When the shop purveying diacritical marks opened one morning in Vienna, in my mind the writer Ödön von Horváth turned up and said “Thanks. I’ll have the lot.”

It wasn’t even his real name, of course — which was Edmund Josef von Horváth. A child of the twentieth century, von Horváth was born in Fiume/Rijeka in 1901. His father was a Hungarian from Slavonia (in today’s Croatia) who entered the imperial diplomatic service of Austria-Hungary and was ennobled, earning his “von”.

“If you ask me what is my native land,” von Horváth said, “I answer: I was born in Fiume, grew up in Belgrade, Budapest, Preßburg, Vienna, and Munich, and I have a Hungarian passport.”

“But homeland? I know it not. I’m a typical Austro-Hungarian mixture: at once Magyar, Croatian, German, and Czech; my name is Hungarian, my mother tongue is German.”

From 1908 his primary education was in Budapest in the Hungarian language, until 1913 when he switched to instruction in German at schools in Preßburg (Bratislava) and Vienna.

Von Horváth went off to Munich for university studies — where he began writing in earnest — but quit midway through and moved to Berlin.

He once told his friends the story of when he was climbing in the Alps and stumbled upon the remains of a man long dead but with his knapsack intact.

Intrigued, he opened the knapsack and found an unsent postcard upon which the deceased had written “Having a wonderful time”.

“What did you do with it?” his friends naturally inquired. “I posted it!” was von Horváth’s reply.

In 1931 he was awarded the Kleist Prize for literature, but two years later the National Socialists took the helm and von Horváth thought it best to move across the border to his old imperial capital of Vienna.

Despite his anti-nationalism, he did initially join the guild for German writers set up by the Nazis, possibly to keep his works in print in the Reich while he was living in still-independent Austria.

It was in Vienna he published his best-known work: Jugend ohne Gott — “Youth without God” (first translated into English as The Age of the Fish), which marked his public point-of-no-return break with the Hitlerites.

The novel depicts a jaded schoolteacher increasingly disconnected from his profession and the world around him as the ideology of National Socialism begins to take root in the education system. (Bizarrely, it was also scantly used as the basis for a 2017 dystopian thriller.)

When Hitler’s troops marched into Austria the following year, von Horváth fled to Paris.

“I am not so afraid of the Nazis,” he told a friend there one day. “There are worse things one can be afraid of, namely things you are afraid of without knowing why. For instance, I am afraid of streets. Roads can be hostile to you, can destroy you. Streets frighten me.”

Days later, in the middle of a thunderstorm, von Horváth was walking down the Champs-Élysées — the most famous street in Paris — when a flash of lightning struck a tree, felled a branch, and struck the writer dead. He had been on his way to the cinema to see Walt Disney’s ‘Snow White and the Seven Dwarfs’.

Years ago someone recommended The Eternal Philistine: An Edifying Novel in Three Parts to me, but I have to admit I haven’t yet read it, or much else of von Horváth’s work. (He’s on my fiction wish-list though.)

His plays have been revived, too — here in London at the Almeida and the Southwark Playhouse in the past decade or so — and both The Eternal Philistine and Youth Without God are available in English from the estimable Neversink Library imprint of Melville House.

The revered Sovereign’s death was announced in the evening. The daily anxieties of the people and the press’s usual reporting on quotidian political strife temporarily evaporated on contact with the momentous royal bereavement. Though long anticipated, the loss was profound, raw.

To many it felt like a moment of overdue reckoning. As if the frail body of the elderly monarch had somehow been holding the great, ancient, long-weakening and precariously multinational state together. The world of the previous century had finally, almost imperceptibly, slipped away. Franz Joseph was dead. …

In the October 2022 number of The Critic, Dr John Ritzema explores the parallels between the recent demise of our late sovereign with the death of the Emperor Franz Joseph over a hundred years earlier — and wonders whether there are any lessons for the reign of King Charles III: Rebuilding a Monarchy and a Nation.

One of those minor curiosities that both Franz Joseph and Elizabeth II were succeeded by Charleses — the latter by her son, and the former by his grand-nephew Blessed Charles of Austria.

I love this photo of Blessed Charles — here still the heir to the throne — inspecting Austro-Hungarian troops in the Südtirol in 1916.

On the far right of the photograph, Gen. Franz (Ferenc) Rohr von Denta, commander of the Royal Hungarian Army, beams with a massive grin. He looks like a bit of a character.

Next to him is Archduke Eugen, the last Hapsburg to serve as Hoch- und Deutschmeister of the Teutonic Order, which in 1929 was transformed into a priestly religious order.

Franz Joseph would die just months after this photograph was taken.

His grand-nephew and successor Charles would be the last Emperor of Austria, Apostolic King of Hungary, and King of Bohemia — amongst the myriad other titles — to reign (so far).

The Viennese architect Otto Schöntal was a student of Otto Wagner at the Academy of Fine Arts and exhibited this project for a Schloßkapelle in the periodical Moderne Bauformen in 1908.

It combines a simplicity of form with greater complexity in its decoration but like the work of many of the more mid-ranking architects of the Secession it comes across as a bit rigid and angular despite a certain freeness in its design.

Ralph Adams Cram’s First-World-War Plan for Redrawing Borders

Ralph Adams Cram was not just one of the most influential American architects of the first half of the twentieth century: he was a rounded intellectual who expressed his thinking in fiction, essays, and books in addition to the buildings he designed.

Cram (and arguably even more his business partner Goodhue) had a gift for bringing the medieval to life in a way that was neither archaic nor anachronistic but instead conveyed the gothic (and other styles) as living, organic traditions into which it was perfectly legitimate for moderns to dwell, dabble, and imbibe.

His literary efforts include strange works of fiction admired by Lovecraft and political writings inviting America to become a monarchy. These have value, but it’s entirely justifiable that Cram is best known for his architectural contributions.

All the same, amidst the clamours of the First World War this architect of buildings played the architect of peoples and sketched out his idea of what Europe after the war — presuming the defeat of the Central Powers — would look like.

In A Plan for the Settlement of Middle Europe: Partition Without Annexation, Cram set out his model for the territorial redivision of central and eastern Europe “to anticipate an ending consonant with righteousness, and to consider what must be done… forever to prevent this sort of thing happening again”.

Cram, who provided a map as a general guide, predicted the return of Alsace-Lorraine to France, Schleswig-Holstein to Denmark, the Trentino and Trieste to Italy, much of Transylvania to Romania, Posen to a restored Poland, and Silesia divided in three.

Fundamental to the architect’s thinking was that “neither Germany, Austria-Hungary, nor Turkey can be permitted to exist as integral or even potential empires”. Austria and Hungary would be split and Germany needed to be partitioned (not, as some later plans had it, annexed). (more…)

Sharon Jennings’s new play on Franz Jägerstätter

It is often said that one man’s terrorist is another man’s freedom fighter — but what inspires the man who refuses to fight? Is he a coward? A man of conscience? Or a mere contrarian who goes too far? Sharon Jennings’s new play, ‘Memorial’, explores the surprisingly not yet well-known story of Blessed Franz Jägerstätter, an Austrian executed during the Second World War for his conscientious objection to military service under Hitler.

This clever telling frames the martyr’s life mostly in retrospect, as the Mayor (played by the very capable Joe Cushley) assembles the leading villagers of St Radegund (actors Richard Evans, Carianne Dunford, Richard Ward, and Meg Depla-Lake) to compile the list of names to be etched permanently in stone on the village’s war memorial. The list is finalised but there is one name that cries out to be remembered: their poor lamented Franz.

We meet the main character (played by Felix Dunning) both through the memories of his rural contemporaries and his own letters home to his wife during basic training. For his refusal to take the military oath of absolute obedience to Adolf Hitler, he is thrown into prison. ‘Memorial’ reaches its apex in the confrontation between the uncomplicated but principled Franz and his cunning and clever military judge (a role brilliantly performed by Gary Merry). The chilling battle between good and evil is made all too real and the viewer is reminded of the battles of conscience ongoing in our own lives and the lives of thousands of others every single day.

In the end, it is through the lens of his fellow villagers that we remember Franz. Why can’t he just sign the dotted line? All the rest of us did. It’s a mere formality. We didn’t have a choice!

Deviant? Rebel? Hero? Whatever we think of men like Franz, in this play Sharon Jennings has carved and crafted a memorial to conscience — a healthy but haunting reminder of that freedom which always remains even when all others disappear.

My written views of the city you will have to wait for (presuming they ever see the light of day), but here are a few photographic impressions from my jaunt to the Kaiserliche Hauptstadt. (more…)

THE IRISH, of course, have a long history of interaction with Mitteleuropa, and with Vienna in particular, from the earliest days. After all, one of Vienna’s most prominent churchs is the Schottenstift which was founded in 1155 when Henry II invited monks from the Irish monastery at Regensburg to start an abbey in the capital of his margraviate (Austria was elevated to a duchy the following year, I think).

The Schottenstift and Schottenkirche are often known as the “Scottish Abbey”. This confusion results from the fact that Ireland was formerly known as Scotia in Latin. It was some time before Ireland became known as Hibernia and Scotland as Caledonia. (Scotland literally means “land of the Irish”).

Happily these links continue today. While recently staying in Vienna with a Galwegian friend of mine, a most devoted follower of Saint Coloman, I noted the Irish contents of his flat. (more…)

I happened to stumble upon the Order of Malta church in Vienna while meandering down the Kärntner Straße in the middle of a snowy day. It’s a small and relatively simple church consisting of a Gothic nave with an organ gallery. The Order has occupied the site since 1217, though the bulk of the current church dates from the fifteenth century. In 1806, Commander Fra’ Franz von Colloredo had the façade remodelled in the Empire style fashionable at the time. The altarpiece, a painting by Johann Georg Schmidt depicting the Baptism of Jesus by John the Baptist, is from a few decades earlier in 1730, and there is a splendid Neoclassical monument to Jean de la Valette including telamonic Saracens. The church is also decorated with forty coats of arms: five of grand priors, one cardinal, a grand commander, twenty-nine commanders, and one bailiff.

(more…)

The Unrealised Vision of an Imperial Forum for Vienna

SIDLING UP THE KOHLMARKT and entering the Hofburg through the Michaelerplatz is a glorious architectural experience, but viewing Vienna’s imperial palace from the Ringstraße end, one is left with a certain awkwardness. This is because what is now the Heldenplatz, open to the neighbouring Volksgarten, was conceived as part of a great imperial forum, the Kaiserforum, but the scheme has been left incomplete.

The original impetus for this forum was the plan to build the identical Kunsthistoriches Museum and Natural History Museum across from the Hofburg next to the former imperial stables. Emperor Franz Joseph held a closed competition for four invited architects — Carl Hasenauer, Theophil von Hansen, Heinrich Ferstel, and Moritz Löhr — to conceive of an overall scheme to expand the Hofburg in order to provide an architectural connection to the two new museums. (more…)

The unbuilt Imperial Russian Embassy in Vienna

Otto Wagner was an exceptionally talented architect, though not, I think, the genius that many people would credit him with being. In the most emblematic work for which he is known, the Kirche am Steinhof in Vienna, there is too much angularity and not enough flow, curvature. For a free-standing structure it feels a bit stultified and uptight despite the brilliance of the individual elements of the design. I much prefer his Post Office Savings Bank and Stadtbahn stations.

Stumbling through the archives the other day, I came across this unexecuted Otto Wagner design for an Imperial Russian Embassy in Vienna: one now-vanished emperor’s embassy to another. From earlier in his career, it’s not as distinctively Ottowagnerian, but I admire the composition of the façade. The bulbous curved projections into the courtyard, however, are unfortunate, and too large for the space. (more…)

TRIUMPHALISM IN architecture is a double-edged sword. When done properly, it is glorious, like the Arc de Triomphe, standing majestically as avenues radiate forth from the stout, sculpted monument to Napoleon’s victories. The Italian monument at Bozen in Südtirol is the other end of the spectrum. The French emperor was wise enough to construct his triumphal arch in Paris, on his own turf, where it would prove relatively uncontroversial over the span of the years. Mussolini, meanwhile, had this gate celebrating the Italian victories of the First World War in Bozen, the capital of Südtirol, a region whose inhabitants are mostly German-speakers despite it being part of the Italian Republic. While the existence of a monument to Italian victories is acceptable, the placement and nature of this monument is a direct insult to the local population. (more…)

TODAY IS THE first feast of Blessed Charles since the announcement last December that the cause for the canonisation of his wife, Zita of Bourbon-Parma, has been opened as well. In an age when most people in government and public leadership seem barely even decent, let alone saints, it is all the more important to seek the prayers and intercession of Charles and Zita — husband and wife, mother and father, Emperor and Empress — for the preservation of peace, the prevention of war, and the renovation of our families as well as our societies at large. (more…)

After the passing of the Hapsburg empire, which had been so protective of its Jewish subjects (especially compared to the regimes which succeeded it), numerous prominent Jews were received into the Catholic faith, perhaps having come to a full appreciation of precisely what they had lost. The subject of “Literary Jewish Converts to Christianity in Interwar Hungary” is worthy of further investigation (some graduate student should write a dissertation on just such a matter). I am no longer surprised when, in my researches, I come across yet another fascinating Hungarian Jew — be he a writer, playwright, poet, or patron — and discover, usually buried in some footnote, that he died a good Catholic.

Nikolaus von Dumba, in the study of the Palais Dumba on the Ringstraße in Vienna. (more…)

A reader notes in correspondence that Franz Joseph was not always old — though the popular conception certainly is of the Emperor in his later years. Here is the young Franz Joseph (or Ferenc József), just five years after he became Emperor of Austria, King of Hungary, Bohemia, &c. The Emperor became so at such a young age because his father, Ferdinand I, abdicated after the revolts of 1848.

This portrait is by the Hungarian painter Miklós Barabás, who also completed portraits of the composer Franz Liszt, the novelist Baron József Eötvös de Vásárosnamény, William Tierney Clark, the Bristol engineer responsible for Budapest’s famous Chain Bridge, and many, many others.

by JOHN ZMIRAK
INSIDECATHOLIC.COM

As I’m writing this column at the tail end of my first trip to Vienna, some of you who’ve read me before might expect a bittersweet love note to the Habsburgs — a tear-stained column that splutters about Blessed Karl and “good Kaiser Franz Josef,” calls this a “pilgrimage” like my 2008 trip to the Vatican, and celebrates the dynasty that for centuries, with almost perfect consistency, upheld the material interests and political teachings of the Church, until by 1914 it was the only important government in the world on which the embattled Pope Pius X could rely for solid support. Then I’d rant for a while about how the Empire was purposely targeted by the messianic maniac Woodrow Wilson, whose Social Gospel was the prototype for the poison that drips today from the White House onto the dome of Notre Dame.

And you would be right. That’s exactly what I plan to say — so dyed-in-the-wool Americanists who regard the whole of the Catholic political past as a dark prelude to the blazing sun that was John Courtenay Murray (or John F. Kennedy) might as well close their eyes for the next 1,500 words — as they have to the past 1,500 years.

But as I bang that kettle drum again, I want to set two scenes, one from a fine and underrated movie, the other from my visit. The powerful historical drama “Sunshine” (1999) stars Ralph Fiennes as three successive members of a prosperous Jewish family in Habsburg Budapest. The film was so ambitious as to try portraying the broad sweep of historical change — and, as a result, it was not especially popular. What historical dramas we moderns tend to like are confined to the tale of a single hero, and how he wreaks vengeance on the villains with English accents who outraged the woman he loved. “Sunshine”, on the other hand, tells the vivid story of the degeneration of European civilization in the course of a mere 40 years. The Sonnenschein family are the witnesses, and the victims, as the creaky multinational monarchy ruled by the tolerant, devoutly Catholic Habsburgs gives way through reckless war to a series of political fanaticisms — all of them driven by some version of Collectivism, which the great Austrian Catholic political philosopher Erik von Kuenhelt-Leddihn calls “the ideology of the Herd.”

From a dynasty that claimed its legitimacy as the representative of divine authority at the apex of a great, interconnected pyramid of Being in which the lowliest Croatian fisherman (like my grandpa) had liberties guaranteed by the same Christian God who legitimated the Kaiser’s throne, Central Europe fell prey to one strain after another of groupthink under arms: From the Red Terror imposed by Hungarian Bolsheviks who loved only members of a given social class, to radical Hungarian nationalists who loved only conformist members of their tribe, to Nazi collaborationists who wouldn’t settle for assimilating Jews but wished to kill them, finally to Stalinist stooges who ended up reviving tribal anti-Semitism. The exhaustion at the film’s end is palpable: In the same amount of time that separates us today from President Lyndon Johnson, the peoples of Central Europe went from the kindly Kaiser Franz Josef through Adolf Hitler to Josef Stalin. Call it Progress.

Apart from a heavily bureaucratic empire that spun its wheels preventing its dozens of ethnic minorities from cleansing each other’s villages, what was lost with the fall of the Austro-Hungarian monarchy? For one thing, we lost the last political link Western Christendom had with the heritage of the Holy Roman Empire. (Its crown stands today in the Imperial Treasury at the Hofburg, and for me it’s a civic relic.) Charlemagne’s co-creation with the pope of his day, that Empire had symbolized a number of principles we could do well remembering today: Principally, the Empire (and the other Christian monarchies that once acknowledged its authority) represented the lay counterpart to the papacy, a tangible sign that the State’s authority came not from mere popular opinion, or the whims of tyrants, but an unchangeable order of Being, rooted in divine revelation and natural law.

The job of protecting the liberty of the Church and enforcing (yes, enforcing) that Law fell not to the clergy but to laymen. The clergy were not a political party or a pressure group — but a separate Estate that often as not served as a counterbalance to the authority of the monarchy. No monarch was absolute under this system, but held his rights in tension with the traditional privileges of nobles, clergy, the citizens of free towns, and serfs who were guaranteed the security of their land. Until the Reformation destroyed the Church’s power to resist the whims of kings — who suddenly had the option of pulling their nation out of communion with the pope — no king would have had the power or authority to rule with anything like the monarchical power of a U.S. president. Of course, no medieval monarch wielded 25-40 percent of his subjects’ wealth, or had the power to draft their children for foreign wars. It took the rise of democratic legal theory, as Hans Herman Hoppe has pointed out, to convince people that the State was really just an extension of themselves: a nice way to coax folks into allowing the State ever increasing dominance over their lives.

A Christian monarchy, whatever its flaws, was at least constrained in its abuses of power by certain fundamental principles of natural and canon law; when these were violated, as often they were, the abuse was clear to all, and the monarchy often suffered. In extreme cases, kings could be deposed. Today, by contrast, priests in Germany receive their salaries from the State, collected in taxes from citizens who check the “Catholic” box. So much for the independence of the clergy.

The House of Austria ruled the last regime in Europe that bound itself by such traditional strictures, which took for granted that its family and social policies must pass muster in the Vatican. By contrast, in the racially segregated America of 1914, eugenicists led by Margaret Sanger were already gearing up to impose mandatory sterilization in a dozen U.S. states (as they would succeed in doing by 1930), while Prohibitionist clergymen and Klansmen (they worked together on this) were getting ready to close all the bars. As historian Richard Gamble has written, in 1914 the United States was the most “progressive” and secular government in the world — and by 1918, it was one of the most conservative. We didn’t shift; the spectrum did.

Dismantled by angry nationalists who set up tiny and often intolerant regimes that couldn’t defend themselves, nearly every inch of Franz-Josef’s realm would fall first into the hands of Adolf Hitler, then those of Josef Stalin. Today, these realms are largely (not wholly) secularized, exhausted perhaps by the enervating and brutal history they have suffered, interested largely in the calm and meaningless comfort offered by modern capitalism, rendered safer and even duller by the buffer of socialist insurance. The peoples who once thrilled to the agonies and ecstasies carved into the stone churches here in Vienna can now barely rouse the energy to reproduce themselves. Make war? Making love seems barely worth the tussle or the nappies. Over in America, we’re equally in love with peace and comfort — although we’ve a slightly higher (market-driven?) tolerance for risk, and hence a higher birthrate. For the moment.

Speaking of children brings me to the most haunting image I will take away from Austria. I spent a whole afternoon exploring the most beautiful Catholic church I have ever seen — including those in Rome — the Steinhof, built by Jugendstil architect Otto Wagner and designed by Kolomon Moser. An exquisite balance of modern, almost Art-Deco elements with the classical traditions of church architecture, it seems to me clear evidence that we could have built reverent modern places of worship, ones that don’t simply ape the past. And we still can. A little too modern for Kaiser Franz, the place was funded, the kindly tour guide told me in broken English, by the Viennese bourgeoisie. (Since my family only recently clawed its way into that social class, I felt a little surge of pride.) Apart from the stunning sanctuary, the most impressive element in the church is the series of stained-glass windows depicting the seven Spiritual and the seven Corporal Works of Mercy — each with a saint who embodied a given work. All this was especially moving given the function of the Steinhof, which served and serves as the chapel of Vienna’s mental hospital. (It wasn’t so easy getting a tour!) The church was made exquisite, the guide explained, intentionally to remind the patients that their society hadn’t abandoned them. Moser does more than Sig Freud can to reconcile God’s ways to man.

We see in the chapel the spirit of Franz Josef’s Austria, the pre-modern mythos that grants man a sacred place in a universe where he was created a little lower than the angels — and an emperor stands only in a different spot, with heavier burdens facing a harsher judgment than his subjects. No wonder Franz Josef slept on a narrow cot in an apartment that wouldn’t pass muster on New York’s Park Avenue, rose at 4 a.m. to work, and granted an audience to any subject who requested it. He knew that he faced a Judge who isn’t impressed by crowns.

As we left the church, I asked the guide about a plaque I’d seen but couldn’t quite ken, and her face grew suddenly solemn. “That is the next part of the tour.” She explained to me and the group the purpose of the Spiegelgrund Memorial. It stands in the part of the hospital once reserved for what we’d call “exceptional children,” those with mental or physical handicaps. While Austria was a Christian monarchy, such children were taught to busy themselves with crafts and educated as widely as their handicaps permitted. The soul of each, as Franz Josef would freely have admitted, was equal to the emperor’s. But in 1939, Austria didn’t have an emperor anymore. It dwelt under the democratically elected, hugely popular leader of a regime that justly called itself “socialist.” The ethos that prevailed was a weird mix of romanticism and cold utilitarian calculation, one which shouldn’t be too unfamiliar to us. It worried about the suffering of lebensunwertes Leben, or “life unworthy of life”–a phrase we might as well revive in our democratic country that aborts 90 percent of Down’s Syndrome children diagnosed in utero. So the Spiegelgrund was transformed from a rehabilitation center to one that specialized in experimentation. As the Holocaust memorial site Nizkor documents:

In Nazi Austria, parents were encouraged to leave their disabled children in the care of people like [Spiegelgrund director] Dr. Heinrich Gross. If the youngsters had been born with defects, wet their beds, or were deemed unsociable, the neurobiologist killed them and removed their brains for examination. …

Children were killed because they stuttered, had a harelip, had eyes too far apart. They died by injection or were left outdoors to freeze or were simply starved.

Dr. Gross saved the children’s brains for “research” (not on stem cells, we must hope). All this, a few hundred feet from the windows depicting the Works of Mercy. Of course, they’d been replaced by the works of Modernity.

We’re much more civilized about this sort of thing nowadays, as the guests at Dr. George Tiller’s secular canonization can testify. In true American fashion, our genocide is libertarian and voluntarist, enacted for profit and covered by insurance.

I will think of the children of the Spiegelgrund tomorrow, as I spend the morning in the Kapuzinkirche, where the Habsburg emperors are buried — and the Fraternity of St. Peter say a daily Latin Mass. As I pray the canon my ancestors prayed and venerate the emperors they revered, I will beg the good Lord for some respite from all the Progress we’ve enjoyed.

Blessed Karl I, ora pro nobis.

[Dr. John Zmirak‘s column appears every week at InsideCatholic.com.]

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