schwind and Ed. Steinle,
were forced to seek refuge in Rome, Munich, or Paris from the prevailing
academic rigidity. Friedrich Amerling ( 1803-87) and the miniaturist Moritz
Daf finger ( 1790-1849), the darling of the Viennese aristocracy, were content
to become shallow imitators of Lawrence and the other British portrait
painters; while Waldmüller, Danhauser, and Peter Fendi enjoyed only a
brief prosperity about the middle of the century. The efforts of J. von
Führich ( 1800-76) and Karl Rahl ( 1812-65) to introduce the monumental
style of mural painting achieved no lasting success, and the severe and
elevated style of A. Feuerbach ( 1829-80), who worked at the Academy in
1873-76, remained entirely unappreciated. Hans Makart ( 1840-84) alone, a
genuine product of Austrian soil, enjoyed general popularity in virtue of
his orgies of colour. The younger Viennese school has disappointed ex-
pectations, in spite of the influence of the landscapists Rud. Alt ( 1812-1905),
E. J. Schindler ( 1842-92), Th. von Hörmann ( 1810-95), and Karl Moll (b. 1861),
and the establishment of the 'Secession'.
Various circumstances combined to favour the development of modern
architecture in Vienna. About the middle of last century artistic work
was much in demand in connection with the building of the Arsenal
and the Altlerchenfeld and Votive churches, but the chief impetus came
after 1860 with the removal of the old fortifications and the consequent
demand for new edifices. The churches of Maria vom Siege, St. Othmar,
and St. Brigitta, and the new Rathaus were built by Fried. Schmidt ( 1825-
91), who takes his place among the masters of Gothic architecture. Aug.
von Siccardsburg ( 1813-68) and Ed. van der Nüll ( 1812-68) adopted the style
of the French Renaissance (Hofopern-Theater, Larisch Palace); while the
style of the Italian Renaissance was followed by H. von Ferstel ( 1828-83;
Austrian Museum, University), Gottfried Semper ( 1803-79), and K. von
Hasenauer ( 1833-94; Imperial Museums, Burg-Theater, new wing of the
Hofburg). Theophil Hansen ( 1813-91), who built the Reichsrats-Geb∵ude in
the Greek style, was a Dane. Otto Wagner (b. 1841) has acquired a high
reputation by his designs for the stations of the Stadtbahn and for large
tenement houses.
In the province of sculpture Zumbusch and Fernkorn were not natives of
Vienna, but a healthy and vigorous Austrian school soon sprang up, direct-
ing its efforts chiefly to portraiture (Kundmann, Tilgner, Weyr, Hellmer).
I. THE INNER CITY AND THE RING-STRASSE.
a. Church of St. Stephen. Graben. Kohlmarkt.
The Church of St. Stephen (Pl. II; C, 3), or Cathedral, the
most important edifice in Vienna, occupying the site of an earlier
church consecrated in 1147, dates in its present form mainly from
three different periods. The W. façade, with the Riesentor (See
p. 15 ), built about 1230, belonged to the new edifice rendered
necessary by the conflagration of 1193. After another fire in 1258
the transepts and a polygonal choir were added, while the nave and
façde were heightened. The two towers of the last, called the
Heidentürme (210 ft. high), still retain late-Romanesque features.
Albert II. in 1340 replaced the polygonal choir by a Gothic edifice,