The Town Hall of Augsburg is one of the most significant secular buildings of the Renaissance style north of the Alps. On 25 August 1615, the foundation stone of the building was laid. The exterior of the building was completed in March 1620, and the interior in 1624. Technologically, the Augsburger Rathaus was a pioneering performance; upon its completion it was the first building in the world with more than six storeys. The rigid elegance of the large stonework was similar to Florence, the cultural and financial capital of Northern Italy, with which the city gladly compared itself. The self-image of the Free Imperial City of Augsburg is represented by two conspicuous ornaments on the large gable at the front of the building: the first is the Reichsadler, or Imperial Eagle of the Holy Roman Empire, representing the town's importance; the second is the large copper pine cone, or Zirbelnuss, which is the symbol of Augsburg.
The view of the Rathaus was almost completely blocked by the stock exchange building built in 1828, until British bombing on the night of 25 February 1944 destroyed the latter. The removal of the remains of the stock exchange in the 1960s finally made it possible to view the Rathaus properly from the town square.
The original Augsburger Rathaus was built in 1385, and it was decided at the beginning of the seventeenth century to complete a simple renovation of it in order to accommodate the Imperial Reichstag, which then sat in the city. In 1609, the town council commissioned the renowned architect, Elias Holl, to draw up a renovation plan for the Gothic building. It was only after six years of work that Holl could produce a plan for the magistrates, but this was rejected by the council, and, to Holl's surprise, he was issued with a new brief: to demolish the old Gothic town hall and erect in its place a beautiful new building.
Elias Holl produced his plan for the new Augsburger Rathaus, which was to be built in the Renaissance style, and, on 25 August 1615, the foundation stone was laid. It was the will of the magistrates that the Rathaus should not have a tower, however Elias Holl insisted on the famous onion domes by the gable, and in 1618 was allowed to proceed. The exterior of the Rathaus was completed in 1620, and the interior in 1624, following an almost fifteen-year planning phase and nine years of building.
Inside the Rathaus, Holl built three overlaying halls: on the ground floor, behind the main entrance, is the Lower Fletz, and on the floor above, the Upper Fletz; by far the most impressive room in the building, however, is the double-height Goldener Saal, or Golden Hall, with its magnificent doorways, murals and coffered ceiling. Adjacent to the Goldener Saal are the Fürstenzimmer, or Prince's Rooms, designed as retreats for important guests. The construction cost of the new Rathaus was around 100,000 Guilder.
The Thirty Years' War (1618–1648), which spread across Europe shortly after the beginning of work on the Rathaus, also took its toll on Augsburg. One of the major economic centres of the continent before the war, it emerged in the middle of the seventeenth century in decline. The war had cost Augsburg not only its centuries-old economic supremacy in Europe, but also more than half of its population. The Reichstag, for which the splendid Rathaus was originally built, now took place in other German cities. Only once more, in the late 17th Century, was the Rathaus the scene of a celebration of nationwide importance, when Joseph I held a banquet in the Golden Hall in 1690, on his coronation as King of the Romans.
During the devastating British bombing of Augsburg in World War II, the Rathaus was hit a number of times by high-explosive and incendiary bombs, completely burning the exterior of the building. The Rathaus was rebuilt after the war, the exterior according to its historic appearance but the interior much simplified, and from 1955 was again used as the administrative centre of the city. Between 1980 and 1984, the façade of the building was restored to its original colours, according to historical records. Inside the Renaissance building, what had been damaged in the Golden Hall during the war was restored to its original splendour, and on 9 January 1985, the Rathaus was reopened as part of the city's two-thousandth anniversary celebrations.
The Augsburger Rathaus now houses permanent exhibits on the history of the former imperial city and its partner cities, as well as requently changing exhibitions on different historical and current political issues.. These are held in the Lower Fletz and are open to any visitor. The Goldener Saal is a popular venue for receptions, concerts and ceremonies. The Lower Fletz and Goldener Saal are open daily, although there is an entrance charge to the Goldener Saal. The basement of the Rathaus houses a Rathskeller.References:
The Holy Trinity Column in Olomouc is a Baroque monument built in 1716–1754 in honour of God. The main purpose was a spectacular celebration of Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia between 1713 and 1715. The column was also understood to be an expression of local patriotism, since all artists and master craftsmen working on this monument were Olomouc citizens, and almost all depicted saints were connected with the city of Olomouc in some way. The column is the biggest Baroque sculptural group in the Czech Republic. In 2000 it was inscribed on the UNESCO World Heritage Sites list.
The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it.
The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus’ earth life – his mother’s parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming – who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.
Below them, the second stage is dedicated to Moravian saints St. Cyril and St. Methodius, who came to Great Moravia to spread Christianity in 863, St. Blaise, in whose name one of the main Olomouc churches is consecrated, and patrons of neighbouring Bohemia St. Adalbert of Prague and St. John of Nepomuk, whose following was very strong there as well.
In the lowest stage one can see the figures of an Austrian patron St. Maurice and a Bohemian patron St. Wenceslas, in whose names two important Olomouc churches were consecrated, another Austrian patron St. Florian, who was also viewed as a protector against various disasters, especially fire, St. John of Capistrano, who used to preach in Olomouc, St. Anthony of Padua, a member of the Franciscan Order, which owned an important monastery in Olomouc, and St. Aloysius Gonzaga, a patron of students. His sculpture showed that Olomouc was very proud of its university. Reliefs of all twelve apostles are placed among these sculptures.
The column also houses a small chapel inside with reliefs depicting Cain's offering from his crop, Abel's offering of firstlings of his flock, Noah's first burnt offering after the Flood, Abraham's offering of Isaac and of a lamb, and Jesus' death. The cities of Jerusalem and Olomouc can be seen in the background of the last mentioned relief.