Zádor Anna: Neoclassical Pest - Our Budapest (Budapest, 1993)

1812. The three-storey house stands on the corner of Türr István utca; the facade has fifteen axles, and the keystone of its stone-framed gate depicts the head of Zeus. Szemerédy House (Apáczai Csere J. u. 3.) also belongs to the early buildings and was built as a three- storey structure by József Hofrichter in 1811. Tne carefully executed vestibule leads to a courtyard enlivened by circular galleries; the neoclassical iron bars exemplify the devoted craftsmanship of the architect. An equally high level of craftsmanship is manifested by the first- floor ceremonial hall articulated by columns-unfor- tunately, it is split into rooms now. Gyürki House (Apáczai Csere J. u. 5.) was also built by Hofrichter, in 1813. The three-storey, nine-axled building is unusually abundant in ornaments. The pillars on the ground floor, the area above the gate and the keystone of the gate are adorned with allegorical reliefs produced in the studio of the often employed sculptor, Lőrinc Dunaiszky (1784-1833), most of which can still be seen.

But the most beautiful building in the row, which is the most prominent one in size too, is the two-storey tenement looking out onto three streets and built by Mihály Pollack in 1821-1822 for the hardware merchant Wurm (Apáczai Csere J. u. 15.). In 1867 József Diescher (1811-1874) heightened it with two more floors. The eighteen-axled facade facing Apáczai Csere János utca and Dorottya utca is made more majestic with sculptures by József Huber. The original attic is decorated with the reclining allegorical figures of Industry and Commerce. The vestibules near the gates and the courtyard are also carefully designed and the whole complex indicates a meticulous and dignified attitude. As sculptural ornaments of high quality were rare in Pest, the delicate sculptures on the Wurm House must be definitely emphasized.

These buildings are usually not too richly decorated However, the gates and window apertures are stoneframed, pediments can often be found above the win oows, and the keystones above the gates depict masks or Greek gods. The allegories are generally taken from Greek mythology, since the age of antiquity was the model of neoclassicism. These houses also reveal how important the beauty and the careful execution of buildings were to the rising bourgeoisie.

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