House Fürsteneck
The Fürsteneck house , often just called Fürsteneck , was a historic building in the old town of Frankfurt am Main . It was east of the dome at an obtuse angle at the southeastern corner of the so-called, here the tramline opening towards Garküchenplatzes ; the street address was Fahrgasse 17 . The building , which was built in the middle of the 14th century, was one of the most famous sights of the city, primarily because of its largely preserved interior furnishings from the Renaissance period , but also because of its high architectural and historical value.
In March 1944, the Fürsteneck was completely destroyed by the Allied bombing raids on Frankfurt , and the interior furnishings that had been outsourced were burned at the same time in the Museum of Arts and Crafts . After the Second World War , the building plot was overbuilt in a modern way, so that it must be counted among the lost monuments of Frankfurt's old town.
history
Prehistory and time of origin
(lithograph)
Like most of the site east of the cathedral , the plot on which the Fürsteneck was built also belonged to the old Frankfurt Jewish quarter . The site was first mentioned in 1362, only 13 years after the worst pogrom to date , in which the entire Jewish population of the city was murdered. The assertion of the city historian Battonn that the previous building of the Fürsteneck belonged to a Jewish family named Liepmann can be attributed to pure speculation due to non-existent evidence. The houses in the district, which had not been burned down as a result of the destruction of the Jewish community, were confiscated by the city; the land was first rented out and later sold.
This is how Johann von Holzhausen and his wife Guda probably came into possession of the Fürsteneck premises in the 1450s. The family of Holzhausen is one of the most important noble families of the Middle Ages in Frankfurt: Johann was, like many of his descendants, councilor, mayor and member of the still existing ganerbschaft Old Limpurg .
An extensive contract dated May 18, 1362, which the von Holzhausen concluded with their neighbors, has been handed down for the first time to provide precise information about the status quo and structural events of the time. Accordingly, it was agreed with the neighbors, the couple Heinz and Gerhus Byrbruwer , to erect a stone gable between the two properties, which would support the ridge beam of the neighboring house. Even if the entire building of the house is far from being described, the reference to the apparently towering height of the new building is enough to draw conclusions about the Fürsteneck, as it was, apart from the cathedral, towering in its urban environment into the 20th century Buildings in the eastern old town remained. Most of the architectural history descriptions of the 20th century date the construction of the Fürsteneck to 1362, making it one of the earliest houses of its type, of which only the stone house on the market remains today . The name Fürsteneck appears for the first time in 1399, but the etymology of the house name remains unclear . The -eck as a syllable in the house name was common and plausible for corner houses in old Frankfurt, which had no house numbers until the middle of the 18th century. The first word syllable was possibly simply a popular name for a house in which one of the most important patricians of his time resided.
In contrast to the other Gothic stone buildings in Frankfurt's old town, the Fürsteneck had a number of peculiarities right from the start, which can be explained on the one hand in the history and on the other hand in the location of the building. The entire block of houses in which the Fürsteneck appears to be built into most historical pictures of the 19th and 20th centuries did not exist in the 14th century. The building stood almost alone, with the tower in front of it to the three sows' heads (see picture) at the eastern end of the then cathedral cemetery. The building survived into the 20th century, but was no longer readily recognizable at that time, as it was surrounded by new houses, especially in the 17th and 18th centuries; the tower thus formed the back of the house to the little golden deer (address: Garkücheplatz 3 ). Saukkopfs, a word of old German origin, meant the three crenellated corner towers of the battlements on its roof, which in the same way also protected the four corners of the prince's corner.
The system was further surrounded by an eight-meter high wall, so that between the Fürsteneck and as keep serving tower to the three Sauköpfen a kind of courtyard was located, which also housed stables. The Merian plan from 1628 (see picture) still gives an idea of this state of construction, but it is precisely here that it is imprecise and gives the impression that there is hardly any space for a courtyard between the Fürsteneck and the tower; the true-to-scale Ravenstein plan from 1862 (see picture), on the other hand, reveals the building situation, but also includes the new buildings. In most recent photos, the view of the tower is blocked by the upstream Badischer Hof house with the address Garkücheplatz 1 , which was built over the castle wall there in the 18th century. The once fortress-like construction was based on the dangers of the time, in 1355 the guilds rose against the ruling families; only a little later, in 1364, Johann von Holzhausen replaced the mayor Jakob Knoblauch before the end of his term of office and also pushed the people's leader, Henne Wirbel , who was elected second mayor, out of his office. A house that could withstand the anger of the street at the time was therefore a prudent investment.
In the 14th century, Fahrgasse was also one of the few streets that were already paved and one of Frankfurt's lifelines. The main traffic flooded into the city from the south over the Old Bridge and from the north through the Bornheimer Pforte . Owning a fortress-like structure on this street meant influence and power, which Holzhausen could only be right in his position as mayor. After his death on February 7, 1393, the house passed into the possession of the von Breidenbach family as an heirloom .
15th and 16th centuries
(historicizing drawing by Carl Theodor Reiffenstein , 1845)
In 1447 Johann von Breidenbach sold the Fürsteneck for 1,530 guilders to his son-in-law Wigand von Heringen , who was married to Anna von Breidenbach , as evidenced by a document from the time. Here, too, the assertion raised by Battonn, but still cited uncritically in the literature after the Second World War, that the house belonged to a Philipp von Fürstenberg at that time , has no historically verifiable substantiation; likewise a postponement of the construction date to this time. The literature at the turn of the century, which had full access to the much more complete urban archive sources before the Second World War, explicitly denied this. Another confirmation can be found in Fried Lübbecke in, one of the most extensive and also most recent publications on the history of the building.
The aforementioned Wigand von Heringen was also an important figure in the history of Frankfurt. As the tax books of the 15th century show, the year he bought the Fürsteneck he paid the second highest tax in Frankfurt - 132 pounds hellers . Accordingly, he was not only one of the richest men in the city, but also in a direct comparison of the entire Holy Roman Empire . In 1478 he was even the younger mayor and, 99 years after von Holzhausen, died in 1492 like him in Fürsteneck.
The house remained in the possession of the von Heringen family and the Hynsberg and Schleunitz zu Stauchitz families, who were related by marriage to them . After the Fürsteneck had been in the possession of patricians for two centuries without interruption, it was first passed to the, albeit high-ranking bourgeoisie in 1582 when the rich cloth merchant Siegfrid Deublinger bought it together with some surrounding houses for 3,200 guilders. Deublinger came from a wealthy family of cloth merchants who immigrated to Frankfurt from Ulm and also appeared in connection with the construction of the magnificent Big and Little Angel on the market . On the other hand, he only had the Fürsteneck slightly renovated without fundamentally changing it, as documents of the time report. It remained in his family's possession until the end of the 16th century.
The Fürsteneck at the time of the Renaissance
Around 1600 the Deublingers sold the western half of the complex to the Unckel family , in 1608 Siegfried Deublinger died. A year later, the Deublinger heirs sold the remaining parts of the building to Dietrich Goßmann , who paid 5,000 guilders for it. Goßmann had entered Frankfurt citizenship in 1596 as a cloth merchant and hat dresser from Düsseldorf and in 1616 also acquired the Haus zur Wiede , which adjoins the Fürsteneck to the south (address: Fahrgasse 15 ). The enormous price increase of the land, which has meanwhile been halved, is remarkable in the short period from 1582 to 1609 from 3,200 to 5,000 guilders, which clearly shows how strong immigration by wealthy Dutch Calvinists drove up land prices.
In 1610, Goßmann signed an extensive contract with the western landlord, who at that time was already calling himself Johann Karl Unckel about the three pig heads . From this it can be learned that both plots were previously "a single, whole and undivided dwelling" , which has now been torn apart. Goßmann in Fürsteneck had to deal with a hochummauerten well Höfchen behind the house content and undertake walling up the other doors to the court and to put bars on the windows there so the neighbor, the contract continues, "secured against dumping, throwing, etc." was. Nothing changed in this external structural condition until the late 18th century.
Inside, however, the Fürsteneck under Goßmann experienced its most splendid time ever, as it received the unique furnishings from him, which made it unique among Frankfurt buildings and probably a monument in the first place. In 1615 he had the hall on the first floor clad with lavishly crafted wooden panels in the Renaissance style and the ceiling was decorated with a no less rich stucco ceiling . This equipment became famous in later times as the knight's hall or prince's corner room (see pictures).
Dietrich Goßmann died only five years later, on December 30, 1620 in Fürsteneck. His widow married the wealthy cloth merchant Nikolaus Leye in 1623 , and his son Gerhard, who was the result of his first marriage, continued his father's business until his death in 1640. It was not until 1674 that Dietrich Goßmann's grandchildren sold the building for 6,000 guilders to the cloth merchant Philipp Mangold from Mainz .
From the 18th century to the Second World War
Mangold's heirs sold the Fürsteneck in 1726 for 12,000 guilders to the cloth merchant Markus Fester. The history of ownership of the building, historically complete to date, is briefly outlined here; it was not until 1786 that a purchase agreement proves that a cloth merchant named Johann Peter Bauer sold the building to the iron merchant Johann Anton Zickwolff.
Zickwolff's father had immigrated from Friedberg and initially did business with the iron merchant Johannes Olenschlager from Sachsenhausen. He lived in Haus zur Wiede, which adjoined the Fürsteneck on the Fahrgasse south of the Fürsteneck (house address: Fahrgasse 15 ). When Olenschlager died at an early age, he bought his business, which his aforementioned son finally expanded by purchasing the Fürsteneck. In doing so, he apparently modernized the house in the same year in the Louis-Seize style, which was very popular in Frankfurt at the time. The buildings of the German Reformed and French Reformed Churches that were built at the same time under the influence of Salins de Montfort correspond to this architectural style.
As part of the renovations, the Gothic pointed arches on the ground floor had to give way to square openings (see pictures), baroque balusters and door decorations were changed in line with contemporary tastes. The gable was widened on all sides and pulled over the crenellated crown of the fourth floor. Only the knight's hall on the first floor remained unchanged, although it was actually clearly too lavish in terms of the prevailing style. That Zickwolff not only tolerated this state of affairs, but also paid special attention to it, is evidenced by the fact that, as Battonn reported, he had "all furniture made in antique taste" and thereby brought "the whole thing into magical harmony". This walk on the part of the owner on early historicist paths, but perhaps also just an extraordinary feeling for its art-historical significance, saved the precious furnishings through the classicist era, to which many interior decorations fell victim elsewhere.
In 1860 the Fürsteneck became the property of the Beydemüller family of master carpenters . The industrialization caused a huge demand for housing in the cities, and so did the large rooms of the building into individual apartments was transformed, which ensures more in quality with the late nineteenth could compete new buildings and the countless medieval half-timbered buildings of the city where people under unspeakable conditions lived in a confined space. The knight's hall on the first floor served as a practice room for a Frankfurt dance school, which did not detract from its state of preservation. In 1863, master watchmaker Wilhelm Alexander Christ (1836–1927) founded his first shop in Fürsteneck.
In 1887 the wooden paneling in the hall was sold by the Beydemüller family to the antique company J. & S. Goldschmidt for 10,000 marks , only to be bought back a few years later by wealthy Frankfurt citizens, who gave it to the Frankfurt branch of the Central German Arts and Crafts Association in March 1891 . He handed it over to the Frankfurt Museum of Arts and Crafts in 1908 , where it was exhibited in a special room from that point on, which was also decorated with a plaster cast of the stucco ceiling that was still in the Fürsteneck.
In 1923 the Fürsteneck changed hands for the last time when two heirs from the Beydemüller family put it up for sale along with the neighboring property to the south. Since, as he himself wrote, “there was a risk that a Saarland butcher could buy the venerable property for a few francs and have it converted into a meat center,” bought the Association of Friends of the Old Town founded by Fried Lübbecke . Under him, the building was carefully renovated and, as Lübbecke further reported in 1937, "today looks good both inside and out". In 1931 the printing workshop of Paul and Ursula Koch, the children of the famous Offenbach typographer Rudolf Koch, found a place in the former knight's hall. Many of Lübbecke's writings about Frankfurt's old town or history at that time, which are still widespread in the antiquarian trade today, were verifiably printed in this workshop. In 1934, the Association of Active Friends of the Old Town moved its office from the Römer's premises to the second floor of the Fürsteneck.
Second World War and the present
The hour of the Fürsteneck struck, as for most of Frankfurt's old town, on March 18, 1944. Fried Lübbecke impressively described the destruction, reproduced here in excerpts:
- “On March 18, 1944, a terrible night attack by the British destroyed the entire eastern old town up to the Fahrgasse. A heavy bomb tore apart the meter-thick north wall of the Fürsteneck, and incendiary bombs set fire to the enormous woodwork of the roof. On Thursday, March 19, the Fürsteneck stood as a burned-out ruin with its keep, the tower to the three sows' heads, above the smoke and rubble. [...] German pioneers soon blew up the ruins, which, when they collapsed, endangered traffic. […] On April 1st, […], blown up by German dynamite, the mighty ruins of the Fürsteneck fell into the dust. Only the Gothic vaults of the eight meter high cellar withstood the tremendous blow. "
The original of the stucco ceiling of the prince's corner room was lost. At the same time, the renaissance paneling burned in the equally badly hit museum of arts and crafts. Another comment by Fried Lübbecke shows the unwillingness of the regime to protect it, like numerous irreplaceable art treasures, from the long-foreseeable destruction:
- “Unfortunately, my constant warning to remove the Fürsteneck panel from the Museum of Arts and Crafts was not granted. Now it is burned, although it was more important for Frankfurt than some foreign works of art. "
In the 1950s, large-scale new buildings that ignored the original parceling were built on the Garkarkplatz or the Fahrgasse, and on the site of the former Fürsteneck there is now a residential building that spans several of the former house numbers of the Fahrgasse. A reconstruction of the building appears unlikely in view of the fact that the entire interior has been lost as a particularly distinctive interior and that the building type is already represented by the stone house and canvas house in Frankfurt.
architecture
Exterior
Externally, like almost all Gothic Frankfurt buildings of this type, the structural environment of the Fürsteneck was comparatively simple. The ground floor was Garküchenplatz by one, on the driving lane by four pointed arches arcade accessible. Above it rose a three-storey building with cross-section windows that were unusually large and numerous for the time it was built, two of which were counted on each storey at the food stall and four on the driving lane. Above it, a crenellated wreath with hexagonal corner turrets closed off the building; within the crenellated wreath rose a steep hipped roof that again housed four attic floors. Between the battlements and the approach to the roof ran a narrow battlement, but only just accessible for a person.
Thus, the building was basically not structured differently than z. B. the stone house on the market , which was built almost 100 years later . On the other hand, the asymmetrical, pentagonal floor plan, whose origin can only be speculated about, as well as the connection of the building with the tower to the three sow heads to a construction most reminiscent of a defense system was unusual .
As already described in the historical section, the aforementioned appearance did not change until the 18th century, when the roof structure was enlarged beyond the battlements in order to gain an additional storey. The pointed arch arcades on the ground floor were also walled up and replaced by portals with a rectangular floor plan that corresponded to contemporary tastes. Although two characteristic features of the building were lost as a result of these conversions, the remaining corner turrets with battlements still reminded of the original appearance.
Furthermore, in the same century as the building type, larger new buildings were built in the area of the cookshop, which at least externally let the character of the defense system take a back seat. Both the courtyard belonging to the Fürsteneck and the aforementioned defense tower in the same architectural style were completely built in and from that time on only accessible via the new buildings.
Around 1850 Carl Theodor Reiffenstein reconstructed the pre-baroque appearance based on reports from contemporary witnesses who were still alive. A sketch by him (see picture) shows the building with an intact crenellated crown and the pointed arch arcades leading to the ground floor, presumably as it should have looked as early as 1362.
Interior
General
Behind the arcades on the first floor opened up a large hall covered by cross vaults , which has probably been primarily used for commercial purposes since the earliest times. In a description from around 1900 there is an indication that at that time all but two of the cross vaults had fallen victim to the "recent structural changes" ; With the greatest certainty, conversions from Beydemüller's time were meant here.
A staircase on the west wall led from here to the first to third floors, which were largely designed with a uniform floor plan (see pictures). From the third floor, the staircase was narrower, but also more artistic, according to a description from 1914, its elaborately carved railing was very similar to the staircase that was in the Salzhaus until it was destroyed in 1944. On each floor one stepped from the stairs into a hall-like anteroom, from which all rooms, but also the operation of the respective chimneys and stoves (see picture) were accessible.
Anyone who went through the western door on the first floor from the anteroom came into the room through which the name of the building had come into its own beyond the borders of Frankfurt.
The great hall on the first floor
The pentagonal northern corner room, due to the asymmetrical floor plan of the building, contained one of the most splendid interiors of the German Renaissance , with regard to the eventful history of which from its creation around 1615 to its destruction in 1944 we refer to the historical part of this article. In different literature there are also different names for the total work of art, which essentially consists of an elaborate stucco ceiling and wood paneling that completely covers the walls, the most common being the knight's hall and the prince's corner room . The first name came from the representation of two knights fighting with a dragon in the area of the paneling.
The stucco ceiling, probably once modeled on site (see picture), did not contain any figurative representations and was cleverly adapted to the asymmetry of the room. On closer inspection, it was divided into a north and south half by a load-bearing beam running through the ceiling, which had also been plastered and stuccoed with foliage. The halves disintegrated into boxes of simpler geometric figures, some of which were separated from one another by fine tooth-cut friezes . In view of the manual production, they showed remarkably filigree motifs that were typical of the Renaissance, such as interlaced diamond blocks, antique acanthus representations and plenty of ribbons and scrollwork .
With regard to the structure of the paneling, which cannot be described in one's own words due to inadequate images and even only in black and white, a detailed description of a journal of the Mitteldeutscher Kunstgewerbeverein published at the end of the 19th century is included here , but for the purpose of better legibility cited some added paragraphs:
- “The 2 m high paneling is divided into smooth panels, veneered with glossy atlas, Hungarian ash wood , which are divided by peculiar pilaster strips . Two downwardly tapered supports with extremely animated drawings, at the top under the capital, expanded into two lateral horns decorated with twisted buttons, interrupted in the middle by a niche with a twisted dock, hold between them a niche that is divided in height and has a rich niche motif decorated filling. The richest use of different colored woods, as well as the inlays attached everywhere, give this dividing architecture a high color charm. Curved consoles , extending over the main cornice and again occupied with the twisted buttons, end the supports upwards.
- The soffits of the windows are clad with a simpler and broader niche motif, in the crown of which medallions with protruding heads are attached, which characterize the four parts of the world in a male and a female inhabitant. The frieze running around under the main cornice , which is provided with serrations , is adorned with elongated ornamental fillings, which are held alternately in weak relief and inlay. The base, too, is structured according to the wall divisions, broken up into cranked and richly profiled panels and adorned with inlay.
- The wallcovering described so far is interrupted in two places by richer groups: on a narrow wall by a wash cabinet and in the middle of the long wall opposite the windows by the extremely richly designed twin door. The two-tier wash-cupboard with Doric columns below and elegantly drawn candelabra columns above is built around the end of the 17th century. It was withdrawn from its intended use in the 19th century, as is shown by an ornamented panel, bearing the character of this period, which now closes the original upper niche.
- With regard to the architectural structure of the door group, we [...] can only note that here, too, the change of wood and the multiple use of the inlay is increased to the highest display of splendor. The figures carved in wood, which crown the freely protruding pillars, two dragon-killing knights and a Fortuna on the ball, are apparently made according to Jost Ammann motifs. The original fittings, consisting of rich ribbons and highly complicated locks with careful engraving , are also perfectly preserved. "
The description does not mention two elaborate, heraldic clay tablets that were incorporated into the panel above the doors. They showed the coats of arms of Dietrich Goßmann and his wife. On the back of one coat of arms there was also the definitive reference to the time of origin with the following inscription, as it coincided stylistically with the rest of the room decorations:
- "Christianus Steffen possirer and haffner foecit 1615."
According to this, Christian Steffen, who called himself a bossier (possirer) and Häfner (haffner), made at least the heraldic clay tablets in 1615 and, with the greatest certainty, the stucco ceiling. Fortunately, more of him has come down to us in the city archives: he came from Langula in Thuringia and became a citizen of the city in March 1615. Furthermore, according to the archive sources, he was the only citizen in his time who had learned the hacking trade, which only increases the probability that he was also responsible for the stucco work in the Fürsteneck. One can still get an idea of the high quality of his work, as a few years later he built stucco for the crypt of Landgrave Philip III. von Hessen-Butzbach in the town church of Butzbach .
With regard to the importance of the entire facility, it should finally be pointed out that allegedly even the last king of France, Ludwig Philip I, made a vain offer to the owner at the time in the 1840s.
The attic and attics
The staircase in the west wall that opened up the building ended on the fourth floor. Until the renovations described above, this was a real attic within the gable, from which one could enter the battlements between the roof and the crenellated crown of the building as well as the four corner turrets. Even after the renovations, however, as the cross-sections of the building (see picture) and the complete timber frame construction suggest, it was only about 60% of the ceiling height of the floors below and only allowed to be used as an attic, but in no way for residential purposes to have. A graphic interior view of the roof structure of the tower to the three sows' heads (see picture) also gives an impression of what it looked like on the fourth floor of the Fürsteneck, since both buildings were most certainly created by the same craftsmen and in a completely identical architectural style.
Finally, a simple wooden staircase from this floor made it possible to access three other attic storeys, which, thanks to the numerous dormers in the roof, enabled an enormous foresight due to the high location. In his standard work on Frankfurt topography from around 1820, Johann Georg Battonn vividly describes the special character of the attic. His report gives an idea of how the residents of the Fürsteneck over the centuries witnessed events that are in the history books today:
- “Most interesting, however, is the attic of the house with its floors lying one on top of the other, from whose various dormers one has the charming and indeed surprising view of the nearby roofs and buildings, as well as beyond them, into the area. The roof of the Fürsteneck protrudes noticeably over all the houses in the entire district. It is one of the highest in the whole city. An old, ninety-two-year-old woman I knew (Frau Bertina) often told me that as a child she and her mother had watched the Battle of Bergen (April 13, 1759) from these floor windows . They lived in the house at the time, and the shooting made them aware and climbed up. I was surprised to find your statement so brilliantly confirmed when I entered the granary for the first time and found that you can completely overlook the whole area near Bergen with the control room and the whole battlefield. Likewise, in 1813, on October 30th, the residents of the house observed the battle of Hanau from here. "
literature
- Johann Georg Batton: Local Description of the City of Frankfurt am Main - Volume II . Association for history and antiquity in Frankfurt am Main, Frankfurt am Main 1861–1875
- Architects & Engineers Association (Ed.): Frankfurt am Main and its buildings . Self-published by the association, Frankfurt am Main 1886, p. 34 and p. 59–62
- Carl Wolff, Julius Hülsen, Rudolf Jung: The architectural monuments of Frankfurt am Main - Volume 3, private buildings . Self-published / Völcker, Frankfurt am Main 1914, pp. 26–34
- Paul Wolff, Fried Lübbecke : Old Frankfurt, New Series . Verlag Englert & Schlosser, Frankfurt am Main 1924, pp. 36–39
- Fried Lübbecke: A monument of old Frankfurt - the house to the Fürsteneck . In: Frankfurter Verkehrsverein (Ed.): Frankfurter Wochenschau . Bodet & Link, Frankfurt am Main 1937, pp. 513-517
- Armin Schmid: Frankfurt in the firestorm . Verlag Frankfurter Bücher, Frankfurt am Main 1965, pp. 168–171
- Hans Lohne: Frankfurt around 1850. Based on watercolors and descriptions by Carl Theodor Reiffenstein and the painterly plan by Friedrich Wilhelm Delkeskamp . Frankfurt am Main, Verlag Waldemar Kramer 1967, pp. 196–199
- Georg Hartmann, Fried Lübbecke: Old Frankfurt. A legacy. Verlag Sauer and Auvermann, Glashütten 1971, pp. 301-304
- Manfred Gerner: Half-timbered in Frankfurt am Main . Waldemar Kramer Verlag, Frankfurt 1979, p. 12
- Hartwig Beseler, Niels Gutschow: War fates of German architecture - losses, damage, reconstruction - Volume 2, south . Karl Wachholtz Verlag, Neumünster 1988, p. 820
swell
- ↑ a b c Local description of the city of Frankfurt am Main - Volume II . Association for history and antiquity in Frankfurt am Main, Frankfurt am Main 1861–1875
- ↑ a b c d e f The architectural monuments of Frankfurt am Main - Volume 3, private buildings . Self-published / Völcker, Frankfurt am Main 1914, pp. 26–34
- ↑ a b c A monument of old Frankfurt - the house to the Fürsteneck . In: Frankfurter Verkehrsverein (Ed.): Frankfurter Wochenschau . Bodet & Link, Frankfurt am Main 1937, pp. 513-517
- ↑ Frankfurt around 1850 . Kramer Verlag, Frankfurt am Main 1967, pp. 196–199
- ↑ a b Alt-Frankfurt. A legacy. Verlag Sauer and Auvermann, Glashütten 1971, pp. 301-304
- ↑ Frankfurt in the firestorm . Verlag Frankfurter Bücher, Frankfurt am Main 1965, pp. 168–171
- ^ Journal of the Central German Arts and Crafts Association, New Series, 3rd year . Central German Arts and Crafts Association, Frankfurt am Main 1891, issue 3
Web links
- House Fürsteneck. altfrankfurt.com
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