Country house Klagenfurt

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Landhaushof in spring

The Landhaus Klagenfurt is a historically significant, yet repräsentativster secular building of the Carinthian capital. It is located between Heiligengeistplatz and Alten Platz on the edge of the oldest part of Klagenfurt city ​​center . The country house was built between 1574 and 1594 as part of the expansion and fortification of the city by the Carinthian estates . It is still the seat of the Carinthian Landtag today .

Historical background

In the late 15th and early 16th centuries Carinthia was almost left to its own devices, the Habsburg sovereigns resided as emperors in Vienna or Prague, while the estates , the representatives of the nobility and high clergy, had to deal with incursions by the Ottomans and uprisings . The Carinthian peasant uprising in 1478 turned against newly levied taxes, and in 1515 rebellions started again from Carniola and southern Styria , culminating in the occupation of Althofens and St. Vitus , the then Carinthian capital.

Emperor Maximilian donated the city of Klagenfurt to the stands. Fresco by JF Fromiller , Great Hall of Arms

Although the uprisings were initially pacified by the mobilization of the military, the events reinforced the desire of the “Honorable Landscape” for a seat that was subordinate to them and not foreign rulers. They chose the city of Klagenfurt, which was almost completely destroyed by fire in 1514, and turned to Emperor Maximilian I with the request that they let them have the city. Since both the imperial court and the city itself lacked the funds for reconstruction, Maximilian gave them away to the wealthy local nobility in 1518. The provincial estates had the city rebuilt and fortified in the course of the 16th century and made Klagenfurt the new capital of Carinthia.

As early as 1527, the 4.5-kilometer-long Lend Canal was created, which supplied the city with water from the Wörthersee , fed the moat that was excavated from 1534 and served as a transport route for building materials for the new buildings. The expansion of the city itself began in 1534: Within the newly built city wall, buildings south of the old city center, the Alter Platz, were built that still shape the face of Klagenfurt today: the Protestant preacher church, built from 1581 (later Klagenfurt Cathedral ), the Lindwurmbrunnen , which was set up on Neuer Platz in 1593, as well as the country house built between 1574 and 1594, which was to serve as the seat of the estates.

history

Predecessor buildings in the late Middle Ages

Although the Klagenfurt newly established at its current location in 1246 was already in 1252 town charter , in the late Middle Ages, the cities were in Carinthia but St. Veit and Völkermarkt the more significant princely residences. Apparently, with the rebuilding of the city, a first castle was built: Klagenfurt castellans are mentioned for the year 1258 and a castle is mentioned in a document by Duke Ulrich III. from the year 1268 called. Nothing is known about the size and location of this castle; its location is assumed to be at the western end of the Old Square. Neither the Spanheim dukes in the 13th century, nor the Habsburg sovereign princes, who owned the Duchy of Carinthia in 1335, used the castle complex as a mansion; the former resided in St. Veit, none of the latter took up permanent residence in Klagenfurt.

The first castle came into the possession of the citizens of Klagenfurt in 1489 as a gift from the emperor. At this point in time there was already a second royal castle, which had been built in the 15th century. The exact location of this second building is not documented, but it was in the immediate vicinity of the older castle and at least partially on the site of the current country house.

Construction of the country house (1574–1594)

The country house was supposed to replace the old princely castle, which was destroyed in a town fire in 1535 but had already become dilapidated. Therefore, the stands had already begun in 1518 with the construction of the armory , the foundations of which are still preserved in the northeastern corner of the basement today. In 1574 it was decided to build a new castle.

Gate in the western front

With the execution of the construction of the new castle as well as the organizer for the entire "stadtgepew", that is the city fortifications, the landscape architect and supreme master craftsman, Hans Freymann from Bleiburg (?), Was instructed on March 3, 1574. The original overall concept of the plant and Freymann's part in the planning is unclear, however. Its share in the current building can also no longer be determined precisely. He probably added a hook-shaped wing to an older, square building at today's north-west corner of the country house in the south, which above the basement has a hall (today's Great Coat of Arms Hall), the Landstube (today's conference room) and a number of other rooms to the east contained, so about today's western and western part of the south wing.

Before the end of his activity, the buildings were finished to the point where the artistic furnishings could begin. After the completion of the construction work on this first construction phase at the end of 1580, the state estates also acquired the so-called Paradeiserhaus in the immediate vicinity (today Landhaushof No. 3), which has since formed a structural and functional ensemble with the Landhaus.

Note on the first session of the state parliament on December 4, 1581

Freymann was replaced as master builder in 1581; the reasons for this are not known, there has been no evidence of an activity since autumn 1580, it is possible that he died suddenly. His successor was Johann Anton Verda , an architect from Lake Lugano who had previously worked as a stonemason at the Graz Landhaus . At this point in time, the building was so far completed that the state parliament met in it for the first time on December 4th of this year. Nevertheless, Verda is considered the authoritative architect for the external appearance of the country house. He expanded it to a horseshoe-shaped building, created the two-story arcade and the accompanying staircases as well as the southern tower. The end of the construction work was the construction of the Landhaushoftore in 1594, which closed off the courtyard between the Landhaus and the “To the Golden Goose” building complex.

Inside, the Great Coat of Arms Hall was completed in 1578 by the Villach landscape painter Anton Blumenthal, who shortly afterwards also contributed 47 portraits of the Carinthian sovereigns. In the years 1587 and 1588 the construction was completed under the leadership of Christoph Windisch, important work was also carried out by the sculptor Ulrich Vogelsang .

A contemporary depiction of the completed country house comes from Urban Paumgartner , a teacher at the Protestant landscape school “Collegium sapientiae et pietatis” in Klagenfurt. In 1605 in exile in Lauingen he wrote the epic “Aristeion Carinthiae Claudiforum” in 1000 Latin hexameters , which describes the newly built city of Klagenfurt in 18 sections and illustrates it with a city map. About the country house is written in the Aristeion:

Engraving by Valvasor, 1688
Now I want to describe the country house, it looks wonderful
By two towers rising to thinner airs
Look down at the entrance with the gates opened twice.
Adorned by the art of roll call, the panel shines,
and the floor of the hall shimmers from welled fields
Marble, the princes shine painted in golden ceilings
Of Austria, like the estates of these heroes the capital
Received as a gift and confessed with a grateful heart,
That they owe to them every reward for virtue. [...]
Now the first floor, supported on mighty columns,
Allow me to explore, hidden inside
The ore guns of the brave Marvor rest.
Steel, which in hardness conquers Demant, and brazen wings
Form the gate, it stares all around with mighty weapons. [...]

Use and importance from 1581

With the completion of the city fortifications in 1591 and the country house in 1594, Klagenfurt had become a residential residence both structurally and politically. With the establishment of a Carinthian regional board in 1591, the group of people belonging to the provincial estates was redefined and the rural administrative system was also set up at that time.

The country house fulfilled a variety of tasks: It was primarily the meeting place for the estates and their committees, and provincial governorate interrogations and the “Landschrannengericht” (land law and court aiding) also took place in its representative rooms. In addition, it was the scene of ceremonies, one of the first ceremonies being held on January 27, 1597, a ceremonial meal of Archduke Ferdinand II after his hereditary homage. Paumgartner has already reported on class dance events and the country house was also popular for holding wedding tables for notables. The St. Veit mint, which was already leased in 1529, was also transferred from the estates to their new capital; however, the right to mint was revoked in 1622 and the evacuation of the mint adjacent to the country house was ordered. Shortly after its completion, parts of the country house were also rented out as storage rooms, including for grain.

However, the Counter-Reformation resulted in a re-Catholicization of the Carinthian cities, especially Klagenfurt (1600 and 1604), and with the expulsion of the Protestant nobility in 1628, the sovereign centralism finally prevailed, the activity of the state parliament was limited to the confirmation of sovereign demands.

Fire and redesign from 1723

The late baroque south front

In the course of the city fire on August 16, 1723, the country house was also badly damaged. In the following years it was redesigned in the late baroque style. The south and west facades were provided with giant pilasters, the windows were framed with stucco. In 1724 the south tower received two new bells that survived both world wars. In 1735 Ferdinand Fromiller was commissioned to redesign the Great Coat of Arms Hall (→ see description below ). Until 1848 the coat of arms hall remained the "binding state register of Carinthia". Francesco Robba equipped the large coat of arms hall with a marble floor in a three-colored geometric pattern, as well as with the main portal and two chimneys. Fromiller painted the coats of arms of the burgraves, councilors and those in charge in the small coat of arms hall, at that time the council chamber of the decreed.

Use in the 18th and 19th centuries

The ballrooms, especially the Great Coat of Arms Hall, were mainly used for celebrations in the late 18th century, for example during the visit of Amalia of Parma in June 1783 and the visit of Archduke Ferdinand of Milan in 1786.

The Napoleonic Wars brought the end of the estate armory in the country house, but weapons of the Landwehr were later housed in the premises. During the French occupation of Klagenfurt in 1809/10, the country house served as a military hospital and suffered severe structural damage.

The obelisk fountain built in 1833 in the country house courtyard

In 1818 a bust of Emperor Franz I was placed in the Great Hall of Arms , but it had to give way to the Fürstenstein in 1870 . In the country house courtyard, the obelisk fountain, which still exists today, was built by Christophoro Cragnolini for 600 guilders in 1833. The country house garden, which last served as a vegetable garden, was converted into a park in 1843 and the walling removed.

The state museum was also housed in the country house until 1883, and then moved to the Carinthian state museum , the Rudolfinum. The history association's museum has been located in the country house since 1844 and the natural history museum since 1861. Some large exhibits were housed in a monument hall in front of the north wing. It was demolished in 1882 as part of a redesign of the country house courtyard.

In 1896 the newly founded state mortgage bank was housed on the ground floor for three years. In 1914 the following institutions were located in the country house: the offices and offices of the state parliament and state committee, the state building office, state accounting and the state treasury.

First republic

With a government resolution of September 29, 1926, the establishment of a country house cellar was decided. The murals were created by Carinthian artists: Eduard Manhart (" Ankogel "), Switbert Lobisser ("Kirchgang", " Keusche am Berg", "Kärntnerhimmel"), Josef Prokop ("Schimmelreiten im Gurktal"), Richard Knaus ("Stern- or Dreikönigssingen in Paternion "," Bandltanz "). Except for Lobissers Kärntnerhimmel, the paintings were lost in a fire in 1949 and the renovation in 1969.

In 1924/25 there was an invitation to tender for the design of the meeting room with the topic of referendum in 1920, from which Switbert Lobisser emerged as the winner. In 1928 he painted a fresco on the north side as part of the homeland security movement (see description below ).

In 1929 Anton Kolig was commissioned to design the Kolig Hall, which is named after him today. Together with his students, including Anton Mahringer , he painted the frescoes between October 1929 and October 1930 with financial support from the State of Hessen-Nassau . The basic idea of ​​the frescoes was the fraternization between Austria and Germany. The topics of the military, handicrafts, hospitality, and the patriarchal order were “entirely in keeping with the times” (see description below ). The paintings were carried out with colored mortar and overpainted in wax casein colors. The frescoes were characterized by the abandonment of the spatial illusion and the appearance of incompleteness, and the larger-than-life figures appeared unnatural in the rather small room. Even during the work led to expressions of discontent: "In particular, of Christian-social side storm raced against individual images." . In particular, the employee of the monument office Otto Demus and the social democratic regional councilor Zeinitzer appeared as defenders of the work. In November 1930 the members of the National Socialists and the Heimatblock requested the removal of the frescoes in the state parliament . In the state parliament session of March 25, 1931, the treatment of this application was rejected with 17:16 votes. Emmerich Angerer from the Heimatblock had said in the debate: “A people who fought for their freedom, a people who sealed their true love for their homeland with their blood, cannot tolerate these frescoes for a day or two longer, who actually offend the people, are exposed to the public. "

time of the nationalsocialism

The frescoes were hung before the connection , the exact time is unknown. When the National Socialists came to power, the frescos were endangered. The state curator Walter Frodl wrote in a letter dated October 12, 1938 that he could not guarantee the security of the frescoes, since "their removal from all sides is strongly demanded" . In the course of the renovation work in the country house in the winter of 1938/39, the frescoes were removed, the originator and the exact time are not known, the period between November 1938 and February 1939 is considered likely.

In the summer of 1938, Switbert Lobisser had received from Minister of the Interior Wilhelm Frick an order, endowed with 10,000 Reichsmarks, for frescoes in the meeting room, entitled “Carinthia's return to the Reich”. At the same time, the country house received a new facade with Terranova spray plaster in the colors ivory, rust red and gray. Otto Bestereimer and Kurt Weiss gave the north tower a sundial fresco showing the zodiac, the runes for life and death, as well as the saying “The bad should not knechten the good” (an allusion to the time of illegality).

After the renovation work, the country house became the seat of the Gauleitung of Carinthia in early 1940. The Koligsaal became the office of Gauleiter Friedrich Rainer .

Although the country house survived the Second World War without being hit by direct bombs, the facade and roof were badly damaged.

In the first days of May 1945, the democratic parties took power in the state parliament before the British troops arrived. On May 5th there was a first meeting between Gauhauptmann Natmeßnig and representatives of the democratic parties, on the morning of May 6th these representatives formed an executive committee, but moved to the adjacent tobacco office building, on the evening of May 7th the was constituted in the Small Wappensaal provisional state government. To commemorate this, a memorial plaque was put up in 1985 with the inscription: "In this house / on 7 May / 1945 Carinthians / patriots by / their own efforts / restored democracy / in the country."

Second republic

After the end of the war, the country house was confiscated by the British occupying forces, which had the Lobisser frescoes painted in 1938 painted over. It was not until July 22, 1948 that the state parliament was able to meet again in the meeting room.

Sundial on the north tower by Werner Lösser

The country house was extensively renovated between 1964 and 1976. The roof and facades, which were only poorly repaired after 1945, were renewed. The facade in the inner courtyard received its current Renaissance style in gray and white. In 1967 Karl Bauer designed a new sundial on the north tower as a sgraffito with the coats of arms of the - then - seven district capitals. In 1970 the meeting room was redesigned, the visitors' gallery was set up on the east wall and a 350 kilogram bronze coat of arms from Carinthia was attached by Werner Lösser. Oil paintings by Anton Kolig were hung in the Koligsaal. In 1975/76 the Great Coat of Arms Hall was restored.

In 1997 the State Archives moved to a new building on St. Ruprecht Strasse. The country house was then redesigned and renovated again. The conference room was redesigned with new benches, the bronze coat of arms was replaced by modern Carinthia graphics. In the course of the renovation work, the “Nazi frescoes” were “rediscovered”. After discussions, the frescoes were removed from the wall and preserved.

Kiki Kogelnik fountain in the Landhauspark, built in 1997

As early as autumn 1996, the state parliament asked the state government to work out a project for the design of the Koligsaal. Culture Committee and the Advisory Board of Fine Arts were in favor of Cornelius Kolig , the grandson of Anton Kolig out because he was his grandfather in its possession and also a "ostracized artist" in charge of Culture Deputy Governor Dr. Michael Ausserwinkler took over this suggestion and said: “I am concerned with a conscious examination of the brown demon in Carinthia's past. I would like the MPs to be confronted with it before the start of the session. ” Campaigns were launched against the award to Cornelius Kolig. On March 16, 1998 , the Kärntner Krone, the Carinthian edition of the Kronen Zeitung , headlined : "Faecal artists should collect millions: stop the cultural scandal in Carinthia!"

At the instigation of the FPÖ , the culture committee decided on March 17th to tender for the design of the room. The five-member international jury was nominated by the state parliament parties, and the parties agreed to accept the jury's vote. On July 2nd, the jury unanimously announced Cornelius Kolig as the winner from the 19 participants. On July 7th, the state government, with the votes of the ÖVP and SPÖ, decided to award the contract to Kolig: “The result does not fit the FPÖ's political worldview. But we're not letting Carinthia become the puppet of a united Europe. ” If the critics initially stumbled upon the way in which the contract was awarded, the campaign by the Kärntner Krone and FPÖ against Cornelius Kolig continued after the call for tenders they had requested.

Construction work on the hall began in August. At the same time, the FPÖ collected signatures against the project. The regional court of Klagenfurt, however, banned the distribution of the FPÖ leaflet by means of an injunction, as it brought Kolig close to child abuse.

As a result of these campaigns, Kolig supplemented the design of the room and added the words "TAT ORT", among other things as an allusion to the use of the room as an office by Friedrich Rainer. On September 25, 1998 the room was presented to the public. On this occasion, Bishop Egon Kapellari and Superintendent Joachim Rathke also expressed their solidarity with the artist. Since then, the space has become more of a tourist attraction than a scandal.

Building description

Exterior architecture

The Landhaushof in 2004
The stone stairs in front of the south tower

Even though it was planned as a castle , the country house looks more like a castle thanks to its horseshoe-shaped floor plan . On the west and south sides, the building looks very impressive and closed, one of the originally two rustic portals on the west side was bricked up. Through the only portal you now enter the Landhaushof, which on the north and south sides with wide stairs enables the ascent to the arcade and the Great Coat of Arms Hall. Especially here in the courtyard, as is often the case in Klagenfurt am Wörthersee (e.g. near Lindwurm ), chlorite slate from nearby Kreuzbergl is found . The courtyard is open on the east side, and the building on the opposite side of the former salt office now houses a hotel.

The castle-like construction does not correspond to any classical rule of architecture: the portal is not in the middle on the west side, nor is the entrance to the coat of arms hall, the towers are designed differently, the arcades of the stairs "butt" against the tower walls. But this seems to be what makes the building so special, which is why Wilhelm Pinder called the country house one of the proudest post-medieval urban buildings in the German-speaking area.

A curious detail in the Landhaushof is a small stone staircase that was originally used to make it easier to mount the horses and has been preserved to this day. In 1998, a controversial monument to the “Site of Carinthian Unity” was erected in the Landhaushof. To the south of the country house in the adjacent park is a fountain designed by Kiki Kogelnik called Der Gesang .

Interior design

Great coat of arms hall

Great coat of arms hall
The ceiling fresco in the Great Hall of Arms
Great coat of arms hall, 1904

The Great Coat of Arms Hall is on the first floor of the west wing. It extends over both upper floors and is 9.8 meters high. The floor space measures 23 × 13 meters, the dimensions of the hall have remained unchanged since 1581. The hall originally had frescoes and a ceiling painting by Anton Blumenthal, but these were destroyed in the fire in 1723. The walls and ceiling of the hall were then redesigned by Josef Ferdinand Fromiller , since then only coats of arms have been added.

There is a fresco by Fromiller on the ceiling. The ceiling mirror is framed by a “ pseudo-architecture with excellent perspective ”, which represents a circumferential colonnade with niches in the corners. In the niches there are grisaille statues of the Habsburg rulers Matthias , Ferdinand II. , III. and IV. The cardinal virtues are depicted in balustrades in the middle of each side . No sky opens up over the pseudo-architecture, it is the hereditary homage of Emperor Charles VI. shown. This took place on August 22, 1728 in the Palais Rosenberg (today the town hall), but Fromiller was architecturally relocated to the Great Hall of Arms. The emperor sits under a red canopy and is surrounded by the decreed, the clerical dignitaries, the duke farmers and the bearers of the eleven Landesherbämter . The coats of arms of the latter as well as the coats of arms of Austria, Carinthia, the spiritual territories of Salzburg and Bamberg on the edge of the picture connect the homage scene with the pseudo-architecture.

On the north wall there is a fresco framed as a panel painting and dated 1740. It shows the installation of the Carinthian Duke on the Fürstenstein near Karnburg. On the south wall there is a fresco of the same size that shows the handover of the gabbrief (= deed of donation) by Maximilian I to the Carinthian estates (April 24, 1518), making Klagenfurt a rural town. These two frescoes symbolize the class and national awareness of the Carinthian estates.

The remaining wall surfaces are entirely covered with 650 coats of arms (with 665 ceiling). The coats of arms of the rural nobility and the knights are painted on the long sides: in the top two rows, in alphabetical order, the families that belonged to the country before 1591, including the newly accepted families in chronological order, ending with Count Hugo Henckel-Donnersmarck in 1847. 19 Coats of arms fields are empty because the coats of arms of these families could no longer be determined during the baroque period. On the south side are the coats of arms of the ecclesiastical estates on the left, those of the governors on the right , ending with Leopold von Aichelburg-Labia (1909–1918). On the north side are the coats of arms of the Landesvizedome (sovereign property administrators) on the left and those of the regional administrators (deputy of the governor) on the right, both offices only existed until 1747.

The marble floor in white, red and black, the five door frames, the gate to the coat of arms hall and the southern fireplace come from the Venetian Francesco Robba. The northern chimney was reconstructed in 1908 by Pietro d'Aronco from Gemona. The Fürstenstein has been in front of this fireplace again since March 2006.

  • Fromiller and Sons as self-perpetuation in the lower right corner of the ceiling fresco in the Great Hall of Arms

  • "Fürstenstein" exhibited in the Great Hall of Arms (since 2006)

Small coat of arms hall

Fromiller's ceiling painting in the small coat of arms hall

In the small coat of arms hall, formerly known as the council chamber , the meetings of the ordained body (forerunner of the state government) took place during the period of the estates. The room is 10 × 6.5 meters and has two windows in deep niches on the north and south sides. The hall was designed by Fromiller in 1740. Here the walls show 298 coats of arms of the burgraves, general conquerors, provincial presidents, ordinaries and the last noble governors of Carinthia. The flat ceiling shows pseudo-architecture and an allegorical fresco Veritas temporis filia (Truth as the daughter of time).

Boardroom

The boardroom, originally called the country room, was used as a boardroom from the start. The room has 4 × 2 window axes and measures around 18 × 9 meters. Since 1927 it has extended over two floors. Lobisser's frescoes from 1928 on the north wall still preserved today bear the following titles from left to right:

  • "Excerpt from the (defense) fight"
  • "Fraternization (agitation)"
  • "(Cheers after the) referendum "

The frescoes painted by Lobisser in 1938 were covered in 1945. The east side was destroyed in 1970 by the construction of the visitors' gallery, the other frescoes were removed in 2000. They showed the following scenes:

  • “Time of Illegality” on the east side: a mother with three children stands in front of a prison wall.
  • “Expectation” (of the connection ), on the south wall, following the previous picture: The picture shows a student with a swastika in the book, a mother holding up her child and other people waiting.
  • “Hour of Liberation”: a German and an Austrian soldier shake hands.
  • “The message in the country”: a cyclist waving a swastika flag brings the news of the connection to the farmers.
  • "Illegal fighter", in the southwest corner: he has a bandaged head, but stays upright.
  • “Socialism de facto” on the west side: a woman from the Altreich gives gifts to Austrian children.
  • “Oath of loyalty”: Carinthians in traditional costume surround a Nazi national emblem with a German greeting.

Koligsaal

The hall was originally 9 × 7 meters, but was made smaller by installing sanitary facilities on the north side.

Anton Kolig

Anton Kolig designed the hall in 1929/30 together with his students, including Anton Mahringer, Karl Bertsch and Karl Kraus. The paintings were destroyed in 1938, only Kolig's sketches and black and white photos have survived. Otto Demus described the pictures in detail in 1930. Little is known about the color scheme of the frescoes, but the ceiling of the room was in patina green and the floor in brick red.

  • On the east wall: Young men, in whom Kolig's pupils can be identified, carry beams to build the workshop. A naked woman in the middle hands Anton Mahringer, who is standing with his back to the viewer, an egg as a gift of love and / or a symbol of fertility. The following picture is separated by the door: Anton Kolig stands in front of a painting “Madonna with Child”. A pupil, humbly bent, hands him a bowl of colors.
  • On the north wall was the "Banquet", which was strongly based on the iconography of the Last Supper. Most of the figures can be identified. Among them are Kolig, Anton Mahringer, Josef Friedrich Perkonig and Alois Maier-Kaibitsch.
  • On the left wall on the west wall there were three boys singing in the great outdoors. Two couples in love are crouching to the right, one of the men is handing his lover a pearl necklace. Separated by a door, the maids' room follows: three women are undressing, one of them is obviously pregnant. This motif echoes the motifs of the Three Graces or the judgment of Paris.
  • On the south wall, the window wall, adjoining the west wall, there was a Hessian peasant couple who leaned over an open children's coffin. A small child is sitting in front of it. This picture was a homage to the donor state Hessen-Nassau. The central pillar showed a two-figure group “Looking up figure and soaring genius” with the inscription: “Hessen-Nassau / Kärnten / Werkst. Kolig " . In the window reveals there were four soldiers' figures, alluding to the Carinthian defensive battle, "guarding" the area to the south.

Cornelius Kolig

Cornelius Kolig combined elements of his grandfather with new elements in his design of the Koligsaal in 1998. Anton Kolig's pictures “Gastmahl”, “Maid Chamber” and the singers with the lovers were attached as large-scale, monochrome reproductions. In between there are installations by Cornelius Kolig: Der Flieger, a black, male torso that merges into a bar above the navel; a wall with red roses. The two doors on the west and east side are sliding doors made of stainless steel. On the window side, the word “TAT” runs across the entire front, opposite, on the bronze-colored sliding door in front of the toilet, the small word “ORT”.

Todays use

Today Landhaus Klagenfurt is the seat of the Carinthian Landtag , which meets regularly - mostly on Thursdays - in the conference room. The state parliament parties have their offices in the historic rooms on the first and second floors.

The large and small Wappensaal as well as the boardroom and Koligsaal can be visited on a guided tour during the summer months. The Landhaus-Galerie has been located on the first floor since 2003.

Today the restaurant Gasthaus im Landhaushof is located on the ground floor and parts of the basement . In the 1990s there was a committed cultural initiative in the basement, Theater im Landhauskeller .

literature

  • Wilhelm Deuer: The country house in Klagenfurt . Verlag des Kärntner Landesarchiv, Klagenfurt 1994, ISBN 3-900531-29-3 .
  • Siegfried Hartwagner: Klagenfurt city . Neuer Kaiser Verlag, Klagenfurt 1994.
  • Erwin Hirtenfelder, Bertram Karl Steiner: crime scene Kolig-Saal. 1929-1999 . Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 .
  • Urban Paumgartner: Aristeion Carinthiae Claudiforum. Klagenfurt, Carinthia's prize of honor . Ed .: Thomas Lederer. Kärntner Landesarchiv, Klagenfurt 2002, ISBN 3-900531-51-X .

Web links

Commons : Landhaus Klagenfurt  - album with pictures, videos and audio files

photos

Individual evidence

  1. ^ Wilhelm Deuer: The country house in Klagenfurt. Verlag des Kärntner Landesarchivs, Klagenfurt 1994, ISBN 3-900531-29-3 , p. 13 .
  2. ↑ The origin of Freymann is often given in the literature as Bleiburg , which, according to Wilhelm Deuer: Das Landhaus zu Klagenfurt. Verlag des Kärntner Landesarchivs, Klagenfurt 1994, ISBN 3-900531-29-3 , p. 18 . based on a misinterpretation of a travelogue.
  3. ^ Wilhelm Deuer: The country house in Klagenfurt. Verlag des Kärntner Landesarchivs, Klagenfurt 1994, ISBN 3-900531-29-3 , p. 21/22 .
  4. ↑ Quoted from Herbert Stejskal (Ed.): Kärnten. History and culture in pictures and documents. Carinthia University Press, Klagenfurt 1999, p. 123 .
  5. ^ Wilhelm Deuer: The country house in Klagenfurt. Verlag des Kärntner Landesarchivs, Klagenfurt 1994, ISBN 3-900531-29-3 , p. 62 .
  6. ^ Wilhelm Deuer: The country house in Klagenfurt. Verlag des Kärntner Landesarchivs, Klagenfurt 1994, ISBN 3-900531-29-3 , p. 131 .
  7. ↑ Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 25 .
  8. ↑ Quoted from Josef Friedrich Perkonig in a letter from Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 27 .
  9. ^ Stenographic minutes of the Carinthian Landtag, 15th legislative period, 1st session, 7th session, March 25, 1931, p. 109; quoted from Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 34 .
  10. ↑ Quoted from Wilhelm Deuer: Das Landhaus zu Klagenfurt. Verlag des Kärntner Landesarchivs, Klagenfurt 1994, ISBN 3-900531-29-3 , p. 143 .
  11. ^ Carinthian border call from November 5, 1938, quoted from Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 47 .
  12. ↑ Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 61 .
  13. ↑ The Standard of February 27, 1998, quoted from Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 66 .
  14. ↑ Quoted from Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 70 .
  15. ↑ Governor Dr. Christof Zernatto (ÖVP), quoted from Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 88 .
  16. ↑ Jörg Haider on July 11, 1998 in the Kronen Zeitung: "The design of the room planned by Kolig deeply hurts religious feelings and is inhumane." He called it a "kind of mess that one wants to sell to as an artistically valuable measure." Quoted from Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 90 .
  17. ↑ Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 93 f .
  18. ^ Wilhelm Deuer: The country house in Klagenfurt. Verlag des Kärntner Landesarchivs, Klagenfurt 1994, ISBN 3-900531-29-3 , p. 171 .
  19. ↑ The description follows Erwin Hirtenfelder, Bertram Karl Steiner: Tatort Kolig-Saal. 1929-1999. Carinthia University Press, Klagenfurt 1999, ISBN 3-85378-498-4 , p. 16-19 .
  20. ^ Otto Demus: Anton Kolig's paintings in the Klagenfurt country house. Austrian Art 1 Vol. 11, Vienna 1930, p. 29 .

Coordinates: 46 ° 37 ′ 29.6 ″  N , 14 ° 18 ′ 20.5 ″  E

This version was added to the list of articles worth reading on June 15, 2006 .