Tanulmányok Budapest Múltjából 29. (2001)

A BUDAI KIRÁLYI PALOTA MINT ÉPÍTÉSZETI EGYÜTTES; A PALOTA ÉPÍTÉSTÖRTÉNETE A LEGÚJABB KUTATÁSOK ALAPJÁN - Farbaky Péter: A budai királyi palota a historizmus korában : (Ybl Miklós és Hauszmann Alajos átépítési terveinek fejlődése és kapcsolata) 241-265

PÉTER FARBAKY THE ROYAL PALACE IN BUDA IN THE AGE OF HISTORICISM (THE CONCEPTS OF MIKLÓS YBL AND ALAJOS HAUSZMANN) Summary After the Austro-Hungarian Monarchy was made a bicentred realm in 1867, with Vienna and Budapest as its capitals, it came up that the baroque Royal Palace in Buda (reconstructed in the 19th century) should be reshaped to resemble the royal residence of the Hofburg in Vienna. In 1870 the Municipal Public Work Council put out to tender a Budapest development scheme which included the extension of the palace. Tenders were submitted by Mór Lehmann, István Linzbauer and Frigyes Feszi. Construction work eventually commenced in 1873 by the closure of the eastern section of the castle gardens. The NeoRenaissance buildings of the Castle Garden Bazaar and the Castle Garden Kiosk (1875-1882) were built by Miklós Ybl. Although in 1883 Francis Joseph gave permission to go ahead with the proposed extension project, and the commission went to Miklós Ybl, the construction of the Krisztinaváros wing did not begin until 1890. Ybl further developed his concept during the 1880s; two plans of the ground-floor foyer and the main staircase have come down to us. An 1886 drawing depicts the eventually built version of the main staircase-covered with a glass roof, created in the Austrian baroque vein, and featuring traits of period Austrian NeoRenaissance architecture. The western façade of the Krisztinaváros wing was modified by Alajos Hauszmann who took over the planning after Ybl's death. In 1884 Ybl designed the extension of the baroque throne room. He scrapped the previous three-axis open portico in favour of a closed, courtyard corridor running along the entire length of a widened throne room, and heightened it to include the third floor also. Hauszmann, however, did not adopt this plan. His idea was to build a full-expanse third floor; consequently, he did not raise the hall, and only widened the existing room to the extent of the courtyard corridor. Hauszmann made only slight alterations to Ybl's design of the court façade, but in the northern extensions of the palace he opted for a more monumental French baroque model, in preference to Ybl's Viennese-style neo-Renaissance and neo-Baroque one. The façades and grand interiors of the northern wing —the ball or dance room, the connecting buffet gallery, the entrance hall, the chapel, and the Habsburg Room under the dome— attest to Hauszmann's invention. He sought to adapt the existing façades in his plans. Almost doubled in size, the Danube front was brought into prominence, at the new main axis behind the equestrian statue of Prince Eugene of Savoy, by an open, double garden staircase (the so-called Habsburg Stairs), a colonnade, and a somewhat art-nouveauish cupola. Hauszmann also created the new Main Guards Building (1901-1903) and the new Manège, and he rebuilt the Court Stables ( 1901 -1903), too; all of which were pulled down after World War II—for no apparent reason. Owing to Hauszmann's extensions and conversions, by the early twentieth century the Royal Palace in Budapest became comparable in significance to the Hofburg in Vienna, then newly extended by the Michaelertrakt and the Neue Hofburg. \