Vienna. The Ringstrasse.

Gustav Philipp Otto Willmann was born on April 24, 1839, in the town of Lissa (now Leszno, Poland). He was rooted in Austrian-German Christian upbringing and received his education in Breslau and at the University of Berlin. Willmann taught pedagogy in Leipzig and Vienna. In 1907, Otto Willmann played a pivotal role in the formation of the Christian Pedagogy Union.

He divided educational science into three fundamental parts: theoretical, practical, and historical. The theoretical aspect was captivating, the practical aspect was stringent, and the historical aspect bordered on nationalism. Willmann viewed religious and ethical norms as tools for transmitting scientific and cultural heritage from generation to generation. While he achieved success in some aspects, others interpreted these principles as something much greater, such as the National Socialists.

Gustav Philipp Otto Willmann passed away on July 1, 1920, in the city of Leitmeritz (now Litoměřice, Czechia).

At the intersection of streets, you'll find a charming designer store, primarily specializing in interior design. While there may not be anything extraordinarily unique, the overall atmosphere of this cool city bathed in sunlight, adorned with beautiful buildings and pedestrian streets, combined with quirky designer pieces, undoubtedly evokes a sense of European charm. It's the kind of European allure that tenderly caresses the soul and heart during many strolls through capital cities.

The Kursalon, or Kursalon Hübner, is a concert hall built on the site of old fortress walls. As early as 1857, Emperor Franz Joseph made the decision for a comprehensive reorganization of Vienna's transportation. The fortress walls were dismantled, and the newly opened, broad space began to be developed with wide boulevards. This period marked a golden age for architects and builders, giving rise to the modern avenues of Vienna.

Among the many attractions, the city park was inaugurated in 1862, featuring a spa facility that offered mineral waters from all corners of the empire. On October 15, 1868, Johann Strauss held his first concert here, and since then, the fate of the structure has been inseparably linked to concerts and performances. In 1908, Kursalon was leased to Hans Hübner, leading to the adoption of its new name. Almost 90 years later, in 1990, the Hübner family acquired the building from the city administration, turning it into private ownership.

The golden statue of Johann Baptist Strauss in Vienna's City Park stands as one of the most photographed monuments in the Austrian capital. Born into a family of musicians, Johann Strauss's father, Johann Strauss Sr., was also a composer, and his brothers, Joseph and Eduard, followed suit. The patriarch of their father's side, born in Buda, embraced Christianity as a Jew, paving the way for his children to enter the broader world.

Among the talented descendants of Johann Michael Strauss, only his great-grandson, Johann Baptist, earned the enduring title of the "King of Waltz." In 1903, four years after Strauss's death, a committee chaired by Princess Rosa Kroy-Sternberg (1836-1918) was formed to create a monument in his honor. Initially, plans involved constructing an entire structure, with a dedicated space in the city allocated for it. However, in 1907, the current location in the City Park was chosen.

Vienna's city council pledged financial support of 10,000 crowns in 1905 (not paid until 1913), and in 1906, a competition was announced. Among the participants was architect Alfred Castelliz (1870-1940) and sculptors Franz Metzner and Edmund Hellmer, whose project received unanimous approval. Execution of the project was delayed due to financial difficulties and the outbreak of World War I.

Finally, on January 23, 1920, Vienna's city council allocated funding once again, and on June 26, 1921, the monument was ceremoniously unveiled, accompanied by a performance by the new Vienna Philharmonic Orchestra. In 1935, the gilding of the statue was damaged (recalling the composer's Jewish heritage), and it was only restored to its original state in 1991. A comprehensive reconstruction, costing approximately 300,000 euros, took place from the foundation to the statue in 2011. Replicas of the statue can be found since the Expo 1990 in Osaka, Japan, starting from Expo 1999 in Kunming, China, from 2002 in Parque Los Coloniales in Havana, Cuba, and since 2016 in front of the Shanghai Tower.

Donauweibchenbrunnen, the Danube Maiden Fountain, is composed of a karst limestone column, four round basins, and gargoyle-like masks. At the top of the stone column stands the figure of a woman on the Danube, a mythical character who supposedly aided poor fishermen or warned them of floods in the Danube. At her feet is a small plaque with the coat of arms of Vienna.

Originally commissioned by the municipality of Vienna in 1858 for the Fischhof (Fishermen's Shore), the fountain was created by Hans Gasser. However, it was not installed there; instead, it was stored in a city warehouse for two years. On September 30, 1865, it was finally unveiled to the public as the first figurative decoration of the city park.

During World War II, the Danube Woman, made of expensive and fragile Carrara marble, was severely damaged. In 1948, sculptor Fellinger created a stone copy that replaced the original. Nevertheless, rumors circulate about copies and originals. Some claim that the original Danube Maiden is located in the Hotel Imperial on the Ringstrasse. There are also stories that a small version of the fountain, also made of Carrara marble, is preserved in the Wine Museum at Karlsplatz. Another authentic version, it is said, was located in the former Roman bath in the 2nd district of Vienna.

Emil Jakob Schindler was born in Vienna's Leopoldstadt (the other side of the Danube) in the former fishing village that was under the protection of the Danube Maiden. His father was a prominent industrialist who prospered in the textile business. The father wished for his son to pursue a respectable government career, but Emil did not fulfill this wish; instead, he began studying painting at the Academy of Fine Arts.

Schindler became a leading figure in the moderate Viennese Impressionist landscape painting school. Hans Makart was one of his friends. At the age of 31, he married Anna, who was already pregnant with their daughter Alma. The small family lived together with fellow artist Julius Victor Berger. During Emil Jakob's absence, Anna Schindler began a relationship with Julius Victor, and Margaret Julie Schindler, born on August 16, 1880, is likely Berger's daughter. Emil Jakob Schindler died at the height of his success in 1892 due to an untreated appendicitis. He was buried in the Vienna Central Cemetery, a tomb created by sculptor Edmund Hellmer but unfortunately destroyed by the consequences of the war.

Schindler's widow remarried in 1895 to artist Karl Moll (1861-1945), with whom she had a relationship during her husband's lifetime. Both are buried in a tomb near Alma Mahler on the Grinzing Cemetery.

Now, the intriguing fate of Emil Jakob Schindler's first daughter, Alma, unfolds. At the age of 17, Alma was courted by artist Gustav Klimt. She had a romance with composer Alexander von Zemlinsky but married composer and conductor Gustav Mahler, who was 19 years her senior. In this marriage, she gave birth to two daughters—Maria, who died at the age of five, and Anna. During Mahler's lifetime, Alma began a romance with architect and Bauhaus founder Walter Gropius, whom she eventually married after Mahler's death and a passionate affair with artist Oskar Kokoschka. Kokoschka dedicated one of his finest paintings, "Bride of the Wind," to her. In her short marriage to Gropius, she gave birth to a daughter, Manon. After divorcing Gropius, she became the wife of writer Franz Werfel, with whom she emigrated to the United States. She recounted her life story in her autobiography, "And the Bridge is Love."

Public opinion about Alma Mahler-Werfel was highly polarized. She considered herself a muse, inspiring creative minds, and some contemporaries agreed with this assessment. Berndt W. Wessling, one of Alma Mahler-Werfel's biographers, called her a "symbolic figure in the history of this century." Others saw Alma as a sexually obsessed, fateful woman who used her famous companions, an anti-Semite who wrote in her diary that dealing with Jews was acceptable but marrying them was not, and someone who compelled Franz Werfel to renounce Judaism before their marriage. Writer Gina Kaus stated that Alma was the worst person she knew. The wife of Ivan Goll, Claire, wrote that "anyone who marries Alma Mahler must die," and Alma's friend Marietta Torberg believed that Alma was both a great woman and a cesspool.

Anton Bruckner was born in Ansfelden, Upper Austria, in 1824, and he passed away in Vienna in 1896. He rests in a crypt at the St. Florian Abbey. Just three years after his death, a monument was unveiled in the city park, designed by Victor Tilgner and Fritz Zerritsch. Although this monument suffered vandalism, it was restored and later relocated to the garden of the Music University. The current pedestal, crafted by artist Stefan Kamesky, replaces the original design, providing better protection against vandals. Unfortunately, vandalism of monuments is a common occurrence in the city park. The history of this destructive behavior is said to begin with far-right elements whose ideals of an Austria for Austrians led them to deface monuments of those they deemed afflicted with liberalism, openness, and tolerance. Ironically, modern vandalism has become a tradition among assorted troublemakers devoid of any particular views or ideals, except for simple hooliganism and lawlessness.

Following the trend of other European cities, Vienna's first public clock was installed in 1415 on the southern tower of St. Stephen's Cathedral. Until the 18th century, predominantly church clocks were present, usually mounted on bell towers. During the 19th century, clocks began to appear on other buildings, including town halls. The current clock face with hour and minute hands became the standard due to the increased need of citizens to know the exact time.

In 1862, clocks were installed in St. Stephen's Cathedral in two round windows. While the left clock features a traditional dial and hand, the right one received a jumping mechanism for the hourly and five-minute hands, which was replaced in 1909 by a single-minute jump. Numerous improvements in providing the citizens with clocks were made starting from 1864, based on a resolution of the Vienna City Council. Among other things, all suburbs received at least one public clock. Additionally, in some tower clocks, the dial was replaced with transparent illumination, allowing the time to be visible at night.

In 1865, a new type of clock was introduced: tabletop and column clocks designed as part of Stadtmobiliar. The first column clocks were put into operation in September 1865 as a pilot project in Am Hof and were installed near Karltor on Praterstrasse.

In 1877, the world's first clocks with pneumatic drive were ceremoniously put into operation on Schottenring. When these clocks proved too inaccurate over time, alternative methods of clockwork control were sought. Friedrich von Lössl developed a solution that took into account daily changes in air pressure and air temperature to prevent the heating or cooling of the winding spring.

In August 1883, a pavilion equipped with "World Clocks" was opened in the city park. The clocks displayed the current time in Vienna, created a special hourly show at dawn and dusk, and were equipped with several smaller clocks showing the time in various other cities, such as Paris, London, and Istanbul.

After the electrification of Vienna's tram in 1897 and street lighting in 1902, the first electric clocks in Vienna were opened in October 1906, crowning the Arthaberbrunnen in Arthaber Park. And the oldest and most famous clocks in the city, we will see later. It would be good to make it by 12:00.

In 1896, at the age of 16, Robert Stolz graduated from the Vienna Conservatory. Within a year, he became the opera concertmaster at the City Theater in Graz, then the conductor in Marburg, followed by Drava, and in 1902, at the city theater in Salzburg. During World War I, Stolz served in the Austrian Imperial Army as a conductor. After the war, facing a widespread crisis, Stolz decided to venture into a "fail-safe" venture and opened the variety theater "Max und Moritz." Later, he would describe this venture as "the biggest fiasco in my entire career," and, fleeing from creditors, Stolz moved to Berlin in 1924. Two years later, in 1926, he returned to Vienna.

After the National Socialists came to power in 1933, R. Stolz secretly transported several Jews and politically persecuted individuals to Austria in his limousine. In total, he made 21 trips. In 1938, after the Anschluss, Stolz managed to reach Paris via Zurich. Before fleeing Vienna, Stolz's fourth wife, a certain Lilli, leaving him, took all the valuables and documents. Finding himself in Paris penniless, Stolz was arrested by the French police on November 30, 1939, and interned in the "Colombe" camp as a "hostile foreigner." He was aided by a chance encounter with the nineteen-year-old daughter of a French banker, Yvonne Louise Ulrich, who was studying law in Paris. She collected several thousand francs as a bribe for the composer's release.

In 1940, Stolz emigrated to New York, where he spent the entire war. On August 28, 1941, Stolz was stripped of German citizenship, and his property was confiscated. On October 30, 1946, Robert and the French girl who saved his life, now his wife Anzi Stolz, returned to Vienna. They became the first civilians allowed to fly from the US to Austria. They had visas numbered 1 and 2. A ceremonial reception was organized in their honor at Vienna International Airport, attended by the mayor of Vienna, Theodor Körner.

From the idea to the creation of the Schubert monument to its realization in 1872, almost ten years would pass. It's worth noting that in 1862, the Society of Viennese Men's Choruses initiated the idea of honoring the memory of the great composer through paid concerts, with the proceeds intended for the monument. Everything would have been fine if the majority of the funds had not been spent on new lively nights and popular concerts. However, this initiative inspired other singing clubs to also participate in financing.

Two years later (1864), after abundant singing, it became clear that the monument should be placed in the city park, but where? The Men's Choral Club argued for the only elevated point in the city park (later called "Zelinkahügel"), but a place was found in accordance with park architecture. Then another question arose: Schubert without glasses! With a score and a pen? But the Art Advisory Committee of the City Council found it original to place Schubert under a linden tree, in a natural environment, celebrating the character and spirit of the great composer. Closer to the people, with a gaze towards the people, with the music of the people. "From the green deciduous thread," it was later said, "the marble figure of Franz Schubert stands out for years."

This flower shop, located at the entrance of the city park, has been in existence for almost 80 years. It was opened in 1940 and has been the most convenient and pleasant place to buy a bouquet before a date in the park. Indeed, there is a quite extensive selection of flowers that catch the eye from afar. The prices are quite reasonable (speaking from the experience of an average resident of Tel Aviv). A small bouquet starts from 10 euros. The staff is very friendly. In front of the flower shop, there is a bus stop, and you can see many people passing the time waiting for the bus by choosing a beautiful bouquet, either for themselves or as a gift.

In 1867, the architect Karl Tietz constructed a three-story building for the Klein industrialist family. The rear wing was destroyed in 1945. The strict palace is designed in the Neo-Renaissance style. The columned portico of the arched portal was demolished in 1958, and the side niches were broken to create entrances. In 1989, the palace underwent restoration. In the Beletage, you can observe a well-preserved interior ensemble: a three-story hall with a ceiling fresco "The Foundation of the Hearth" is accompanied by a suite consisting of a hall and two salons. The ballroom is adorned with light-blue wall panels and a ceiling depiction of the seasons. The Klein family was involved in the construction of iron and, especially, railway bridges. The Klein brothers were among the pioneers of railway construction in the monarchy. The first route, built in 1837, ran from Vienna to Gänserndorf (Kaiser Ferdinand Nordbahn). In 1847, the Gebrüder Klein company was founded. By 1873, the Klein brothers had built over 3500 kilometers of railway lines throughout the monarchy. In 1844, the brothers acquired factories in Zöptau (Czech: Sobotin). Owning this industrial complex allowed the company to produce the steel needed for their own constructions. In Zöptau, a bridge-building factory was established, initially comprising chain bridges and later other steel bridges. By 1898, 1436 railway bridges had been produced.

In 1893, Karl Lueger founded the Christian Social Party, which held explicit anti-Semitic views. Two years later, he won the municipal elections in Vienna and became the mayor of the city, known for his anti-Semitic stance. Lueger's views were disrespected by some and admired by others, but there is no doubt about his influence on Adolf Hitler, who would arrive in Vienna almost a decade later. Hitler rented cheap accommodation near the river but frequented various cafes, including Café Central. The atmosphere in Viennese cafes was unique. They were not strictly divided into right or left, faithful or unfaithful, good or bad, one's own or others'. These divisions would come later, when trouble arrived, and the name of that trouble was war. Hitler was disturbed by what he considered the inconsistency of Lueger's anti-Semitism. Alongside anti-Semitic speeches, Lueger maintained friendships with many Jews, and his statement "I decide who is a Jew" was later adopted by Hermann Göring. Lueger was an excellent mayor of the city, contributing significantly to the development of infrastructure and charitable institutions in Vienna. It is quite possible that the affordable housing Hitler rented became possible due to Lueger's policies. Writer Stefan Zweig, who lived in Vienna during Lueger's tenure, characterized his administration: "His governance of the city was absolutely fair and even typically democratic." Lueger is still revered as one of Vienna's remarkable mayors. One of the Vienna boulevards, the Ringstrasse, is named in his honor, and a monument stands on the square named after him. Lueger is buried at the Central Vienna Cemetery in a memorial church erected specifically for him, the Karl Lueger Memorial Church.

Here, you can see ancient walls and gates. The history of the gates spans at least three architectural phases. The oldest gates, Stubentor, were built around the year 1200. They consisted of a passage and a tower referred to in chronicles as the "Black Tower." Construction took place from 1195 to 1250. These gates, built in the Renaissance style, stood until the first Turkish siege in 1529. After the siege, from 1555 to 1566, the 25-meter Castentor tower with a bell tower was erected. The city wall withstood the second Turkish siege in 1683 and stood until 1831 when it received a classical facade. The demolition of the walls, extending to the present-day Coburg Palace, lasted from April 9 to September 19, 1862. Excavations in 1985-1987 during the construction of the U3 metro line and the eponymous station revealed part of the Black Tower walls. On March 10, 1528, Balthasar Hubmaier was executed in front of these gates. A black memorial plaque on the remains of the wall commemorates his death: "Doctor Balthazar Hubmaier 10.3.1528 was burned before Stubentor as a Baptist." Numerous funeral processions passed through Stubentor towards St. Mark's Cemetery in the 18th and 19th centuries. At that time, it was customary for mourners to accompany the hearse to the gates. One of Vienna's most famous residents finally left the city on the evening of December 6, 1791. It was Wolfgang Amadeus Mozart. The funeral procession, as usual, reached the gates, and in the darkness, no one accompanied the composer's body beyond them.

The Dominican Church, also known as the Church of St. Mary Rotunda, is an early Baroque parish church. The first church was built in 1237 on land donated by Duke Leopold VI. After fires and destruction in 1631, the Dominicans began constructing a new church based on the plan of architect Prince Maximilian Liechtenstein. Architect Jacopo Spazio, who had long served the Liechtensteins, adorned the principality with his works, and they continue to embellish their lands to this day. The church was consecrated on October 1, 1634. The final touches were given in 1674. The church was elevated to the status of a basilica in 1927 under the name "Rosary Basilica and St. Mariam Rotunda."

The monument to Ivan Franko, a Ukrainian writer, may seem unexpected for Vienna. However, considering the historical connections and the influence of the Austro-Hungarian Empire in the territory of Western Ukraine, where Chernivtsi was a classic Austro-Hungarian city, the presence of such a monument becomes more understandable. This monument, created by Lviv sculptor Lyubomyr Yaremchuk and installed next to the monument, introduces an element of multicultural and cultural diversity into this part of the city, reflecting historical connections and the influence of various cultures.

On the left side of the entrance, on the wall of the house, there is a memorial plaque dedicated to the Ukrainian composer and conductor Andriy Hnatyshyn, who worked in this church from 1931 to 1995, leading the choir. The Greek Catholic Church emerged at the crossroads of Catholicism and Orthodoxy in the once Eastern regions of the Austro-Hungarian and Western regions of the Russian Empire. However, the history of the church and its traditions goes back much further. But, that's a story for another time.

The Greek Orthodox Church in Austria is the official name for certain Orthodox churches in Austria. The ancient name traces back to Emperor Joseph II's Patent of Tolerance in 1782 and encompasses not only the Greek Orthodox but also other Orthodox churches in Austria. Remember that Joseph II was the son of Maria Theresa, and the High Baroque style emerged during his era. This part of the city was inhabited by very diverse people with different religious affiliations. Nearby is also the Jewish quarter, but first, let's explore the oldest part of Vienna.

"Ach, du lieber Augustin" is an Austrian folk song. Do you remember the story of the Schubert monument in the city park? It is believed that this song originated in Vienna during the plague of 1678–1679. The authorship is attributed to a certain Augustin - a wandering singer and drinker. The story goes that Augustin, heavily intoxicated, stumbled into a pit where the bodies of those who died from the plague were thrown. He fell asleep there, and in the morning, when he woke up and climbed out of the pit, he had to prove that he was alive and not a resurrected zombie. To do this, he started singing his famous songs, and his friends and, apparently, some female companions rejoiced and exclaimed: "Oh, my dear Augustin." By the way, according to church records, a certain Augustin is mentioned, who died on March 11, 1685, from alcohol poisoning at the age of 35.

It is said that the history of the Roman camp on the Danube began here. A fortress for the 15th Roman legion was built here, and it was named "Vindobona," which means "Good, Nice Vind." The origin of "Vind" sparks various thoughts, from the wind to the Proto-Slavic or Celtic Vindevon, Vendevun ("dwelling place of the Wends," referring to the Slavic tribes living here). However, archaeological excavations have not confirmed the presence of any Roman settlement in the area of today's old town. In the early 5th century, Vindobona experienced a severe fire, and by the end of the 5th century, the Romans abandoned the site. The fact that the topography of the center of Vienna still includes almost the entire topography of the Vindobona camp suggests that, immediately after the departure of the Romans, people sought refuge there, living near the still-standing walls and using the materials left by the Romans to build dwellings.

Greek Orthodox Church and a memorial plaque dedicated to Rigas Feraios, also known as Rigas Velestinlis. He was a Greek freedom fighter and advocate for independence who opposed Turkish rule and found political refuge in the Austro-Hungarian Empire, specifically in Vienna. His ideas inspired Byron and Pushkin, but his revolutionary plans did not come to fruition. He and his like-minded associates were arrested in Trieste by Austrian police and handed over to Turkish authorities. Rigas was executed in the Belgrade Fortress. His last words were, "I sowed freedom; let others reap it."

At the beginning of the 19th century, with reforms and enlightenment, Vienna allowed the construction of synagogues and the settlement of Jews once again. Due to the thriving ideas of reform within the Jewish community, the 'City Temple' (Stadttempel) was built here. It is the only synagogue in Vienna that has survived to this day. One of the rabbis of this synagogue was Adolf (Aaron) Ellinek. He had a granddaughter named Mercedes. Her name is pronounced with a sigh to this day. In her honor, a car from Daimler and Benz in Stuttgart was named. In 1858, on the other side of the city in the new district of Leopoldstadt, another synagogue was built, the Leopoldstadt City Temple. That synagogue was completely destroyed during Kristallnacht in November 1938.

Here, events related to Adalbert Stifter and the Solar Eclipse took place. It's strange why the Viennese decided to install a memorial plaque for this event here. After all, it's evident that he was not the only person in Vienna at that time who observed the eclipse. But he was the only one who wrote a detailed personal essay about witnessing the eclipse, and wrote it well. Today, almost 170 years later, this essay may seem tedious and contrived, but let's remember that back then, there was no internet, no telephone, no television, and, quite hard to imagine, no photos. There was only pen and paper. Adalbert Stifter (October 23, 1805 – January 28, 1868) was an Austrian writer, poet, artist, and teacher. He excelled in vivid natural landscapes, which he masterfully described in his writings. He remained popular in the German-speaking world for a long time, remaining almost entirely unknown to readers in other languages. The solar eclipse of 1842: '... as soon as I ascended to the observation platform high above the entire city, this phenomenon appeared before my eyes. It's amazing how things are structured that I never thought about. Neither about how admiration is arranged, nor about how dreams are arranged. No one thinks about it unless they have seen this wonder. Never in my entire life have I been so shaken, both in distress and sublimity, as in those two minutes—it was something like if God had told me everything at once, and I understood it...'

The coat of arms depicts the Jerusalem Cross with an olive branch lying on it. This branch is renewed and brought from Jerusalem, a task taken care of by the Austrian Hospice in the Old City. From Wikipedia: Ruprechtskirche (German: Ruprecht's Church) is the oldest church in Vienna. It is dedicated to Saint Rupert of Salzburg, the patron saint of salt merchants. Located in the northern part of the Old Town, not far from Hoher Markt square. The church was built between 796 and 829.

The architectural ornamentation belongs to the Romanesque style. According to legend, Ruprechtskirche was founded by Künwald and Gizalrik, companions of Rupert during his tenure as the Bishop of Salzburg. The first mention of it as Vienna's oldest church dates back to the year 1200. After the destruction of the Roman settlement, the city began to grow around the church. It served as the location for religious rites before this function was transferred to St. Stephen's Church in 1147.

Jewish Street. Today, there are not many traces of Jewish life in Vienna. Yet, in 1923, Jews constituted over 10% of the city's population. The names Judengasse or Judenplatz, along with monuments and memorial signs, serve as reminders of the life that was destroyed during the Nazi period. Only the graves in the old part of the Jewish section of the Central Cemetery are silent witnesses to the once-thriving community. By the way, today, this entire neighborhood is filled with pubs and bars that come alive at night. If you're looking for such entertainment in Vienna, this is the place to be, in the Jewish quarter :)

Memorial plaque dedicated to Theodor Herzl - a native of Vienna, the man who founded the Zionist movement (the return of Jews to Zion - Jerusalem) and the herald of the Jewish state. In Israel, in the city of Herzliya, on one of the hills above a busy highway, stands a huge silhouette of Herzl. It is based on a famous photograph, and beneath it is the inscription: "If you will it, it is no dream" - words he spoke here in Vienna almost 100 years ago. In the same years when in Paris there was a shameful trial of the Jewish officer Dreyfus, Herzl said: "If today they treat a Jewish officer like this, then after some time, they will start burning us here." Truly, a prophet of the 20th century. Ironically, opposite the memorial plaque, there is a stone block - a remnant of a Roman bath. A remnant of the empire that created Vienna, gave Christianity to the barbarians, destroyed Jerusalem, and took away the homeland from the Jews.

On this square in 1981, an anti-Jewish terrorist attack occurred, orchestrated by Palestinian terrorists. During a machine gun and grenade attack, two people were killed, and thirty individuals, who were celebrating their bar mitzvah at the Stadttempel in Vienna on August 29, 1981, were injured. Two Palestinian militants, 25-year-old Marwan Hasan from Jordan and 21-year-old Ghesham Mohammed Rajeh, born in Iraq, were convicted of murder and attempted murder. Rajeh was also charged with the murder on May 1 of Heinz Nittel, the head of the Austrian-Israeli Society.

In this building, Belvedere Filmproduktion was revived. Under the name Belvedere Film, it emerged in 1999. It was originally founded in Vienna in 1946 by producer August Douglas, silent film pioneer Emmerich Hanus, and one of the youngest women in history to establish a film studio, singer and pianist Elfi von Dassanowsky. This post-war studio in Central Europe produced important comedies, dramas, musicals, and launched star careers from 1946 to 1951. John Walker, editor of Halliwell's Who's Who in Movies, highly praised Belvedere Film, stating it marked the beginning of the revival of the German film industry.

Here, on the oldest square in Vienna, in close proximity to the location of the headquarters (Praetorium) of the Roman settlement of Vindobona (Vienna), the insurance company "The Anchor," founded in 1858, built its headquarters - the Anchor House, between 1912 and 1914. Along with it came the "Anchor Clocks." Renowned artists were involved in their creation. The clocks not only tell the time but also entertain the public and educate by showcasing important dates in Austrian history and featuring historical figures. There is a key on the wall to identify each person. I) Emperor Marcus Aurelius; II) Charlemagne; III) Duke Leopold VI; IV) Walter von der Vogelweide (minstrel); V) King Rudolf von Habsburg; VI) Hans Puchsbaum (architect and builder); VII) Emperor Maximilian I; VIII) Mayor Andreas von Liebenburg; IX) Count Rudiger von Starhemberg; X) Prince Eugene of Savoy; XI) Empress Maria Theresa; XII) Joseph Haydn (composer). The first ten are accompanied by an Austrian folk melody, but Empress Maria Theresa is accompanied by a Mozart minuet, and Haydn is accompanied by one of his own pieces.

The Sworn Obelisk on the Market Square (formerly the Roman Forum) dates back to the oath made by Emperor Leopold I in 1702 before his son Joseph set out to besiege the fortress of Landau during the War of the Spanish Succession against France. Joseph returned unharmed, victorious. However, it was only after Leopold's death on May 5, 1705, that his sons fulfilled the vow. Under Joseph I, according to the design of the court architect Johann Bernhard Fischer von Erlach, the sculptural composition depicted Saint Joseph - the betrothed of the Virgin Mary. Originally, the composition was made of wood. Over time, the image of Joseph and Mary came to remind the citizens more of a wedding than the emperor's oath, and the fountain was called the Wedding Fountain. Subsequent reconstructions and embellishments aimed at making it more beautiful were carried out.

The building of the Old City Council was a gift to Vienna from King Frederick III, also known as Frederick the Fair. He was indeed handsome but gained fame for his noble deeds. For instance, history doesn't know many rulers who, after failing to keep a promise, voluntarily went into exile. Here's the story: Frederick the Fair ruled Austria and Styria jointly with his brother Leopold in the distant 14th century. At that time, a major scandal erupted over the title of ruler of Bavaria and the German throne. Frederick suffered defeat and was released from captivity with the promise to persuade his brother Leopold to lay down arms. However, when Leopold refused to do so, Frederick returned to Munich to serve his punishment. This event later inspired Friedrich Schiller to create the plot for his poem "German Fidelity." Despite this, everything turned out well for Frederick. His actions impressed everyone, and he peacefully lived out his life in a castle near Vienna.

This house on Judenplatz was built in the late 15th to early 16th centuries. It features a relief depicting the baptism of Jesus in the Jordan River. The inscription below reads: "The waters of the Jordan wash away the filth and evil from the body. Everything hidden and sinful disappears." The presence of this relief is not coincidental. The most dreadful period in the medieval history of Vienna's Jewish community occurred in 1421, known as the Viennese Gesera. In May 1420, by order of Duke Albert V, Jews across Austria, including Vienna, were arrested. They were given the choice to either convert to Christianity or leave Austria. Jewish children under the age of 15 were forcibly baptized. By the beginning of 1421, the majority of Jews were expelled from Vienna. Members of wealthy families were subjected to coercion to convert. On March 12, 1421, Duke Albert issued a new decree condemning the remaining Jews in Vienna to death. On the same day, 92 Jewish men and 120 Jewish women were burned at the stake on the Gesin Field. Baptism is a fundamental element of Christianity. This relief has been a constant reminder to Jews for five centuries of the decision they were compelled to make – to convert. It stands at the very heart of the Jewish quarter.

On Judenplatz stands a monument to the German poet Gotthold Ephraim Lessing, created by Siegfried Charoux. This sculpture was commissioned in 1930 after Charoux won a competition among 82 sculptors. The sculpture was completed in 1931/1932 and unveiled in 1935. In 1939, the Nazis demolished the monument.

Lessing, in his play "Nathan the Wise," which became a sermon on tolerance and humanity, managed to convince German readers without doubt of the credibility of the plot. He argued that there were worthy individuals among the Jews, using Moses Mendelssohn as the prototype for Nathan. The meeting in 1754 between Lessing and Mendelssohn, beginning with their shared passion for chess, played a decisive role in Mendelssohn's destiny, as Lessing patronized him for many years. Their friendly interaction over the chessboard is depicted in Moritz Daniel Oppenheim's painting "The Visit of Lessing and Lafater to Moses Mendelssohn."

Moses Mendelssohn, a prominent figure in the Haskalah movement, believed that Jews should maintain their Jewish identity in private life while integrating into the surrounding society publicly. By the late 18th century, Vienna had become a significant center for the Haskalah movement, whose supporters advocated for Jews to receive a general education and for the erasure of boundaries between Jews and non-Jews. However, the path to these changes was long and challenging.

During the war years in Austria, 65,000 Jews were annihilated. This memorial was created by English artist Rachel Whiteread, whose design won a competition announced in 1995. In 2000, the monument was installed in the square. The memorial is an exterior and enclosed library consisting of a cube with library shelves full of books. The books have no spines; they are closed and sealed within themselves. The doors, suggesting the possibility of entering inside, are locked. The shelves are filled with seemingly endless editions of the same book, symbolizing, according to Jewish tradition, the book of life.

After the first expulsion, nearly 100 years passed before Jews began to return to Vienna. Around 1512, approximately 15 Jewish families settled in Vienna. In 1648-1649, a number of Jews arrived in Vienna from Ukraine, fleeing from Bogdan Khmelnytsky. In 1624, Austrian Emperor Ferdinand II established a ghetto in present-day Leopoldstadt. However, in 1669, Emperor Leopold I expelled the Jews from Vienna for the second time. During this expulsion, the synagogue in Leopoldstadt was converted into the Catholic Church of St. Leopold.

The second expulsion of Jews from Vienna was much shorter than the first. Austria's treasury had been depleted by the war with the Turks, and the emperor needed Jewish funds. Jews were allowed to return to Vienna, but they were heavily taxed. The leaders of the restored Jewish community in Vienna were the "court Jews" Samuel Oppenheimer and Samson Wertheimer. Throughout the 18th century, the Jewish community in Vienna remained very small, with Maria Theresa referring to Jews as the "most terrible plague." Around 500 Jews lived in Vienna. Viennese Jews suffered from various discriminatory laws. Jews were forbidden to have their religious community and conduct public worship. Some relief in this regard came during the reign of Maria Theresa's son, Joseph II. However, Joseph II's reforms primarily affected Bohemian (Czech) Jews (the Prague ghetto was abolished, and grateful Prague Jews named the district where they continued to live Josephov). Nevertheless, the Edict of 1782 declared the goal of "making Jews useful to the state," allowing Jewish children to attend general education schools and universities, permitting Jews to engage freely in trade and entrepreneurship, abolishing the mandatory wearing of the yellow star of David, and eliminating the special "Jewish tax." However, Jews were still prohibited from using Hebrew and Yiddish, and they were required to use only German. All of this contributed to the development of assimilationist tendencies among Vienna's Jews.

Am Hof Square is one of the most well-known and renowned squares in Vienna. The Babenberg rulers of Vienna and Styria established their court here, where Henry II moved the residence in 1155. The court was separated from the Jewish quarter by gates. Ten years after the construction of this residence, an illustrious guest visited - Frederick Barbarossa. He was on his way to Jerusalem during the Third Crusade. Later, the square became a venue for knightly tournaments and tournaments of medieval German Minnesingers - bard poets. It then became a market square where vegetables and fish were traded. Traditionally, since the time of the knights, an arsenal stood in the square. It was actively used during the Turkish siege of Vienna. In the second half of the 19th century, armor belonging to Maximilian I was extracted from this arsenal to create a knight for the new building of the city hall. However, in the mid-19th century, things were not so romantic here. During the bourgeois revolution of 1848-1849, a crowd stormed the Arsenal. The building was raided, and the military minister, Theodor von Latour, was pulled out and hanged on a lamppost. Today, this square is known to locals and visitors as the largest Christmas market square in the city.

This equestrian statue and the inscription beneath it, seemingly unrelated, each hold their own city legend, intersecting somewhere in the historical tapestry. The inscription, "Since Hayden Sits" (or shoots), is first mentioned in 1365, found in various chronicles until 1664. By 1701, there's a reference: "At Hayden's House or Kell, where the Turkish Rider is located."

The building itself is relatively young. In 1850, Wilhelm Albrecht purchased it along with adjacent structures, demolishing them to erect a new building. A Saracen figure appeared on the corner of the new structure, and on its pedestal, the inscription "To Hayden Shot." The origin of this sign is unclear. However, legend has it that a nearby baker, upon hearing of an underground tunnel being dug, alerted military leaders, saving the city from destruction. Clearly, the Turks couldn't have advanced so far beneath the city walls. As a token of gratitude, the bakers' guild earned great respect in the defense against the Turks and was granted the right to hold a guild parade in the city in 1809.

The Estergazi Cellar. In this part of the old town, there are quite a few restaurants and taverns, many of which have ancient history and traditions. The cellars of Estergazi tell the story of their famous past, a time when guests had already enjoyed a few drinks. This happened in 1683 when the Turks besieged Vienna. King Leopold I and his entourage panicked and left the city, but thanks to the Polish and Lithuanian King Jan III Sobieski, Cossacks, and Hungarian warriors like the Estergazi, the course of European history was altered. Before the battle, the warriors drank quite a bit for courage. Hungarian soldiers from Estergazi took their place here. The cellars were filled with young wine, flowing like a river. Thus began the history of the Estergazi tavern. Since then, the cellars of Estergazi have housed the liveliest Viennese wine, and the court kapellmeister of Prince Estergazi, Joseph Haydn, is said to have requested wine from the Estergazi cellars during the creation of many of his works. By the way, the famous museum in Budapest is named after Estergazi.

Year 1833. In March, Eugene Onegin was published. In August, the city of Chicago was founded. In October, Alfred Nobel was born, and not far from his birthplace in Copenhagen, the fairy tale writer Hans Christian Andersen was very excited about his upcoming trip to Italy. He loved this country and was happy to show the sights of Rome to his friends. But winters in Rome are damp and cold. The chilly weather and the city's unpreparedness for the cold took Andersen by surprise. He fell ill with a fever even before his friends could arrive. The hotel owner where Hans Christian stayed thought it wise to bleed him, and the writer's condition noticeably improved. He decided to return to Copenhagen by a long detour: either he wanted to extend his journey, or he was looking for a reason not to return home so soon.

From Naples, Andersen traveled by steamship to Sicily, from there to Greece, and then overland to Serbia and through Vienna, Prague, and Dresden back to Copenhagen. In Vienna, he stayed in this house. More precisely, the actual house did not survive. Andersen's Viennese sojourn, of a sensitive man who always felt uncomfortable in his homeland, lasted from June to July 1834. Upon his return, he wrote the book "The Poet's Bazaar," which was harshly criticized by reviewers. However, the Danish King Christian VIII admired the work of the great fairy tale writer and even awarded him a royal bow from the box of the Copenhagen opera theater.

The Black Camel Restaurant is one of the most prestigious establishments in the old town of Vienna. Its history dates back to the 17th century when camels, deserts, exotic countries, and the like were a novelty for Europeans. The establishment was founded by Camellius, who returned to Vienna from his trip to the Spanish Philippines. Initially, it served sophisticated and exotic high-taste dishes, but apparently, succumbing to the unpretentious tastes of the Austrians, it transformed into a drinking establishment.

The new trend of fine cuisine and quality drinks that swept Vienna during the bourgeois dawn in the second half of the 19th century prompted the Black Camel to embark on new culinary explorations, offering excellent wines from around the world, along with delectable snacks forming the basis of the restaurant's menu. The place is always bustling, attracting the bohemian crowd, and reservations are recommended. However, if you approach from the side street and you are just a modest and lovely couple, you might find a spot.

If you raise your eyes and look at the sign above the entrance to the building, you can discern and read a mention that ancient Roman structures were discovered at this location. Vienna, as a city that emerged on the site of a Roman settlement, is filled with Roman surprises. They are scattered everywhere, almost entirely replicating the Roman layout. For instance, when you step onto the main street of the city, Graben, you are essentially stepping onto the location of the defensive ditch of the Roman settlement.

"For those who love and appreciate coffee, Julius Meinl is a name you cannot miss. If you're not familiar with Julius Meinl, you're missing out on the essence of coffee." This is how coffee enthusiasts often express their admiration for the legendary figure who created the coffee empire, Julius Meinl. The journey began with a store at Raben 19 in 1862, offering a variety of coffee, cocoa beans, spices, and tea. Julius Meinl II revolutionized the coffee roasting process in 1877, resulting in beans with a unique, natural aroma that set Julius Meinl's coffee apart. The rest, as they say, is history. Interestingly, the iconic moor with a fez logo only emerged in 1924, designed by Joseph Binder, a pioneer in 20th-century industrial design.

Graben is the most famous street in the old town of Vienna. It stretches over the Roman moat, hence its name ("Graben" means trench). Connecting the square in front of St. Stephen's Cathedral with Kohlmarkt, which leads to Augarten Palace, Graben has a rich historical significance. Kohlmarkt, once associated with coal trade, now trades in gold. Today, Graben remains a bustling street, now known for its gold trade, linking the iconic St. Stephen's Cathedral square with Kohlmarkt and Augarten Palace.

Leopold and Joseph. We are already familiar with these names. Remember the fountain on the Roman Forum? Near the anchor-shaped clock? Leopold I had a deep affection for his son Joseph. It wasn't just the vow he made before Joseph went to war; it was a true example. In the second half of the 17th century, during his prosperous reign, Leopold embarked on the reorganization of Graben Street in Vienna. The city had already recovered from the dreadful plague and the first Turkish siege, with no knowledge of the impending second one. Under his orders, the reorganization of the old fountains coincided with the construction of the plague column. Fountains on both sides of it were rebuilt. The first one was Joseph's Fountain, which stands before us, filled with motifs from the biblical figure of Joseph. Joseph, the son of Jacob, and Joseph, the betrothed of the Virgin Mary. Leopold's life and deeds were filled with so much "Joseph," making it difficult to imagine what his own brother Karl, the youngest son of Leopold, must have felt. He was, after all, the last direct heir of the Habsburgs in the male line.

St. Peter's Church also began to take shape during Leopold's reign. This beautiful Baroque building, nestled among other structures, was created by Italian architects and seemingly intended to resemble St. Peter's Basilica in the Vatican. However, before its reconstruction in the early 17th century, the oldest church in Vienna stood on this site. It is said to have inherited Roman structures, and around 800 years ago, it was reconstructed by none other than Charlemagne.

In 1679, a plague epidemic erupted in Vienna. Emperor Leopold I left the city. However, after the plague subsided later that year, by Leopold's order, a temporary wooden column was erected in the city in memory of the victims. The column featured a sculpture of mercy on a Corinthian column and nine angels. In 1683, it was decided to expand the monument with remaining marble statues of angels by sculptor Matthias Rauchmiller, but the project did not gain traction, sparking disputes about the nature of the Column of Atonement. Eventually, the design by theatrical decorator Lodovico Ottavio Burnacini was accepted. It depicted the Holy Trinity above a cloud pyramid with angelic figures and the figure of Faith, in front of whom Emperor Leopold knelt in prayer. Among the sculptors were Tobias Kracker and Johann Bendel. In 1693, the column was consecrated. Despite the extended construction period, changes in the plan, and the number of sculptors involved, the monument presents a cohesive impression. The Vienna Plague Column was replicated and installed throughout the monarchy.

The second fountain in the Plague Column ensemble is dedicated to Leopold, not the father of Joseph and Leopold from the Babenberg dynasty who founded the city of Neuburg (northwest of Vienna) and the medieval Vienna itself. The reliefs depict two events from Leopold's life – the miraculous recovery of his wife's veil and the foundation of Klosterneuburg Monastery. According to legend, during Leopold's wedding to Agnes, the daughter of the German emperor, the wind carried away the bride's veil. Leopold found it nine years later in the forest while hunting and founded a new city – a residence – on that spot. Later, the Danube changed its course, dividing the city founded at the ford into two. The one closer to the former market (Korn) was named Korneuburg, and the one closer to the monastery (Kloster) was Klosterneuburg. In this monastery, the relics of Leopold are interred – declared the patron saint of Lower Austria in 1663 (during the reign of Leopold I, the father of Joseph). Leopold also participated in a crusade and founded other monasteries, including the Monastery of the Holy Cross, which is said to house parts of the cross on which Jesus Christ was crucified.

Stuck im Eisen is a large wooden trunk adorned with countless nails. There are so many nails that the actual trunk of the tree is hardly visible. This peculiar structure has stood for centuries on the corner of building number 2 on Kartner Strasse. Numerous legends surround its origin, ranging from the story of the last tree in the forest where the city was founded to tales of the Devil guarding the secret of an ancient castle, the progenitor of Vienna itself. There's also a story about driving a nail into the trunk on this square for good luck. Perhaps there's a grain of truth in this superstition. In any case, the square is named after the Thing in Iron – Stuck im Eisen Platz.

The square of St. Stephen's Cathedral is the geographical center of Vienna. Once, before the beginning of the 20th century, a row of houses separated the area between St. Stephen's Square and Stuck im Eisen Platz. However, they were demolished, and now there is practically no difference in the names of the squares. The square is bordered by Graben Street and Kartner Street – from Carinthia, which leads to Croatia. This street once led from the city center to Carinthia. The bell tower of St. Stephen's Cathedral is one of the tallest in Europe, and in front of it stands a building made of glass and steel – a work by architect Hans Hollein. This structure has many opponents; some argue that it is inappropriate to defile a Gothic cathedral with steel and glass. However, there are also defenders who say, "Why not? Peace, friendship, solidarity – Gothic and supermodern."