Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (39.2006)

Fig. 8. C. Luedecke: Ostwald’s townhouse in Breslau, front view, 1861.
Dratvings collection, Museum of Architecture, Wroclaw, Poland.

accordance with the horizontal three-fold division,
which was, however, contrasted by vertical éléments.
The architect believed that ‘contrast enlivens every work
ofarť.21 The design of a townhouse erected in 1861
for Eduard Ostwald, a wine merchant, had a horizon-
tal entablature supported by pilasters, which provid-
ed additional visual reinforcement for the sides of the
façade [Fig. 8}. The middle pilaster, in turn, under-
lined the symmetry axis of the front of the building,
divided it into two passages and served as additional




Fig. 9. C. Schmidt: Villa Welz in Breslau, plan, 1868. Drawings
collection, Museum of Architecture, Wroclaw, Poland.

Support for the ‘renaissance’ niche which housed the
statue of Dionysus.
In the composition of façades of a later townhouse
built in 1870 for Julius Neugebauer, Luedecke pri-
marily used vertical lineš — the symmetrical axis of
the façade was set by a pseudo-risalit running across
the three Stories and the uniform frames binding the
Windows of the first and second stories enhanced the
impression of their equilibrium. The rule of contrast
was also applied by the architect in choosing the Or-
naments for the faces of municipal residential hous-
es. By reference to an eighteenth Century essay on
beauty by William Hoghart, Luedecke proved that
‘Unes of contrasting directions bave special grâce’.23 The
architect keenly used winding, palmette and gro-

27 LUEDECKE, C.: Vorträge über Ornamentik. In: Breslauer
Gewerbe-Blatt, May 5, 1860, No. 9, p. 66.

28 Ibidem.

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