Gábor Eszter: Andrássy Avenue – Our Budapest (Budapest, 2002)
■ The Herzog Manóion (No. 93 Andrdssy út) two rows of) buildings appear to ^orm an acute angle and thus converge, here it it the opposite that the observer sees. The avenue broadens out as it gets nearer and nearer the City Park: the laws of perspective, which of course are ofj foreign origin and have never been approved by our Parliament and are thus to be regarded as null and void in this country, are indeed suspended here condemning every optically trained eye to endless perplexity, causing great harm to the aspiring generation 0^ today's artists." In this section the avenue does in fact broaden out; the buildings, which are also lower than the ones preceding them, are twice the distance from each other. From Bajza utca onwards, they are not even in a continuous row but stand separated from each other by gardens or, better than that, green trees. The first block contains two remarkable buildings. On the right-hand side at No. 93 stands a neo-Baroque mansion designed in 1885 for the wholesaler Péter Herzog (1838-1914) by Rezső Ray Sr. The three-storey house was used by Herzog and his large family as their residence. In the first half of the 20th century the building was occupied by Herzog's son Mór Lipót, and it was here that the owner's famous art collection was kept. The premises were later used by the ministry of the interior; currently its renovated offices are to let. On the opposite side it is the Pallavicini Mansion (No. 98 Andrássy út) which catches the eye. "... Petschacher, who designed it, demonstrated with it that he was not simply an architect but an artist in the truest sense 0^ the 42
