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Ground plan of Salzburg Cathedral planned by Scamozzi
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Bust of Santino Solari
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Model of Salzburg Cathedral planned by Solari

The “Italian” City

 

In 1588, Prince Archbishop Wolf Dietrich von Raitenau starts transforming medieval Salzburg into a modern, baroque residential capital. He and his successors, Markus Sittikus and Paris Lodron, commission Italian architects and artists. Vincenzo Scamozzi and Santino Solari produce plans for the cathedral quarter, with its prestigious public squares and magnificent buildings; also plans for numerous baroque churches, palaces, stables, administrative buildings and the monumental defensive fortifications.

 

Radical Reconstruction of the City Centre

During the first decades of the seventeenth century, Salzburg is a huge building site. The artistic goal can only be attained because political power, money and the vision of urban planning lie in one hand: that of the prince archbishop. Parts of the medieval burgher city fall victim to this radical reconstruction. The result is a baroque environment which serves the prince archbishop as a prestigious stage, and which today has been declared a World Cultural Heritage Site.

 

The New Cathedral

After the medieval cathedral had burnt down in 1598, Archbishop Wolf Dietrich von Raitenau commissioned the Italian architect Vincenzo Scamozzi to plan a new cathedral. This very first digital reconstruction enables viewers to experience the construction of the cathedral in three dimensions. This cathedral was never built, however. Santino Solari then designs the new baroque cathedral on commission of Archbishop Markus Sittikus.

 

Model of the Former "Dietrichsruh"

In 1605, Wolf Dietrich von Raitenau ordered the so-called Dietrichsruh to be erected on one of the plots next to the Franciscan church and the old residential palace. This private garden court was inspired by Italian mannerist models – with fountain, grotto, aviary and sala terrena.

After the cathedral fire of 1598, the Franciscan church took over the function of a cathedral until the new one was consecrated in 1628. Wolf Dietrich incorporated an oratory into a Late Gothic hall construction, and subsequently a series of encircling Early Baroque chapels. The oratory was directly connected to his residential palace.

 

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