Big storage
(drawing by Julius Hülsen after Carl Theodor Reiffenstein , 1902)
The Große Speicher was a historic patrician courtyard in the northwestern old town of Frankfurt am Main . The houses, grouped around an almost square inner courtyard, were located to the west on Rosengasse (from 1918 Schüppengasse ), to the east on Rotkreuzgasse , both parallel streets from and between the Großer Hirschgraben and Kornmarkt , which no longer exist today . The north side with a walled garden and the south side to Schüppengasse (from 1899 Bethmannstraße ) were built by adjacent houses. The house address was last Schüppengasse 2 or Rotkreuzgasse 1 .
The courtyard complex, which can only be dated vaguely to the Gothic period, was rebuilt in the form of the High Renaissance at the end of the 16th century by a Dutch immigrant . It was thus the earliest documented civil building in the city that adopted this style and has hardly undergone any renovations over the centuries. Shortly before the resulting importance of the Great Warehouse for Frankfurt art history became known to a broader public in the 19th century, far-reaching late Classicist renovations destroyed large parts of the building's condition.
As part of the renovation of the old town in the 1930s, the few remaining remains of the courtyard were carefully removed so that it could later be rebuilt in another location, which was no longer necessary due to the war. At the former location of the building is now the listed former Federal Audit Office , which was built there in the immediate post-war period. Most of the stored parts have survived to this day in urban depots.
history
Etymology, sources and topographical classification
The name Großer Speicher apparently comes from the 18th century. In the sources, even the mention of a granary is not found before the 16th century, before that there was usually talk of a "courtyard". The attribute attached to the house name was introduced in order to distinguish it from two nearby houses, whose older names were also only given in the 18th century by the names Mittlerer Speicher ( Schüppengasse 2 / Bethmannstraße 16 ) and Kleiner Speicher ( Schüppengasse 4 / Bethmannstraße 18 ) were replaced. What the word memory refers to remains unclear. Since medieval house names, due to the lack of a system of house numbers, usually used peculiarities of a house or its owner to distinguish it from other buildings, it can only be speculated that the courtyard, possibly after a renovation, stood out due to a particularly peculiar memory in the sense of a deposit .
In view of its significance for the city's history, comparatively little is known about the history of the building. A until the modern era traceable owner history is in contrast to other major monuments of the city such. B. the golden scales at the cathedral or the salt house at the Römerberg have not survived. Furthermore, many documents that could possibly provide information about this today, in particular the master builders' books from the time of the imperial city , went under with the destruction of the Frankfurt City Archives in early 1944.
There is a relatively extensive monograph from 1902 , which, however, mainly deals with the architecture of the building - which was already greatly changed at the time - and has also handed down important building photographs in printed form. For (then) past periods of time, she often falls back on the only source that describes the building as it was almost as it was when it was built, namely the texts and pictures by the Frankfurt painter Carl Theodor Reiffenstein . They meticulously document the changes in the city from his earliest childhood memories in 1824 until shortly before his death in 1893, around 1885.
On the other hand, the fact that the monograph was co-authored by the then head of the city archives, Rudolf Jung , initially suggests that only a small amount of records existed anyway - he had unrestricted access to the then huge archive holdings during his work (cf. Reception in the 19th century ). A picture of the purely external condition of the facility shortly before its demolition is finally provided by the sketchbooks created for Treuner's old town model in the 1930s, which are preserved in the Historical Museum .
( chromolithography by Friedrich August Ravenstein from 1862 with overlay based on Karl Nahrgang )
How far back the history of the Great Granary may have reached can be determined relatively precisely, despite the lack of sources. The city historian and topographer Johann Georg Battonn remarked on Rotkreuzgasse at the beginning of the 19th century :
"Almost at the end of the alley, where the large granary stands, is the underground canal or the large Andaue over which, as long as it was still open, there was a wooden bridge."
The "Andaue" , so Antauche , formerly scoop called, was nothing but the Braubach , a silted up in the first Christian millennium tributary of the River Main , which in the old town area about today's homonymous street followed. From today's Paulsplatz it ran along the named Schüppengasse - since it was widened to the south in 1899, Bethmannstrasse . It served as a natural moat to a first city wall directly south of it , which was probably built in the 10th century. In the Hohenstaufen era, the city developed beyond these limits from the 12th century onwards and was surrounded by another city wall by 1200 at the latest, the remains of the Staufen wall still preserved today .
After the construction of the Staufen wall, the former trench of the first fortification no longer had any military significance and could now be used as an inner-city sewer, both economically and for sewerage. For this reason, the white tanners and their smelly businesses settled along Schüppengasse. The development there, which for a long time was only loosely characterized by extensive courtyards and gardens, was already recognizable from the fact that the entire area between Großer Kornmarkt , the later Großer Hirschgraben , Schüppengasse and Weissadlergasse was first documented in 1307 in the 14th and 15th centuries , was called "valle rosarum" or "rose valley" .
The Rosental cut through two streets, the aforementioned Rotkreuzgasse in the east and the Rosengasse in the west. It was not until the end of the 16th century that the Staufen wall, which had become useless due to the fortifications located downstream, was demolished in this area and the city moat in front of it, the Hirschgraben , was filled in and converted into the street of the same name. Until then, the Rosengasse was the kennel of the Staufer Wall, which Baldemar von Petterweil described in 1350 as "hic proximus muro opidi" . This state of affairs can still be seen well on the siege plan of the city from 1552, despite the poorly drawn streets in the area. It was not until 1918 that it was given the name of Schüppengasse, which disappeared in 1899, and the name of Rosengasse disappeared.
Rotkreuzgasse, which was called Dietrichsgasse until the 17th century , was also mentioned in Petterweil's notes. Battonn suspected a previous building of the Great Warehouse in a court yard of the eponymous court messenger Dietrich mentioned there as early as 1273, but without providing any evidence in his certificate extract that it was actually a building at precisely this point. Regardless of this, the division of the Rosental into cross streets, which dictated the later parceling, can already be traced back to documents for the first half of the 14th century.
prehistory
On the southern edge of the Rosental, based purely on the development history of the Niederstadt, which was described in detail, a predecessor of the later Great Warehouse was probably built in the 14th century. The earliest written sources referring to the building, however, date from the beginning of the 15th century. In 1412, an interest book described income from a "courtyard with a garden" that was owned by a Lutz zum Wedel . The bridge over the still open city moat was also explicitly mentioned.
According to older literature, which, however, does not provide a source reference, the building was owned by the family as early as the 14th century. In the house directory from 1433-1438 there is an entry that identifies it in the possession of Heinrich Weiss zum Wedel . Thus, it can be considered proven that the farm was inherited over several generations in the well-known Frankfurt patrician family in the 15th century , although it can no longer be understood in its former form.
In the meantime, it was not possible to ascribe the property of a builder, although the establishment of a courtyard complex of this size could only be achieved by someone from the ranks of the city nobility or patriciate, which clearly included the Wedel family. At the end of the 15th or beginning of the 16th century, the buildings must have come into the possession of the Knoblauch patrician family, who were no less deserving of the city, through sale or - common among the urban upper class - family connections . With this entry from 1509 about Siegfried Knoblauch's payments as the owner of a garden belonging to the courtyard, the written documents about the previous building are already exhausted.
The Rosental meanwhile developed into the late medieval "red light district" of the city. In addition to the two brothels maintained by the city in Kleine Mainzer Gasse at the far western end of the old town, privately operated facilities of this type were increasingly built from the middle of the 15th century onwards. To put a stop to this, the Rosental did something again secluded and suburban character, a dedicated area has been designated in which prostitutes would have to stay in the future. In the last decade of the 15th century, the municipal bedbooks documented the presence of dozens of tradespeople in Rosen- and Schüppengasse. It was not until the complete prohibition of prostitution in the city in the course of the Reformation in 1560 that the flourishing industry officially ended, although of course it never completely disappeared into the 20th century, nor did it disappear from this particular district.
In the 16th century, the Große Speicher, located in the middle of the “red light district”, was acquired by the Frankfurt patrician family Glauburg through marriage . In 1526, the then 23-year-old Johann von Glauburg (1503–1571) married Anne Knoblauch , the daughter of the owner, Johann Knoblauch . Johann was probably only able to dispose of the building in the 1530s, because in 1529 it was officially referred to as "Johann Knoblauchs Speicher" .
Around 1540 the family must have rebuilt or rebuilt the farm, the extent of which is unknown. The only indication of this was the year 1542, which was on the gable of the half-timbered upper floor of the north building on Rotkreuzgasse. Only in 1550 is building activity documented on the Great Warehouse. Despite the good reproduction of the urban topography, the building itself cannot be identified with certainty on the siege plan of the city from 1552, in contrast to the plan by Matthäus Merian from 1628.
Johann von Glauburg was not only a skilled foreign politician who successfully maneuvered the imperial city through the Schmalkaldic War and the siege of 1552, but also mediated internally in the economic conflict with the Reformed Dutch and English who first fled to the city in 1554. In him, the immigrants who were successful through new industries and their Calvinist conception found an advocate who faced the uncomprehending, long-established merchants and guilds . When the Spanish governor Alessandro Farnese conquered Antwerp in 1585 , an unprecedented stream of refugees began to flow into the city on the Main.
Alone 70 merchants and 30 goldsmiths from Antwerp settled in Frankfurt at one time, by 1589 there were almost a thousand, by the middle of the following decade again as many. At first they lived wherever they could find space, and thus spread over the whole city. However, since they could not find or receive any space to practice the trades and crafts they imported, they gradually moved to the western Niederstadt, where there was still a lot of free building land and the Weißfrauenkirche , which was initially given to them, was also located.
The district formed by the Alte Mainzer Gasse , the Schüppengasse, the Großer Kornmarkt, the Großer Hirschgraben and the Roßmarkt became their preferred quarters. In the former Rosental, where a list of houses in 1509 only counted 20 houses and the courtyard with garden , the density of buildings has now matched that of the rest of the old town center.
Acquisition by Franz de le Boë
Among the “ Welschen ” immigrants was the silk dyer and silk maker named Franz de le Boë from Lille in the French-speaking part of Flanders , which has belonged to the Spanish Netherlands since 1555 and is now on French territory . On October 16, 1585, he bought the farm and garden from the Glauburg heirs for 2,200 guilders . Apparently the descendants of Johann von Glauburg also had sympathy for the immigrants, because elsewhere the patricians, whose fortunes were invested in land and real estate all over the city, earned a fortune in those times of housing shortage. Prices skyrocketed and soon surpassed an unprecedented 10,000 guilders for a single house.
The new owner of the Great Warehouse had it redesigned from 1587 to 1590 according to his ideas of a mature renaissance , which was still noticeably different from those of the citizens of the conservative imperial city. Meanwhile, the political situation developed to the disadvantage of the immigrants. After they had been approved in 1593 with the appointment of Cassiodorus Reinius, a second Franco-Lutheran preacher, the council forbade the appointment of another clergyman. The background was undoubtedly fears that granting ecclesiastical equality could also result in a political and thus a serious threat to the rule of the patriciate over the city.
For generations, the city fronts had only lived on pensions and real estate from their forefathers and now threatened to be financially outstripped by the immigrants. With that they would have lost the only basis of their rule. In other respects, too, the council was not unencumbered: despite a ban already issued in 1561, it had tacitly tolerated ecclesiastical community life for more than three decades against the background of the tax strength of the new community.
When the council finally terminated the lease contract for the house at the large unity on Seckbächer Gasse used for church services in 1596 , it was enough for the Reformed. Under the leadership of Anton de Ligne , who was a cousin of the late Noe du Fay and brother-in-law of René Mathie , they started negotiations with the Count's government in Hanau . These were already successfully ended on June 1, 1597 by a contract with Count Philipp Ludwig II , which granted them extensive communal and ecclesiastical autonomy based on the Frankenthal model in the Hanau Neustadt, which was to be founded .
For Frankfurt, the emigration of over half of the newcomers, i.e. more than a thousand people, was a severe blow. This can already be seen from the fact that of the 47 Walloon fathers who settled in Hanau in 1600, no fewer than 32, and of the 47 Flemish fathers 10, i.e. almost half in total, were previously known Frankfurt merchants. Among them was Franz de le Boë and his son-in-law David le Conte , almost all of the immigrants from Valenciennes , Tournai , Mons and Lille had left the city.
Apparently, many kept their land and houses in the city, as this remained the main market for the goods manufactured in Hanauer Neustadt, not to mention the twice-yearly Frankfurt trade fair . This is the only way to explain why the widow de le Boë, after the death of her husband in 1604, was able to sell the Great Warehouse for 5,000 guilders to the Godin couple , who, judging by their names, were also Reformed refugees. After the change of ownership to the Godin family, the history of the Great Warehouse disappeared into the dark again for centuries. It is only briefly illuminated by a protocol from the municipal curatorial office from 1766, according to which the Große Speicher was owned by the brewer Nikolaus Peter Dillenburger in 1741 .
Rediscovery and reception in the 19th century
( collotype of a watercolor by Carl Theodor Reiffenstein, 1897)
At the beginning of the 19th century, Frankfurt's old town fell into a deep slumber, resulting from the creation of new, classicist districts at the gates of the city, the enormous loss of importance of the old town area due to the elimination of the election and coronation celebrations with the end of the Holy Roman Empire and finally also the slow breakdown of the classic measurement business. The vast majority of the former patrician houses now passed into bourgeois hands. When, as a result of industrialization, the population rose sharply from the second third of the 19th century and the traditionally local handicrafts sank into insignificance, large parts of the old town degenerated into a poor quarter, where often over ten households were located in a building that was originally planned and built for a family. This also affected the area around Schüppengasse, which again fell into disrepute as a street prostitute.
Around 1850, the Große Speicher was owned by the brewer JJ Jung . In order to set up a brewery with a restaurant and bowling alley , he had the historic interior significantly altered between 1858 and 1863 and three of the four courtyard wings were extended significantly, which had a lasting impact on the appearance. As recently as 1853, Carl Theodor Reiffenstein, who meticulously documented and drew the changes in Frankfurt's old town and its surroundings in the 19th century, characterized as follows:
“On May 29, 1853 […] I came to the warehouse for the first time by chance on one of my archaeological hikes. Since it was almost completely untouched and unchanged at the time, the impression it made on me must of course be all the greater. It was only surpassed by the feeling of astonishment, which at the same time mastered me, that this jewel could lie so completely unnoticed and unknown in the middle of a city that has had an association for history and archeology for more than fifteen years, has public art institutions, and a lot of people who pride themselves on their knowledge of old architecture and building remains. I do not believe that a more complete picture of a house and farm from the second half of the 16th century can be found here, as most of the older houses are immediately remodeled, changed, in the event of minor damage, due to the wealth and wealth of the residents be robbed of their ancient outer garment in the least. "
Reiffenstein's description can be seen as the beginning of the modern reception of the courtyard, whereby at the time of his description the entire rich facades were still under plaster , which had brought about fire protection regulations and classicist efforts of the 18th century. It was not until 1880 that the architect Otto Lindheimer removed the cladding on behalf of the then owner HS Langenbach , so that all of the splendid carved jewelry was visible again. Lindheimer counted it in Frankfurt's first major architectural-historical work, Frankfurt am Main and its buildings , in 1886 then also one of the few significant Frankfurt Renaissance buildings.
In the table work Monuments of the German Renaissance published in 1891, the building was listed as the only Frankfurt town house next to the Salzhaus am Römerberg. The first edition of Dehio's Handbook of German Art Monuments , which was very poor in private buildings, also explicitly mentioned the Great Warehouse in 1905.
In the imperial enthusiasm for the newly discovered “German Renaissance”, however, it was taboo for a long time that the Great Warehouse, like all of the town's above-average splendor, had not been built by locals but by immigrants. Even the monograph in the 1902–1914 standard work on the history of bourgeois Frankfurt architecture, Die Baudenkmäler in Frankfurt am Main , which was published in 1902–1914 and is still relevant today , refused to be attributed to de le Boë.
Similar to the Goldene Waage, where the work in a form that can only be assumed to be intentional, clattered historical details and concealed the origin of the client from Tournai , there was only talk of "the heyday of the German Renaissance" and the “dignified artistic sense of the wealthy citizens” , which allowed buildings such as the Great Warehouse to be built. As the work, as already mentioned (see sources ), was co-authored by the then head of the city archives, who had access to all sources, it is difficult to imagine that the real clients were actually unknown.
It was not until 1921 that the Frankfurt lawyer and historian Alexander Dietz made the correct attribution in his Frankfurt trade history , but he continued to protect the local Frankfurt builders - objectively incorrectly -:
“Frankfurt has not become a place of art because of the wealthy foreigners and has often been underestimated in the absence of visible souvenirs of its otherwise proud wholesale merchants. The much maligned medieval patricians were far superior to the sober moneyers of modern times in their artistic sense. Even the isolated Belgian artists and art structures cannot change this fact. "
Decline, renovation of the old town and the current situation
After the First World War , the economy in the Great Warehouse ceased - the license to use it as a brewery was withdrawn in 1879 - and the buildings continued to fall into disrepair. Address books report on various simple handicraft businesses that were located there in the interwar years, but were hardly appropriate to the still great importance of the courtyard.
A supposedly new heyday began in 1935 when a landlord received permission to set up an old German pub in the Great Warehouse . At the same time that the old town, which is exceptionally well preserved even by national standards, was being discovered by tourists, plans were already underway for an extensive renovation of the same, which in National Socialist Germany was supported by the state in many large cities under the concept of old town rehabilitation .
In the rarest cases, however, it was what is now understood as renovation in the conservation sense. Basically, the way the old buildings were dealt with had hardly developed since the road breakthroughs of the imperial era - in the planning there was mostly talk of so-called clearings , i.e. total demolition of entire streets in order to make room either for wider access roads, parking spaces or adapted new buildings.
Block XVII of the old town recovery plan presented in 1936 following an architectural competition that had previously taken place concerned the area of the Großer Speicher, literally:
“Complete evacuation of the between Hirschgraben, Weißadlergasse, Gr. Kornmarkt and Bethmannstrasse and new buildings with improvement of the cultivation streets leading into the old town. Structurally, this area is one of the worst in the old town. Whore has spread out there. In the heart of the city, such a district can no longer be tolerated. "
Outside of the urban correspondence, however , the 16-meter-wide Eckermannstrasse , which was planned instead of the area, was advertised as a “ new access to the Main ”, so the “renovation by demolition” was publicly presented quite differently. The Große Speicher and Heydentanz house , a building to the south of it that was built in the heyday of the Middle Rhine half-timbered style, were already under monument protection at that time . The value of the around 70 other houses affected by the measure as a largely unchanged ensemble of the time, especially before 1750, was known, as the Frankfurter General-Anzeiger wrote in an article on November 5, 1937. At the same time it was stated soberly:
“So the ancient houses on Bethmannstrasse must also be sacrificed to traffic. Above all, it is the houses 'Zum Großen Speicher' and the beautiful half-timbered house 'Zum Heydentanz' that cannot be preserved despite all efforts. "
Resistance to these radical plans came from the district curator from Wiesbaden and from the art historian Fried Lübbecke , chairman of the Association of Active Old Town Friends . Ultimately, they were unable to prevent the demolition, but they were able to secure components that were considered valuable and revise the plans for the new buildings to be built. In 1938 the demolitions were carried out and new buildings erected in an adapted style, some of which are still preserved in Weissadlergasse today. At the same time, plans arose to rebuild the large warehouse in Metzgergasse on the site of the slaughterhouse that had been demolished there, as the Frankfurter General-Anzeiger reported on June 10, 1938:
“During the demolition of the Great Warehouse, a valuable seven-part window group and considerable remains of a rich spiral staircase, both from the Renaissance period, were uncovered in the brewery building at Schüppengasse 2. [...] Between the splendid half-timbered building looking towards Metzgergasseplatz and the fire wall of the house at Schlachthausgasse 2, a small decorative courtyard will be created, which will enclose low wing buildings. The north wing contains the current square courtyard entrance with the group of windows above, the south wing the beautiful side gate of Rotekreuzgasse 1. The latter serves as the entrance hall to the hall and at the same time connects the staircase tower, which is redesigned according to the old Reiffenstein drawing, with the old half-timbered building. The stone ground floor of the hall will accommodate the seven Renaissance windows after the jewelry courtyard. "
The reconstruction at this point was by no means undisputed - on the first reconstruction sketches, the large granary on the huge firewall looked like a tiny house. A newspaper article by HT Wüst , probably around 1938, which can no longer be assigned , commented, “That this is not a problem for a skilled architect, but the building department should not underestimate the task, because what the past has sinned in this building should be done through The conscientious handling of this old town cultural asset can be made good. ” Due to the war, the plans were no longer implemented anyway.
In the bombing raids of March 1944 , which destroyed the entire old town of Frankfurt with all new buildings in Eckermannstrasse, the stone remains of the Great Warehouse in the depot were also destroyed; only the wooden parts of the facade were spared due to relocation. After the war, the Federal Audit Office was built on the former site of the Great Warehouse in 1954–1955 by the architects F. Steinmeyer and W. Dierschke in forms that were not to scale for the old town.
The building has been empty since the authorities moved away in 2000, a conversion or even new buildings on the site have so far failed due to the listed status. The original road network at this point has also completely disappeared due to the horizontal line created in the form of the Berliner Straße in the sense of a car-friendly city . The formerly planned reconstruction area of the Großer Speicher south of the cathedral has now been reshaped with large-format residential buildings from the 1950s, which negate the original parceling as well as street structures.
In 2008, on the occasion of the planned reconstruction of some important Frankfurt town houses on the site of the Technical City Hall, which was demolished in 2010, the documentation Spolien der Frankfurt Old Town was published. For the first time it shows photographically the parts of the facade of the building that have been preserved in municipal depots. They all come from the timber-framed part of the north building, six of the eleven herms , parts of the transom , a console and all carved parts of the dwelling are still there, estimated at around 60% of the sculpted original substance. Since many things were designed in a similar way, it can be assumed that the removed parts were deliberately chosen in 1938 in order to enable the remaining parts to be carved later during a reconstruction using photographs and analogies. This would - theoretically - still be possible today, since good measurements and photographs of the north building also survived the war.
architecture
Exterior
The courtyard area covered a plot of land with an approximately square plan, which was about 21.5 meters long and 23 meters wide. Four two-story wings enclosed an inner courtyard around 12.5 meters long and 9.5 meters wide. They were only not connected at the north-west corner, where a garden in the shape of an upright rectangle protruding slightly to the north from the plot . A high surrounding wall made it clear that it belonged to the courtyard, and it was accessed through a gate in the inner courtyard.
In its original state, which existed until the middle of the 19th century, the Great Warehouse made a rather simple impression from the already narrow and almost constantly dark surrounding streets. The outer facades of the south and north wings were completely blocked by subsequent buildings on Rotkreuz- and Rosengasse . Compared to its structural environment, however, the facility stood out in that it was mainly constructed of stone, namely the bases of the north and west buildings and the entire east and south buildings.
The building material was yellow limestone for the plastered structural parts , and red Main sandstone for parts that were left visible, such as door and window walls . The upper floors of the north and west building, the stair tower and the four gable roofs consisted of oak timber framing . What the roofs had in common was that they each had a large dwelling in the middle of the inner courtyard and mostly three or four smaller dormers . Exceptions were the north building, which had no roof superstructures at all besides the dwelling, and the west building, in which the dormers were grouped on the courtyard side.
North building
The north side of the north building was covered by the adjoining house at Rotkreuzgasse 3, which was demolished between 1895 and 1902. This explains why the façade , which from then on facing the enlarged Rotkreuzplatz, had no design or built-in windows and only documented the north-facing overhang of the half-timbered upper floor. The Rotkreuzplätze, for its part, was not created until the demolitions in Rotkreuz- and Rosengasse took place between 1832 and 1852. Before that, there was a closed row of houses between Schüppen- and Weissadlergasse .
In contrast to the plastered basement floors, the gable facing Rotkreuzgasse was completely slate and had a nose below the ridge typical of late Gothic and Renaissance houses in Frankfurt . There was the inscribed date 1542 on the board that closed the nose at the bottom. The ground floor and attic each had a double rectangular window, the upper floor also had a single window, all of which were stylistically attributed to the time of construction. On the ground floor there was a remarkable type of window, which can only be found in the east building, with a pointed arched lintel . The west gable facing the walled garden of the north building was designed analogously to the opposite side, but had only a double rectangular window on the upper floor and a small square window in the attic directly below the ridge.
The courtyard facade of the north building formed the most significant part of the complex in terms of art history. The central entrance gate, spanned by a round arch , was five steps above the courtyard level. The transition style from Gothic to Renaissance, which can often be found on the entire complex, was made clear there in the use of an architrave-like structure of the portal garment, which was cut through by a round bar profile at the height of the transom . On the lintel there were three decorative shields with a fantastic outline, which in their formal language tended more towards the Renaissance, of which the middle one showed the inscription date of 1587. To the left of the entrance, the first floor had four, three of which were grouped, and to the right a single rectangular window, protected by a complex locksmith's work . In the western corner of the first floor, another portal with a flat arch, three steps above the courtyard level, enabled access to the garden adjoining northwest.
The common feature of the half-timbered storey above was the clear protrusion of all elements compared to the ground floor wall, which emphasized the already very plastic effect. A group of eight combined and one single rectangular window was framed by the richest carved jewelry that a half-timbered building in Frankfurt had next to the salt house . The located under the windows with tape ornamentation and a rod-shaped leaf thread decorated pocket flaps did not go through, but was clamped between the window frame, where he met a lying each volute ended. The lintel showed a continuous egg stick . Below the transom, the window posts were designed as scaled consoles with a mask that sat on top of it and cranked it towards the top, and on the other side of the parapet as graceful figures of Hermes . According to the older illustrations, each mask and each Hermen figure was individually designed, which suggests a possible, but no longer comprehensible, iconographic program. The Frankfurt art historian Fried Lübbecke assumed that these were portraits of the client, his family members and house staff.
The parapet areas were adorned with horizontal clasp crosses and different versions of St. Andrew's crosses . However, it was not a question of constructive bracing, as is typical in half-timbered houses of the Renaissance in Central Germany . In fact, they were ornaments sawn out of planks and only inlaid. Due to this manufacturing technique, their design language also appeared much more "frizzy" and thus clearly referred to tracery from the Gothic era. Below the parapet was a formwork board made from a single piece of wood that clad the beam heads of the false ceiling. It was provided with a cover profile and a rich festoon frieze interrupted by masks .
The single, large dwarf house facing the courtyard was also decorated with elaborate carved decorations. In contrast to the basement, the building element even gave the impression that it was a little later, as it was created completely free of the Gothic echoes of the floor below, which of course cannot be proven. The window posts showed the same Hermes figures, to which mirror-symmetrical side parts with extremely moving outline and beak-like protrusion were connected. Above the lintel with a flat arch there were two reclining figures between a mask that carried the upper part of an Ionic capital .
East building
The massive east wing, positioned between the north and south building, represented the most architecturally simple and, in its original function, probably more of a connecting wing. Since the roof ridge was lower than that of the adjacent buildings, the component had only two designed sides - one to Rotkreuzgasse and one to Court.
On the ground floor facing the street, there was a remarkable portal next to two arched double windows from the time it was built. Although it was already very much committed to the formal language of the Renaissance, its design nevertheless deviated completely from the main portal on the south building. The cornice surrounding the door frame widened to "ears" at the height of the lintel, above which another cornice made of a frieze and a wreath of the Ionic order followed. This formed the support for a dainty, two-part crown. In the middle there was a shield, which was framed by scrollwork , inserted strap ornaments and fruits and already reminiscent of the fittings of the High Renaissance. An angel's head sat on the shield , to the side of which volutes, decorated with scale ornamentation, unrolled from fantastic, moving attachments upwards into angular shapes. These in turn formed the top for the gable triangle filled with a palmette ornament .
The upper floor still had a pair of the double rectangular windows widespread all over the house, as found on the extremely plain courtyard side of the east building on the upper floor. The ground floor had two double windows with arches corresponding to the street side. There were also two entrances that were not described in more detail, which, judging by the available image material, were also from the construction period.
South building
On the south building, which was separated from the fire wall of the adjoining and significantly higher Heydentanz house by a narrow and inaccessible eaves corridor to the south , there were three narrow rectangular windows on the outer facade on the first floor. Beyond the wall that blocked the eaves, the south wing bent towards the north in about the last fifth of its eastern course, so that this part was also visible from Schüppengasse and later Bethmannstrasse . On the first floor of this part, located diagonally between the south and north building, there was a passage into the inner courtyard, spanned by an irregular cross vault.
The design of the arched closed gate of the passage testifies to the representative claim of the client. To the left and right of the portal, Ionic pillars tapering towards the top formed the top for a cranked Ionic entablature made of architrave , frieze and cornice. The lintel below was supported by two small inner pillars with an architrave cornice as a capital. In the middle of the lintel, the diamond blocks carved there and in the outer pillars developed into two volutes, between which a male mask peeked out. The gate itself still had remnants of the original fittings with hook-shaped endings.
Above the passage, the upper floor of the component cantilevered increasingly towards the east, so that its wall formed an acute angle with that of the first floor. In the resulting right corner sat a simple corbel with two lions' heads placed side by side . On the upper floor there was a large, almost square double window in the shape of a Franconian bay window typical of Renaissance buildings . Instead of a "real" bay window, such as on the west building, only the oak posts of the lintel and the sill, decorated with ribbon ornaments, protruded slightly. In addition, the two outer posts were supported by small wooden consoles.
The southern part of the Rotkreuzgasse ended with a simple gable. In contrast to the house, which only had a simple double window on the upper floor, which was opened by two windows, the gable was not plastered, but slated. Its slight protrusion was again supported by a corbel with a lion mask.
The courtyard side of the south building was kept simple. On the ground floor in the west it had an entrance portal with a flat arch, between the narrow remaining wall a group of three rectangular windows that were probably still built. The half-timbered upper storey, which protruded towards the north at an acute angle in the western course - analogous to the street side - had five classicist rectangular windows. The state of the building there, which was destroyed by the beginning of the 19th century, can no longer be reconstructed.
West building
The north building represented the representative part of the building, but the west building on Rosengasse was the actual main building. In contrast to the east building, it did not end flush with the gable ends of the north and south building, but rather jumped back slightly from them. Thus, the northern gable wall formed by a fire wall stood free from the adjoining garden. In the south, the house on Schüppengasse or later Bethmannstrasse, which is no longer part of the Great Warehouse, stood directly on a fire wall that was also located there.
This construction basically resulted in the problem of gaps in the north-west and south-west corners of the courtyard. In the north-west it was solved on the ground floor by the wall of the north building, which was extended across the width of the actual building, with the already described entrance portal to the garden. On the upper floor, a bay window on a rectangular floor plan prevented a view of the inner courtyard. It lay in the north on the wall with the portal that closed the gap on the ground floor, in the south on a far-forward console stone. In the south-west, the gap was closed by the stair tower, which was pushed in and towering over all the buildings in the courtyard, and a complex roof structure behind it.
The appearance of the street facade on Rosengasse before it was changed in 1863 is not documented, but it may have consisted of purely functional forms and rectangular windows of the type that otherwise also occurs on the house, since historically there was never an entrance. The north side of the garden had six rectangular windows from the construction period combined into a group on the ground floor and two individual windows on the upper floor.
In addition to the bay window already described, the courtyard facade, with its almost complete dissolution into the largest rectangular windows in the courtyard, testifies to the representative claim of the client. The main portal, which is very similar to the one on the north building, was also executed in a similarly rich mixed style of Gothic and Renaissance and is only preserved in a (previously unpublished) drawing by Carl Theodor Reiffenstein . To the north of it was a single one, to the south of it a group of four and two more, on the upper floor there were two groups of four, interrupted in the middle by a group of two of the windows mentioned.
Stair tower
The stair tower was set deep between the south and west building on a hexagonal ground plan and thus only a narrow piece of its northeastern edge was visible in the southwest corner of the courtyard. The actual entrance to the stairs was the portal in the south building, a much smaller door in the tower wall facing the courtyard led under the stairs into the west building. The tower only revealed its polygonal shape in its upper third, where it protruded well above the ridge height of the surrounding buildings. Approximately from the eaves height of the west building, two slated, upwardly tapering half-timbered storeys with a tent roof and weather vane formed its end. The two stair windows of the stone part facing the courtyard had a sloping bench and lintel parallel to the inner course, the upper floor had several small windows.
Interior
In contrast to the good tradition of the external condition of the building, only fragmentary descriptions of the interior exist. Only the north and west building had cellars accessible through hatches from the courtyard . The former was spanned by a flat barrel vault with lancet caps located in its abutments along the plot . The lower basement of the west building was covered by flat cross vaults. There was an old cistern with a rectangular stone lid and a renaissance style wrought iron handle from the construction period.
Similar to the basement, the ground floor of the north building was also vaulted by a barrel. It had two rooms, one of which took up around two thirds of the width of the house west of the main portal, the other took up the remaining space to the east of it. The interior was separated by a partition wall placed perpendicular to the courtyard front with a round arched portal. The development of the externally so splendidly decorated upper floor, which had the same layout as the ground floor, has not been handed down. In view of the lack of descriptions, little of the originally much more elaborate furnishings was probably preserved by the middle of the 19th century. The double window in the western gable wall facing the garden showed a profile from the inside with round bars that ran against a base with volute brackets on the separating central post. In the north wall there was also a wooden wall cupboard with hook-shaped fittings similar to those of the main portal on Rotkreuzgasse.
The first floor of the east building was covered by three flat, sharp-edged cross vaults. The double windows in the east and west walls, vaulted with arches, framed a simple throat. The decoration of the windows on the upper floor was more elaborate and at the same time similar to that in the west wall of the north building. Even less is known of the south building, namely only that the window group between the courtyard entrance and the entrance to the stair tower was also profiled in the simplest possible way from the inside. The development of the upper floors and the room disposition are not known there. In the case of the south building, it remains to be assumed that the stair tower will also be used.
The west building was internally the most splendid part of the 19th century. There were two rooms on each floor, the upper floor was accessed through the stair tower. The southern room on the first floor, accessible through the small door in the tower wall facing the courtyard, once housed stables with windows facing the Rosengasse. The actual main portal in the courtyard led into a corridor that opened up the rooms on both sides. In the corridor there was also a closet with an elaborately crafted iron door from the construction period. While the door as such already used antique and thus renaissance motifs, the castle was still surrounded by a rose window that clearly indicated the Gothic .
The northern room whose interior - albeit already changed - has been handed down by a drawing by Otto Lindheimer, had a rich, are not specifically described paneling . In contrast, the group of windows integrated into the north wall facing the garden was preserved until the end. The six windows were covered with arches, which were supported in the middle by three Corinthian dwarf columns , in the corners of pillars. The central pillar was not only a support for the arch, but also served as a support stone for himself einschiebenden about Unterzugsbalken . The reveal of the window arches was adorned with three rosettes and diamond blocks in between. The lower third of each column showed strap ornaments, the corner pillars a simpler faceting. Together with - imagined - corresponding furniture , the room , which Dehio also referred to as the “state room”, conveyed the harmonious image of a patrician apartment from the early 17th century. Nothing is known about the upper floors of the west building.
The outwardly simple stair tower repeated mixed forms on the inside. The wall of the entrance door had a renaissance profile that ended in volutes just above the floor. The tower itself contained a freely wound spindle made of red sandstone up to the top floor . The beginning and end of the spindle were designed as a Gothic service pedestal with rich faceting, on top of which sat an equally elaborately crafted wooden spindle for the top floors. A deep grooved stone handrail ran in the tower wall.
Destruction of the state of construction
As early as 1853, Carl Theodor Reiffenstein stated in his description that the paneling in the state room had been removed during a recent renovation. The first profound structural change took place in 1858. In order to set up a bowling alley in the back , the owner at the time had a massive partition wall built in parallel to the courtyard on the ground floor of the north building. In the spring of 1859, the east and south buildings were extended in the late Classicist style, the first two floors and the southern one another floor.
The building-time impression was finally blurred by adding two storeys each to the west building and the stair tower in the summer of 1863. The courtyard portal was destroyed and walled up, as was the bay window. The half-timbered structure of the stair tower fell in favor of a massive structure with a flat end. At the same time, a new house entrance is being set up from Rosengasse. In addition to the loss of the roofs from the construction period, also in the case of the other courtyard buildings, it can be assumed that further substance disappeared in the interior in this context. The sketches by the Treuner brothers from the 1930s show both newly broken doors and windows from this period.
The north building, the only component still intact from the outside, now stood almost all day in the shadow of the now oversized courtyard wing. Such handling of historical building fabric was not uncommon in those years. At around the same time, one of the largest late medieval fresco cycles north of the Alps was destroyed in the nearby Carmelite monastery in order to set up a fire station there. Demolitions or heightening of medieval buildings in favor of tower-like " tenement barracks ", which could be described as the first building sins of Frankfurt's old town , were normal in the period of urban growth until at least 1866. It was not until the German Empire that the city expanded in planned Wilhelminian style areas , which significantly weakened the tendency to build new buildings in the old town.
Accordingly, the further changes to the Großer Speicher until the final demolition in 1938 were, as far as can be determined, only marginal. The construction of a house in the north-western garden is likely to be attributed to a somewhat later period. Since this was placed directly in front of the elaborate group of windows in the ground floor hall in the west building, it could no longer convey the impression of the construction period.
meaning
The significance of the Great Warehouse does not result from its consideration as a single building, but from its inclusion in the entire Frankfurt art history of the 16th and early 17th centuries. The renaissance found a very subdued reception in the city , the Gothic had an even longer finish, which basically continued into the 18th century. A good example of this train was the municipal flour scales (destroyed in 1944), built in 1716 between the Fahrgasse and the Garkücheplatz , which, purely in terms of style, could have been a descendant of the 16th century. The rejection of outward-facing ornament , which has always been typical of Frankfurt, and the conservative attitude that was initially assumed to be behind it, stood in peculiar contrast to other developments, such as the Reformation , which was positively received with a storm .
Apart from the salt house , which in its form preserved until 1944 was unique even in a national comparison , was only built around 1600 and also by an immigrant, not a single building was built in the first 80 years of the 16th century that included ideas of the Renaissance processed on a larger scale. Even the Große Engel am Römerberg , built in 1562 (destroyed 1944, reconstructed 1981–1983 ), which with its rich carved decorations could be seen as the beginning of a development at first glance, is at second glance both in its jewelry and in the entire tower-like structure Cubature still completely Gothic. The building can therefore at most be seen as an example of a stronger fundamental tendency towards carved wooden architectural parts , especially cleats , from the middle of the century.
Frankfurt was thus far behind the development in many other, even smaller imperial cities such as B. Rothenburg ob der Tauber or Hildesheim , where the early modern art style mostly reigned unreservedly from the middle of the century at the latest. After the fall of Antwerp in 1585, the Reformed refugees brought with them not only a penchant for outwardly exposed jewelry, which had existed in their homeland since the Gothic period, but also a conception of art in which the medieval style had been displaced for decades. In addition, stone construction dominated there, wooden buildings were clad with planks for climatic reasons and therefore also had a much lower durability, which in turn prohibited their design into representative buildings.
Due to the compulsory guild , immigrants like Franz de le Boë were dependent on craftsmen from their new hometown, which had to result in an interaction. On the one hand, the forms of the late Gothic made themselves felt again and again in the building project, which was otherwise completely dedicated to the Renaissance, on the other hand, the craftsmen were forced to deal with pattern books of the new style for the first time and also had to translate only the ornamental forms known from stone construction into those of the half-timbered structure .
In spite of some stylistic recourse, a house type emerged that became typical for all Frankfurt Renaissance buildings: a roof facing the street with a large dwelling - although in the case of the Great Granary as a courtyard building, hardly any other building - brought the ridge pivoting and thus the approach to it for the first time Ideal of the Italian palace . The diamond coating of sandstone arches , as seen for the first time at the main portal on Rotkreuzgasse , was also frequently observed in the next few decades , and was mostly used for the structure of the ground floor in other buildings. The filling of the parapet fields with decorative wood, although in the case of the Great Granary, still more in the form of late Gothic tracery , anticipated half-timbered forms from the Middle Rhine from around 1600, as did the row of narrow, high windows on the upper floors.
The most important direct successor was the Silberberg house, built in 1595 (destroyed in 1944) in Limpurger Gasse , which took up all the ideas of the Great Warehouse in even more mature forms. Since it was built for the Frankfurt patrician society Alten Limpurg , which consisted of permanent members of the city council , it marked the final arrival of the ideas of the Renaissance in the relevant circles of the city.
A whole series of subsequent buildings was built around 1600, two of which are still preserved: the Wertheym house at Fahrtor and the Black Star at Römerberg (destroyed in 1944, reconstructed from 1981 to 1983). Many important examples, such as the golden jug in Alte Mainzer Gasse , perished with the old town in 1944. Since the vast majority at the beginning of the Second World War under plaster was, is, however, a considerable number of unreported cases to be calculated by similar type buildings that have never been documented.
Despite the development originating from the Great Warehouse, the city's basic conception of art remained as conservative as it was before the arrival of the Reformed, as evidenced by the dispute over the construction of the Goldene Waage in the years 1618–1619. Also, the builders were mostly foreigners, a really important achievement of the rank of a Pellerhaus was not produced from the circle of the long-established citizens. The stair tower in the Römerhöfchen, which is still preserved today and was also built on behalf of the Alten Limpurg Society in 1627, marked the end of the High Renaissance in the city.
The court of Franz de le Boë thus ultimately only had a strong style-forming effect, but it could not break the disinterest of the Frankfurters in the display of splendor, a trait that basically lasted into the period of historicism . Not individual buildings, but the core of the city between the cathedral and the Römer , which was practically completely preserved in its late Gothic state until 1944, as an organic ensemble formed the actual national heritage of Frankfurt's national art history.
literature
Major works
- Johann Georg Battonn : Local description of the city of Frankfurt am Main - Volume V. Association for history and antiquity in Frankfurt am Main, Frankfurt am Main 1869, pp. 224–230 u. 244-249 ( online ).
- Rudolf Jung , Julius Hülsen: The architectural monuments in Frankfurt am Main - Volume 3, private buildings. Self-published / Keller, Frankfurt am Main 1902–1914, pp. 87–97.
- Walter Sage: The community center in Frankfurt a. M. until the end of the Thirty Years War. Wasmuth, Tübingen 1959 ( Das Deutsche Bürgerhaus 2), pp. 54, 55, 93 and 94.
Further works used
- Architects & Engineers Association (Ed.): Frankfurt am Main and its buildings. Self-published by the association, Frankfurt am Main 1886.
- Olaf Cunitz: Urban redevelopment in Frankfurt am Main 1933–1945. Thesis to obtain the Magister Artium, Johann Wolfgang Goethe University Frankfurt am Main, Faculty 08 History / History Seminar, 1996.
- The next renovation project. Demolition of the Schüppengasse. The big breakthrough to the Main. In: Frankfurter General-Anzeiger. November 5, 1937. In: Wolfgang Klötzer on behalf of the Frankfurter Verein für Geschichte und Landeskunde and the Friends of Frankfurt (ed.): The Frankfurt Old Town. A memory. With drawings by Richard Enders. Verlag Waldemar Kramer, Frankfurt am Main 1983, ISBN 3-7829-0286-6 , p. 270 u. 272.
- Georg Dehio : Handbook of the German art monuments. Volume IVa. Southwest Germany. 5th unchanged edition. German Art Publishing House, Berlin 1937.
- Alexander Dietz : Frankfurter Handelsgeschichte - Volume II. Herman Minjon Verlag, Frankfurt am Main 1921.
- Dietrich-Wilhelm Dreysse, Björn Wissenbach: Planning area - Dom Römer. Spolia of the old town 1. Documentation of the original components of Frankfurt town houses stored in the Historical Museum. Urban Planning Office, Frankfurt am Main 2008 ( online ( Memento from February 21, 2014 in the Internet Archive )).
- Karl Emil Otto Fritsch: Monuments of the German Renaissance. Published by Ernst Wasmuth, Berlin 1891.
- Wolfgang Klötzer : A guest in old Frankfurt. Hugendubel, Munich 1990, ISBN 3-88034-493-0 .
- Friedrich Krebs: The old town recovery plan of the city of Frankfurt am Main (1936). In: Wolfgang Klötzer on behalf of the Frankfurter Verein für Geschichte und Landeskunde and the Friends of Frankfurt (ed.): The Frankfurt old town. A memory. With drawings by Richard Enders. Verlag Waldemar Kramer, Frankfurt am Main 1983, ISBN 3-7829-0286-6 , p. 216 u. 217.
- Georg Ludwig Kriegk : German bourgeoisie in the Middle Ages. New episode. Rütten and Löning, Frankfurt am Main 1871.
- Hans Lohne: Frankfurt around 1850. Based on watercolors and descriptions by Carl Theodor Reiffenstein and the painterly plan by Friedrich Wilhelm Delkeskamp. Waldemar Kramer Verlag, Frankfurt am Main 1967, ISBN 3-7829-0015-4 .
- Fried Lübbecke : Frankfurt am Main. Publishing house EA Seemann, Leipzig 1939 ( Famous Art Places 84).
- Bernhard Müller: The flour scale. In: Alt-Frankfurt. Quarterly for its history and art. 1st year, issue 1, Herman Minjon Verlag, Frankfurt am Main 1909.
- Karl Nahrgang: The Frankfurt old town. A historical-geographical study. Waldemar Kramer publishing house, Frankfurt am Main 1949.
- Elsbet Orth : Frankfurt am Main in the early and high Middle Ages. In: Frankfurter Historische Kommission (Ed.): Frankfurt am Main - The history of the city in nine contributions. (= Publications of the Frankfurt Historical Commission . Volume XVII ). Jan Thorbecke, Sigmaringen 1991, ISBN 3-7995-4158-6 .
- Anton Schindling: Growth and Change from the Confessional Age to the Age of Louis XIV. Frankfurt am Main 1555–1685. In: Frankfurter Historische Kommission (Ed.): Frankfurt am Main - The history of the city in nine contributions. (= Publications of the Frankfurt Historical Commission . Volume XVII ). Jan Thorbecke, Sigmaringen 1991, ISBN 3-7995-4158-6 .
- Magnus Wintergerst: Franconofurd. Volume I. The findings of the Carolingian-Ottonian Palatinate from the Frankfurt old town excavations 1953–1993. Archaeological Museum Frankfurt, Frankfurt am Main 2007, ISBN 3-88270-501-9 ( Writings of the Archaeological Museum Frankfurt 22/1).
- Hermann Karl Zimmermann: The work of art of a city. Frankfurt am Main as an example. Waldemar Kramer publishing house, Frankfurt am Main 1963.
Images (as far as bibliographically verifiable)
- Dieter Bartetzko , Detlef Hoffmann , Almut Junker, Viktoria Schmidt-Linsenhoff : Frankfurt in early photographs 1850–1914. New edition. Schirmer-Mosel, Munich 1988, ISBN 3-88814-284-9 .
- Bibliographisches Institut (Ed.): Meyers Großes Konversations-Lexikon. A reference book of general knowledge. Sixth, completely revised and enlarged edition. Bibliographical Institute, Leipzig and Vienna 1902–1910.
- Carl Friedrich Fay, Carl Friedrich Mylius , Franz Rittweger, Fritz Rupp : Pictures from the old Frankfurt am Main. According to nature. Published by Carl Friedrich Fay, Frankfurt am Main 1896–1911.
- Hans Pehl: Emperors and Kings in the Romans. Frankfurt's town hall and its surroundings. Verlag Josef Knecht, Frankfurt am Main 1980, ISBN 3-7820-0455-8 .
- Friedrich August Ravenstein : August Ravenstein's geometric plan of Frankfurt am Main. Publishing house of the geographical institute in Frankfurt am Main, Frankfurt am Main 1862.
- Ludwig Ravenstein: Ludwig Ravenstein's special plan of Frankfurt aM, Bockenheim & Bornheim. Engraving, printing and publishing by the geographical institute of Ludwig Ravenstein in Frankfurt am Main, Frankfurt am Main 1895.
- Benno Reifenberg , Fried Lübbecke, Richard Kirn , Franz Lerner, Bernd Lohse: Portrait of a city. Frankfurt am Main. Past and present. Umschau Verlag, Frankfurt am Main 1958.
- James Westfall Thompson: The Frankfort Book Fair. The Francofordiense Emporium of Henri Estienne. The Caxton Club, Chicago 1911.
References and comments
- ↑ Jung, Hülsen 1902–1914, pp. 87–97.
- ↑ a b Battonn 1869, p. 246; according to the jury's court protocol of 1399, in which the "Dieterichsbrücke above at the Rosenthale" is mentioned.
- ^ Nahrgang 1949, p. 10 (footnote); after pollen analyzes and archaeological finds of the oxbow lakes of the Rhine and Neckar.
- ^ Food, p. 13.
- ↑ Orth 1991, p. 23; a document dated May 9, 994, with which King Otto III. gave the Salvatorkirche the royal fishing rights in the Main, describes Frankfurt as "castello" .
- ↑ Wintergerst 2007, pp. 95-98.
- ↑ The exact construction time of the Staufen wall is still controversial and fluctuates in the literature between the middle of the 12th and the early 13th century, as there is no surviving written evidence that directly relates to the construction of the wall. Research tends to consider a period around 1200 as the most likely. B. Orth, p. 26.
- ↑ Battonn 1861, pp. 72-76; In 1468 a lining was made with wooden planks for the purpose of better canalization, from 1558 the brickwork and vaulting at the expense of the local residents, whereby the latter measure was not completed until the early 19th century.
- ↑ a b Battonn 1869, p. 227; The “wisgerwern” on Schüppengasse was first commemorated in 1322.
- ↑ a b Battonn 1869, pp. 224-227.
- ↑ Kriegk 1871, p. 304; the characterization as a valley was probably due to the fact that the area, beginning at Weißadlergasse, descended towards the Braubach, which is roughly identical to the course of Bethmannstrasse. Kriegk also supports the assumption expressed in Battonn V, p. 225 that it was originally a large garden. Based on logical considerations, if you consider the development of the city in the Hohenstaufen era, it makes sense that this north-western part of the old town was last built on and therefore had the character of a garden for a long time.
- ↑ Schindling 1991, p. 206.
- ↑ Battonn 1869, p. 249; "Item decem sol. Hall. cedunt in vico dieterichgassse de et super Curia orto (horto) fundo et suis attinentiis quondam Lotzonis zum Widdel sitis precise in acie circa pontem sinistro latere eundo transpontem ad supra dictum vicum. LC SS. M. et G. de 1412. f. 4. " .
- ↑ Jung, Hülsen 1902–1914, p. 88.
- ↑ Battonn 1869, p. 248.
- ↑ Kriegk 1871, pp. 290 ff .; the paragraph follows Kriegk's depiction of prostitution in Frankfurt am Main from the late Middle Ages to the early modern period, which has lost none of its validity due to the lack of modern depictions.
- ↑ Certificate in the Institute for Urban History Frankfurt am Main, inventory Heiliggeistspital, call number 564.
- ↑ Jung, Hülsen 1902-1914, p. 93; literally: “There is a second date on the north building; to the property after the Rothkreuz-Gasse gable of the board, which closes the protruding nose down, the year 1542 is engraved on the bottom. " .
- ^ Certificate in the Institute for Urban History Frankfurt am Main, inventory Glauburg documents, call number 567; The document is about a comparison regarding the construction of the wall around the garden behind the Great Warehouse, which neighbors had been bothered by.
- ↑ a b Dietz 1921, p. 64 and 65.
- ↑ Sage 1959, p. 54 and 93.
- ↑ Dietz 1921, pp. 68-70.
- ↑ Dietz 1921, p. 66.
- ↑ Certificate in the Institute for Urban History Frankfurt am Main, collection of house documents, signature 3.282.
- ↑ a b Krebs 1936, p. 216 u. 217.
- ↑ a b Klötzer 1990, p. 65.
- ↑ Lohne 1967, p. 260.
- ↑ a b Jung, Hülsen 1902–1914, p. 97.
- ↑ Architects & Engineers Association 1886, p. 52 u. 53.
- ↑ Fritsch 1891, p. 30.
- ↑ a b Dehio 1937, p. 87; Quote: “The courtyard facade from 1587 on the Großer Speicher in Rotkreuzgasse is more appropriate to the material [compared to the aforementioned salt house] and also very richly decorated; on the ground floor of the W wing, well-preserved state room. ” .
- ↑ Dietz 1921, p. 67.
- ↑ On these aspects of the renovation of the old town cf. Cunitz 1996, pp. 18-34, 56-60 and 90–92 ( online ; PDF; 11.2 MB).
- ↑ Cunitz 1996, p. 68 ( online ; PDF; 11.2 MB).
- ↑ Frankfurter General-Anzeiger 1937, pp. 270–272.
- ↑ Cunitz 1996, pp. 90-92 ( online ; PDF; 11.2 MB).
- ↑ a b Newspaper article in the Institute for Urban History, holdings of the local history collection, call number 3.378.
- ↑ Dreysse, Wissenbach 2008, p. 112 ff. ( Online ( Memento from February 21, 2014 in the Internet Archive )).
- ↑ In the absence of information, extrapolated from Ravenstein 1862.
- ^ The rest of the description based on the monograph by Jung and Hülsen and the sketches for Treuner's old town model (see sources), unless explicitly stated otherwise.
- ↑ Obtains from the consideration of the parcel-specific city plan Ravenstein 1895 and the text passage from 1902 Jung, Hülsen 1902–1914, p. 88, where the building is already described as demolished. It can be assumed that the demolition was related to the widening of Bethmannstrasse in 1899.
- ↑ Result from the comparison of city maps of the named years with precise details of the parcel.
- ↑ Lübbecke 1939, p. 164.
- ↑ They are not shown at all in the bird's eye view of Reiffenstein, just as the analog window on the ground floor of the north building on Rotkreuzgasse was wrongly shown by him as a double rectangular window; see. also Jung, Hülsen 1902–1914, p. 97 (footnote).
- ↑ On this development cf. v. a. Zimmermann 1963, pp. 45-55.
- ↑ Müller 1909, pp. 12-22.
Web links
- Bethmannstrasse and Großer Speicher. altfrankfurt.com
- Big storage . In: Virtual old town model Frankfurt am Main
Old town: Arnsburger Hof | Augsburger Hof | Basler Hof | Clesern-Hof | Golden lamb | Large storage | Hainer Hof | Hof Rebstock am Markt | Köpplerhöfchen | Nürnberger Hof | Saalhof | Trierischer Hof | Württemberger Hof
Neustadt: Frankensteiner Hof | Junghof | Porcelain yard | Rahmhof | Pigeon yard
Coordinates: 50 ° 6 ′ 38.1 " N , 8 ° 40 ′ 43.6" E
