5. Johann Heinrich Ostertag, The Augsburg Town Hall Square

To enhance the magnificent effect of the town hall, the engraver virtually antic- ipated an urban planning intervention that became reality during reconstruc- tion after the destruction of World War II. He eliminated the southern perimeter development of Perlach and created a wide square with the Augustus fountain, completed in 1594, as its center.The Augsburg Town Hall Square Johann Heinrich Ostertag (around 1706–1743) Augsburg, 1711 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 12093

6. Jonas Thiébaud, 10 Ducats

With the completion of the town hall, a view of Augsburg from the east be- comes a trademark of Augsburg coin- age, along with the city pyr (the pine cone is the coat of arms of Augsburg), The most beautiful coinage was cre- ated in 1744 by the city medalist Jonas Thiébaud.10 Ducats Jonas Thiébaud (1695–1770) Augsburg, 1744 Gold Kunstsammlungen und Museen Augsburg, Inv. No. N 741

4. Elias Holl, The Holl Family Chronicle

The most important source on Elias Holl is his family chronicle. The original written by himself is lost. of the many copies, this is the most reliable. The chronicle is also a catalogue raisonné and autobiography all in one. Holl reports in great detail on the raising of the Perlach Tower and the construction of the new town hall. With his anecdotal descriptions, Holl himself laid the foundation for his legendary status.The Holl Family Chronicle Elias Holl (1573–1646) Copy, around 1680 Staats- und Stadtbibliothek Augsburg, Sign. 4o Cod Aug 82

8. Ulrich Hainly, View of Augsburg from the east

With his 1563 Augsburg city view from the east, Hans rogel created a form of representation that was handed down well into the 19th century. The reprint with the tower of the monastery church of St. ulrich and Afra, completed in 1594, documents Augsburg’s purlieus before Holl’s work.View of Augsburg from the east Ulrich Hainly (active around 1600) after Hans Rogel (around 1532–1592/1593) Augsburg, around 1600 Woodcut Kunstsammlungen und Museen Augsburg, Inv. No. G 700

12. Paul Hektor Mair, Ordnung und Beschreibung Ettlicher Alter loblicher gebreuch vnnd herkommen

The parchment manuscript documents the respective customs during rep- resentative acts of the imperial city, primarily during imperial congresses. The pages show the black canopy under which Emperor ferdinand I entered Augsburg in 1559 during the mourn- ing for his deceased brother, Emperor Charles V, and the yellow canopy under which Emperor Maximilian II was es- corted into the city by the Augsburg Council in 1566.Ordnung und Beschreibung Ettlicher Alter loblicher gebreuch vnnd herkommen Paul Hektor Mair (1517–1579) Augsburg, 1564–1579 Augsburg, Staats- und Stadtbibliothek, Sign. 2o Cod H 14

7. Heinrich Vogtherr d. Ä., The Augsburg Town Hall Square in winter

The winter picture of the Town Hall Square shows the political and eco- nomic center of the imperial city and is to be understood as a symbol of a good council regiment. It gives a vivid idea of the late gothic urban form of Augsburg.The Augsburg Town Hall Square in winter Heinrich Vogtherr d. Ä. (1490–1556) Augsburg, around 1542 Oil on canvas Kunstsammlungen und Museen Augsburg, Inv. No. 9330

10. Jörg Breu d. J., Coat of Arms of the Members of the Grand and Small Council of Augsburg

Augsburg was Protestant from 1537 to 1547. The end came with Emperor Charles V’s victory over the Protestants in 1547. At the Augsburg “geharnischter reichstag” in 1547/1548, the guild rule that had existed since 1368 was abol- ished, and the patriciate and the Catho- lics’ share in the city regiment were strengthened. The so-called regimental order of Charles V, documented in this painting, was the “basic law” of the im- perial city until 1806.Coat of Arms of the Members of the Grand and Small Council of Augsburg Jörg Breu d. J. (around 1510–1547), Werkstatt Augsburg, 1549 Watercolour, gouache, paper Kunstsammlungen und Museen Augsburg, Inv. No. 3844

11. Bartholomäus Käppeler, The Emperor and the seven Prince Electors of the Holy Roman Empire

The leaflet memorably illustrates the central constitutional principle of the Holy roman Empire, which existed until 1806. According to the “golden Bull” of 1356, as a kind of “basic law of the empire,” only the seven highest imperial princes were to elect the king. A dis- tinction was made between the three ecclesiastical electors, the Archbish- ops of Mainz, Cologne and Trier, and the secular electors, namely the Count Palatine of the rhine, the duke of Saxony, the Margrave of Brandenburg and the King of Bohemia.[The Emperor and the seven Prince Electors of the Holy Roman Empire](https://objektkatalog.gnm.de/objekt/HB2501) Bartholomäus Käppeler (active zwischen 1577 und 1596) Augsburg, 1592/1600 Type print, woodcut, coloured Nürnberg, Germanisches Nationalmuseum, Inv. No. HB 2501, Kapsel-Nr. 1255

19. Daniel Manasser, Imperial Eagle

In the late 15th century, the double- headed, crowned so-called quaternion eagle, which shows imperial estates arranged as groups of four, created a memorable pictorial form to represent the Holy roman Empire and its mem- bers. This flaunts a total of 158 coats of arms, distributed over 24 wing feathers, fangs and tail feathers. The engraver dedicated the magnificent engraving to the Augsburg Council probably on the occasion of the first council election held in the new Augsburg City Hall of Elias Holl.Imperial Eagle Daniel Manasser († 1637), Balthasar Caimox (1561–1635) Augsburg, 1620 Engraving Braunschweig, Herzog Anton Ulrich-Museum, Inv. No. DManasser WB 2.4

14. Philipp Uffenbach, Entry of Emperor Rudolf II to Regensburg

The first highlight of a diet was the Em- peror’s entry into the city. As a central ceremonial event, it served to make the emperor and the empire visible. The diet of Augsburg in 1582 was the first such public appearance of Emperor rudolf II. There is no picture of it. one has to im- agine the entry as shown in this etching for the regensburg diet of 1594.Entry of Emperor Rudolf II to Regensburg Philipp Uffenbach (1566–1636) Regensburg, 1594 Etching Staatliche Bibliothek, Regensburg, Sign. Gr 4o 14.2

17. Elias Holl, Construction survey of the Dance House

Elias Holl documented the dance House, built in 1451, by this drawing of the facade with staircase and main portal. The reason was probably a planned demolition. The building was the center of the city’s festive culture. The upper floor contained a dance hall. during im- perial congresses, the dance House also served as an imperial audience hall and formed the backdrop for ceremonies such as enfeoffments. The dance House was demolished in 1632.Construction survey of the Dance House Elias Holl (1573–1646) Augsburg, 1608 Pen and brown ink, Parchment Kunstsammlungen und Museen Augsburg, Inv. No. G 845

16. Der Roem. Kay. Mtt. etc. Vnsers allergnedigsten Herrn Ordenung vnnd Satzung, wie es auff jetzigem Reichstag allhier zu Augspurg gehalten werden solle.

A diet was an organizational challenge and, because of the large number of participants, placed an enormous burden on Augsburg and its approx- imately 30,000 inhabitants. The diet regulations drawn up by the city and the imperial “reichserbmarschall” were intended to ensure the safety of the par- ticipants and contained a general ban on weapons, gambling bans and a ban on beggars staying there. In addition, it set the prices for the most important foodstuffs, for animal feed, quarters, stables and meals.Der Roem. Kay. Mtt. etc. Vnsers allergnedigsten Herrn Ordenung vnnd Satzung, wie es auff jetzigem Reichstag allhier zu Augspurg gehalten werden solle. Augsburg Council Augsburg, 1582 Augsburg, Staats- und Stadtbibliothek, Sign. 2o Aug 243–12

255. Two beakers with views of the Perlach Towerand town hall or the seal and armory

The engraved town signs are masterly views of Augsburg with main works Elias Holls. With the pair of cups it is a present for Balthasar III. von Schnurbein (1645-1711), member of the Kaufleutestube and the small council, on the occasion of his 65th birthday have acted. Two beakers with views of the Perlach Tower and town hall or the seal and armory Johann Sigmund Abrell (1650–1733) Augsburg, 1709–1712 Silver, embossed, cast, engraved, partially gold-plated Art collections and museums Augsburg, inv. no. L2011/9; 2010/204

15. Peter Fleischmann, Etwas geenderte und verbesserte Description: Des allerdurchleüch-tigisten ... Fürsten und Herrn, Herrn Rudolfen des andern, Erwölten Römischen Kaisers ... Erstgehaltenen Reich- stag zu Augspurg

during the Augsburg diet of 1582, the Bohemian herald Peter fleischmann had this description printed. It lists the entire court of the emperor who had traveled to Augsburg, as well as those of the other participants, and describes ceremonial highlights such as the em- peror’s entry, banquets including the respective seating arrangements, and various tournaments.Etwas geenderte und verbesserte Description: Des allerdurchleüch-tigisten ... Fürsten und Herrn, Herrn Rudolfen des andern, Erwölten Römischen Kaisers ... Erstgehaltenen Reich- stag zu Augspurg Peter Fleischmann (active last quarter of the 16th century) Augsburg, 1582 Staats- und Stadtbibliothek Augsburg, Sign. 4o Aug 1225

9. Elias Holl, The old Town Hall, floor plan, 1st floor

The floor plan shows the representative second floor of the old Augsburg City Hall. The large hall was used for meetings of the city council and for imperial days. King Ferdinand I and the imperial estates met here in 1555 and negotiated the “Augsburg religious Peace”.The old Town Hall, floor plan, 1st floor Elias Holl (1573–1646) Augsburg, 30.12.1609 Pen and brown ink, parchment Augsburg, Stadtarchiv, Sign. KPS 4245

18. Caspar Behem, Abschiedt Der Rö. Kaÿ. Mt. vnd gemainer Stände, auff dem Reichßtag zu Augspurg, Anno Domini M. D. LXXXII, auffgericht.

The occasion of the last Augsburg diet of 1582 was the expiration of Turkish aid and the war in the netherlands, whose northern provinces had seceded from King Philip II of Spain, of the House of Austria. on September 20, 1582, the im- perial farewell took place: the emperor proclaimed the resolutions, which were then printed. This last great solemnity of a diet took place, not as usual, in the old Augsburg Town Hall, but in the noble imperial palatium in the Fugger Houses.Abschiedt Der Rö. Kaÿ. Mt. vnd gemainer Stände, auff dem Reichßtag zu Augspurg, Anno Domini M. D. LXXXII, auffgericht. Caspar Behem († 1592) Mainz, 1582 Staats- und Stadtbibliothek Augsburg, Sign. 2o Stw 249

13. Letter of Emperor Rudolfs II to the Augsburg Council concerning the preparation of his quarter in the Fugger Houses

for the Augsburg diet of 1582, the last of a total of 13 since 1495, Marx and Hans fugger had offered Emperor rudolf II their houses on Weinmarkt as a res- idence. on April 3, 1582, the imperial “Kammerfurier” Matthias Hundegk arrived in Augsburg and presented the council with a copy of rudolf’s letter, requesting that Hundegk be supported in the preparation and reconstruction of the fugger houses and that the neces- sary funds be advanced.Letter of Emperor Rudolfs II to the Augsburg Council concerning the preparation of his quarter in the Fugger Houses (Copy) Viennese Court Office Wien, 29. 3. 1582 Pen and black ink, paper Augsburg, Stadtarchiv, Sign. (unrecorded)

20. Lucas Kilian, Portrait of Mayor Anton Christoph Rehlinger

on the occasion of the completion of the town hall in 1624, lucas Kilian created a series of portraits of the former as well as the current “Stadtpfleger”, as the two highest political office holders of the imperial city were called. They had to be members of the patriciate and were elected and got an appointment for life. Anton Christoph rehlinger (1519–1589) held office from 1575–1589. The last diet of Augsburg in 1582 took place during his term of office.Portrait of Mayor Anton Christoph Rehlinger Lucas Kilian (1579–1637) Augsburg, 1624 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 5521

21. Lucas Kilian, Portrait of Mayor Marx Fugger

Marx Fugger, Count of Kirchberg and Weissenhorn (1529–1597), guided the fortunes of the town between 1576 and 1585 together with Anton Christoph Rehlinger.Portrait of "Stadtpfleger" Marx Fugger Lucas Kilian (1579–1637) Augsburg, 1624 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 5524

23. Lucas Kilian, Portrait of “Stadtpfleger” Johann Jakob Rembold

from 1604 until his sudden death on 21 May 1624, Johann Jakob rembold (1553–1624) led the imperial city reg- iment as the 12th “Stadtpfleger”. The principle of seniority was decisive in politics, which is why his name is placed first on the commemorative plaque above the southern main portal of the golden Hall, before Hieronymus Imhof.Portrait of “Stadtpfleger” Johann Jakob Rembold Lucas Kilian (1579–1637) Augsburg, 1624 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 5525

22. Lucas Kilian, Portrait of “Stadtpfleger” Hieronymus Imhof

Hieronymus Imhof (1573–1635) and Elias Holl not only shared the year of their birth, but also the project of the town hall construction from final planning stage to completion.Portrait of “Stadtpfleger” Hieronymus Imhof Lucas Kilian (1579–1637) Augsburg, 1624 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 5513

24. Jacob Christoph Weyermann, The “Herrenstube”

from 1538 until his death, Bernhard Zwitzel (c. 1496–1570) was Augsburg’s “Stadtwerkmeister”. He was one of Holl’s most prominent predecessors in office. Among Zwitzel’s most important Augs- burg works were the new building of the city library in 1562/1563 and the “Herrenstube”, the patricians’ meeting house opposite the city hall, built with Hans Holl in 1563/1564. Characteristic for the corner house was the painted pilaster architecture.The “Herrenstube” Jacob Christoph Weyermann (1698–1757) Augsburg, 1742 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 593

26. Capital for a half column Augsburg

The capital is an Augsburg architectural ornament that first appeared in very rich design in the dominican Church of St. Catherine, built in 1516/17. This special form, typical of Augsburg renaissance architecture, was still used in the house built in 1578 by Elias Holl’s father Hans for Matthäus Hainhofer, the so-called “Köpfhaus” at Fuggerplatz.Capital for a half column Unknown stone mason Augsburg, around 1540 Sandstone Kunstsammlungen und Museen Augsburg, Inv. No. 14547

27. Simon Zwitzel, Design for a new school near St. Anna

In 1570, Simon Zwitzel succeeded his father Bernhard in the office of “Stadtwerkmeister” and a sworn foreman. Zwitzel’s design of a new school- house for the gymnasium near St. Anna documents the status quo of the city’s building activity in terms of craftsmanship a generation before Holl.Design for a new school near St. Anna Simon Zwitzel (1528–1593) Augsburg, 1576 Pen and black ink, coloured Augsburg, Stadtarchiv, Sign. KPS 4290

28. Simon Grimm, The Jesuit College in Augsburg

In 1581, a donation by the fuggers made possible the establishment of the branch of the Jesuit order with a col- lege, a grammar school and the Church of St. Salvator in “Jesuitengasse”, which was confirmed by Emperor rudolf II at the diet of Augsburg in 1582. The most prominent building was the Jesuit Church designed by Hans Holl and built between 1582 and 1584.The Jesuit College in Augsburg Simon Grimm (active c. 1650–1680) Augsburg, 1679 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 3478–60

85. Foundation slab of the Jesuit Church St. Salvator in Augsburg

In 1581, members of the fugger family laid the foundation stone for the Jesuit College of St. Salvator in Augsburg. A lit- tle later, St. Anna’s College was founded as a rival Protestant institution. The founding of the college was influenced by the calendar dispute that had been triggered by Pope gregory XIII’s calen- dar reform of 1582. The Augsburg Protes- tants considered it to be the work of the Jesuits. on 1 May 1584, shortly before the climax of the calendar dispute – the violent expulsion of the Protestant super- intendent dr georg Mylius – the Jesuit church of St Salvator was consecrated.Foundation slab of the Jesuit Church St. Salvator in Augsburg Augsburg, 1582 Copper, gilted Kunstsammlungen und Museen Augsburg, Inv. No. 1013

30. Franz Aspruck, Dedication letter to the Augsburg Council

In March 1598, the sculptor and draughtsman franz Aspruck donated a drawing of the Augustus fountain to the Augsburg Council. It served the engraver lucas Kilian as a model for his copper engraving. Aspruck justified his gift by saying that the City of Augsburg had gained special fame with the in- stallation of the Augustus fountain and that he had been greatly encouraged in Augsburg.Dedication letter to the Augsburg Council Franz Aspruck (1570–1611) Augsburg, 1598 Pen and black ink, paper Augsburg, Stadtarchiv, Sign. Geheime Ratsprivatakten 1598, 28. März

31. Lucas Kilian, Augustus Fountain & Wolfgang Kilian, Mercury and Hercules Fountain

The installation of the magnificent fountains in the center of the imperial city marked the first stage of Augsburg’s redesign. In 1588, the council commissioned the Munich court sculptor Hubert gerhard (c. 1550–1620) to create the Augustus fountain as a monument to the city’s founder. It was completed in 1594. Between 1596 and 1602, the Mer- cury fountain near the Weavers’ House and the Hercules fountain on the Wine Market followed as major works by Adriaen de Vries (1556–1602), court sculptor to Emperor rudolf II. With engravings of the fountains, the council publicized its costly urban prestige projects and thus documented Augsburg’s position as an imperial city and imperial seat.Augustus Fountain Lucas Kilian (1579– 1637), Franz Aspruck (1570–1611), Augsburg, 1598 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 778Mercury and Hercules Fountain Wolfgang Kilian (1581–1663) Augsburg, 1612–1614 Engravings Kunstsammlungen und Museen Augsburg, Inv. No. G 779, 780

33. Christoph Schissler d. Ä., Bird’s eye view of Augsburg

Augsburg was one of the first European cities to be depicted from a bird’s eye view. Buildings that were demolished shortly afterwards by Elias Holl can still be seen on the plan, such as the gothic town hall and the old “Stadtmetzg” on “Perlachplatz” or the Holy Sepulchre Chapel. other buildings are depicted before their reconstruction by Holl: the rote Tor, the Wertachbrucker Tor, the “Zeughaus”. The three magnificent fountains erected between 1594 and 1602 can also be seen.Bird’s eye view of Augsburg Christoph Schissler d. Ä. (around 1531–1608), Alexander Mair (1559–around 1620) Augsburg, 1602 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 19704

29. Hans Daucher (?), Urban Labenwolf (?), Neptune from the Fountain at the Town Hall

In 1537, the Augsburg Council had the neptune fountain erected near the town hall. The ancient sea god replaced a late gothic stone figure of Augsburg’s city patron ulrich (c. 890––973), who was a symbol of the Catholic Church. The measure symbolized the new sov- ereignty of the Protestant imperial city, which had just introduced the reforma- tion. The pictorial theme and material refer to antiquity and to Augsburg’s roman origins, which were later also the subject of the magnificent fountains by Hubert gerhard and Adriaen de Vries.Neptune from the Fountain at the Town Hall Hans Daucher (around 1486–1538)?, Urban Labenwolf (active 1512–1548)? Augsburg, before 1537 Bronze Kunstsammlungen und Museen Augsburg, Inv. No. 2006/3

32. Elias Schemel, The Town Hall Square with the new Augustus Fountain

The painting is an important pictorial document from the early period of the redesign of Augsburg before Elias Holl. The main motif is Hubert gerhard’s magnificent Augustus fountain, whose final location had not yet been deter- mined even after all the bronzes had been completed. originally, it was to be located on the narrow fish market be- tween the “Perlachturm” and the old city hall. Eventually it was realized that this location was unsuitable for it and that the fountain on the Town Hall square would be more suitable despite its proximity to the old “Stadtmetzg”.The Town Hall Square with the new Augustus Fountain Elias Schemel (around 1550–1611) Augsburg, 1599 Oil on canvas Kunstsammlungen und Museen Augsburg, Inv. No. 3825

Elias Schemel

Paul Hektor Mair, Ordnung und Beschreibung Ettlicher Alter loblicher gebreuch vnnd herkommen

36. Inscription plaque of the former pawnshop

In 1606, the imperial city opened its first pawnshop. As a kind of bank, it granted, for example, one-year loans between 1 fl. and 10 fl. at a moderate interest rate of 5%. The year before, the city had signed a contract with Holl’s youngest brother, the mason Esaias Holl, for a three-story pawnshop building at the “Alter Einlass”. The completion of the building in 1606 is commemorated by this inscription plaque found during its demolition.Inscription plaque of the former pawnshop Esaias Holl (geb. 1580) Augsburg, 1606 Limestone Kunstsammlungen und Museen Augsburg, Inv. No. 14588

37. Elias Holl, Bust of a Roman commander

The bust of a Roman general is almost identical to the busts created in 1590 by Elias Holl as a mason’s apprentice from the bay window of the house at Maximilianstr. 21, which was destroyed in World War II. Very likely, the bust is an early work of Elias Holl.Bust of a Roman commander Elias Holl (1573–1646) Augsburg, around 1590 Terracotta, painted Kunstsammlungen und Museen Augsburg, Inv. No. 6602

40. Daniel Manasser, Pilgrimage Church Maria Hilf near Kloster Lechfeld

The pilgrimage “Maria Hilf zu Kloster- lechfeld” goes back to regina Imhof, who got lost in the dark on the way to her country estate. She vowed to build a chapel on the spot where the lights of her castle became visible. In 1602 she commissioned Elias Holl with the design, who chose the form of a windowless, simple central building with a dome and lantern. The church was built by Holl’s brother Esaias by 1604.Pilgrimage Church Maria Hilf near Kloster Lechfeld Daniel Manasser (1600–1637) Augsburg, around 1630 Engraving Staats- und Stadtbibliothek Augsburg, Sign. Graph 30/29

38. Elias Holl, Cost estimate for renovation work at Wellenburg Castle

no sooner had Holl become a master craftsman in 1596 than he secured his first orders from Augsburg patrician families. Prestigious was a project for Jakob III fugger (1542–1598), who had Wellenburg Castle expanded into a palace. Holl prepared an estimate for a gate system with material and labor costs at a total price of 506 gulden. only the gate was built, because fugger died already in 1598.Cost estimate for renovation work at Wellenburg Castle Elias Holl (1573–1646) Augsburg, 1596 Pen and black ink, paper Dillingen, [Fuggerarchiv](https://www.fugger.de/), Sign. FA 17.3.1

39. Raphael Custos, Fondaco dei Tedeschi

The ‘Fondaco dei Tedeschi’ in Venice served as a warehouse and residence where merchants from Central Europe lived when they traded in Venice. In 1600 Elias Holl was given the opportunity to travel to Venice by the merchant Anton garb, whose house he was building. from the end of november 1600 until the end of January he probably stayed at the “Fondaco”. Through this short trip, Holl became acquainted with the archi- tecture and building practices of Venice in particular.Fondaco dei Tedeschi Raphael Custos (1581–1663) Augsburg, around 1625 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 12973

41. Hans II Weienmayr, Pear shaped cup

Since the renaissance, drinking vessels in the shape of an apple or pear were popular in Central Europe. They were used at court and in the cities by the bourgeoisie or the guilds, e.g. as a welcome to greet guests. In 1601, Elias Holl, to whom private patrons repeatedly gave gilded silver cups as special recognition of his achievement, received a pear cup as a gift for the completion of a dyer’s house.Pear shaped cup Hans II Weienmayr (around 1565–1630) Augsburg, 1618–1622 Silver, chased, cast, gilted Kunstsammlungen und Museen Augsburg, Sammlung Fritz Dennerlein

44. Great Mortar

The mortar of an Augsburg pharmacy was cast by city foundryman Wolfgang neidhardt, whose workplace was the new casting house at the “Katzensta- del” built by Elias Holl. His main works include the bronzes of the Mercury and Hercules fountains by Adriaen de Vries, the “Siegelhaus” eagle and the Michael group from the “Zeughaus”, both works by Hans reichle. neidhardt also created the column capitals, portal grilles, im- perial busts and the imperial eagle for Holl’s town hall.Great Mortar Wolfgang Neidhardt (1575–1632) Augsburg, 1603 Bronze Kunstsammlungen und Museen Augsburg, Loan from Private collection

42./43. Foundry house near Katzenstadel – section and floor plan

When the municipal casting house burned down in 1601, Elias Holl was commissioned to build a new one. The project was urgent because the bronzes from the Hercules fountain had to be completed. Holl planned a rectangular building with a two-nave, groin-vaulted casting hall and an attached cannon drilling tower. The building, already completed in 1602, was a turning point in Holl’s career. It recommended him for technically demanding construction projects and he was soon appointed Augsburg’s “Stadtwerkmeister”.Foundry house near Katzenstadel – section and floor plan Elias Holl (1573–1646) Augsburg, 1601 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 854 Augsburg, Stadtarchiv, Sign. KPS 4241

86. Superintendent Georg Müller and the Uprising in Augsburg 1584

Pope gregory XIII’s calendar reform of 1582, which had the 4th october followed by the 15th, strained the coexistence of Catholics and Protestants in Augsburg. When the council accepted the reform rejected by the Protestants in 1583, a dispute arose. It culminated in a riot when the head of the reform oppo- nents, the Protestant superintendent georg Müller, was expelled from the city on 25 May 1584. The woodcut shows him preaching, below his failed expulsion.Superintendent Georg Müller and the Uprising in Augsburg 1584 Unbekannter Künstler wohl Augsburg, nach 1584 Woodc, coloured Kunstsammlungen und Museen Augsburg, Inv. No. G 8285

45. Contract between the City of Augsburg and Elias Holl

The construction of the “Beckenhaus” gave Holl the opportunity to put into practice what he had learned on his trip to Venice. The contract, a so-called “Spaltzettel”, shows that the city at- tached particular importance to the facade design in the “Welsch manner” – i.e. with a pilaster order based on the Italian style.Contract between the City of Augsburg and Elias Holl for the construction of the Bakers’ Guild House Augsburg, 7.1.1602 Pen and black ink, paper Augsburg, Stadtarchiv, Sign. Rst. Selekt Elias Holl

46. Bakers’ Guild House – Design for the Facade

The design drawing for the new con- struction of the bakers’ guild house shows the gable end facing Weißmaler- gasse and the longitudinal facade facing Perlachberg. Holl deviated from the canon of Italian architectural theory in the drawing by the choice of column orders – Tuscan is followed by doric and Ionic on top. The Tuscan, doric and Corinthian orders were executed. The facade was thus a variation of Palladio’s “Convento della Carità” in Venice.Bakers’ Guild House – Design for the Facade Elias Holl (1573–1646) Augsburg, 1602 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 844

47. Bakers’ Guild House – Plans of the ground floor and first floor

After the decision to demolish and rebuild the bakers’ guild house, the master builder’s office concluded a contract with Elias Holl, in which the room program was also specified: The new building was to contain stores, the bread house, a laundry and a bathroom, as well as several “vaults” whose func- tion was not specified. This plan, with dimensions, shows the floor plans of the first floor and the second floor, as Holl designed them for the new construction of the baker’s feed house.Bakers’ Guild House – Plans of the ground floor and first floor Elias Holl (1573–1646) Augsburg, 1596 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. KPS 4286

48. The Town Hall Square

The view of “Perlachplatz” formed two pages in the album of regina Barbara Walther (1754–1834), daughter of the gold worker and city council member Johann georg Walther. Among other things, the “Annaplatz” as well as rooms of an upper middle-class residential house were to be seen in it. Clearly recognizable is the harmonious correpondency between Holl’s bakers’ guild house and the mansion of his predecessor in office Bernhard Zwitzel.The Town Hall Square Balthasar Cornelius Koch (1764–1805) Augsburg, 1781–1786 Pen, water colours, gouache, paper, coloured engravings Kunstsammlungen und Museen Augsburg, Loan from Private collection

89. Mercury

The sculptor Hubert gerhard worked for the fuggers from 1581. His main work in Augsburg is the Augustus fountain, created between 1588 and 1594. A small sculptural bronze during his work on the magnificent fountain is this Mer- cury. The bronze was commissioned by the “Baumeister” Wolfgang Paler the Younger (1545–1622), who, together with his two colleagues, was responsible for the construction of the new town hall. The figure, which came from his resi- dence, possibly served as the crowning of a fountain.Mercury Hubert Gerhard (around 1545/50–1620) Augsburg, 1590/1593 Bronze Munich, Bayerisches Nationalmuseum, On loan from the Ernst von Siemens-Kunststiftung

91. Amor and Psyche

Heintz, court painter of Emperor Rudolf II, depicts the final moment of the story of Cupid and Psyche with skilful lighting. Psyche finally wants to know what her lover, who only visits her in the dark of night, looks like. The light of the oil lamp reveals the beauty of Cupid, who, however, awakens and disappears forever. Ingeniously, the glow of the oil lamp models the two nudes and gives the scene an extremely erotic effect.Amor and Psyche Joseph Heintz d. Ä. (1564–1609) Augsburg, 1605/1606 Oil on Copper Kunstsammlungen und Museen Augsburg, Inv. No. 12336

50. Portrait of the painter Marten de Vos

Joseph Heintz the Elder, imperial painter since 1591, was the designer of the facades of the “Zeughaus”, “Siegel- haus” and “Stadtmetzg”. Typical for his architectural style is the strong plastic relief and the richness of the decoration. A typical example is his design for the copper engraving portrait of the Ant- werp painter Marten de Vos, who was a friend of his, which shows an architecture related to Heintz’s Augsburg facade.Portrait of the painter Marten de Vos Joseph Heintz d. Ä. (1564–1609), Egidius Sadeler (around 1570–1629) Prag, around 1603 Engraving Braunschweig, Herzog Anton Ulrich-Museum, Inv. No. ESadeler AB 3.34

49. Design for the Facade of the Armoury

Holl made this outline of the facade as a drawing based on a design by the painter and architect Joseph Heintz the Elder. The model for the oval windows of the second floor, inserted into a sprung gable, was St. Michael in Munich. While the inscriptions BELLI INSTRUMENTO (To the Tool of War) and PACIS FIRMAMENTO (To the Preservation of Peace) are indicated, the area above the portal is empty. There was placed the monumental Michael group by Hans reichle (around 1570–1632).Design for the Facade of the Armoury Joseph Heintz d. Ä. (1564–1609), Elias Holl (1573–1646) Augsburg, 1603 Pen and brown ink, Parchment Augsburg, Stadtarchiv, Sign. KPS 4253

51. St. Michael’s group above the portal of the Armoury

The engraving dedicated to the Augs- burg council shows the Michael group erected above the portal of the armory in 1607. The contract with the bronze sculptor Hans reichle for its creation states that the bronze group was to bring “praise” and “fame” to the impe- rial city. The Archangel Michael was the patron saint of the Holy roman Empire and at the same time a city saint of Augsburg.St. Michael’s group above the portal of the Armoury Lucas Kilian (1579–1637), Matthias Kager (1575–1634) Augsburg, 1617 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 20556

52. Design for the Facade of the “Siegelhaus”

Holl made this outline of the facade of the Siegelhaus based on a design by Joseph Heintz the Elder. The models for the combination of portal, balcony and window as well as for the colossal order were probably Michelangelo’s buildings in rome, the Palazzo farnese and the Conservator’s Palace.Design for the Facade of the “Siegelhaus” Joseph Heintz d. Ä. (1564–1609), Elias Holl (1573–1646) Augsburg, 1604 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 843

53. Design for a column base for the “Siegelhaus” and drawing of a roman relief

Holl’s drawing of a column base for the “Siegelhaus” follows Vignola’s archi- tectural treatise “regola delle cinque ordini d’architettura”, which was issued several times. The balcony parapet received a roman relief salvaged by Holl depicting a wine transport.Design for a column base for the “Siegelhaus” and drawing of a roman relief Elias Holl (1573–1646) Augsburg, 1604 Pen and brown ink, parchment Kunstsammlungen und Museen Augsburg, Inv. No. G 1660

56. Raphael Custos, Homage of the Augsburg people to King Gustav Adolf of Schweden on 24 April 1632

On April 24, 1632, King gustav II Adolf of Sweden solemnly entered Augsburg. After a Protestant thanksgiving service in St. Anne’s, he moved to his quarters, the fugger Houses on Weinmarkt. from the second floor he took the oath of allegiance from the people of Augs- burg. The engraving dedicated to the Augsburg council records the historical event. The southern boundary of the Weinmarkt was the “Siegelhaus”, built by Holl and demolished in 1809.Homage of the Augsburg people to King Gus- tav Adolf of Schweden on 24 April 1632 Raphael Custos (1590–1651) Augsburg, 1634 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 7482

55. Model of the “Siegelhaus”

The “Siegelhaus” was demolished in 1809. This created a wider street pros- pect, but the culturally and historically important building and the urban plan- ning concept of Holl’s time were de- stroyed. The 1:25 scale model created on the occasion of the exhibition ‘Elias Holl and the Augsburg City Hall’ in 1985 gives an impression of the architecture of this important building.Model of the “Siegelhaus” Gruppe UD Augsburg, 1985 Lime wood Kunstsammlungen und Museen Augsburg, o. Inv.

77. Geometry and Measurement Book

The geometry and Measurement Book, written between 1620 and 1640, docu- ments his exclusive interest in applied building geometry and measure- ment. Holl did not deal with aesthetic problems.Geometry and Measurement Book Elias Holl (1573–1646) Augsburg, 1620–c. 1644 Manuscript, Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. 11216

78. Vestigi delle antichitá di Roma

In the 16th century, topographical views of sights, so-called vedute, became fashionable. The fleming Sadeler’s popular rome vedute showed less architectural detail than overall scen- ery, including views of the Capitol and Palatine, Caracalla’s Baths, the Pan- theon and the Colosseum. This edition belonged to Elias Holl. The books in his possession suggest that he aspired to the educational ideal of an “architectus” in the sense of Vitruvius. This included knowledge of architectural history and theory.Vestigi delle antichitá di Roma Egidius Sadeler (around 1570–1629) Prag,1606 Wolfenbüttel, Herzog August Bibliothek, Sign. 17.1 Geom. 2°

59. Peep box sheet with “Stadtmetzg” and “Barfüßertor”

The engraving was intended for a peep- box, through whose lens the scenery gained spatial illusion. on the left is the “Stadtmetzg”, on the right the towering Barfüßerkirche and next to it the gate of the same name, which was renovated by Holl in 1611 and painted by Johann freyberger (1651–1632). The scenography gives an impression of how strongly the buildings created under Elias Holl shaped the city.Peep box sheet with “Stadtmetzg” and “Barfüßertor” Georg Balthasar Probst (1732–1801) Augsburg, around 1770 Engraving, coloured Kunstsammlungen und Museen Augsburg, Inv. No. G 836

95. Merchant Tobias Zeilner

In 1639, Elias Holl apprenticed his son Christian (1627–1686) to the goldsmith Tobias Zeilner. After six years of appren- ticeship, wandering and journeyman years, Christian married Sabina oertel in 1656 and was able to establish his own workshop. While no work by him is known, Zeilner’s oeuvre proves that Holl had provided his son with an extremely capable goldsmith. The Bernese Society of Merchants owns this extraordinary drinking vessel by Zeilner, probably a Willkomm.Merchant Tobias Zeilner († 1666) Augsburg, 1643 Silver, chased, cast, partly gilted Bern, Bernisches Historisches Museum, On loan from Gesellschaft zu Kaufleuten, Inv. No. H/2634

94. Globe Cup with St. Christopher

Hans Jakob Bair was one of the most famous goldsmiths in Augsburg. The Protestant specialised in making Catho- lic church silver and received important commissions. His main secular work is this globe goblet from the treasury of the Württemberg dukes. In 1609 Holl ap- prenticed his son Johannes, born in 1597, to Bair. Johannes, however, died shortly before the end of his apprenticeship.[Globe Cup with St. Christopher](https://www.landesmuseum-stuttgart.de/sammlung/sammlung-online/dk-details?dk%20object%20id=2344) Hans Jakob Bair (around 1574–1628), Alexander Mair (1559–around 1620) Augsburg, 1604 Silver, chased, cast, partly gilted Stuttgart, Landesmuseum Württemberg, Inv. No. KK 154

97. Clock in form of a monstrance

In 1635 Elias Holl apprenticed his son Matthäus (1620–c. 1679) to Martin Zoller for three years and paid him 50 fl. for his apprenticeship. Matthäus completed his in 1638. one of the main works of Martin Zoller, who became a master craftsman around 1590, is this extraordinary clock with hour, minute and calendar display.Clock in form of a monstrance Martin Zoller (around 1565–nach 1635) Augsburg, around 1600 Brass, gilted; Iron Private collection

96. The months March, May, June and November

The example of Holl’s son Elias the Younger shows that he did not always have a happy hand in the education of his sons. In 1629 Holl junior began an apprenticeship as a mason, but broke it off and learned the painter’s trade. In 1635 he and his brothers Hieronymus and Hans followed the Swedish “Stadt- pfleger” Hans georg aus dem Winckel to leipzig. later he was in nuremberg, where he created a booklet with these images of the months. In 1650 he returned to Augsburg.The months March, May, June and November Elias Holl d. J. (1611–1657) Augsburg, around 1650 Etchings Kunstsammlungen und Museen Augsburg, Inv. No. G 4689-1970c, e, f, k

62. Barfüßer Gate and “Barfüßerbrücke”

The engraving shows the original structure of the two-arched Barfüßerbrücke, built in 1611, with six shops and a central pavilion. Contrary to Holl’s original planning closed shop rooms with a mezzanine floor and triangular gable were built, lit by a window.Barfüßer Gate and “Barfüßerbrücke” Simon Grimm (around 1650–1680) Augsburg, around 1680 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 10590

60. Elevation of the “Barfüßerbrücke”

Holl’s designs for the “Barfüßerbrücke” e take up the basic idea of the rialto Bridge in Venice, built between 1588 and 1591 by Antonio da Ponte.Elevation of the “Barfüßerbrücke” Elias Holl (1573–1646) Augsburg, 1611 Pen and brown ink, Parchment Kunstsammlungen und Museen Augsburg, Inv. No. G 1655

61. Floor plan of the “Barfüßerbrücke”

Holl developed the idea of shops on both sides of the Barfüßerbrücke and an open centre probably according to Andrea Palladio’s designs as well as the model of the rialto Bridge.Floor plan of the “Barfüßerbrücke” Elias Holl (1573–1646) Augsburg, 1611 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Sign. Architekturentwürfe 17. Jh, Nr. 6

57. Joseph Heintz the Elder, Half Facade design for the “Stadtmetzg”

No models can be named for the design of the new “Stadtmetzg” by Matthias Kager and Joseph Heintz the Elder. In the outline of the half facade drawn by Kager, the calmer formal language of the Holl buildings from 1610 onwards is foreshadowed.Half Facade design for the “Stadtmetzg” Joseph Heintz the Elder (1564–1609), Elias Holl (1573–1646), Matthias Kager (1575–1634) Augsburg, before 1606 Pen and black ink, grey wash, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 1651

63. Partial design for the Facade of the department store at the Hl.-Grab-Gasse

The partial design for the municipal department stores’ on Heilig-Grab-Gasse leading to Weinmarkt shows the western section of the facade, which was to be continued in the same way to the east. The Heilig-Grab-Gasse became an in- creasing nuisance around 1600: anyone coming into the city from the south and heading for the Weinmarkt had to pass through the sloping and narrow alley. The new department stores’ built in 1611 made it possible to widen the street.Partial design for the Facade of the department store at the Hl.-Grab-Gasse Matthias Kager (1575–1634) Augsburg, vor 1611 Pen and black ink, grey wash, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 4493

65. The department store at the Hl.-Grab-Gasse

The engraving shows the “Kaufhaus” built in 1611 and the Heilig-grab-gasse from the Weinmarkt as well as the en- trance area of the “Siegelhaus” on the right. The “Siegelhaus” and “Kaufhaus” regulated the Weinmarkt at an impor- tant point for the representation of the city. from the red gate, the emperor ceremoniously entered the Weinmarkt for the iet via Heilig-grab-gasse. The Hercules fountain was built in 1602 to mark exactly this point of entry.The department store at the Hl.-Grab-Gasse Simon Grimm (around 1650–1680) Augsburg, around 1680 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 10588

69. Municipal Library, High School and the Rector’s Office at St. Anna

The engraving on the left shows the city library built by Bernhard Zwitzel in 1562/1563 with the characteristic tent roofs symbolising the seven liberal arts. Elias Holl raised the tower, which served as an observatory, by about 6 metres in 1613. The rectorate building on the right completes the ensemble of buildings that could be considered the intellectual centre of the Protestant citizens of the imperial city.Municipal Library, High School and the Rector’s Office at St. Anna Hans Georg Hertel (around 1580–1640?), Lucas Kilian (1579–1637) Augsburg, 1623 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 274

64. Design for the Facade and Floor plan of the department store at the Hl.-Grab-Gasse

A floor plan and a facade design for the municipal department stores’ were later combined on this sheet. The ground plan shows the ground floor and the inner courtyard at the rear. In this stage of the plan, an angled area at the corner of Heilig-grab-gasse and dominikaner- gasse was still planned. The individual shops, three staircases, etc. are shown.Holl’s facade design is an alternative to Matthias Kager’s drawing. Design for the Facade and Floor plan of the department store at the Hl.-Grab-Gasse Elias Holl (1573–1646) Augsburg, vor 1611 Pen and brown ink, grey wash, paper Augsburg, Stadtarchiv, Sign. KPS 2764

68. Facade design St.Anna

In contrast to the asymmetrical design, this facade elevation for the Anna- gymnasium shows a somewhat nar- rower architecture, but with a strictly symmetrical and more accentuated structure. The central risalit with round portal is highlighted by a volute gable with aedicule, clock face and sundial, on which a small belfry sits. There were two schoolrooms per floor in the build- ing. The Anna gymnasium was largely executed according to this design.Facade design for the High School at St.Anna Elias Holl (1573–1646) Augsburg, 1613 Pen and brown ink, Parchment Kunstsammlungen und Museen Augsburg, Inv. No. G 852

105. IVDICIVM ASTROLOGICVM

Around 1600, comets were regarded as harbingers of coming disaster. At the beginning of the Thirty Years’ War, the Augsburg city librarian interpreted the tail star sighted in december 1618 as a sign of war, famine, hunger, plague and religious persecution for many years to come.IVDICIVM ASTROLOGICVM Von dem Newen COMETA Welcher den 1. Decemb. 1618. am Mor- gen vor und nach 6. uhren zu Augspurg von vilen Personen gesehen worden. Elias Ehinger (1573–1653) Augsburg (Johann Schultes), 1618 Woodcut Augsburg, Staats- und Stadtbibliothek, Sign. Aug 2552–3

107. CATALOGVS BIBLIOTHECAE AMPLISSIMAE REIPVBLICAEAVGVSTANAE

In 1633, Ehinger published the first printed catalogue of the Augsburg City library, famous for its holdings, which listed both print and manuscripts. The catalogue also lists the books that came from the library of Marcus Welser, the city’s curator.CATALOGVS BIBLIOTHECAE AMPLISSIMAE REIPV- BLICAE AVGVSTANAE Elias Ehinger (1579–1637) Augsburg (Johannes Praetorius), 1633 Staats- und Stadtbibliothek Augsburg, Sign. 2o H 94

104. „Uranometria“

The Augsburg jurist Johannes Bayer, a protégée of the Augsburg “Stadt- pfleger”, humanist and scholar Marcus Welser, published the first modern con- stellation atlas with his “uranometria”. It is an important testimony to the up- swing of science, especially astronomy, in the imperial city on the eve of the Thirty Years’ War.Ioannis Bayeri Rhainani I. C. Vranometria: Omnivm Asterismorvm Continens Schemata; Nova Methodo Delineata, Aereis Laminis Expressa Johann Bayer (1572–1625); Alexander Mair (1559–around 1620) Augsburg, 1603 Staats- und Stadtbibliothek Augsburg, Sign. 2o H 28

92. St. Elisabeth

The first large collection of Bavarian saints’ vitae, the “Bavaria sancta et pia”, was created on the initiative of Bavarian duke Maximilian I (1573–1651). The commission was given to the Jesuit priest Matthäus rader (1561–1634), who had worked for a long time at the Jesuit College of St. Salvator in Augsburg. The Augsburg city painter Kager was the artistic designer. He created this design for the Vita of St.Elisabeth. from 1620 onwards, he realised the pictorial pro- gramme of the Augsburg Town Hall with rader.St. Elisabeth Matthias Kager (1575–1634) Augsburg, vor 1615 Pen and black ink, grey wash, heightened with White, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 4634–69

98. Allegory oft he Transience with a self-portrait of the artist

on 12 february 1646, five weeks after Holl’s death, his daughter Sabina mar- ried the wax-bosser daniel neuberger the Younger. He moved with her to Vienna and became court sculptor to Emperor ferdinand III (1608–1657). A key work in neuberger’s ouevre is this allegory of transience. It shows a self- portrait of the artist in the centre.Allegory oft he Transience with a self-portrait of the artist Daniel Neuberger d. J. (around 1620–vor 1681) Wien?, 1660 Wax, painted Hannover, Museum August Kestner, Inv. No. 1913.33

58. Three designs for the “Stadtmetzg”

Holl’s drawing for a Tuscan column of the “Stadtmetzg” does indeed go back to Vignola’s architectural teachings. However, clear changes in the pro- portions show that he was not inter- ested in aesthetic, but rather structural questions.Three designs for the “Stadtmetzg” – column base, spiral staircase and columnElias Holl (1573–1646) Augsburg, 1605/1606 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. KPS 4250

109. Jewellery Box

The box is an art cabinet in miniature format with a classical three-storey structure consisting of a base, main storey and top. The small piece of fur- niture was used, among other things, to store jewellery. The underside of the main floor is dated 1631 and bears the city pyr stamp on the front. The elegant column designs with cup-shaped bases are characteristic of ulrich Baumgartner, the creator of the art cabinet for King gustav II Adolf of Sweden.Jewellery Box Ulrich Baumgartner (around 1580–1652)? Augsburg, 1631 Walnut, ebony, moss agate, blood jasper, brass, velvet Kunstsammlungen und Museen Augsburg, Inv. No. 12261

110. Small chest

The chest-shaped cassette with marked ebony veneer surprises on the inside with its precious design and the variety of original accessories. The cassette combines a toilet set with writing uten- sils and toys. Since about 1600, such precious small pieces of furniture were extremely popular and a speciality of Augsburg carpenters. The Augsburg art agent and diplomat Philipp Hainhofer (1578–1647) had such caskets made as scaled-down editions of the coveted Augsburg art cabinets.Small chest Unkown carpenter Augsburg, around 1635 Oak, softwood, ebony, macassar, padouk, pewter, marble paper Kunstsammlungen und Museen Augsburg, Inv. No. L 2009/26, permanent loan of the Ernst von Siemens Kunststiftung

111. Reduction compass

The reduction compass consists of two legs, each with a long and a short tip and a movable pivot point. The instru- ment can be used to divide distances, reduce and enlarge areas and volumes in any ratio and construct regular poly- gons. Christoph Schissler the Elder from Augsburg was one of the most impor- tant instrument makers of the late re- naissance. In 1598, the Augsburg council commissioned him to survey the city, which led to Alexander Mair’s detailed city plan of 1602.Reduction compass Christoph Schissler (around 1531–1608) Augsburg, 1580 Brass, engraved, gilted, steel Kunstsammlungen und Museen Augsburg, Inv. No. 5781

112. Angle gauge

The angle gauge is made of two right-angled legs, which is used in the building craft or in wood and stone working. It is used to check the right- angled position of edges and surfaces and to mark lines at right angles. This instrument has no scaling. The elab- orately etched decoration and the precious fire gilding make it less of a craftsman’s tool and more of art chamber object.Angle gauge Unknown artist South german, c. 1570 Copper, etched, gilted Kunstsammlungen und Museen Augsburg, Inv. No. 970

113. Reliefs of the Artes Liberales from the Pomeranian Art Cabinet

The central pictorial decoration of the so-called Pomeranian Art Cabinet (completed in 1617) ordered by duke Philipp II of Pomerania-Stettin from his art agent Philipp Hainhofer in Augsburg were the six silver medallions. They represented personifications of the liberal arts: rhetorica, grammatica, Astronomia, Architectura, Arithmetica and geometria. After the destruction of the art cabinet during the Second World War, these galvanoplastic copies have high documentary value.Reliefs of the Artes Liberales from the Pomera- nian Art Cabinet David Altenstetter (around 1547–1617) Augsburg, 1611–1612 Copper, silver-plated; galvanos of the destroyed silver reliefs Kunstsammlungen und Museen Augsburg, Inv. No. 5781

100. Drinking Cup of the Augsburg goldsmiths Georg Lang

of the rich treasure of the Augsburg goldsmiths’ guild silver, only a few objects have survived, including this drinking bowl by georg lang. It is richly decorated with so-called Knorpelwerk, an imaginative ornament with grimaces and masks that was very popular around 1620. In Augsburg, this style of decoration found its greatest expression in the town hall on the portals and the ceiling of the golden Hall.Drinking Cup of the Augsburg goldsmiths Georg Lang (around 1565–1632) Augsburg, 1627 Silver, chased, cast, partly gilted Köln, Museum für Angewandte Kunst, Inv. No. G 301

101. Beaker of the corn cutters

The guild cup of the corn cutters, dated 1643, commemorates the dearth of grain during one of the hardest times in Augsburg’s history: the siege of the imperial city occupied by the Swedes in the winter of 1634/35 by imperial and Bavarian troops. At the end of the siege, Augsburg’s population, which had numbered around 45,000 a short time before, had been reduced by almost two thirds.Beaker of the corn cutters Jakob Eggelhof († 1667) Augsburg, 1643 Silver, chased, cast, gilted Kunstsammlungen und Museen Augsburg, Inv. No. 4723

99. Bakers‘ Cup

This bell-shaped goblet comes from the guild silver of the Augsburg bakers, for whom Holl built the bakers’ guild house on Perlachberg in 1602. It was donated by the baker Hans Burger, who, according to the inscription, had prac- tised his trade in Venice. The drinking vessel, which probably once served as a “Willkomm”, is crowned by a statuette of a baker holding a “Bretzel” in his hand.Bakers‘ Cup Christof II Epfenhauser († 1596) Augsburg, 1591 Silver, chased, cast, gilted Kunstsammlungen und Museen Augsburg, Inv. No. 4800

115. An die herrn stadtpfleger underthenigeerclerung

With this letter to the town governors Imhof and rehlinger, Elias Holl re- sponded in August 1631 to the threat of losing his position in the great Council if he did not convert to the Catholic faith. Holl invoked his conscience; his refusal to convert was not disobedi- ence to the authorities. Holl had already been granted leave of absence as “Stadtwerkmeister” in January 1630 and finally dismissed a year later.An die herrn stadtpfleger underthenige erclerung Elias Hollen, gewesten gemainer statt werkhmaister alhie Elias Holl (1573–1646) Augsburg, 1631 Black ink, paper Augsburg, Stadtarchiv, Sign. Reichsstadt, Akten, Nr. 1063, Nr. 19

116. List of municipal servants and indigents dis- missed because of their Protestant faith

The course of the Thirty Years’ War tempted the Catholic party to recathol- icise the empire with the help of Em- peror ferdinand II’s Edict of restitution of 1629. In Augsburg, they proceeded with particular severity. According to the imperial order, all Protestant clergy, councillors and city officials were dismissed if they did not convert. This hitherto unknown list gives the names of those affected, including many of Holl’s employees. Even alms recipients and inmates of the Hospital were not spared.List of municipal servants and indigents dis- missed because of their Protestant faith Augsburg, 1630 Black ink, paper Augsburg, Ev.-Luth. Kirchengemeinde St. Anna, Archiv

119. Nautilus jug and basin from the Gustav Adolf art cabinet

for Holl, a good education for his sons and a solid provision for his daugh- ters were very important. In 1623, he entrusted his daughter rosina to Hans Paul Maulbronner, who, like his father Hans, was a goldsmith. The latter is considered to be the creator of the lavabo set, which is one of the high- lights of the magnificent art cabinet that the Augsburg Council purchased from Philipp Hainhofer on 24 April 1632 to honour King gustav II Adolf of Sweden.Nautilus jug and basin from the Gustav Adolf art cabinet Hans Maulbronner (c. 1580–1634) Augsburg, 1626–1630 Silver, chased, cast, partly gilted; Nautilus shell [Gustavianum, Uppsala universitetsmuseum](https://www.gustavianum.uu.se/collections/art-collections/collections/the-contents-of-the-augsburg-art-cabinet/)

118. Der Statt Augspurg Praesent Königl[icher].Maÿest[ät]. von Schweden gethon

The capture of Augsburg on 24 April 1632 by gustav II Adolf was a stroke of luck for Augsburg’s Protestants, because it ended the imperial edict of restitution, from which Elias Holl also suffered. The arrival of the Swedish king benefited the art agent Philipp Hainhofer in particu- lar, from whom the Augsburg council bought an extraordinary art cabinet to give to the Swedish king. on these pages, Hainhofer describes the furniture, which is now in Uppsala.Der Statt Augspurg Praesent Königl[icher]. Maÿest[ät]. von Schweden gethon Philipp Hainhofer (1578–1647) Augsburg, 1632 Black ink, paper Augsburg, Ev.-Luth. Kirchenarchiv, Sign. EWA 18, Nr. 5

117. Diarium die schwedische Occupation derStadt Augsburg betr[effend]

Philipp Hainhofer’s diary of the Swedish occupation of Augsburg (1632–1635) is an important document of the events of the time, when King gustav II Adolf of Sweden took Augsburg without a fight at the end of April 1632. As the newly elected “Baumeister”, Hainhofer vis- ited Augsburg’s water supply in May 1632 with the Swedish fortress builder franciscus de Traytorrens and the re- instated “Stadtwerkmeister” Elias Holl, reporting on the latter’s buildings, which he had realised mainly according to Kager’s designs.Diarium die schwedische Occupation der Stadt Augsburg betr[effend] 1632. Sq. Philipp Hainhofer (1578–1647) Augsburg, 1632–1635 Black ink, paper Staats- und Stadtbibliothek Augsburg, Sign. 2o Cod S 68

81. Bartolomeo Rossi, Ornamenti di Fabriche Antichi Et Moderni

Characteristic of Holl's educational horizon is this copy from his library: Bartolomeo Rossi's series of engravings on ancient and contemporary monuments in Rome. The work reflects that of Pope Sixtus V between Restyling started in 1585 and 1590 Rome, including the 1588 in front of the Lateran basilica erected obelisks or the Mark Aurel Column restored in 1589. In Augsburg, a city that calls itself a “daughter Roms“, Holl could use this knowledge be useful for his own projects. Ornamenti di Fabriche Antichi Et Moderni Dell'Alma Città di Roma. Parte Seconda. Bartolomeo Rossi (1563–1617) Rome, 1600 Wolfenbüttel, Herzog August Bibliothek, Sign. 40 Geom. 2º

80. Paul Pfinzing von Henfenfeld, Optica

The mathematician Paul Pfinzing von Henfenfeld described in the 1616 under the Title "Optica" reissued work the History the perspective construction from Euclid and Vitruvius to Leon Battista Alberti, Luca Pacioli and Walther Hermann Ryff. For Elias Holl, from his library this specimen originated, it was obvious, such a reference work to own. As a foreman he was daily with measurements, plans and Elevation entrusted and wanted this as an architect can also justify it theoretically.Optica Paul Pfinzing von Henfenfeld (1554–1599) Augsburg, 1616 Wolfenbüttel, Herzog August Bibliothek, Sign. 32.2 Geom. 2º

79. Ein newe und schöne Art der Vollkommenen Visier-Kunst

With this work, Johann Hartmann Beyer published a method for the mechanical volume measurement of hollow bodies. As a basis, he uses the decimal fractions he introduced in germany. This edition belonged to Elias Holl. Mathematical knowledge of calibrating, measur- ing and sighting were not only among the prerequisites for Holl’s work as a “Stadtwerkmeister”, they also formed a theoretical basis for his self-image as an “architectus”.Ein newe und schöne Art der Vollkommenen Visier-Kunst Johann Hartmann Beyer (1563–1625) Frankfurt/Main, 1603 Wolfenbüttel, Herzog August Bibliothek, Sign. 28.5 Geom.

1. Portrait of Elias Holl

The engraving is the only assured portrait of Elias Holl proudly presenting the rebuilt “Perlachturm” and the new city hall. The engraver Lucas Kilian dedicated the work to him out of “affection and goodwill”. The depiction is a subtle glorification of the “Stadtwerkmeister” as one of the most famous architects of his time.Portrait of Elias Holl Lucas Kilian (1579–1637) Augsburg, 1619 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 1868

70. Façade design for the “Neue Bau” at the Town Hall square

The design for the new Building is based on Italian models such as Palladio’s design for the Palazzo Civena in Vicenza. Their knowledge was conveyed by ar- chitectural treatises.Façade design for the “Neue Bau” at the Town Hall square Matthias Kager (1575–1634) Augsburg, before 1614 Watercolour, Charcoal Kunstsammlungen und Museen Augsburg, Inv. No. G 1656

90. Flora

After his training with the Medici court sculptor giambologna, Adriaen de Vries worked for princes and nobles throughout Europe. The imperial City of Augsburg helped him to further fame with the Mercury and Hercules foun- tains. Appointed imperial sculptor by Emperor rudolf II, de Vries settled in Prague in 1602. The figure of flora, the goddess of spring, dates from his early creative period in Prague. The proximity of the statuette to de Vries’ Augsburg works is clearly noticeable.Flora Adriaen de Vries (1556–1626) Augsburg/Prag, after 1602 Bronze Leipzig, Museum der bildenden Künste, Inv. No. 267

88. „Rerum Augustanarum VindelicarumLibri Octo“

With the “rerum Augustanarum Vin- delicarum libri octo”, Welser created a major work of Augsburg’s late human- ism that characterises the intellectual climate of the imperial city on the eve of the Thirty Years’ War. Published in Venice in 1594 by the renowned pub- lishing house of Aldo Manuzio as a latin edition (german 1595), Welser’s chron- icle is a source-based sum of historical knowledge about Augsburg’s early days and roman past.Marci Velseri Matthaei. F. Ant. N. Patricii. Avg. Vind: rerum Augustanar. Vindelicar. libri octo [...] Marcus Welser (1558–1614) Venice, 1594 Augsburg, Staats- und Stadtbibliothek, Sign. Rar 112 (2° H 397)

87. Portrait of Mayor Marcus Welser

Marcus Welser, who came from an old patrician family and was a lawyer and merchant, held the highest municipal office of “Stadtpfleger” from 1600 until his death in 1614. He can be considered the “mastermind” of Augsburg’s urban renewal programme. for the extensive building activities, which Welser carried out together with the master builders and experts called in as needed, he had an experienced “Stadtwerkmeister”at his disposal in Elias Holl from 1602 onwards.Portrait of Mayor Marcus Welser Lucas Kilian (1579–1637) Augsburg, 1624 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 5510

124. Communion jug from the St. Anna Church

The creator of this oldest Augsburg communion jug was the renowned Augsburg goldsmith and mayor Johannes lencker, who donated it to the Protestant Church of St. Anna in 1625. In february 1630, the administra- tors of St. Anna’s, Philipp Hainhofer and Hans gienger, handed over this jug and other church silver to the Catholic town governors Imhof and rehlinger. With the Edict of restitution, the Protestants of Augsburg were forbidden to hold their services.Communion jug from the St. Anna Church Johannes Lencker (around 1570–1637) Augsburg, 1625 Silver, chased, cast, gilted Augsburg, Ev.-Luth. Kirchengemeinde St. Anna, Vasa sacra, Nr. 5

125. Communion chalice from the St. Anna Church

The communion chalice, dated 1635, together with another chalice of the same design, is an authentic witness to the fourteen years of suffering of the Augsburg Protestants, when they had to hold their services in the open air in the courtyard of St.Anne’s College from 1635 to 1649.Communion chalice from the St. Anna Church Jeremias Sibenbürger (1583–1637) Augsburg, 1635 Silver, chased, cast, engraved, gilted Augsburg, Ev.-Luth. Kirchengemeinde St. Anna, Vasa sacra, Nr. 1

122. Service in the courtyard of Anna College

In the face of hunger and hardship, the Protestant council and the Swed- ish occupation handed the city over to the Bavarian occupation at the end of March 1635. Augsburg became Catholic again. However, the Protestants were now at least allowed to hold church services. Since they lacked the money to build a church, they held their services for 14 years – until the Peace of West- phalia – in all weathers in the Protestant St. Anna College.Service in the courtyard of Anna College Raphael Custos (around 1590–1664) Augsburg, 1648 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 10220

129. Bird’s-eye view of Augsburg

In this bird’s-eye view, the engraver Wolfgang Kilian presents the City of Augsburg, which was profoundly rede- signed by Elias Holl. next to the “Per- lachturm”, Kilian’s bird’s-eye view now shows the town hall in the centre of the city, and it is also easy to make out the “Siegelhaus” and “Stadtmetzg” as well as the redesigned gates. The Kilian plan is one of the most impressive views of Augsburg. It virtually preserves the “city of Elias Holl” and impresses with its rich- ness of detail.Bird’s-eye view of Augsburg Wolfgang Kilian (1581–1663) Augsburg, 1626 Engraving Kunstsammlungen und Museen Augsburg, G 12071-12075; G 12078-12080 (reprint)

76. The “Heilig Geist-Spital” in Augsburg

The sober architecture of the hospital was built in the middle of the politically turbulent phase during the 30 Years’ War. In 1629, Emperor ferdinand II issued the ‘restitution Edict’, a decree aimed at recatholicising Augsburg. A total of almost 350 sick people could be accommodated in the hospital. The chapel was visible from the outside through its own portal in the long front and a gable rider.The “Heilig Geist-Spital” in Augsburg Simon Grimm (active c. 1650–1680) Augsburg, 1679 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 10509

74. Design for a Wall console and a Pillar capital oft he “Hl. Geist-Spital”

A few surviving sheets show how Elias Holl prepared his buildings down to the last detail. The designs were presuma- bly also necessary to give the craftsmen working in the service of the Stadtwerkwerkmeister, and perhaps also his superiors, an exact idea of the planned structural elements. This detailed plan for the hospital shows a wall console as well as the capital of one of the free-standing pillars built on a cruciform ground plan.Design for a Wall console and a Pillar capital oft he “Hl. Geist-Spital” Elias Holl (1573–1646) Augsburg, 1621–1626 Red chalk, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 4490

75. Design for the turret oft he “Hl.Geist-Spital”

The sheet is a design by Holl for the hexagonal bell tower on the south gable of the St. Spirit Hospital. The tower with pointed helmet sitting on a console is depicted from the south and provided with measurements. on the right, Holl added a scroll as a transition from the gable to the tower. during the construc- tion of the hospital, volutes were added on both sides of the turret.Design for the turret oft he “Hl.Geist-Spital” Elias Holl (1573–1646) Augsburg, 1621–1626 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. KPS 4038

72. Two elevations for the nave of the “Hl. Geist-Spital”

Since 1623, there had been considerations to renew the old hospital at the red gate. In 1626, the new building was constructed despite the desolate polit- ical and economic situation at the time of the 30 Years’ War. The two facade designs show the new, two-storey nave. The upper one contrasts the front of the old building, of which seven window axes can be seen on the right, with six window axes of the planned new building. The lower design shows only the planned facade in a simpler architectural language.Two elevations for the nave of the “Hl. Geist-Spital” Elias Holl (1573–1646) Augsburg, 1626 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 853

71. The “Weißmalergasse” with “Neuer Bau” und the Bakers‘ Guild House

The engraving shows the “neue Bau”, the bakers’ guild house and the Au- gustus fountain on the left. At the back, the cathedral towers tower over the castle-like Imhof House. The sheet illustrates the urban interplay of the Augustus fountain, the “neue Bau” and the Baker’s House. Although Holl’s architectural interventions were only selective, the townscape now appeared regulated and modern. The “neue Bau” and the “Bäckerhaus” not only formed a background for the fountain, they framed the street prospect.The “Weißmalergasse” with “Neuer Bau” und the Bakers‘ Guild House Johann Friedrich Probst (1721–1781) Augsburg, around 1760 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 709

34. Order of the masons’ guild for the masterpieces

The title of master craftsman was a prerequisite for running a masonry business. The excerpt from the masonry regulations describes the three examination tasks that Elias Holl and his brother Esaias also had to complete in 1596 and 1602. They did not pass the exam at the first attempt. The first task was the construction of a cross vault over a rectangular ground plan, the second the construction of an irregular cross vault. The third task was particularly difficult, the construction of a spiral staircase including material calculation.Order of the masons’ guild for the masterpieces Augsburg, 1553 Pen and black ink, Parchment Augsburg, Stadtarchiv, Sign. Reichsstadt, Zünfte 171

35. Draft for the Masterpiece

like his famous older brother Elias, Es- aias Holl passed the master craftsman’s examination only in the second attempt. He made the new construction draw- ings for the three required masterpieces probably under the eyes of the foremen or jurors of the bricklayers’ guild. They made it a condition for Esaias Holl that he was not allowed to accept any apprentices during his first six months as a master craftsman.Draft for the Masterpiece Esaias Holl (geb. 1580) Augsburg, 22. 9. 1602 Pen and brown ink, paper Augsburg, Staats- und Stadtbibliothek, Sign. 2o Cod Aug 458/12

126. Model for protestant St. George ́s Church

from 1525 onwards, a Protestant Parish developed at the Augustinian Canons’ Monastery of St. george, which used the preaching house there. The end of this church came with the imperial edict of restitution, which stipulated the return of the Protestant churches to the Catholics. In June 1630, the neighbouring Protes- tant churches at St. george’s and Holy Cross were demolished. The rebuilding of a Protestant St. george’s Church did not come about. This model of a Protes- tant church bears witness to the project.Model for protestant St. George ́s Church Augsburg, around 1640 Conifer wood Kunstsammlungen und Museen Augsburg, Inv. No. 3462

127. Implementation of the peace resolutions

After the conclusion of the Peace of Westphalia in 1648, it was only after long negotiations with the Catholic Council that Protestant services could be cele- brated again in Augsburg in the spring of 1649 in the restituted churches and Protestant teaching could be started in the Highschool at St.Anna. The sheet shows the arrival of the commissioners to implement the peace provisions and their work in Augsburg.Implementation of the peace resolutions in Augsburg 1649 Martin Zimmermann (active 1648-1668) Augsburg, 1649 Etching Kunstsammlungen und Museen Augsburg, Inv. No. G 7483

128. The newly built Protestant Holy Cross Church

The engraver Johann ulrich Kraus commemorated the fate of the Protes- tant Holy Cross Church, which had been demolished during the Thirty Years’ War in 1630, with a series of engravings. After the Peace of Westphalia, Pastor Thomas Hopfer went on a Europe-wide fund- raising tour for a new building, which Christina of Sweden also supported. The Holy Cross Church was the first major new building after the “Teutonic War”, erected by Johann Jakob Kraus the Elder, a pupil of Elias Holl.The newly built Protestant Holy Cross Church Johann Ulrich Kraus (1655–1719), Johann Jakob Kraus d. J. (1642–1701) Augsburg, before 1687 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 132

121. Jewel with the portrait of King Gustav II. Adolf

The war in germany was a good oppor- tunity for King gustav II Adolf to further Sweden’s great power ambitions and at the same time come to the aid of the german Protestants. In July 1630 he intervened in the Thirty Years’ War by landing in Pomerania and achieved significant military successes with the support of german princes. The com- memorative medal was created shortly after gustav Adolf’s death in the Battle of Lützen in November 1632.Jewel with the portrait of King Gustav II. Adolf of Sweden Sebastian Dadler (1586–1657) Dresden, 1632 Silver, cast, gilted, Lapis lazuli Kunstsammlungen und Museen Augsburg, Inv. No. F 489/9–10

120. Homage leaf for King Gustav II Adolf of Sweden

With the abolition of the Edict of restitution, the Protestant population could now visit their churches and celebrate services again. on the very day of the entry of King gustav II Adolf of Sweden on 24 April 1632, Johann oeder wrote this commemorative leaf with a polemical illustration explained by biblical quotations, which glorifies the Swedish king presented in the centre of the picture as the executor of God’s will.Homage leaf for King Gustav II Adolf of Sweden Johann Oeder (active around 1630) Augsburg, 1632 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 10460

130. Portrait of Elias Holl

According to the inscription applied on the back around 1700, the painting com- ing from the town hall shows Elias Holl. He was about 40 years old at that time.Portrait of Elias Holl Unknown artist Augsburg, 1613 (?) Oil on cnvas Kunstsammlungen und Museen Augsburg, Inv. No. 3793

146./147. Elevation and expertise for the roof truss

Holl’s outstanding knowledge of technical constructions was in great demand. In 1625, he provided an expertise on the renovation of the damaged roof structure above the academy building of the Jesuit University in Dillingen. Elevation and expertise for the roof truss of the Jesuit Academy in Dillingen/Donau Elias Holl (1573–1646) Dillingen, 1625 Pen and brown ink, paper Staatsarchiv Augsburg, Sign. Hochschule Dillingen, Studienfond, Alte Registratur 11

144. Design for the Windows of the Parish Church

for the new construction of the parish church in Haunsheim, burial place of the reichspfennigmeister Zacharias geizkofler, Holl supplied designs. However, Joseph Heintz the Elder and the dillingen architect Hans Alberthal were in charge of the project.Design for the Windows of the Parish Church in Haunsheim Elias Holl (1573–1646) Augsburg, 1607 Pen and brown ink, Red chalk, Pencil, paper Staatsarchiv Augsburg, Plansammlung MüB 20319

140. Elias Holl, Elevation of the old and new Church tower in Augsburg-Oberhausen

Holl recorded the condition of the ober- hausen church tower before and after the reconstruction on a drawing. The old tower on a rectangular ground plan had a gable roof. Holl added a rectangular storey with a coupled round-arched window to the structure, as well as an octagonal extension with an onion dome, the structure of which largely corresponds to the Augsburg Town Hall Towers.Elevation of the old and new Church tower in Augsburg-Oberhausen Elias Holl (1573–1646) Augsburg, 11. 11. 1619 Pen and brown ink, Parchment Braunschweig, Herzog Anton Ulrich-Museum, Inv. No. Z 141

143. View of Eichstätt

The most prestigious commission Elias Holl received outside Augsburg was the remodeling of Willibaldsburg Castle for Eichstätt’s prince-bishop Johann Conrad von gemmingen. Merian’s view shows the castle towering over the city after Holl’s remodeling, which began on May 14, 1609. Willibaldburg Castle lost the onion-shaped domes during a radical remodeling of the orphaned and ruinous architecture in 1829, as well as the upper floors of the south and west sides.View of Eichstätt Matthäus Merian (1593–1650) Frankfurt/Main, 1627 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 2022/xy

2. Portrait of Elias Holl

The drawing gives an idea of Holl’s physical and mental condition, who already in 1614 described to his superiors the abundance of work, the year-round “freat effort and wandering”. He appears exhausted, almost emaciated.Portrait of Elias Holl Lucas Kilian (1579–1637) Augsburg, 1619 Charcoal, heightened with White [Kopenhagen, Statens Museum for Kunst](https://www.smk.dk/), Inv. No. XVI 2

134. Verzeichnus der Gebeid,

In a letter dated november 1614, Holl lists the buildings he had erected for the city since his appointment in 1602. Holl only mentions the most important 50 build- ings, because: “It is almost impossible to describe what else I have built in and outside the city.” The town hall was yet to come.Verzeichnus der Gebeid, So ich in 14. Jaren Meinen Gn[ädigen]. Herren und gemainer Statt alhir zu Augspurg [...] gebaut, und vollen- det habe. etc. Elias Holl (1573–1646) Augsburg, 15. 11. 1614 (Abschrift, around 1800) Pen and brown ink, paper Staats- und Stadtbibliothek Augsburg, Sign. 2o Cod Aug 23

142. Martin Zobel‘s Pasture between Senkelbach and Rosenau Hill

The Protestant merchant Martin Zobel (1566–1625) was one of the richest cit- izens of Augsburg. during the Swedish occupation of Augsburg, the Zobel family was admitted to the patriciate.Martin Zobel‘s Pasture between Senkelbach and Rosenau Hill Elias Holl (1573–1646) Augsburg, 11. 5. 1624 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. KPS 2068

138. Survey of the St. Salvator Church

In 1630, “Baumeister” Constantin Imhof commissioned Elias Holl to survey the lower Cemetery at St.Stephen’s. In the center of the walled cemetery area is drawn the ground plan of the cemetery chapel of St.Salvator, built in 1498. In 1806 burials inside the city walls were prohibited and the lower cemetery was abandoned.Survey of the St. Salvator Church Elias Holl (1573–1646) Augsburg, 1613 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Sign. Holl- Zeichnungsmappe II, Nr. 7

139. Groundplan and elevation of the Chapel in Mühlhausen

The sheet is the result of a survey of the chapel in Mulhouse commissioned by Holl’s superiors david Welser and Hans lauginger. The simple floor plan of the church, a hall with 3/8 closure is labeled with measurements.Groundplan and elevation of the Chapel in Mühlhausen Elias Holl (1573–1646) Augsburg, undated Pen and brown ink, paper Augsburg, Stadtarchiv, KPS 1680

141. Herrn Hopfers Abseit[en]

Often neighborhood disputes necessi- tated surveys and building surveys by the “Stadtwerkmeister”.Herrn Hopfers Abseit[en] Elias Holl (1573–1646) Augsburg, 26.4.1610 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Sign. Holl- Zeichnungsmappe II, Nr. 31

131. Bernhard Rehlinger, Acta, das baumeisterambt betreffend von anno 1593 biß anno 1611

The “Baumeisteramt” was the finan- cial, economic and building authority as well as the personnel office of the imperial city. The manuscript contains the so-called “office diary” of Bernhard rehlinger. He was a member of the city council since 1589 and “Baumeister” from 1593 to 1611. The entries provide insight into his official business. Holl’s daily work routine comes to the fore, for example, when he is commissioned to inspect and improve the lavatories of the renowned inn “Zur goldenen Traube”.Acta, das baumeisterambt betreffend von anno 1593 biß anno 1611 Bernhard Rehlinger (1563–1645) Augsburg, 14. 2. 1608 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. Bauamt III, Nr. 83

135. Elias Holl, Request for a Mineral water cure

A rare insight into private life as well as into the working relationship between Holl, who was already on leave at the time, and his employers is provided by his application for financial support for a Mineral water cure in 1630. In 1613, he had already successfully applied with success for a grant for cure outside the city.Request for a Mineral water cure Elias Holl (1573–1646) Augsburg, 1630 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. Reichsstadt, Akten, Nr. 1063

133. Lifetime appointment for Elias Holl

After his request for a salary increase in 1608, Holl received a lifetime appoint- ment in the same year. Holl received an annual basic salary of 150 fl. and under- took, among other things, to leave all drafts, sights, etc. made in the course of his duties to the city. This explains the exceptionally large stock of Holl docu- ments in Augsburg to this day.Lifetime appointment for Elias Holl (Copy) Augsburg, 14. 2. 1608 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. Reichsstadt, Bestallungsurkunden, 14. 2. 1608

132. Request for a higher salary and employment for life

Holl justified his request for a higher salary and employment for life with the large workload, the variety of tasks and the high demands of his superiors on the buildings he was to erect.Request for a higher salary and employment Elias Holl (1573–1646) Augsburg, Januar/Februar 1608 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. Reichsstadt, Bauamtsberichte 1602–1615, Januar/Februar 1608

84. Regola delli cinque ordini d’architettura

With the construction of the Jesuit church “Il gesù” in rome, begun in 1568, the architect Vignola set standards for future sacral buildings. In addition to his work as a master builder, he published a specialist manual on the five architec- tural orders, the “regola”, around 1562. With it, Vignola established standards for the design of architecture on the basis of the ancient columns and their variations, as had been common since Serlio. HE developed a theory of propor- tion that average master builders could also apply.Regola delli cinque ordini d’ architettura [...] libro primo, et originale Giacomo Barozzi da Vignola (1507–1573) Rom, 1607 Staats- und Stadtbibliothek Augsburg, Sign. 4o Kst 459

83. Tutte l’opere d’architettura

From 1537, the Italian architect Serlio was also active as a theorist. Until 1551, six books on architecture were published, which were expanded after his death. new editions prove the great impor- tance of his writings. They were very widespread because Serlio attached great importance to clarity and prac- tical relevance. Illustrations conveyed an idea of ancient architecture, but also of Bramante’s and raphael’s buildings. In particular, Serlio’s depiction of the orders of columns (regole) was taken up in countless “column books”, which were also known to Holl.Tutte l’opere d’architettura [...] Sebastiano Serlio (1475–1554) Venice, 1584 Augsburg, Staats- und Stadtbibliothek, Sign. 4o Kst 2120

145. Elevation of the Church tower of St. Peter in Neuburg/Donau

In neuburg on the danube, Elias Holl was consulted for an appraisal of the dilapi- dated tower of St. Peter.Elevation of the Church tower of St. Peter in Neuburg/Donau Elias Holl (1573–1646) Neuburg, April 1605 Pen and brown ink, paper [Stadtarchiv Neuburg d. d. Donau](https://www.neuburg-donau.de/rathaus/stadtarchiv), Sign. VIII 02 b (1351)

136. Beschatzung d[e]r heuser

Holl’s duties included the description and valuation of municipal and private properties, mostly carried out with the master carpenter. These appraisals were important for levying taxes, as- sessing property and setting a purchase price.Beschatzung d[e]r heuser Elias Holl (1573–1646) Augsburg, 8. 7. 1602–1634 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. 11217

149. The Fisher Gate

After the Thirty Years’ War, the engraver Simon grimm depicted the Augsburg gates, including the fisher gate. In 1609 Elias Holl had the bridge rebuilt and the gate tower added two stories with chamfered corners. A tent roof with an attached lantern crowned the tower. The gate was damaged in 1703 during the War of the Spanish Succession and demolished the following year.The Fisher Gate Simon Grimm (active c. 1650–1680) Augsburg, 1668 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 10517

153. Model of the “Schwibbogentor”

The “Schwibbogentor” in the south- eastern part of the city wall was one of the smaller city gates. Although Holl did not mention this gate in his house chronicle, it unmistakably bore his sig- nature. It was demolished in 1867.Model of the “Schwibbogentor” Thomas Hennings (1811–1886) Augsburg, around 1880 Wood Kunstsammlungen und Museen Augsburg, Inv. No. 3482

157. Model of the “Göggingertor”

Through the western main Gate of Augs- burg, named after the nearby village of Göggingen, traffic ran in the direction of Lake Constance, Switzerland and France. The new gate tower was built after 1622 on the model of the Red Gate.Model of the “Göggingertor” Thomas Hennings (1811–1886) Augsburg, around 1880 Wood Kunstsammlungen und Museen Augsburg, Inv. No. 3478

156. Model of the Red Gate

The pattern book “Architectura” by the dutch painter and designer Hans Vre- deman de Vries, published in 1577, may have inspired Holl to create the charac- teristic girts of the red gate, built in 1622.Model of the Red Gate Thomas Hennings (1811–1886) Augsburg, around 1880 Wood Kunstsammlungen und Museen Augsburg, Inv. No. 3480

148. City model of Augsburg

rogel’s city model is the result of more than three years of surveying and carv- ing. He presented it to the council of the imperial city. It is a detailed image of Augsburg and its structural condition in 1563. one can recognize, for example, the not yet completed tower of St. Ulrich and Afra, the old dance house on the wine market, and the city library built by Bernhard Zwitzel near St. Anna.City model of Augsburg Hans Rogel (1532–1592) Augsburg, 1560–1563 Spruce, lime, beech, painted, glass Kunstsammlungen und Museen Augsburg, Inv. No. 3818

158. Portrait of King Gustav II Adolph of Sweden

This full-length portrait of the Swed- ish king was probably painted during gustav Adolph’s second stay in Augs- burg from May 27 to June 2, 1632. The capture of Augsburg by gustav Adolf was a stroke of luck, especially for the Protestant elite of the imperial city, as many families were admitted to the pa- triciate. for Holl, the Swedish occupation brought reinstatement as “Stadtwerk- meister”, but he was now primarily concerned with the massive fortifications.Matthäus Gundelach (around 1566–around 1654) Portrait of King Gustav II Adolph of Sweden Augsburg, 1632 Oil on canvas Kunstsammlungen und Museen Augsburg, Inv. No. L 839 Loan of the Chamber of Industry Augsburg

159. Ideal plan of a fortification Ring around Augsburg

One of the conditions imposed by King Gustav Adolf of Sweden when he handed over the imperial city was its complete fortification, the cost of which he estimated at about 100,000 fl. The Swedish fortress builder franciscus de Treytorrens was commissioned with the gigantic work. His plan, which was only partially realized, is documented by Wolfgang Kilian in this engraving.Ideal plan of a fortification Ring around Augsburg Wolfgang Kilian (1581–1663) Augsburg, 1633 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 36

160. Portrait of the Swedish fortification architect Francisco de Traytorrens

The portrait of the Swedish fortress builder franciscus de Treytorrens (1590– 1660) is a dedication gift from lucas Kilian. A native of Yverdun, Switzerland, Treytorrens entered the service of King Christian IV of denmark as a young man and became general engineer of fortifications at the age of 28. In 1631, he moved to King gustavus Adolphus of Sweden in the same position and was commissioned by him to build the forti- fication ring of Augsburg (1632/1633).Portrait of the Swedish fortification architect Francisco de Traytorrens Lucas Kilian (1579–1637) Augsburg, 1632 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 7189

161. Portrait of the swedish Commander Hans Georg aus dem Winckel

Hans georg aus dem Winkel (1596–1639) succeeded Benedikt oxenstierna as commander of Augsburg in May 1633. lucas Kilian dedicated this portrait to him, which shows him fashionably dressed in three-quarter figure with field staff. When the Swedish occupation ended in 1635 and the commander left with his troops, Holl’s sons Elias, Hieronymus and Johannes joined him.Portrait of the swedish Commander Hans Georg aus dem Winckel Lucas Kilian (1579–1637) Augsburg, 1634 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 9779

173. Model of the Scaffolding for the Perlach Tower

With this model, Elias Holl documented the scaffolding that he had erected in 1614/15 for the reconstruction of the Perlach Tower. The cantilever construction was “made with such art that a similar thing is not well seen”. As the raising of the tower progressed, the scaffolding was supplemented by a fur- ther storey. This allowed the heavy city hall bell to be pulled upwards.Model of the Scaffolding for the Perlach Tower Elias Holl (1573–1646) Augsburg, 1614/1615 Wood Kunstsammlungen und Museen Augsburg, Inv. No. 3452

172. Design for the reconstruction of the Perlach Tower

In order to adapt the proportions of the “Perlachturm” to the new building projects to the city hall, Holl proposed to raise the city tower by 20 shoes (about 5.92 meters). With this design drawing, the “Stadtwerkmeister” recorded his ideas for the reconstruction. A new octagonal belfry with a crowning dome and lantern was to be placed on top of the upper guard tower.Design for the reconstruction of the Perlach Tower Elias Holl (1573–1646) Augsburg, 25. 5. 1614 Pen and brown ink, Parchment Kunstsammlungen und Museen Augsburg, Inv. No. G 1653

169. Design for the reconstruction of the ground floor of the old Town Hall

Holl wanted to make the floor plan of the old town hall, which was planned for reconstruction in 1610, clearer and more spacious by combining rooms.Design for the reconstruction of the ground floor of the old Town Hall Elias Holl (1573–1646) Augsburg, 8. 1. 1610 Pen and brown ink, Parchment Augsburg, Stadtarchiv, Sign. KPS 4252

170. Design for the reconstruction of the first floor of the old Town Hall

According to Holl’s rebuilding design of 1610, the old tower was to break the symmetry of the facade. The emperor’s oriel on the northern corner was also to remain as a traditional element.Design for the reconstruction of the first floor of the old Town Hall Elias Holl (1573–1646) Augsburg, 8.1.1610 Pen and brown ink, Parchment Augsburg, Stadtarchiv, Sign. KPS 4258

162. Model of the old Town Hall

The model of the gothic town hall is the most venerable artifact of the munici- pal model collection. Made on a scale of 1:48, it consists of seven components that document the room layout of the individual floors and the function of the respective rooms. The model served Elias Holl as an early planning tool. It was created as early as 1515/1516 as a design model for the renovations of the time.Model of the old Town Hall Augsburg, 1515/1516 Maple, spruce, paper Kunstsammlungen und Museen Augsburg, Inv. No. 3453

167. Design for the Roof truss of the Loggia model

Holl made this roof structure drawing for model maker, who built the right loggia model. It shows a simplified design that can be converted into the model. Holl was thus involved in the planning process for the loggia project.Design for the Roof truss of the Loggia model of 1607 Elias Holl (1573–1646) Augsburg, 25. 6. 1607 Pen and brown ink, Parchment Braunschweig, Herzog Anton Ulrich-Museum, Inv. No. Z 138 Vs (Reproduktion)

166. Model for a Loggia on the Town Hall square, Matthias Kager

Around 1607, the city planned to build a loggia at Perlach, which would relieve the old city hall of some functions. The model was Jacopo Sansovino’s Biblioteca Marciana in Venice.Model for a Loggia on the Town Hall square Matthias Kager (1575–1634), Elias Holl (1573–1646) Augsburg, 1607 Spruce, cedar, walnut Kunstsammlungen und Museen Augsburg, Inv. No. 3455

168. Model for a Loggia on the Town Hall squareJoseph Heintz d. Ä.

Joseph Heintz’s design for a loggia is based on the model of the Italian archi- tect Andrea Palladio (1508–1580). It is very elaborately designed and can only be executed in cut stone architecture.Model for a Loggia on the Town Hall square Joseph Heintz d. Ä. (1564–1609) Prag, 1609 Maple, lime, pear, spruce Kunstsammlungen und Museen Augsburg, Inv. No. 3454

164. Fragment of a Jewish gravestone from the old Town Hall

When the gothic town hall and the prison were extended in 1449, the stones from the cemetery of the Jews who had been expelled from Augsburg shortly before were used. The Jewish grave- stone from 1272/73 was found around 1880 when the prison was demolished.Fragment of a Jewish gravestone from the old Town Hall Augsburg, 1272/1273 Sandstone Kunstsammlungen und Museen Augsburg, Inv. No. 14492

165. Abschiedt Der Römischen Königlichen Maiestat

In 1555, in the large council hall of the gothic town hall, the Augsburg religious Peace, which recognized the lutheran confession, was passed under King Ferdinand I.Abschiedt Der Römischen Königlichen Maiestat, vnd gemeiner Stendt, auff dem Reichßtag zu Augspurg, Anno Domini M.D.L.V. auffgericht Mainz (Franciscus Behem), 1555 Type print Staats- und Stadtbibliothek Augsburg, Sign. 2° Stw 15

171. Reconstruction draft for the facade of the old town hall

When Holl's draft of 1610 should the facades with uniform rows of windows and two of the corners alike far distant portals are regulated.Reconstruction draft for the facade of the old town hall Elias Holl (1573–1646) Augsburg, 15.1.1610 Pen in brown, parchment Braunschweig, Herzog Anton Ulrich Museum, inv. no. Z 140

163. Part of a windwow reveal from the old Town Hall

During the clearing of debris in the de- stroyed town hall, this part of a window reveal was discovered. It is demolition material from the previous building that had probably been reused to fill cavities. Carved into it is a quotation from the letter to the romans (8:31) that is pop- ular with Protestants: “Si deus pro nobis quis contra nos” (If god is with us, who can be against us?). It is possible that Holl himself had deposited this frag- ment as a testimony to his trust in god in the new town hall building.Part of a windwow reveal from the old Town Hall Augsburg, 1515 Sandstone Kunstsammlungen und Museen Augsburg, Inv. No. 9759

174. Scaffolig of the Lift for the Perlach Tower

When the demolition of the old town hall began in 1615, Elias Holl also pushed ahead with the raising of the Perlach tower. This was because the bell from the gothic town hall tower was to find a place in the new belfry of the town tower. on this drawing, the “Stadtwerkmeister” recorded a wooden elevator scaffold that he had erected on the Perlachturn in 1615.Scaffolig of the Lift for the Perlach Tower Elias Holl (1573–1646) Augsburg, 24.6.1615 Pen and brown ink, Parchment Braunschweig, Herzog Anton Ulrich-Museum, Inv. No. Z 139

175. Resolution of the Augsburg Council on the new building of the Town Hall

On January 8, 1615, the Council decided to build a new town hall. The massive construction project in a difficult eco- nomic situation was to serve as a job creation measure.Resolution of the Augsburg Council on the new building of the Town Hall Augsburg, 8.1.1615 Pen and brown ink, Parchment Augsburg, Stadtarchiv, Sign. Rat, Ratsprotokolle, Bd. 56 (1615/1616), pag. 6

179. Design for the side facade of the new town hall

The design for a side facade of the town hall shows a three-storey architecture with an upper mezzanine and a central risalit with triangular gable projecting above the main cornice. Holl could have already made this design drawing for the building concept with three gables.Design for the side facade of the new town hall Elias Holl (1573–1646) Augsburg, Pen and brown ink, Parchment Augsburg, Stadtarchiv, Sign. KPS 4251

178. Roman Palace design for the new town hall

When the decision was made to build a new town hall in 1614, Holl initially re- tained the type of symmetrical palace facade with two rows of windows that he had already envisaged for the recon- struction of the old town hall in 1610.Roman Palace design for the new town hall Elias Holl (1573–1646) Augsburg, 27. 3. 1614 Pen and brown ink, Parchment Augsburg, Stadtarchiv, Sign. KPS 4248

183. Überschlag über das newe Rathhauß in Augspurg

Holl's cost estimate of 1614 has a total volume of 73,211 fl. and 15 kr. for the the new town hall building. It is a later copy. He planned a building with a length of 150 work shoes in width and 115 work shoe depth. The layout describes starting from the first floor detailed each individual floors, determines the the needs materials and wages for masons, carpenters for masons, carpenters and day laborers. The page is opened with the description of the Golden Hall.Overlay of the new Rathhauß in Augspurg Augsburg, 1614 Pen and brown ink, paper Staats- und Stadtbibliothek Augsburg, Sign. 2º Cod Aug 455

181. Three-gable-design for the new town hall

After the conventional palace design, the three-gable design is Holl’s next attempt. now the centre of the building, behind which the halls are indicated, clearly emerges as a risalit.Three-gable-design for the new town hall Elias Holl (1573–1646) Augsburg, 13.11.1614 Pen and brown ink, Parchment Kunstsammlungen und Museen Augsburg, Inv. No. G 11993

182. Reconstructed three-gable model of the new Town Hall

The model shows that, despite its monumentality, a three-gable solution would have appeared quite bourgeois and the building's function as an Imperial Town Hall would not have been recognisable. Cost estimate for the new Town Hall Augsburg, um 1614 Wood, unmounted Kunstsammlungen und Museen Augsburg, Inv.-Nr. 5326

180. Half floor plan of the new town hall

The northern half of the projected town hall can be seen on this southern site plan. The extremely clear arrangement of the rooms corresponds to the executed state. The central hall (unterer fletz), half of which is visible, is adjoined by the northern, two-flight staircase.Half floor plan of the new town hall Elias Holl (1573–1646) Augsburg, around 1614 Pen and brown ink, Parchment Kunstsammlungen und Museen Augsburg, Sign. Architekturentwürfe 17. Jh, Nr. 1

184. Floor plan of the new town hall

This plan of the ground floor of the town hall largely corresponds to the executed building. The internal structure is now of impressive clarity and coherence: the central area of the rectangular building, accessible via the main portal, consists only of a hall. Two staircases adjoin it at the sides, whereby a greek cross is inscribed in the rectangular building. Floor plan of the new town hall Elias Holl (1573–1646) Augsburg, around 1615 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Sign. Architekturentwürfe 17. Jh., Nr. 2

186. Section of the staircase of the new town hall

This longitudinal section through one of the two town hall staircases was already made during the construction work. With the annotated drawing, Holl primarily clarified the structure of the two-flight stairwell as well as the intermediate landings with their vaults.Section of the staircase of the new town hall Elias Holl (1573–1646) Augsburg, 27. 10. 1616 Pen and brown ink, Parchment Augsburg, Stadtarchiv, Sign. KPS 4249

187. Contract on the delivery of red and white marble

red Adnet marble as well as white untersberg marble from the Prince- Archbishopric of Salzburg were intended for the town hall furnishings. The con- tract between the imperial city and the archbishop regulated the quarrying by Augsburg stone crushers, the stone quality and the transport costs.Contract on the delivery of red and white marble from Salzburg region Augsburg, 26.1.1616 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. Reichsstadt Bauamt, Schreiben vom 26. 1. 1616

185. Design for the gable of the new town hall

When Elias Holl drew this outline for the town hall, he already aimed for a crossed roof zone. for the corners he planned altanas, whose balustrades were to be accentuated by obelisks. The architectural language is very rich in the drawing. However, the windows would not have been ideally suited to the ban- queting hall.Design for the gable of the new town hall Elias Holl (1573–1646) Augsburg, vor 1618 Pen and brown ink, Parchment Kunstsammlungen und Museen Augsburg, Inv. No. G 11992

189. Letter to Secretary Leonhard Hallaicher

In April 1619, the secretary of the “Baumeisteramt” received a letter from the Munich painter Hans Weiner. The first plans for the interior decoration of the town hall envisaged the use of scagliola, artificial marble. Weiner had presented samples of his work in Augsburg. Elias Holl, whom Weiner sends his regards on the enclosed note, also took part in the meeting.Letter to Secretary Leonhard Hallaicher Hans Weiner (around 1575–1619) Munich, 17. 4. 1619 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. Baumeisteramt, unverzeichnet

188. Report on the difficulties transport

Transport by water was considered the safest method, but low water, high water or storms made the journey difficult and unplanned delays caused additional costs. In July 1617, the building scribe le- onhard Hallaicher reported an incident near neuburg/danube.Report on the difficulties of the transport of marble from Salzburg region Leonhard Hallaicher (around 1565–1633), Caspar Strobl Augsburg, 9. 7. 1616 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. Baumeisteramt, unverzeichnet

176. Venetian model for the ne Town Hall

This is a design model whose individ- ual floors can be removed. Presumably, there was also a removable roof, but it has not been preserved. All architectural details and also the windows are painted. A floor plan and a facade ele- vation exist for this model. Characteristic are the double windows with oculi above them, which would have marked the banqueting hall in the facade. This motif is often found on Venetian palazzi.Venetian model for the ne Town Hall Elias Holl (1573–1646), unbekannter Kistler Augsburg, around 1614 Cedar, partly painted Kunstsammlungen und Museen Augsburg, Inv. No. 3456

177. Ground floor of the Venetian design for the new Town Hall

The ground floor plan drawn by Elias Holl for the Venetian project has measure- ments. This makes it possible to under- stand the enormous dimensions that the architecture would have had: the main facade would have been 190 shoes (approx. 57 metres) long, the side wings 138 shoes (approx. 41 metres) deep. In order to be able to erect a building block of this size, almost the entire fish market would have had to be built over, apart from a five-metre-wide strip next to the site of the old Town Hall.Ground floor of the Venetian design for the new Town Hall Elias Holl (1573–1646) Augsburg, 24.6.1615 Pen and brown ink, Parchment Augsburg, Stadtarchiv, Sign. KPS 4256

201. Design for the Floor of the Golden Hall

This design, drawn around 1618 by Matthias Kager, formed the basis for the floor actually made of slabs of red, grey and sand-coloured marble. The slabs were laid in such a way as to create the illusion of a spatial ornament.Design for the Floor of the Golden Hall Matthias Kager (1575–1634) Augsburg, around 1618 Pen and black ink, paper Kunstsammlungen und Museen Augsburg, Sign. Holl- Kager-Kiste, III. Format, ZII K002-14

199. Entry of Emperor Ferdinand II in Augsburg

After his imperial coronation in frank- furt, ferdinand II stopped in Augsburg on his return journey on 28 September 1619. The emperor rides under a canopy carried by six councillors, in front the “Baumeister” Hans Bartholomäus Wel- ser and Constantin Imhof. As the new town hall was still under construction, ferdinand received the oath of allegiance from the Fuggerhäuser.Entry of Emperor Ferdinand II in Augsburg Daniel Döringk (gest. 1623) Augsburg, 1619 Woodcut Staats- und Stadtbibliothek Augsburg, Sign. Graph 27/3

200. Model of an obelisk for the Rathaus altanas

The construction of an obelisk rises above a wooden pedestal and four supporting spheres. Holl used decorative obelisks as early as 1602 for the facade of the “Beckenhaus”, and finally again for the town hall and its four altanas. Since the renaissance, obelisks have been regarded as symbols of power.Model of an obelisk for the Rathaus altanas Augsburg, around 1614 Woos, Iron Kunstsammlungen und Museen Augsburg, Inv. No. 3469

197. Gold florin

The laying of the foundation stone on 25 August 1615 was attended by Elias Holl, the Augsburg council and Holl’s son Elias. His task was to place the first stone on the foundation stone. for this he was given 12 gulden.Gold florin Augsburg,1613 Gold Kunstsammlungen und Museen Augsburg, o. Inv. No.

213. Council medal

The obverse shows the city view of Augsburg from the east – now for the first time with the newly built city hall and the Perlach Tower. In the section below are the coats of arms and names of the three “Baumeister”.Council medal Daniel Sailer (around 1571–1643) Augsburg, 1621 Silver, minted, gilted Kunstsammlungen und Museen Augsburg, Inv. No. N 1020

212. Medal on the Town Hall

The view of the town hall corresponds to that on Stadler’s octagonal medal from the same year. The reverse shows the coats of arms of those responsible for the construction of the new town hall.Medal on the Town Hall Hans Stadler (active around 1618) Augsburg, 1620 Silver, minted Kunstsammlungen und Museen Augsburg, Inv. No. N 1013

211. Medal on the Town Hall II

The obverse of the octagonal medal shows the finished town hall with the two towers and surrounded by a banderole with the latin inscription.Medal on the Town Hall Hans Stadler (active around 1618) Augsburg, 1620 Silver, cast, gilted Kunstsammlungen und Museen Augsburg, Inv. No. N 1016

210. Medal for the construction of the Town Hall

The medal was created on 1 January 1618, when the new town hall had reached the first floor. The obverse shows the first line of the text of the foundation stone plate as the inscription and below it the finished town hall.Medal for the construction of the Town Hall Matthäus Gabler (active around 1618) Augsburg, 1618 Silver, cast Kunstsammlungen und Museen Augsburg, Inv. No. N 1011

215. Fragments of the bronze eagle of the town hall

until 1806, the western gable of the town hall was adorned with a double-headed, nimbed imperial eagle with crown. The city foundryman Wolfgang neidhardt had cast the bronze eagle, which weighed 1100 kg and was installed with great difficulty in 1619. When Augsburg became part of the Kingdom of Bavaria, the bronze eagle was removed and melted down.Fragments of the bronze eagle of the town hall Wolfgang Neidhardt (1575–1632) Augsburg, 1619 Bronze Kunstsammlungen und Museen Augsburg, Inv. No. 5367

216. Door handles and mascarons from the destroyed Town Hall

In 1945, a citizen of Augsburg wandered through the ruins of the town hall, which had been destroyed during the war. The remains of the interior decoration found there, three iron door pulls and the fragment of a gilted mask, remained in the family and were given to the Maximilian Museum decades later.Door handles and mascarons from the destroyed Town Hall Augsburg, around 1620 Iron; wood, gilted Kunstsammlungen und Museen Augsburg, Loan from Private collection

196. Foundation slab of the new town hall

The foundation stone of the northern part of the town hall was laid on 25 August 1615. Holl mentions a silver inscription plate in his family chronicle, similar to this duplicate once kept in the “Bauamt”. The latin inscription and dat- ing refer to roman antiquity, from which the town derived its origins. The text and its message that the town hall was built for the adornment of Augsburg, and to relieve the poverty of the craftsmen, were publicised in various media.Foundation slab of the new town hall Bartolme Koch (around 1563–1620), Alexander Mair (1559–around 1620) Augsburg, 1616–1620 Silver, engraved, gilted Kunstsammlungen und Museen Augsburg, Inv. No. 3501

192. View of the new town hall

This perspective sketch shows the main facade of the planned town hall as well as a lateral front facing the fish market. The central areas of all sides stand out as flat risalites. The rhythm of different window formats is full of tension due to the various roofs. These create a hierarchy of interior spaces on the outside. The gable shows a much more complex appearance.View of the new town hall with cruciform roof Elias Holl (1573–1646) Augsburg, around 1618 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 850

194. Design for the gable of the new town hall

In 1618 Elias Holl had found a valid de- sign for the town hall gable. It can only be seen in part here. Holl found a gable architecture in which above all the im- perial eagle is emphasised by means of framing elements.Design for the gable of the new town hall Elias Holl (1573–1646) Augsburg, around 1618 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 24495

193. Elevation of the western Facade of the new Town Hall

on this design, Holl drew the main facade of the town hall in a slightly oblique view, but omitted the area of the portal, which is surmounted by a bal- cony. Also visible is the northern arm of the roof intersection, which Holl modified a further time.Elevation of the western Facade of the new Town Hall Elias Holl (1573–1646) Augsburg, around 1618 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 849

208. Allegory of tax trade

Kager’s design for the painting in front of the “Baustube” final version and was adopted by the painter Freyberger. In the centre stands Archimedes, accord- ing to the conceptor rader “Master of all architects”, showing King Hieron of Syracuse the consequences of bad building. While an upright tower rises behind him, a defectively built one collapses on the right.Allegory of tax trade Matthias Kager (1575–1634) Augsburg, around 1620 Pen and dark brown ink, brown wash, black chalk Staatliche Museen Berlin, Engravingkabinett, Inv. No. KdZ 1055

207. Allegory of building trade

According to rader’s specifications, Kager created his own sketches for the paintings in the first floor of the Town Hall, which were executed by the painter Hans freyberger (1571–1632) between 1620 and 1623. The allegory of the tax system shows on the left the splendidly robed “CONCORDIA”, the united com- monwealth, with an olive branch as a symbol of peace.Allegory of building trade Matthias Kager (1575–1634) Augsburg, around 1620 Red chalk, pen and black ink, grey wash, black chalk Staatliche Museen Berlin, Engravingkabinett, Inv. No. KdZ 1055

206. Entry of Emperor Charles V into the Wine Market in 1548

The drawing shows the entry of Emperor Charles V into the wine market on the occasion of the conferral of the electoral dignity on duke Moritz of Saxony at the diet of Augsburg in 1548. The painting was part of the cycle of paintings in the north-west Prince’s room produced in 1622/1624. Entry of Emperor Charles V into the Wine Market in 1548Matthäus Gundelach (1566–1653) Augsburg, around 1620 Pen and black ink, grey washed Staatliche Kunstsammlungen Dresden, Engravingkabinett, Inv. No. C 1937-215

205. Allegory of Democracy

An independent invention by rader was the painting cycle “TRES FORMAE REIPVBLICAE. Monarchia Aristocratia democratia” for the south-west Prince’s room. The series of paintings of the three forms of state was created by Johann König, who also drew this design for “democracy”. The scene is set in Ath- ens and shows the population swearing by the laws read out by a tribune.Allegory of Democracy Johann König (1586–1642) Augsburg, around 1620 Pen and black ink, grey washed Kunstsammlungen und Museen Augsburg, Sign. G 4662-69

198. View of the new town hall and Perlach Tower

The large-format view shows the new town hall and the Perlach Tower as well as the immediately adjoining buildings, including the bakers’ guild house. In reality, there was no such wide panorama, because directly in front of the town hall stood parlour buildings of the patricians and merchants. The depiction published for the election of Emperor ferdinand II is therefore idealised. Presumably the engraving was intended to present the town hall as the best possible location for future diets.View of the new town hall and Perlach Tower Lucas Kilian (1579–1637) Augsburg, 1619 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 12069

195. Vitruuius Des allernamhafftigisten vnnd Hocherfahrnesten, Römischen Architecti

Walter H. ryff published writings on architectural theory, including the first and for a long time only german edition of Vitruvius’ “Ten Books on Architecture” in 1548. This work, which was impor- tant for the reception of antiquity in Central Europe, was also significant for Holl’s new town hall. The representative building of the “Basilica Julia” from the forum romanum depicted by ryff is very similar to Augsburg’s Town Hall. The dual function as a council building and meeting house for kings and princes also corresponded to the use of Holl’s new building as a town hall and impe- rial assembly place. The edition of the “Vitruvius Teutsch” published in Basel in 1575 was well-known in Augsburg.Vitruuius Des allernamhafftigisten vnnd Hocherfahrnesten, Römischen Architecti, [...] Marci Vitruuij Pollionis, Zehen Bücher von der Architectur vnd künstlichem Bawen Walter Herman Ryff (1500–1548) Basel, 1575 Staats- und Stadtbibliothek Augsburg, Sign. 2° LR 226

202. Letter to Jesuit Father Matthäus Rader

In his letter to the Munich Jesuit priest Matthäus rader with a request for themes and designs for the town hall furnishings, Matthias Kager writes that the golden Hall and the Prince’s rooms are to be used for future Diets.Letter to Jesuit Father Matthäus Rader asking for ideas for the paintings in the Town Hall Matthias Kager (1575–1634) Augsburg, 6.3.1620 Pen and black ink, paper Munich, Bayerisches Hauptstaatsarchiv, Sign. Jesuitica 1082, fol. 200r f. (Reproduction)

203. Design for the central painting of the Golden Hall ceiling

The Triumphal Procession of Wisdom (Sapientia) formed the central image of the ceiling decoration of the golden Hall. It is the key image that, according to Matthäus rader, the inventor of its decoration, explains the entire ceiling painting.Design for the central painting of the Golden Hall ceiling – The Triumph of Wisdom Peter Candid (1548–1628) Munich, 1619 Pen, brown and black ink, watercoloured, coloured chalks Munich, Staatliche Graphische Sammlung, Inv. No. 176 Z

191. Second cruciform roof model of the new town hall

An important model for the final town hall design goes back to the so-called basilica by the roman architect Vitru- vius. The most important similarities are the cruciform roof section and, inside, the hall that runs through the entire building.Second cruciform roof model of the new town hall Elias Holl (1573–1646) Augsburg, 1614 Wood, painted Kunstsammlungen und Museen Augsburg, Inv. No. 3458

190. First cruciform roof model of the new town hall

The cruciform roof section was the deci- sive step towards the final solution that was to make the town hall unique. Who took the initiative, whether Holl himself or his superiors, is unknown.First cruciform roof model of the new town hall Augsburg, 1614 Wood Kunstsammlungen und Museen Augsburg, Inv. No. 3457

214. Coronation banquet for the King of Rome Joseph I

no more diets were held in the golden Hall. The banquet following the election and coronation of Joseph I as roman King in 1690 remained a one-off episode.Coronation banquet for the King of Rome Joseph I in the Golden Hall Philipp Neuß (around 1664–1705) Augsburg, 1690 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 15109

209. Furnace design for the southwestern prince's room

The four magnificent ovens in the princely rooms were among the greatest creations this genus. An unknown artist created the design for the tiled stove in the southwestern prince's room, 1621 the Weilheim master potter Melchior Ott made. While the pages of the While the pedestal-like firebox shows the city's coat of arms, the upper oven, covered by a canopy, boasts fully sculptural figures - a novelty in the furnace construction of that time. It is decorated with personifications of the Christian virtues of faith, love and hope.Furnace design for the southwestern prince's room Unknown artist Augsburg, around 1620 Pen in black and brown, blue wash Nuremberg, Germanisches Nationalmuseum, inv. no. Hz 4006

204. Matthias Kager, Allegory of architecture

The Augsburg drawing is a workshop copy of a lost design by Kager for the circular painting “CIVITATES Cond- VnTVr” on the ceiling of the golden Hall. The founding of cities is one of the ben- eficial effects of wisdom. To this day, the dubious legend persists that the architect taught by Sapientia was Elias Holl.Allegory of architecture Matthias Kager (1575–1634) Augsburg, around 1620 Pen and black ink, grey washed Kunstsammlungen und Museen Augsburg, Sign. G 3918-65

114. Medal for 14 protestant clergymen

By order of Emperor ferdinand II, only Catholics were elected to the council on 1 August 1629. The climax was on 8 August 1629, when the city’s Protes- tant servants and Protestant preachers were dismissed. The medal shows the portraits of the 14 Protestant clergymen affected. It was not until the parity guar- anteed by the Peace of Westphalia that the Protestants of Augsburg regained their rights, which is why they have celebrated the High Peace festival on 8 August every year since 1650.Medal for 14 protestant clergymen Anton Stadler (active around 1620–1630) Augsburg, 1627 Silver Kunstsammlungen und Museen Augsburg, Inv. No. N 1033

93. Engraving St. Ulrich’s altar

The engraving shows the southern side altar from the high choir of the basilica of St. ulrich and Afra. for the 1300th anniversary of Afra, three monumental altars were erected from 1604 onwards. They were dedicated to the three high feasts of the church year: the high altar shows Christmas, the southern side altar Easter and the northern side altar Pentecost. The sculptor Hans degler (died 1637) and the painter Elias greuter (1591–1646), both from Weilheim, created the magnificent altars.St. Ulrich’s altar in St.Ulrich und Afra Daniel Manasser (1600–1637) Augsburg, around 1630 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 10600

151. Design for the Klinker Gate

One of Elias Holl’s most extensive tasks was the improvement of the medie- val fortifications. In 1608 he turned his attention to the renovation of the 14th century “Klinkertor”. on this occasion, a freehand sketch of the gate tower was made. In the course of the defortification it was demolished in 1873.Design for the Klinker Gate Elias Holl (1573–1646) Augsburg, 1608 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. G 4491

152. Model of the Klinker Gate

In 1608 Elias Holl renovated the “Klinker- tor”. The well-proportioned gate with effective ornamentation had on all sides two square windows alternating with round windows on each floor. The gate was demolished in 1873.Model of the Klinker Gate Thomas Hennings (1811–1886) Augsburg, around 1880 Wood Kunstsammlungen und Museen Augsburg, Inv. No. 3477

150. Model of the Wertachbrucker Gate

Around 1880 the model builder Hennings made 1:100 scale models of Augsburg city gates and towers, some of which had been demolished from 1866, includ- ing buildings by Elias Holl. The Wertachbrucker gate in the northwest of the city fortifications was rebuilt in 1605. Pre- served to this day, it is one of Elias Holl’s earliest gate buildings.Model of the Wertachbrucker Gate Thomas Hennings (1811–1886) Augsburg, around 1880 Wood Kunstsammlungen und Museen Augsburg, Inv. No. 3475

155. The “Frauentor”

When the “frauentor” was redesigned in 1611, Matthias Kager was commissioned to paint the tower facades. Kager had frescoed a rich sham architecture on the sparsely windowed front. Inserted in it were scenes reminiscent of the im- perial councilor and bishop of Salzburg, Matthäus lang (1468–1540). The paint- ing was intended to remind passers-by of Augsburg’s loyalty to the emperor.The “Frauentor” Simon Grimm (active c. 1650–1680) Augsburg, around 1670 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 8815

154. Model of the “Frauentor”

The “frauentor”, built in 1246/1247, was, together with the “Heilig-Kreuzer-Tor”, the main gate of the bishop’s town. It was named after the patron saint of Mary of the nearby cathedral. The gate, rebuilt in 1456, received its final shape in 1611 under Elias Holl. In 1884/85 it was demolished under protest of the citizens.Model of the “Frauentor” Thomas Hennings (1811–1886) Augsburg, around 1880 Wood Kunstsammlungen und Museen Augsburg, Inv. No. 3473

222. Model of an onion dome

Holl was very experienced in the con- struction of roof structures. for the com- plicated shape of the onion domes on the town hall towers, he had made the plans himself, “because the carpenters had no knowledge of it”, wrote Holl.Model of an onion dome Augsburg, 18th century? Wood Kunstsammlungen und Museen Augsburg, Inv. No. 3470

217. Two carpenter's planes

These two planers come from the town’s tool magazine. The tools, marked with the town coat of arms and the year 1612, were certainly used in the construction of the new Annagymnasium and the town hall.Two planers Augsburg, 1612 Oak, iron Kunstsammlungen und Museen Augsburg, Inv. No. 3487, 3488

218. Parts of a block and tackle

Pulley blocks for effortless lifting heavy loads were an essential Aids in the building trade. In 1615 Holl for the extension of the Perlach Tower and the transport of the Storm Bell in the new belfry made by himself Make designed pulleys.Parts of a block and tackle Augsburg, 1613 iron Art Collections and Museums Augsburg, o. Inv.-Nr.

223. Proportional Compass

The proportional compass from Holl’s possession is an analogue calculating instrument with which complicated arithmetic operations can be carried out by means of the ray sets.Proportional Compass Georg Zorn (1564–around 1632) Augsburg, 1614 Brass, gilted, iron Kunstsammlungen und Museen Augsburg, Inv. No. 3497

3. Copperplate with Portrait of Elias Holl

The virtuoso engraved work is an older plate used in a secondary application. The reverse side depicts a wild boar hunt and was created by the nuremberg engraver and cartographer Augustin Hirschvogel (1503–1553).Copperplate with Portrait of Elias Holl Lucas Kilian (1579–1637) Augsburg, 1619 Copper, engraved Kunstsammlungen und Museen Augsburg, Inv. No. 9794

224. Sword of Elias Holl

According to old tradition, the sword came from Holl’s possession.Sword of Elias Holl Augsburg, around 1600. Bronze, gilted, steel, wood, leather Kunstsammlungen und Museen Augsburg, Inv. No. 3495

225. Swordstick of Elias Holl

The sword stick is also said to come from Holl’s possession. It is a multifunctional instrument. The iron handle is worked as a pick and a hammer, making it a practical tool for on-site- visits. The stick is a scabbard, which can be thrown off in case of danger. Thus it transforms into a defensive weapon.Swordstick of Elias Holl Augsburg, around 1600 Iron, wood, leather Kunstsammlungen und Museen Augsburg, Inv. No. 3496

230. Two fragments of the Facade painting of the weaver’s house

Kager’s first major commission in Augsburg was the painting of the facade of the Weberhaus (1605–1607). The designer was the Augsburg city administrator Marcus Welser. The east side showed the lechfeld battle of 955 under the imperial eagle and the city saints ulrich and Afra. The south facade showed scenes of trade and its benefits for the people, furthermore the ancient story of the virtuous lucretia on the 2nd floor. These two original mock windows come from this side of the facade.Two fragments of the Facade painting of the weaver’s house Matthias Kager (1575–1634) Augsburg, 1605/1607 Fresco Kunstsammlungen und Museen Augsburg, Inv. No. 3688, 3689

237. Designs for wooden grids

The construction drawings, perhaps made by Holl, show variations of wooden grids as they have been used since antiquity, especially as pile foundations.Designs for wooden grids Elias Holl (1573–1646)? Augsburg, 1st half of the 17th century Pen and brown ink, watercoloured, paper Augsburg, Stadtarchiv, KPS 4240

219. Model of a pile driver

Although this model dates from the 18th century, it resembles the pile drivers that Elias Holls used on construction sites. In particular, secure foundations had to be created for the enormous building of the town hall. for this purpose, wooden piles were driven deep into the ground.Model of a pile driver Augsburg, 18th century? Wood, Iron Kunstsammlungen und Museen Augsburg, Inv. No. 9613

221. Model of a lifting device

Heavy stone blocks were moved with cranes and stone tongs or stone shears.Model of a lifting device Augsburg, 18th century? Wood, iron Kunstsammlungen und Museen Augsburg, Inv. No. 9740

220. Model of a double pile driver

Especially for pile foundations, pile driv- ers were important construction tools that Elias Holl often used. Their basic construction hardly changed over the centuries. Such scaleddown replicas of these important tools were preserved in the model chamber of the town hall.Model of a double pile driver Augsburg, 18th century? Wood, iron Kunstsammlungen und Museen Augsburg, Inv. No. 9708

239. Model of a coining machine

In 1572, a minting machine was put into operation in Augsburg. It was housed in the city mint on the “Hintere Lech” and was driven by an undershot waterwheel.Model of a coining machine Anton Gilg (geb. 1939) Augsburg, 2012 Beech, brass, iron Kunstsammlungen und Museen Augsburg, Inv. No. 2012/5

241. Model of a grinding and polishing mill

In 1613, Elias Holl built a polishing and grinding mill in the north-east of the town. It was certainly equipped with the latest technology. The model shows a two-storey building and a semi-under- shot water wheel. on the ground floor is a mirror glass grinding mill and on the upper floor are four polishing tables of a mirror glass polishing mill.Model of a grinding and polishing mill Anton Gilg (geb. 1939) Augsburg, 2020 Beech, brass, iron Kunstsammlungen und Museen Augsburg, Inv. No. 503

240. Model of a smeltery

IIn 1622, Elias Holl built the smeltery in the north-east of the town. An undershot water wheel in the Malvasierbach provided the energy transmitted by means of a shaft to operate the four bellows. In smelting and separating works, metal alloys were melted and the individual components separated from each other.Model of a smeltery Anton Gilg (geb. 1939) Augsburg, 2020 Beech, brass, iron Kunstsammlungen und Museen Augsburg, Inv. No. 2020/501

235. Floor plan of the smelting works on the Malvasierbach

In 1622, Elias Holl planned and built the smelting works on the Malvasierbach near the Lueginslandbastei with waterdriven bellows. In smelting works, metal alloys of all kinds were melted down and separated from each other.Floor plan of the smelting works on the Malvasierbach Elias Holl (1573–1646) Augsburg, 1622 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, o. Sign. (Hollmappe, Nr. 83)

236. Floor plan of a grinding and polishing mill

Around 1610 Holl built a grinding and polishing mill outside the town to refine flat glass for the production of mirrors.Floor plan of a grinding and polishing mill Elias Holl (1573–1646) Augsburg, 1606 or 1613 Pen and brown ink, paper Augsburg, Stadtarchiv, KPS 3567

233. The Lech channels with mills and iron hammers

Elias Holls was also responsible for Augsburg’s canalisation and water supply, which had to be constantly maintained and renewed. In 1635 he drew an overview plan of all the lech canals. It was intended to show the course of the canals of the imperial city and to document the technical installations on these canals.The Lech channels with mills and iron hammers Elias Holl (1573–1646) Augsburg, 1635 Pen and brown ink, paper Augsburg, Stadtarchiv, Sign. KPS 1361 (Reproduktion)

234. Floor plan of the new mill at the Heilig Geist-Spital

Holl was also entrusted with the maintenance of mills, fortifications and bridges. In 1625 he had begun building the mill of the “Hl. Geist Spital”. The focus of this drawing is the construction details with the four mill wheels.Floor plan of the new mill at the Heilig Geist-Spital Elias Holl (1573–1646) Augsburg, around 1625 Pen and brown ink, paper, watercoloured Augsburg, Stadtarchiv, Sign. KPS 1652

238. The well tower at the Gänsbühl

City fountain master Capar Walter drew a coloured section through one of the two St.Jakobs water towers on the oblatterwall built by Elias Holl in 1604–1609. The water towers supplied private houses and public fountains in the Jakobervorstadt, including the Fuggerei.The well tower at the Gänsbühl Caspar Walter (1701–1769) Augsburg, around 1750 Ink, coloured wash Augsburg, Stadtarchiv, Planmappe, Brunnenwerke 9 I, Nr. 42; KPS 3135

232. The Jakober Gate and the Well tower

The Jakobertor, first mentioned in 1346, was the most important outer gate of the imperial city for traffic to the east in the direction of Bavaria. To the right of it, you can see the upper St. Jakob’s Well Tower in the background, which Elias Holl had built in 1609 together with the second Well Tower further north. The first on was destroyed in 1944.The Jakober Gate and the Well tower Simon Grimm (active c. 1650–1680) Augsburg, around 1680 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 10598

231. The Well towers at the Red Gate

The Red Gate complex in the south of the city is still one of the most authentic, almost unchanged building ensembles from Augsburg’s imperial city period. The tower was built by Holl in 1622.The Well towers at the Red Gate Simon Grimm (active c. 1650–1680) Augsburg, around 1680 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 10611

Out of catalogue: Death Panel of the Augsburg Goldsmiths 1678-1711

Elias Holl had his eighth son Christoph (1619-1651) trained as a goldsmith. Other descendants of the Stadtwerkmeister, such as Christian Holl (c. 1630-1686) and Elias Holl (1654-1695) also learned the goldsmith's trade.Death Panel of the Augsburg Goldsmiths 1678-1711 Elias Holl (1573-1646)Augsburg, 1678-1711 Oil on wood Kunstsammlungen und Museen Augsburg, Inv.-Nr. 2689

257. Construction of the new town hall – Supraporte from the Schaezlerpalais

Built between 1765 and 1770 Augsburg banker Benedikt Adam von Liebert (1731–1808) a magnificent town house, today's Schaezlerpalais. to room equipment includes two painting cycles on the first and second floors above are attached to the doors. The paintings on the second floor signpost events of the history of Augsburg. The picture pro- gramm is based on Paul von Stettens the Younger illustrated “History of the Imperial City Augsburg“ from 1765, which also includes the Town Hall building of Elias Holl dealt with. Construction of the new town hall – Supraporte from the Schaezlerpalais Joseph Christ (1731–1788) Augsburg, 1767/1768 Oil on canvas Art collections and museums Augsburg, inv. no. 12225

249. Short description of the town hall

Haldenwanger's rhyming town hall description is a great rarity. She describes the building from outside to inside, ascending to the towers and roofs and gives the first details its equipment. Following building symbolism typical of the time the author strives for a Christian-moral sche interpretation of the town hall architecture. Short description of the town hall, so dainty prepared, which ma[n] in Augspurg of the place this year has erbawet Tobias Haldenwanger (1st half of the 17th century) Augsburg (Andreas Aperger), 1621 Augsburg, State and City Library, Sign. 16 KA 3

248. Short casual description of the Newerbawten

Bernhard Heupold, high school teacher bei St. Anna, was the author of this rhyming Description of the newly built town hall, which appeared in the year of completion. Plot of detailed poem is a Tour of Heupold with a foreman through the town hall. After the 246 verses Comprehensive walk through the inside buildings still under construction follow 308 verses with an allegorical– symbolic interpretation of the town hall.Short casual description of the Newerbawten Anno 1615. started Rahthauß this praiseworthy deß H. Reichsstatt Augspurg Bernhard Heupold (around 1560–1628) Augsburg (David Franck), 1620 Staats- und Stadtbibliothek Augsburg, Sign. 4o S 8–12

250. CVRIA AVGVSTANAE REPVPLICAE

Sendel wrote the first detailed one printed description of the Augsburger town hall, an absolute rarity in the History of imperial town hall buildings. The background to their creation is unclear. Nothing is known about the author, nor about whether it is in the description acted on an order from the city. Possibly was a release immediately after completion of the town hall planned. But she appeared probably as a result of the Thirty Years' War, first 1657. The Town Hall führer went through twelve editions by 1782. CVRIA AVGVSTANAE REPVPLICAE, That is: Verbose Description and interpretation of all skillful spouses, Piece and plates, which in the Anno 1620. Newerbawten the very handsome Rath-Haus of the well-known Watch Imperial ReichsStatt Augspurg. Matthäus Sendel (1st half of the 17th century) Augsburg (Andreas Aperger), 1657 Augsburg, State and City Library, Sign. 4o Aug 238-1657

246. Sermon on the council election and the new town hall

Held on Sunday August 2, 1620 the evangelical pastor of St. Anna Johann Conrad Goebel gave a sermon on the occasion the council election in the new town hall on the following day. He chose 2 Chronicles 19:5-7 as the sermon text: King Jehoshaphat's appointment of judges for every city in the land of Judah and its Admonition to them, in the fear of God to act. Not for the inside yet the expanded town hall was designed by Göbel a building symbolism typical of the time.Sermon on the council election and the new town hall Johann Conrad Göbel (1585–1643) Augsburg (David Franck), 1620 Staats- und Stadtbibliothek Augsburg, Sign. 4o Aug 483

247. Congratulatory sermon on the election of the council

On Monday, 3 August 1620, the senior member of the Protestant ministry, Bernhard Albrecht, preached a sermon in St. Anne's on the occasion of the council election. for the newly elected councillors and the new town hall. With its interpretation as "Jerusalem", the tenor of this sermon, interspersed with early Baroque allegorism, was prefigured.Congratulatory sermon on the election of the council and to the new town hall on 3 August 1620 Bernhardt Albrecht (1569-1636) Staats- und Stadtbibliothek Staats- und Stadtbibliothek Augsburg, Sign. 4° Aug 27b

258. Friedrich Nicolai, Description of a journey through Germany and Switzerland in 1781

The twelve-volume travelogue by the Prussian publicist, philosopher and Enlightenment philosopher Friedrich Nicolai reaped almost only negative judgements just a few years after its publication, not least because of the author's know-it-all "world view". Nicolai may be counted among the few travellers who consciously decided against visiting Augsburg City Hall and the Golden Hall on the basis of a prejudice formed by acquired knowledge, as he freely admits in his account of his visit to Augsburg.Description of a journey through Germany and Switzerland in 1781, together with remarks on learning, industry, religion and manners. Seventh volume Friedrich Nicolai (1733-1811) Berlin-Stettin, 1786 Augsburg, Staats- und Stadtbibliothek, Sign. Gs 6914–7

259. August von Kotzebue, Memories of a Journey from Loveland to Rome and Naples. Part One

In 1804, the playwright and author Kotzebue undertook a journey to Rome and Naples. and Naples, which he described in 1805/1806 in a three-volume travelogue. On his way south, he also stopped he also stopped in the imperial city of Augsburg. The visit to its greatest sight remained a bad memory for the liberal free spirit.Memories of a Journey from Loveland to Rome and Naples. Part One August von Kotzebue (1761-1819) Berlin, 1805 Staats- und Stadtbibliothek Augsburg, Sign. Gs 5347–1

242. Portrait of the construction clerk Leonhard Hallaicher

Presumably it is the one depicted um Leonhard Hallaicher, who worked in the building authority from 1607 to 1633 and supported Holl in many of his tasks. The construction clerk named on the sheet Lang, on the other hand, is not detectable. Portrait of the construction clerk Leonhard Hallaicher (?) Lucas Kilian (1579–1637) Augsburg, 1632 Black chalk Munich, State Graphic Collection, inv. no. 1957/17

243. Portrait of the coppersmith and roofer Esaias Mayr

Many of those who played a key role in the construction of the Town Hall involved craftsmen known only by name. the city copper smith Esaias Mayr, who cut the roofs of Main building and towers of the town hall covered with copper from Tyrol and Hungary, is immortalized by this painting. Portrait of the coppersmith and roofer Esaias Mayr Unknown artist Augsburg, 1612/1620 Oil on canvas Art collections and museums Augsburg, inv. no. 3734

244. Salomon Kleiner, Das prächtige Rath Hauss der Stadt Augspurg

Johann Georg Pinz stood out for the publisher Jeremias Wolff these 16 copper plates Architecture of Augsburg Town Hall Templates by Salomon Kleiner. The main part of the series form perspective views the Fletze on the ground floor and the first upper floor, the council and court room, the Baustube and the nursing office as well as the Control room and antechamber on the first floor, finally depictions of the four princely chambers on the second floor. Three views are dedicated to the Golden Hall.The magnificent Rath Hauss of the city of Augspurg Salomon the Little (1700–1761) Augsburg, 1732 Art collections and museums Augsburg, inv. no. G 20325-20337, 25298

245. Solomon receiving the Queen of Sheba

In 1621 Matthias Kager created a wall fresco on the east side of behind the town hall prison wing, the so-called Eisenhof. You had the best view of it from the lower Fletz. The mural showed the homage visit the queen of Sheba near Solomon and knotted to the main theme of the Golden Hall, the triumph of wisdom. The fresco is done a drawing by Kager and this etching survived.Solomon receiving the Queen of Sheba Matthias Kager (1575–1634), François Collignon (1610–1687) Augsburg, 1631 Etching Augsburg, State and City Library, sign. Graph 11/Collignon 01

252. The Golden Hall in the Augsburg City Hall

Grimms 1682 under the title “Augstburg. Sambt of the most important churches, instead of Thor, Buildings and Fountains” published, a four-part series of engravings is one of his most significant creations, for it is the first systematic representation Augsburg buildings. Numerous buildings Elias Holls are played. The designation "Golden Hall" for finds the main room of the town hall first read Grimm. The Golden Hall in the Augsburg City Hall Simon Grimm (active ca. 1650–1680) Augsburg, 1681 Copperplate engraving Art collections and museums Augsburg, inv. no. G10585

262. Festival card for the 1911 big city celebration

At the on December 1, 1910 Reichwide carried out census man in the Fugger town 102,454 inhabitants, 49,270 of them men and 53,184 women. That was Augsburg – as the third city next to Munich and Nuremberg – in the small, exclusive group of Bavarian cities advances. The "promotion celebration" in the league of big cities took place on the weekend of 20./21. May 1911. The postcards issued for this occasion choose the city's landmarks as motifs: Town Hall and Perlach Tower. Festival card for the 1911 big city celebration Lithographic Art Institute J. Ringler & Son Augsburg, 1911 Lithography Art collections and museums Augsburg, inv. no. G 2022/xy

263. Picture postcard from the Golden Hall

On February 25 and 26, 1944, Allied forces flew Air units made the heaviest attacks Augsburg. Large parts of the City destroyed, including the town hall with the Golden Hall. Eight days later reported ”Willi” from Augsburg to a Acquaintances in Kempten about the events. He chose a postcard as a postcard from the Golden Hall, to whose writing “Augsburg. The Golden Hall in Rathaus.” he wrote “is also no more”. Picture postcard from the Golden Hall Johann Velten Kunstverlag, Rolf Kellner (1897–1991) Karlsruhe, before 1944 Art collections and museums Augsburg, inv. no. 2022/135

265. Poster for the Holbein exhibition in the town hall

The academic from Pforzheim Painter Hahnle settled in Augsburg in 1950 down. In 1965 he designed the poster for the big special exhibition of the Municipal Art collections on Hans Holbein the Younger Ä. in the former Golden Hall of the Augsburger town hall. The overlay of the town hall with Holbein motifs unfolds a supremely suggestive image effect: Only the art of Hans Holbein the Younger Ä. can Loss of the Golden Hall as a symbol of more glamorous Augsburg history to compensate. Poster for the Holbein exhibition in the town hall Franz B. Hahnle (1921–1993) Augsburg, 1965 Offset printing Loan from private collection

260. Medal on the 200th anniversary of the construction of the town hall

Probably on the occasion of the 200th anniversary the construction of the Augsburg town hall created the Augsburg medalist Johann Jakob Neuss this commemorative medal. The front with the frontal view of the town hall follows the example of Show coin Christoph Unlters from 1677. The back says that wrong date of Holl's death (April 11, 1637), that only with the rediscovery of his gravestone could be corrected. Medal on the 200th anniversary of the construction of the town hall Johann Jakob Neuss (1770–1847), Carl Rabausch (2nd quarter of the 19th century) Augsburg, 1820 Bronze, embossed Art collections and museums Augsburg, inv. no. 2021/19

264. Medal on the air raid of 25./26. February 1944

Augsburg's Goetz counted in the first Half of the 20th century to the prominent test German medal artists. After 1933 he adapted to the national socialist art policy. To his late works deserve this medal, die, as German cities were now the target of the unleashed by the National Socialists "total war" were causing destruction Augsburg denounced, symbolized by the town hall in flames. Medal on the air raid of 25./26. February 1944 Karl Goetz (1875–1950) Augsburg, 1944 Bronze, cast Art collections and museums Augsburg, inv. no. F 71/22-23

253. 10 ducats

For the first time in the Augsburg thaler coinage from 1625 was used for the front side next to the traditional motif des Stadtpyrs the view of the city from the east. Holl's are clearly recognizable Rathaus and the elevated Perlach Tower. 10 ducats Augsburg, 1625 Gold, embossed Art collections and museums Augsburg, inv. no. N317

254. Medal on Augsburg's industry

The medal shows the town hall and as a transcription the motto from the main portal: “PVBLICO CONSILIO PVBLICAE SALVTI” – To common advice, to the common good (dedicated). On the back, surrounded by evidence and tools from arts and crafts, "Augsburg's Genius" and the "Queen of the Arts" the hand. Augsburg was the leading production place for art. She owed it – according to the medal – a good council policy symbolized by Holl's town hall. Medal on Augsburg's industry Christoph Unlter (1646–1693) Augsburg, 1677 Silver, embossed Art collections and museums Augsburg, inv. no. N1055

331. Pin of the Elias Holl Guild AugsburgAugsburg

The Augsburg building guild founded in 1899 Elias-Holl is the employers' association for the Construction in the city of Augsburg, im Augsburg district as well as in the district Aichach-Friedberg. Membership in the Guild, which has been based since 1950 on the builder Elias Holl names is voluntary. Pin of the Elias Holl Guild Augsburg Augsburg, around 2000 Brass Art collections and museums Augsburg, inv. no. 2022/137

330. Medal for the historic town festival

For the 2000th anniversary of the city of Augsburg became the so-called historical for the first time in 1985 Citizen festival celebrated. The repetition in Summer 1988 was the motto "Around the town hall". For this three- -week town festival, a silver medal issued. She points to the Front the town hall and on the back page the portrait and biographical data of Elias Holl. Medal for the historic town festival 1988 German, 1988 Silver, embossed Loan from private collection

317. Medal on the 400th birthday of Elias Holl

In 1972, the city of Augsburg presented its “official Elias Holl Medal” in order to “her great city builder“ on the occasion of his To honor ne's 400th birthday. The costs for development, production, sales and Werbung took over a Munich company. The city had no influence on the motif. So the family portrait of the Dr. elected by Seyda, although was aware that Elias Holl is not shown. Medal on the 400th birthday of Elias Holl Aurelia Medals Distribution GmbH Munich, 1973 Fine gold (900), minted Art collections and museums Augsburg, inv. no. 2022/136

261. Medals of Merit from the City of Augsburg for Paul Schmid and Heinrich Landauer

Since 1869 the municipal authorities authorized directly by those entitled to vote Citizens elected. The Authorized Persons elected the mayor. Paul Schmidt (1842–1928) was one of the bankers most important personalities of the Augsburger Upper bourgeoisie. In 1894 he received the Golden Citizen Medal. Heinrich Landauer (1838–1917) was the owner of the mechanical Weaving mill in the district of Oberhausen. As the first Jewish Augsburger he received in 1901 the Title of Commerce Council. 1909 followed Awarding of the Golden Citizen Medal. Medals of Merit from the City of Augsburg for Paul Schmid and Heinrich Landauer Augsburg, 1894, 1909 Silver, embossed Art collections and museums Augsburg, inv. no. F390/14-15, F390/16-17

251. The Golden Hall in Augsburg City Hall

In the same year as Sendel's guide to the town hall, Wolfgang Kilian produced a series of town hall views in various formats. The series includes a view of the town hall with the Perlachturm, the Lower and Upper Fletzes and the Golden Hall. The rooms are rendered as long shots in central perspective and thus have a very representative effect, especially the detailed view of the Golden Hall.The Golden Hall in Augsburg City Hall Wolfgang Kilian (1581-1663) Augsburg, 1657 Copper engraving Kunstsammlungen und Museen Augsburg, Inv.-Nr. G 1605–53

267. Model of Cybele from the south portalof the Golden Hall

For the reconstruction of the various Equipment elements of the Golden Hall Competitions were held. As a test piece for the carved gable figures of the two main portals became one gilded model of the goddess Cybele requested from the south portal. Model of Cybele from the south portal of the Golden Hall Franz Mayet (b. 1960) Augsburg, 1990/1991 Wood, carved, gilded Loan from the building department of the city of Augsburg

266. Friedrich Brenner, Plaster model for the gilded carved decorations of the Golden Hall

The reconstruction work in the Golden Saal was the sculptor's largest commission Friedrich Brenner, who created the carved decorations of the Golden Hall created. For this he made from each element a plaster model on a scale of 1:1. The models then served as templates for the Ornament carved from linden wood.Plaster model for the gilded carved decorations of the Golden Hall Friedrich Brenner (born 1939) Augsburg, before 1989 plaster Art collections and museums Augsburg, inv. no. 2015/183

272. Virtue personifications for the magnificent stove in the northwestern prince's room

The niche figures of the tiled stove replica are allegories of the cardinal virtues Fortitudo (strength), Iustitia (justice), Prudentia (Prudence) and Temperantia (Moderation). They became in 1996, a year after lineup of the furnace, inserted. The delay was due to the bad picture tradition, because only the appearance of the Fortitudo was assured. From the finished clay figures, the artist couple Gertrud Nein and Gerd Weiland, the personification of Temparantia had created bronze casts. Virtue personifications for the magnificent stove in the northwestern prince's room Gertrude No (1943–2012), Gerd Weiland (b. 1945) Erlangen, 1990 Bronze, cast On loan from Gerd Weiland, Ebermannstadt

271. Sample tile for the magnificent stove in the northwestern prince's room

The one with a grotesque animal mask and side garland sections decorated tile forms with one Pendant the foot of the fluted Corinthian columns, which granen canopy of the furnace structure of the magnificent stove.Sample tile for the magnificent stove in the northwestern prince's room Gertrude No (1943–2012) Erlangen, 1990 Clay, black graphitized Art collections and museums Augsburg, inv. no. 2017/135

270. Model for the magnificent stove in the north-western prince's room

The princely rooms were decorated with magnificent Heated tiled stoves, which most of the potters r Melchior Lott from Weilheim and Adam Vogt from Landsberg. they were destroyed in February 1944. your reconstruction succeeded with the ceramist Gertrud Nein. Before You on March 21, 1990 with the reconstruction of the made up of 238 individual parts ofens in the north-western prince's room, she had to present this model on a scale of 1:10. The 5.46 meter high oven handed over on April 21, 1995. Model for the magnificent stove in the north-western prince's room Gertrude No (1943–2012) Erlangen, 1990 Clay, black glazed Art collections and museums Augsburg, inv. no. 2017/134

269. Pause for a wall fresco in the Golden Hall

On the freshly applied layer of plaster of each day's work are done by means a so-called “carton”, a perforated Pause tracing paper, the detail shapes transferred with coal dust. The break shows the decor for the left panel of the northeast window in the Golden Hall. Pause for a wall fresco in the Golden Hall Hermenegild Peiker (b. 1945) Augsburg, after 1986 Paper, punctured Art collections and museums Augsburg, inv. no. 2016/169

268. Sample for the wall frescoes in the Golden Hall

The sample illustrates the working steps Hermenegild Peikers at the Reconstruction of the wall frescoes in Golden Hall. Sketched the preliminary drawing the outlines of the composition. For the respective daily work will be a layer of plaster applied with the detail shapes. Now the actual painting takes place "a fresco". The picture shows in scale 1:1 the head of Emperor Heinrich II from the series of the Roman and Christian emperors. Sample for the wall frescoes in the Golden Hall Hermenegild Peiker (b. 1945) Augsburg, 1986 Fresco technique Art collections and museums Augsburg, inv. no. 2018/46

256. Elias Holl presents his designs for the new town hall

Paul von Stetten the Younger (1731–1808), the last Protestant town mayor of the imperial city, was the author of the “Erläuterungen der in Kupfer gestoche- nen Vorstellungen, aus der geschichte der reichsstadt Augsburg”, published in 1765. He combined his his history of the City of Augsburg with 36 engravings illustrating historical events of the impe- rial city. Among them is the “Construc- tion of the new town hall” by Elias Holl.Elias Holl presents his designs for the new town hall Gottfried Eichler d. J. (1715–1770), Joseph Friedrich Rein (1720–1785) Augsburg, 1765 Engraving Kunstsammlungen und Museen Augsburg, Inv. No. G 20605 (G 258)

274. biographies of famous men

The first monument to Elias Holl is in Munich. Between 1843 and 1853, Leo von Klenze (1784–1864) was commissioned by King Ludwig I of Bavaria (1786–1868) to erect the “Ruhmeshalle” (Hall of fame) near the Theresienwiese. The building contains marble busts of outstanding Bavarian personalities, including the bust of Elias Holl. In 1854, the Bavarian historian rudhart published biographies of those honoured in the Hall of fame.Georg Thomas Rudhart (1792–1860) Lebensbeschreibungen der berühmten Männer, deren Brustbilder in Bayerns Ruhmeshalle aufgestellt sind. Im Auftrage Seiner Majestät König Ludwig I. des erhabenen Gründers der Ruhmeshalle Munich, 1854 Augsburg, Staats- und Stadtbibliothek, Sign. Bio 6722

292. Elias Holl, Baumeister der ehemaligenReichsstadtAugsburg. Eine Denkschrift.

on the occasion of the 200th anniver- sary of Elias Holl’s death, which was er- roneously celebrated in 1837, Wagenseil published a new edition of his Holl bi- ography of 1818, now titled “denkschrift”. Wagenseil enriches his account, which is based primarily on Holl’s family chronicle, with psychologising char- acterisations of his hero: “Seen from the side of his heart, he was an honest, straightforward, good-natured and fundamentally good man” and an “always active, patriotically thinking and acting citizen”.Elias Holl, Baumeister der ehemaligen Reichsstadt Augsburg. Eine Denkschrift herausgegeben zur zweiten Secularfeier seines Sterbetages, den 11. April 1837 Christian Jakob Wagenseil (1756–1839) Augsburg (G. Geiger jun.), 1837 Staats- und Stadtbibliothek Augsburg, Sign. 4° Aug 1608

291. Essays

Nilson was a mathematics teacher at the high school at St. Anne’s, where he also taught the pupils linear drawing. In the first chapter of his Essays from the Art of Building, he emphasises that the art of building has to combine the practicality of use with the practicality of pleasure. In six biographies, he pre- sents famous Italian architects and, as the seventh example, Elias Holl.Sammlung merkwürdiger Aufsätze aus der schönen Baukunst für junge Architekten, welche sich wissenschaftlich zu bilden gedenken, auch für andere Liebhaber d. schönen Baukunst; nebst angehängten Lebensbeschreibungen einiger merkwürdiger Baumeister älterer u. neuerer Zeiten Christoph Andreas Nilson (1760–1833) Augsburg/Leipzig (von Jenisch u. Stage), 1830 Staats- und Stadtbibliothek Augsburg, Sign. Kst 3284

290. Kunst-, Gewerb- und Handwerks-Geschichteder Reichs-Stadt Augsburg

“An architect must have the opportunity to show himself” reads the introduc- tion to the chapter on civic architecture in Paul von Stetten’s comprehen- sive history of art and crafts. Holl had ample opportunity to demonstrate his skills thanks to many public and private commissions. In presenting Holl’s works, Stetten primarily used his family chronicle.Kunst-, Gewerb- und Handwerks-Geschichte der Reichs-Stadt Augsburg, 1. Band Paul von Stetten d. J. (1731–1808) Augsburg (Conrad Heinrich Stage), 1799 Kunstsammlungen und Museen Augsburg, Bücherverzeichnis 875

289. Herrn Paul von Stetten, des jüngern Erläuterungen [...]

Paul von Stetten the Younger (1731–1808), last Protestant Mayor of the imperial city, was the author of numerous histor- ical accounts of the history of his father city. In 1765 he attributed Holl’s success to his genius and the help of others, not least the City of Augsburg, which gave him the unique opportunity to develop his talent.Herrn Paul von Stetten, des jüngern Erläuter- ungen der in Kupfer gestochenen Vorstellungen, aus der Geschichte der Reichsstadt Augsburg. In historischen Briefen an ein Frauenzimmer Paul von Stetten d. J. (1731–1808) Augsburg (Conrad Heinrich Stage), 1765 Kunstsammlungen und Museen Augsburg, Bücherverzeichnis Nr. 875

296. Max Fuchs, Elias Holl der Baumeister von Augsburg

Fuchs was the editor of the satirical weekly “Stadtfraubas”, published in 1865. He was also the author of historical novellas and wrote the earliest novel about the Augsburg “Stadtwerkmeister”. The plot of the hare-brained story, peppered with anti-Semitic prejudices, is the love of franz fugger for the poor weaver’s daughter Maria Knoller, whom the corrupt mint master laber wants to win over for himself. Elias Holl uncovers his machinations.Elias Holl der Baumeister von Augsburg Max Fuchs (1833–1886) Munich, 1880 Kunstsammlungen und Museen Augsburg, o. Sign.

301. Die Versuchung des Elias Holl

Set in Augsburg in 1614, the story centres on the artistic competition between Elias Holl and the painter Matthias Kager, who are both vying for the contract to build the new town hall. The unexpected appearance of Kager’s supposed illegitimate daughter lia, a Venetian orphan, threatens his ambitions. The cunning painter passes her off to Holl as a maid. lia becomes his muse and turns out to be Holl’s daughter, conceived in Venice in 1601.Die Versuchung des Elias Holl. Ein Roman aus dem alten Augsburg Axel Gora (geb. 1963) Meßkirch, 2012 Kunstsammlungen und Museen Augsburg, o. Sign.

299. Fünf deutsche Baumeister

Shortly after the Second World War, Flesche wrote a booklet about famous german architects. Each of them is rep- resentative of an art-historical epoch. In a mixture of naïve subjective judgement and the search for valid values, typical of the period immediately after national Socialism, the author outlines Holl’s life and work as a representative of the renaissance. Holl appears as a genius chosen by god, but misunderstood, who was shaped by his involvement with Italian architecture.Fünf deutsche Baumeister. Bernward von Hildesheim. Ulrich von Ensingen. Elias Holl. Balthasar Neumann. Friedrich Gilly Herman Flesche (1886–1972) Braunschweig, 1947 Kunstsammlungen und Museen Augsburg, o. Sign.

300. Elias Holl. Der Lebensroman des grossenDeutschen Baumeisters der Renaissance

for his novel about Elias Holl, Arnold relied primarily on Holl’s family chronicle with the declared aim of a “complete spiritual penetration” of the subject. The author stylises Holl as a Christ-like man with a prophetic gift. finally, the Thirty Years’ War turns him into a servant of god, who experiences his own personal “golgotha” with the Edict of restitution, dismissal from service, the Swedish period and the Re-Catholicisation of Augsburg.Elias Holl. Der Lebensroman des grossen Deutschen Baumeisters der Renaissance Paul Johannes Arnold (1884–?) Hamburg, 1948 Kunstsammlungen und Museen Augsburg, o. Sign.

298. Die Stadt des Elias Holl

The nazi-affiliated writer franck pub- lished “The City of Elias Holl” in 1938, a new edition of his 1922 novel “The Third reich. A Confession of faith”. It is about the sculptor Johannes Plessen, who moves to Venice to unite “northern- ness” and “southernness” in his art – to form the Third reich. He dies in 1647 as giovanni Plesceni and leaves behind an artistic confession in which he describes his stay in Augsburg and his encounter with Holl’s architecture as a revival experience.Die Stadt des Elias Holl Hans Franck (1879–1964) Berlin, 1938 Kunstsammlungen und Museen Augsburg, o. Sign.

296. Elias Holl the builder of Augsburg

Fuchs was editor of the 1865 published “satirical” weekly “Stadtfraubas”. He was also a writer of historical ones novelas and wrote the earliest novel via the Augsburg municipal works master. Plot of outrageous, with anti-Semitic Prejudiced history is Franz Fugger's love for the poor Weaver's daughter Maria Knoller, the corrupt Mint master Laber wants to win over. Elias Holl uncovers his machinations. Elias Holl the builder of Augsburg Max Fuchs (1833–1886) Munich, 1880 Art Collections and Museums Augsburg, no sign.

297. Unser Städtle. Ein Führer durch Augsburg

The local poet Mader published this poetry narrative on the occasion of Augsburg’s “Großstadtfeier”. It is a rhyming tour of the city. As there, the town hall forms the centre: “The town hall is a noble house, With gate and windows in and out, With rooms and halls of all kinds, Whereby the style remains beautifully preserved. The pearl is the “Goldne Saal”, a piece of golden time; for everyone who looks at Holl’s work also sees a picture of Augsburg’s splendour.”Unser Städtle. Ein Führer durch Augsburg Georg Mader (1874–1921) Augsburg, 1911 Kunstsammlungen und Museen Augsburg, Sign. AU 17/380

294/295. Elias Holl. Ein biographisch-dramatisches Gemälde in vier Rahmen nach verschiedenen Zeiträumen

Holl’s image became kitschy with the Augsburg drama poet Johann leon- hard Wilhelm. His drama “Elias Holl. Ein biographisch-dramatisches gemälde in vier rahmen nach verschiedenen Zeiträumen” was performed at the Stadttheater in the Jakobervorstadt. Contrary to Wilhelm’s assurance that he had written a work “with the utmost re- gard for historical fidelity”, it is a mixture of hero worship, german bourgeoisie and philistinism. Elias Holl. Ein biographisch-dramatisches Gemälde in vier Rahmen nach verschiedenen Zeiträumen Johann Leonhard Wilhelm (1774–1849) Augsburg (J. C. Wirth), 1839 inside: Programme leaflet “Elias Holl. Ein biographischdramatisches Gemälde in vier Rah- men nach verschiedenen Zeiträumen” von J. L. Wilhelm Augsburg, 1838 Staats- und Stadtbibliothek Augsburg, Sign. Aug 2687

293. Cityscapes of Augsburg

The “Englische Kunstanstalt”, founded in Leipzig in 1845 by the Briton Alfred Henry Payne, published mainly city views as collector’s pictures. Payne chose the classic view from the east as the central image for Augsburg. Six views alone are dedicated to buildings by Elias Holl. They are clearly idealized.Cityscapes of Augsburg Alfred Henri Payne (1812–1902) Dresden/Leipzig, around 1840 Engraving, coloured Kunstsammlungen und Museen Augsburg, Inv. No. G 2022/xy

275. Portrait bust of Elias Holl

The facade of the neo-baroque build- ing of the former Bavarian State Bank in Bahnhofstraße, erected in 1899, is a small Augsburg hall of fame. The wall zone between the 1st and 2nd floors is adorned with busts of famous Augs- burgers: Jakob fugger, Bartholomäus Welser, Konrad Peutinger, Hans Burg- kmair, Elias Holl and Christoph von Schmid. The plaster bust was probably the final design by the unknown artist.Portrait bust of Elias Holl Unkown sculptor Augsburg, 1899 Plaster, patinated Kunstsammlungen und Museen Augsburg, Inv. No. 9928

283. The structural redesign of Augsburg

Augsburg was under National Socialism „ Gau capital“ of the district of Swabia. Up Hitler's initiative should be the main artery between City Theater and Kaiserplatz to a monumental axis expanded become. That started in 1939 Project saw between Königsplatz and train station a “Gauforum” with party palace, Assembly Hall and parade ground for 50,000 people before. A 116 meters higher Bell tower modeled on Holls Perlach Tower should this and the town hall tower above. The war ended the Preparations for the gigantic conversion. The structural redesign of Augsburg Gottlieb Sametschek (active 1st half of the 20th century) Augsburg, 1939 Art Collections and Museums Augsburg, no sign.

304. Das Rathaus der Stadt Augsburg

In the years 1886–1888 Ludwig Leybold documented the architecture of the town hall and published it with an intro- ductory text by the archivist Adolf Buff. The publication contained floor plans of all floors, elevations of the facades, sections through the building as well as numerous detailed drawings of the architecture and interior design. This provided a true-to-scale record that was fundamental for the reconstruction after the destruction in 1944.Das Rathhaus der Stadt Augsburg, erbaut 1615 bis 1620 von Elias Holl Stadtbaumeister. Herausgegeben von Ludwig Leybold Baurath. Mit kurzem historischen Text von Adolph Buff Archivarius Ludwig Leybold (1833–1891), Adolf Buff (1838–1901) Berlin (Bruno Hessling), 1896 (Dritte Auflage) Staats- und Stadtbibliothek Augsburg, Sign. 2o Aug 204

278. Das Elias-Holl-Denkmal in Augsburg

otto Holzer describes the competition for an Elias Holl monument in Augsburg, which was announced for the third time in 1920/1921. He presents the winning design “no Architecture” by fritz landauer and Walter Sebastian resch as well as the less expensive design “Variant 1619” by georg Albertshofer, which he favoured. The project, which started in 1913 with great expectations, was delayed by procedural errors and failed due to the first World War and post-war inflation.Das Elias-Holl-Denkmal in Augsburg, in: Zentralblatt der Bauverwaltung 41(1921) Otto Holzer (1874–1933) Berlin, 1921 Kunstsammlungen und Museen Augsburg, o. Sign.

281. Portrait bust of Elias Holl

In the course of the 1938/1939 conversion of the “Stadtmetzg” into a municipal administration building, the southern staircase was decorated with an “old bust” of Elias Holl, according to a news- paper report from 1939. The model was the presumed portrait of in Kager’s ceiling painting “Civitates Conduntur” in the golden Hall.Portrait bust of Elias Holl Unbekannter Künstler Augsburg, 1936 (?) Plaster, bronzed Social welfare office of the City of Augsburg (“Stadtmetzg”)

284. Peace painting “The Stadtwerkmeister”

Under National Socialism, in Augsburg the tradition of the evangelical Peace painting – illustrated broadsheets with explanatory poems as gifts an children and young people to the Peace Festival on August 8 – revived. occasion of initiated by the Evangelical Deanery Action were the increasing repressions of the NS regime, which in 1936 the Augsburg Peace Festival as a Protestant Holiday had abolished. The Peace Painting for 1940 with the title "Der Stadtwerkmeister" celebrates Elias Holl as a resistant man, who did not renounce his faith.Peace painting “The Stadtwerkmeister” Max Unold (1885–1964) Augsburg, 1940 Woodcut Staats- und Stadtbibliothek Augsburg, 4º Aug 414

308. Die Augsburger Rathausmodelle des Elias Holl

In 1937, two important essays on Holl’s work appeared: Pfister’s analysis of the town hall models and Albrecht’s studies on Holl’s complete works. Pfister com- pared all the models that were attrib- uted to the town hall planning. Among other things, he came to the conclusion that the loggia models attributed to the town hall planning by J. Baum are precursors of the “neue Bau”. Albrecht concluded from the sources that Holl was not the intellectual author of the “Zeughaus”, “Siegelhaus”, Kaufhaus and loggia, but had realised the ideas of Matthias Kager and Joseph Heintz as “Maurmaister”.Die Augsburger Rathausmodelle des Elias Holl, Rudolf Pfister (1886–1970) and Elias Holl, Stil und Werk des “Maurmaisters” und die Augsburger Architekten Heinz und Kager Ingeborg Albrecht (1st half of the 20th century) in: Münchner Jahrbuch der Bildenden Kunst, N.F. 1937, S. 101–136 Munich, 1937 Kunstsammlungen und Museen Augsburg, Sign. Mo/Ho/4110

309. Elias Holl. Der Augsburger Stadt-Werkmeister

Schürer emphasises the “Stadtwerk- meisters”rootedness in the craft tradi- tion of his hometown, but noted: “Holl brought back to his time and his people the expression of monumental spirit in building [...].” According to Schürer, Holl’s strength was building technique and the organisation of building opera- tions. According to Schürer, Holl did not adopt his style from Italy, it grew “from his own roots”.Elias Holl. Der Augsburger Stadt-Werkmeister Oskar Schürer (1892–1949) Berlin, 1938 Kunstsammlungen und Museen Augsburg, Sign. Mo/Ho/4150

307. Elias Holl. Der Meister der deutschenRenaissance

Hieber’s Holl monograph has three parts: In the first, he describes Augsburg’s city history of the 16th century. The second is devoted to Holl’s person- ality and life. The third part analyses his work. Holl’s architecture could not be measured against the standard of Italy, because german art lacked “a great, all-encompassing and unifying style”.Elias Holl. Der Meister der deutschen Renaissance Hermann Hieber (1892–?) Munich, 1923 Kunstsammlungen und Museen Augsburg, Sign. Mo/Ho/4253

306. Die Bauwerke des Elias Holl

The art historian Baum wrote an illustrated Holl monograph in 1908. The main part of the work is the analysis of Holl’s buildings sorted by genre. The author includes models and drawings in his analysis, whereby he incorrectly assigns the loggia models to the town hall plan- ning. The analysis is based on stylistic criteria. The benchmark is Italian architecture, against which Holl’s work can only partially hold its own.Die Bauwerke des Elias Holl Julius Baum (1882–1959) Straßburg, 1908 Kunstsammlungen und Museen Augsburg, Sign. Mo/Ho/4070

305. Elias Holl. Der Reichsstadt Augsburg bestellterWerkmeister

The historian Vogt wrote a monograph on Elias Holl in 1890. Based on Holl’s family chronicle, he presented his life and work. It was the first scholarly treatise on Augsburg’s municipal works master. Vogt stylised Holl as a brilliant architect who single-handedly helped Augsburg achieve a new image.Elias Holl. Der Reichsstadt Augsburg bestellter Werkmeister Wilhelm Vogt (1844–1909) Bamberg, 1890 Kunstsammlungen und Museen Augsburg, Sign. Mo/Ho/4045

310. Zerstörte Kostbarkeiten, Eine Erinnerung anunersetzliche Baukleinodien

In the final phase of the Second World War, this illustrated brochure was published with a selection of german architectural monuments destroyed during the war. It presents 12 buildings or building ensembles that were destroyed by “enemy terror” or “enemy bombardment”, according to the stereotypical formulations of the author, who was loyal to the line. She dedicates a sepa- rate chapter to Holls rathaus, which she unoriginally describes as “something unique in Germany”.Zerstörte Kostbarkeiten, Eine Erinnerung an unersetzliche Baukleinodien Klara Trost (1st half of the 20th century) Leipzig/Den Haag, 1944 Kunstsammlungen und Museen Augsburg, o. Sign.

285. Portrait bust of Elias Holl

In 1943, the City of Augsburg commis- sioned Koelle to create a bust of Holl, which was to be installed in the golden Hall on the 300th anniversary of his death in 1946. It was first shown at the “great german Art Exhibition” in Munich in 1944. Koelle created Holl’s portrait in line with nazi ideology. The energetically wrinkled forehead, the visionary gaze, the virility radiating from the beard characterise Holl as a titanic demiurge full of creative spirit and willpower. The cast zinc bust has stood in the southern stairwell of the town hall since 1962.Portrait bust of Elias Holl Fritz Koelle (1895–1953) Munich, 1943 Plaster Kunstsammlungen und Museen Augsburg, Inv. No. 9541

313. Portrait of Elias Holl with Augsburg Town Hall

Around 1960, the Augsburg artist Bern- hard created a portfolio with twelve colour lithographs on Augsburg’s sights and historical personalities. for the homage to Elias Holl, he paraphrased Kilian’s engraving portrait and placed it on a purple background in the symbolic colour of the Protestant church. Kleiner’s view of the town hall square inspired him to create the background motifs, which evoke a gallant, carefree world of yesterday.Portrait of Elias Holl Georg Bernhard (geb. 1929) Augsburg, around 1960 Lithography Private collection

311. Elias Holl und seine Zeit

One year after the end of the war, the first exhibition on Elias Holl was held in the Schaezlerpalais on the occasion of the 300th anniversary of his death. It was a cultural-historical overview of Holl’s life and work. The preface places him alongside the naumburg Master, dürer, Bach, Balthasar neumann and Beethoven and understands the “re- construction of our ruined world” as an “ethical life concern” that must be carried “by the strength and spirit of Elias Holl”.Städtische Kunstsammlungen Augsburg Elias Holl und seine Zeit Augsburg, 1946 Kunstsammlungen und Museen Augsburg, Sign. Mo/Ho/4200

315. Save the Augsburg Armoury

In 1965, the city council decided to grant Horten Ag the right to use the “Zeughaus”. Josef Wiedemann was to con- nect the Holl Building to the department stores’ operated by Horten. The original roof truss would have fallen victim to the gutting. The “Augsburger Aktion – rettet das Augsburger Zeughaus” (Augsburg Action – Save the Augsburg Armoury) was formed, which published an “emer- gency call” in 1967. The Bavarian Ad- ministrative Court in 1968 prevented the conversion to a department store. The city had the “Zeughaus” converted into an education and meeting centre in 1977/1978.Rettet das Augsburger “Zeughaus”. Notruf der Augsburger Aktion Augsburger Aktion Augsburg, 1967 Kunstsammlungen und Museen Augsburg, Bücherverz. 1941

318. Elias Holl. Ausstellung ausgewählter Werke zuseinem 400. Geburtstag

1973 marked the 400th anniversary of Elias Holl’s birth. on the initiative of the cultural department of the City of Augsburg, an exhibition of selected works was therefore shown in the Holbeinhaus. In doing so, the city paid tribute to Holl as “an important phenomenon in german art history”, because “he not only reshaped his father city, but also gave german architecture new far-reaching impulses”.Elias Holl. Ausstellung ausgewählter Werke zu seinem 400. Geburtstag Kulturreferat der Stadt Augsburg Augsburg, 1973 Kunstsammlungen und Museen Augsburg, Sign. Mo/Ho/4250

316. Das Augsburger Rathaus. Architektur und Bildgehalt

In her description of the town hall, the author describes the planning history of the building on the basis of plans and models. on the basis of a detailed analysis of the executed architecture, she sums up: “The Augsburg Town Hall reveals that the small-scale nature of previous german architecture, the indecisiveness, the inability to adopt a grand style has been overcome. The path to the Baroque has been taken.”Das Augsburger Rathaus. Architektur und Bildgehalt Renate von Walter Augsburg, 1972 Kunstsammlungen und Museen Augsburg, o. Sign.

319. Elias Holl and the Augsburg town hall

On the occasion of the 2000th anniversary of Augsburg dedicated the city and the city archive 1985 Elias Holl a comprehensive exhibition, where the main points of the planning, the Architecture and equipment of the town hall lage. Exhibition and catalog made possible based on a meticulous and extensive analysis numerous new ones Perspectives on Holl's work in context before the Thirty Years' War. Elias Holl and the Augsburg town hall City Archives of the City of Augsburg Regensburg, 1985 Art Collections and Museums Augsburg, sign. KT/aug/951

320. Elias Holl. Architect of a European City

Differs from previous publications on Holl Roeck's work in that over the historical socio-cultural context X-rayed. He draws diverse sources to lay the foundations for the activities of to determine and analyze the municipal works manager. This is how Roeck can paint a multi-layered picture Elias Holls draw. Rated on this basis er the building activity in Augsburg after 1600 as an economic and job creation measure in a time of more economical, social and denominational tensions. Elias Holl. Architect of a European City Bernd Roeck (born 1953) Regensburg, 1985 Art Collections and Museums Augsburg, Sign. Mo/Ho/4252

322. Elias Holl. The ingenious AugsburgerMaster builders of the Renaissance

The booklet is in the tradition of Travel guides specially designed for those interested in culture Readership published become. Up to date of The author describes research systematically life and work of the Stadtwerkmeister. She delivers numerous worth knowing Background information. Elias Holl. The ingenious Augsburger Master builders of the Renaissance Renate Miller-Gruber (b. 1953) Augsburg, 2010 Art Collections and Museums Augsburg, sign.

321. The Golden Hall and the Princely Rooms in theAugsburg Town Hall.

The opulent volume documents the construction history of the town hall, especially the Reconstruction of the Golden Hall and of the princely chambers, which at the time of Publication was not completed and continues to this day. He draws a wide one Sheet of the history of construction and use of the town hall to war destruction, the damage pattern over the Construction and competition for redesign of the Golden Hall 1956 up to its restoration. The Golden Hall and the Princely Rooms in the Augsburg Town Hall. A documentation of the recovery Hermann Kiessling (1926–2007) Munich/Berlin, 1997 Art Collections and Museums Augsburg, sign.

323. The Augsburg municipal works master Elias Holl

Haberstock uses the one from her dissertation previous publication Index of manuscripts and plans before that in connection with Elias Holl stand. The edition contains all the important ones Written sources as transcriptions, below Holl's house chronicle, the appraisal book, the survey book, the Geometry and metrology, as well as cost estimates, Contracts, applications and letters. The Augsburg municipal works master Elias Holl (1573–1646). catalog raisonné Eva Haberstock (b. 1977) Petersberg, 2016“ Art Collections and Museums Augsburg, sign.

324. Playing cards with views of Augsburg

Around 1840 the Augsburg publisher gave trolleys a deck of 36 cards “with view of the strangest buildings, Fountain and surroundings of Augsburg“. Therein are found with town hall, arsenal etc. the most prominent buildings by Elias Holl. Playing cards with views of Augsburg Johann Gottlieb Rollwagen (circa 1830) Copper engraving, colored Augsburg, around 1840 Art Collections and Museums Augsburg, without inventory no.

314. Coffee tin with view of the Town Hall squareAugsburg

In the early 1960s, the people of Augs- burg protested against the city govern- ment’s plans to rebuild the rathausplatz with a bank building. A “free Town Hall Square” committee had also been formed – one of Augsburg’s first citizens’ initiatives. The coffee can documents the contrast between the facade of the town hall shining in bright light and the dreary ruin of the stock exchange. In 1962, the city council decided to end building project.Coffee tin with view of the Town Hall square Augsburg, around 1960 Tinplate, printed Kunstsammlungen und Museen Augsburg, Inv. No. 2022/135

326. Augsburg Memory

In the memory game, pairs of equal, face-down picture card revealed become. That on the occasion of the Augsburg 2000 anniversary game shows 36 Augsburg motifs. On six of You can discover Holl's town hall. Augsburg Memory J. P. Himmer-Verlag Augsburg, 1984 Loan from private collection

332. Carnival Order of the “Hollaria Augsburg” e. V

The carnival club founded in 1972 „Hollaria Augsburg“ e. V. has the promotion of traditional customs in particular of the carnival to the task provided. Its namesake was the Augsburger City master builder Elias Holl. Every Carnival season is under a special motto. The motto for the year 2012 in which the Roman Museum Augsburg close due to dilapidation must, was “fascination with antiquity”. Carnival Order of the “Hollaria Augsburg” e. V Fritz Reu GmbH & Co. KG Heubach, 2012 Art collections and museums Augsburg, inv. no. 2022/138

327. The Augsburg game. A hike through 2000 years of city history

With the one from the Free Waldorf School Augsburg developed dice game for children and adults should be the players in the roles of "City Lord", "Churchman", "craftsman", "merchant", "artist" and "soldier" the 2000 year history Experience Augsburg. They do this using from history maps showing historical events, Personalities, buildings or Thematize objects. won hat who has the 18 locations to his story cards on the game board and enters the Golden Hall first. The Augsburg game. A hike through 2000 years of city history Anton Abele, Wolf-Dietrich Lang Augsburg, 1984 Loan from private collection

329. Augsburg. City of the Fugger and Welser -Card game

The card game shows personalities from the history of the imperial city Augsburg. King are Emperor Maximilian I., Konrad Peutinger, Jakob Fugger and Elias Holl, whose buildings, according to the explanation, still characterize Augsburg's cityscape today. Lady are Agnes Bernauer, Sibylla doctor, Philippine Welser and Anna Barbara von Stetten. The deck of cards was a giveaway of Kleindienst GmbH & Co. KG. Augsburg. City of the Fugger and Welser - Card game Augsburg University of Applied Sciences Augsburg, 1985 Loan from private collection

328. Augsburg 2000. A game about history

The one published for the 2000th anniversary of the city Dice game makes it loud Game instructions possible, "the expiry of the to follow events over the centuries. Playfully and without being strenuous "Learning" it conveys the historical Overview of the many individual activities only understandable in the anniversary year lets become“. Also there is Elias Holl, about which the manual knows how to report: “The buildings he built over the thirty years designed and had it built during his term of office, redesigned the whole cityscape“. Augsburg 2000. A game about history Stadtsparkasse Augsburg Augsburg, 1985 Loan from private collection

302. Unknown artist, Dr. Ferdinand von Seyda with wife and daughter

The painting was considered a family portrait of Holl with his second wife ros- ina reischle and daughter rosina from his first marriage. It was not until 1948 that the two coats of arms on the paint- ing were determined to be those of the Chancellor of the Margrave of Burgau, Dr. Ferdinand von Seyda and his wife, a née Schilling.Unknown artist Dr. Ferdinand von Seyda with wife and daughter Augsburg, 1610 Oil on canvas Kunstsammlungen und Museen Augsburg, Inv. No. 3794

277. Model of the Town Hall, Perlachturm and Bäckerhaus for the competition for an Elias Holl monument.

In preparation for the 1913/1914 competition for an Elias Holl monument, the Fürth secondary school assistant Friedrich Schwarz created this model of Ludwigsplatz (town hall square) with Perlachturm and town hall on a scale of 1:50. The site of the planned Holl monument was the Fischmarkt.Model of the Town Hall, Perlachturm and Bäckerhaus for the competition for an Elias Holl monument. Friedrich Schwarz (active 1st quarter of the 20th century) Fürth, 1914 Wood, coloured Kunstsammlungen und Museen Augsburg, no. inv.-no.

Viermetzhof

Out of catalogue: Martyrdom of St. Sebastian

Sebastian was an officer in the guard of the Roman Emperor Diocletian. He professed the Christian faith and converted many Romans. Diocletian therefore had him tied to a tree where he was to die under the arrows of archers. This failed. Diocletian then had him flogged to death. Sebastian's first martyrdom has been a popular theme in Christian art since the Renaissance. The silver relief with the dramatic depiction of his suffering probably goes back to a drawing by Adriaen de Vries.Martyrdom of St. Sebastian probably Augsburg, around 1600 Silver, chased, chased Collection Fritz Dennerlein

Zeughaus

Joseph Heintz, Loggiamodell

Nomination of Elias Holls to the position of Stadtwerkmeister / Tower

08. Model of a scaffold for the "Perlachturm"

11. Circular

09. Rathaus-Mittelgiebelmodell

Out of catalogue: Copy of the Imperial Crown

The central ceiling painting of the Golden Hall has Wisdom saying about herself: "Per me reges regnant" - "Through me kings reign". This sentence from the Old Testament proverbs of Solomon (8, 15) is also found on the imperial crown kept in Vienna, the central symbol of the Holy Roman Empire of the German Nation. Matthäus Rader, the designer of the pictorial programme of the Golden Hall, used this sentence to refer to the function of the City Hall as the site of the Imperial Diet. Copy of the Imperial Crown Brass, glass stones, artificial pearls Germany, around 1980 Kunstsammlungen und Museen Augsburg, without signature

Out of catalogue: Knitted carpet

Out of catalogue This knitted carpet is a great rarity. It probably originates from the former carpet collection of the Augsburg City Hall and has now been elaborately restored for the Holl exhibition. The imperial eagle with the Augsburg coat of arms as a heart shield is depicted in the midst of symmetrically arranged, stylised tendril work.Knitted carpet Augsburg, c. 1600 Wool, dyed in colour Kunstsammlungen und Museen Augsburg, Inv.-Nr. 10511

333. Berlin IC train nameplate "Elias Holl"

Train destination signs were used to indicate the destination of passenger trains. In the 1990s, plastic signs of uniform size for the inside of the boarding door windows were used to replace both types of signs. Today, electronic displays are replacing the analogue information boards, which are popular collector's items. In the 1990s, there was the IC 811 "Elias Holl" from Ulm to Munich, named after Augsburg's Stadtwerkmeister, and until the 2002 winter timetable, its successor, the IC 1084 of the same name. ICE 1084 on the Munich-Hanover route.Deutsche Bahn AG, Berlin IC train nameplate "Elias Holl" Munich, around 1980 Plastic Private collection

Out of catalogue: Elias Holl, Water conduit plan Haunstetten-Augsburg

As the city's "Stadtwerkmeister", Holl was also responsible for the water supply. To improve this, the council planned a water pipeline from Haunstetten to Augsburg. For this purpose, Holl drew up this plan in bird's eye view. Haunstetten is shown at the top right, the Red Gate with the water towers and pumping stations at the bottom.Water conduit plan Haunstetten-Augsburg Elias Holl (1573-1646) Augsburg, 1627 Pen and brown ink, paper Augsburg, Staatsarchiv, Plansammlung Nr. 4163 MÜB (Reproduktion)

280. Fritz Döllgast, Design for the title page of the travel brochure of the City of Augsburg

The design for the title page of a travel brochure created around 1930 praises Augsburg as the "Pearl of the German Renaissance". Behind the bronze figure of Hans Jakob Fugger, erected as a monument on Philippine-Welser-Strasse in 1857, the building group of the town hall and Perlach dominates, seen from Elias Holl Square. Such striking representations labelled Augsburg as the "City of Elias Holl", an image whose tourist potential was exploited by the Augsburg Tourist Office, founded in 1891.Design for the title page of the travel brochure of the City of Augsburg Fritz Döllgast (1889-1962) Augsburg, around 1930 Ink pen, watercolour, pencil Kunstsammlungen und Museen Augsburg, Inv.-Nr. 7500

276. Friedrich von Thiersch, Competition design for the new police building in Augsburg

In 1899, a new police and administration building was planned opposite the town hall, today's Administration Building II. Especially for the front facing Maximilianstraße, a "façade design corresponding to the character of this street and the town hall" was prescribed. Thiersch's design, which was not executed, would have been a pastiche of forms that had been common in Augsburg since Elias Holl: Volute gables, pilasters, framed windows and a hexagonal tower spire reminiscent of the Perlachturm.Competition design for the new police building in Augsburg Friedrich von Thiersch (1852-1921) Munich, 1899 Ink pen, watercolour, pencil Kunstsammlungen und Museen Augsburg, Inv.-Nr. G 18617

325. Pietro Riolini, Merchant's shop

Pietro Riolini from Casazzo followed his father to Germany. After completing his apprenticeship, he found a job as a construction foreman in Augsburg. Having become wealthy, he built a tenement house with 12 flats on the Milchberg in 1910. Around this time, Riolini made a merchant's shop for his children as a Christmas present, the façade of which was inspired by Augsburg's town hall. It is a symbol of the social advancement of an immigrant from a poor background who found a new home in Augsburg.Merchant's shop Peter (Pietro) Riolini (1867-1925) Augsburg, around 1910 Wood, coloured, glass Kunstsammlungen und Museen Augsburg, Inv.-Nr. 2020/504 (Gift from Peter Riolini, Augsburg)

Graphic Novel: Christoph Emmendörffer; Paul Rietzl, "Erlösung. Augsburg im Dreißigjährigen Krieg"

67. Elias Holl, Design of the façade of the School at St. Anne's

At the end of 1612, the city decided to build a new school near St. Anna, for which Elias Holl submitted plans. The elevation shows an asymmetrical, three-storey façade, above which Holl suggested a hipped roof. The entrance is highlighted by a flat risalit. This solution was presumably due to the attempt to use the space in a particularly economical way. The architectural structure shown on the plan is sparse.Design of the façade of the School at St. Anne's Elias Holl (1573-1646) Augsburg, 1613 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv.-Nr. G 851

Heilig Geist Hospital

12. Salomon Kleiner; Johann Georg Pinz, Das prächtige Rath Hauß der Stadt Augspurg

10. Equipment of the City Hall

07. Elias Holl: Model of the old City Hall

66. Elias Holl, Cost estimate for the new building of the High School at St. Anna

After several complaints from the teaching staff about the dilapidation of the “Annagymnasium”, the plan for a completely new building matured. on 18 october 1612, Elias Holl presented this cost estimate for a three-storey school building. for the construction, the re- quired materials, wages, iron furnaces, kilns, glazier’s work, etc., the “Stadtwerk- meister”calculated costs of 4346 fl.Cost estimate for the new building of the High School at St. Anna Elias Holl (1573–1646) Augsburg, 18. 10. 1612 Pen and brown ink, paper Augsburg, Stadtarchiv, Gymnasium bei St.Anna, Kt. 1, Nr. 10

54. Hans Reichle, Bronze eagle from the “Siegelhaus”

The “Siegelhaus”, a Custom house built between 1604 and 1606 by Elias Holl, stood as an architecturally significant foil behind the Hercules fountain as a boundary of the Wine Market to the south until its demolition in 1809. In 1605 it was decided to crown the gable with a bronze eagle. The commission went to the bronze sculptor Hans reichle, a pupil of giambologna. With his mounmental bronze, the artist succeeded in creat- ing an impressive interpretation of the sovereign imperial eagle motif as well as a memorable formula for strength and vigilance.Bronze eagle from the “Siegelhaus” Hans Reichle (1565/1570–1642) Augsburg, 1605 Bronze, partly gilted Kunstsammlungen und Museen Augsburg, Inv. No. 8562

137. Elias Holl, Survey book

Holl’s survey book illustrates the daily work of the “Stadtwerkmeister”. It contains more than 100 rips and land surveys commissioned by the city. In- cluded are building ground plans, water courses and plans of fortfications and gates.Survey book Elias Holl (1573–1646) Augsburg, 1601/1602–1642 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Inv. No. 11218

73. Elias Holl, Floor plan of “Hl. Geist-Spital”

The plan shows the ground floor of the nave of the “Hl. geist-Hospital” – a hall divided into three naves and 13 axes. In addition to the pillars, the ground plan also shows the 39 groined vaults. After the hospital was completed in 1631, old women were housed on the ground floor and old men above. The upper floor also contained the infirmaries, which were separated according to gender.Floor plan of “Hl. Geist-Spital” Elias Holl (1573–1646) Augsburg, 1626 Pen and brown ink, paper Kunstsammlungen und Museen Augsburg, Sign. Architekturentwürfe 17. Jh., Nr. 11

123. Folding chair

From 1635 to 1649, the Augsburg Protestants gathered in the open air in the courtyard of St.Anna’s College for the two Sunday services, on Wednesdays and fridays for the weekly sermons, and on Tuesdays and Thursdays for the prayer hours. Benches, stools and chairs served as seating, mainly reserved for the women. This folding chair is said to have been used during these services and devotions.Folding chair Augsburg, around 1600 Walnut Kunstsammlungen und Museen Augsburg, Inv. No. 3484

226. Measuring sticks of Elias Holl

These three measuring sticks also belonged to Elias Holl. Two of them are dated and inscribed with his name. They all bear scales based on the Augsburg shoe with a length of approx. 29.6 cm.Measuring sticks of Elias Holl Augsburg, 1619, 1620 Palisander, oak, ivory, brass, tin Kunstsammlungen und Museen Augsburg, Inv. No. 3499, 3500, 3498

279. Scene photos from the Film “Die Galgenbraut”

The film “die galgenbraut” (gallows Bride) was initiated by the city’s tourist office. The main intention was to use footage from Augsburg’s cityscape as created by Elias Holl. The film, which begins with the completion of the town hall and the honouring of Elias Holl, is set at the time of the Swedish occupation under King gustav Adolf. Supported by a large police contingent, the film was shot on original locations in autumn 1924.Scen photos from the Film “Die Galgenbraut” Augsburg, 1924 Augsburg, Stadtarchiv, o. Sign.

286. Karl Kraft, Elias Holl Music

In 1946, the Augsburg Cathedral organ- ist Karl Kraft was commissioned by the city to create an “Elias Holl-Musik. Music for orchestra”. The occasion was the 300th anniversary of the death of the “Stadtwerkmeister”. The composition was not premiered until 1958 in the Her- cules Hall of the Munich Residence.Elias Holl Music Karl Kraft (1903–1978) Augsburg, 1946 Augsburg, Notenarchiv des Hohen Doms

303. Ludwig Leybold, Bauzeichnungen zur Innenausstattung des Rathauses

City architect leybold created detailed drawings of Augsburg City Hall from 1886 onwards. 135 sheets have been preserved. In addition to floor plans and longitudinal sections, these are above all exact detail shots of the interior.Bauzeichnungen zur Innenausstattung des Rathauses Ludwig Leybold (1833–1891) Augsburg, Stadtarchiv, Sign. Selekt Schätze Nr. 200

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Graphic Novel: Christoph Emmendörffer; Paul Rietzl, "Erlösung. Augsburg im Dreißigjährigen Krieg"

Herausgeber: Stiftung »ars et studium«
Illustriert von: Paul Rietzl
Erscheinungsdatum 27.5.2023
ISBN 978-3-95498-756-6