It was no conspiracy. He was just very good at giving his clients what they wanted; his Reichsrat is one Greek detail after another. Birth of democracy, says the great portico. Protector of the city, says the statue of Athena. There is a little something everywhere you look to flatter the Viennese. There are chariots on the roof, I notice.
In fact, as I look up, I see figures everywhere against the sky.
On and on. It becomes a musical series of buildings, spaced with parks, punctuated by statues. It has a rhythm that suits its purpose. Ever since it was officially opened on 1st May 1865 with a procession by the Emperor and Empress, this had been a space for progresses, for display. The Hapsburg court lived according to Spanish court ceremonial, a severe code of ritual, and there were innumerable opportunities for complex court processions. And there was the daily marching of the City Regiment, and marches on major feast days of the Hungarian Guards, celebrations of the Imperial Birthday, jubilees, honour guards for the arrival of a Crown Princess, and funerals. All the guards had different uniforms: confections of sashes, fur trimmings and plumed hats and epaulettes. To be on the Vienna Ringstrasse was to be within earshot of a marching band, the drumming of feet. The Hapsburg regiments were the ‘best-dressed army in the world’, with a stage to match.
I realise that I am going too fast, walking as if I had a destination, rather than a point of departure. I remember that this was the street that was made for the slower movement of the daily ‘Korso’, the ritualised stroll for society along the Kärntner Ring to meet and flirt and gossip and be seen. In the illustrated scandal sheets that proliferated in Vienna around the time that Viktor and Emmy got married, there were often sketches showing ‘ein corso Abenteuer’, an adventure on the Corso, advances from bewhiskered men with canes or glances from demi-mondaines. There was a ‘regular jam’, wrote Felix Salten, ‘of knights of fashion, monocled nobles, members of the pressed-trouser brigade’.
This was a place to get dressed up for. In fact, it was the site of the most spectacular bit of dressing up in Vienna. In 1879, twenty years before Viktor and Emmy marry and Charles’s netsuke arrive, Hans Makart, a wildly popular painter of vast canvases of historical fantasy, orchestrated a Festzug or procession of artisans for the twenty-fifth anniversary of the Emperor’s wedding. The artisans of Vienna were deployed in forty-three guilds, each of which had its own float decorated in allegorical fashion. Musicians and heralds and pikemen and men with banners milled around each float. Everyone wore Renaissance costume, and Makart led the whole swaggering cavalcade on a white charger, wearing a wide-brimmed hat. It occurs to me that this slippage – a bit of Renaissance, a bit of Rubens, some cod-classicism – fits the Ringstrasse perfectly.
It is all so self-consciously grand, and yet a bit Cecil B. de Mille. I am the wrong audience for it. A young painter and architecture student, Adolf Hitler, had a proper visceral response to the Ringstrasse: ‘From morning until late at night I ran from one object of interest to another, but it was always the buildings that held my primary interest. For hours I could stand in front of the Opera, for hours I could gaze at the Parliament; the whole Ringstrasse seemed to me like an enchantment out of “The Thousand-and-One-Nights”.’ Hitler would paint all the great buildings on the Ring, the Burgtheater, Hansen’s Parliament, the two great buildings opposite the Palais Ephrussi, the university and the Votivkirche. Hitler appreciated how the space could be used for dramatic display. He understood all this ornament in a different way: it expressed ‘eternal values’.
All of this enchantment was paid for by selling building lots to the rapidly growing class of financiers and industrialists. Many of them were sold to create the Ringstrasse Palais, a type of building where a series of apartments lay behind one formidable façade. You could have the imposing Palais address, with a great front door and balconies and windows onto the Ringstrasse, a marble entrance hall, a salon with a painted ceiling-and yet live on just one floor. This floor, the Nobelstock, would have all the main reception rooms centred on a large ballroom. The Nobelstock is easy to spot as it has the most swags around its windows.
And because many of the inhabitants of these new Palais were the families who had recently made good, this meant that the Ringstrasse was substantially Jewish. Walking away from the Palais Ephrussi, I pass the Palais of the Liebens, the Todescos, the Königswaters, the Wertheims, the Gutmanns, the Epsteins, the Schey von Koromlas. These bravura buildings are a roll-call of inter-married Jewish families, an architectural parade of self-confident wealth where Jewishness and ornament were interlocked.
As I walk with the wind at my back, I think of my ‘vagabonding’ around the rue de Monceau and I remember Zola’s rapacious Saccard in his vulgarly opulent mansion, intrusive on the street. Here in Vienna there are subtly different arguments about the Jews of Zionstrasse behind the great façades of their Palais. Here, the common talk goes, the Jews had become so assimilated, had mimicked their Gentile neighbours so well, that they had tricked the Viennese and simply disappeared into the fabric of the Ring.
Robert Musil in his novel The Man Without Qualities has the old Count Leinsdorf muse on this disappearing act. These Jews have muddled social life in Vienna by not staying true to their decorative roots:
The whole so-called Jewish Question would disappear without a trace if the Jews would only make up their minds to speak Hebrew, go back to their old names, and wear Eastern dress…Frankly, a Galician Jew who has just recently made his fortune in Vienna doesn’t look right on the Esplanade at Ischl, wearing a Tyrolean costume with a chamois tuft on his hat. But put him in a long, flowing robe…Imagine them strolling along on our Ringstrasse, the only place in the world where you can see, in the midst of Western European elegance at its finest, a Mohammedan with his red fez, a Slovak in sheepskins, or a bare-legged Tyrolean.
Go into the slums of Vienna, Leopoldstadt, and you can see Jews living as Jews should live, twelve in a room, no water, loud on the streets, wearing the right robes, speaking the right argot. In 1863 when Viktor arrived in Vienna from Odessa as a three-year-old child, there were fewer than 8,000 Jews in Vienna. In 1867 the Emperor gave civic equality to Jews, removing the last barriers to their rights to teach and their ownership of property. By the time Viktor was thirty in 1890 there were 118,000 Jews in Vienna, many of the newcomers the Ostjuden driven out of Galicia by the horrors of the pogroms that had erupted throughout the previous decade. Jews also came from small villages in Bohemia, Moravia and Hungary, shtetls where their living conditions were abject. They spoke Yiddish and sometimes wore caftans: they were immersed in their Talmudic heritage. According to the popular Viennese press, these incomers were possibly involved in ritual murder, and certainly were involved in prostitution, hawking second-hand clothes, peddling goods all over the city with their strange baskets on their backs.
By the time of Viktor and Emmy’s marriage in 1899 there were 145,000 Jews in Vienna. By 1910 only Warsaw and Budapest had a larger Jewish population in Europe; only New York had a larger Jewish population in the world. And it was a population like no other. Many of the second generation of the new migrants had achieved remarkable things. Vienna was a city, said Jakob Wassermann at the turn of the century, where ‘all public life was dominated by the Jews. The banks. The press, the theatre, literature, social organisations, all lay in the hands of the Jews…I was amazed at the hosts of Jewish physicians, attorneys, clubmen, snobs, dandies, proletarians, actors, newspapermen and poets.’ In fact, 71 per cent of financiers were Jewish, 65 per cent of lawyers were Jewish, 59 per cent of doctors were Jewish and half of Vienna’s journalists were Jewish. The Neue Freie Presse was ‘owned, edited and written by Jews’, said Wickham Steed in his casually anti-Semitic book on the Hapsburg Empire.
And these Jews had perfect façades – they vanished. It was a Potemkin city and they were Potemkin inhabitants. Just as this Russian general had put a wood-and-plaster town together to impress the visiting Catherine the Great, so the Ringstrasse, wrote the young fi
rebrand architect Adolf Loos, was nothing but a huge pretence. It was potemkinsch. The façades bore no relation to the buildings. The stone was only stucco, it was all a confection for parvenus. The Viennese must stop living in this stage-set ‘hoping that no one will notice they are fake’. The satirist Karl Kraus concurred. It was the ‘debasement of practical life by ornament’. What was more, through this debasement, language had become infected by this ‘catastrophic confusion. Phraseology is the ornament of the mind.’ These ornamental buildings, their ornamental disposition, the ornamental life that went on around them: Vienna had become orotund.
This is a very complex place to send the netsuke to, I think, as I circle back to the Palais Ephrussi towards dusk, feeling calmer. It is complex because I’m not sure what all this ornament means. My netsuke are one material or another, boxwood or ivory. They are hard all the way through. They are not potemkinsch, not made of stucco and paste. And they are funny little things, and I can’t see how they will survive in this self-consciously grandiloquent city.
But then again, no one could accuse them of being practical, either. They can certainly be thought of as ornamental, even as a sort of enchantment. I wonder at the appropriateness of Charles’s wedding-present once it reaches Vienna.
13. ZIONSTRASSE
When the netsuke arrived at the Palais, the house was almost thirty years old, built around the same time as the Hôtel Ephrussi in the rue de Monceau. The building is a piece of theatre, a show-stopping performance by the man who commissioned it, Viktor’s father, my great-great-grandfather Ignace.
There are, I am afraid, three Ignace Ephrussi in this story, stretching across three generations. The youngest is my great-uncle Iggie in his Tokyo flat. Then there is Charles’s brother, the duelling Parisian with his string of love-affairs. And here in Vienna we meet the Baron Ignace von Ephrussi, holder of the Iron Cross Third Class, ennobled for his services to the Emperor, Imperial Counsellor, Chevalier of the Order of St Olaf, Honorary Consul to the King of Sweden and Norway, Holder of the Bessarabian Order of the Fleece, Holder of the Russian Order of the Laurel.
Baron Ignace von Ephrussi, 1871
Ignace was the second-richest banker in Vienna, owning another huge building on the Ringstrasse and a block of buildings for the bank. And that was just in Vienna. I find an audit which notes that in 1899 he had assets in the city of 3,308,319 florins, roughly the current equivalent of $200 million; 70 per cent of this wealth was in stocks, 23 per cent in property, 5 per cent in works of art and jewellery and 2 per cent in gold. That is a lot of gold, I think, as well as a splendidly Ruritarian list of titles. You would need a façade with extra caryatids and gilding, if you had to live up to that list.
Ignace was a Gründer, a founding father, of the Gründerzeit, the founding age of Austrian modernity. He had come to Vienna with his parents and older brother Léon from Odessa. When the Danube flooded Vienna catastrophically in 1862, water lapping the altar steps of St Stephen’s Cathedral, it was the Ephrussi family who loaned money to the government for the construction of embankments and new bridges.
I own a drawing of Ignace. He must be about fifty, and he is wearing a rather beautiful jacket with wide lapels and a fatly knotted tie with a pearl stuck through it. Bearded, with his dark hair swept back from his brow, Ignace is looking straight back at me appraisingly and his mouth is set for judgement.
I have a portrait of his wife Émilie too, grey-eyed with a rope of pearls spun round and round her neck and sweeping down over a black shot-silk dress. She is also pretty judgemental, and every time I’ve hung this painting at home I’ve had to take it down, as she looks down on our domestic life in disbelief. Émilie was known in the family as ‘the crocodile’, with a most engaging smile – whenever she smiled. As Ignace had affairs with both of her sisters, as well as keeping a series of mistresses, I feel lucky that she is smiling at all.
Somehow I imagine that it was Ignace who chose Hansen as architect; he understood how to make symbols work. What this rich Jewish banker wanted was a building to dramatise the ascendancy of his family, a house to sit alongside all these great institutions on the Ringstrasse.
The contract between the two men was signed on 12th May 1869, with building permission granted by the city at the end of August. By the time he came to work on the Palais Ephrussi, Theophilus Hansen had been raised to the nobility; he was now Theophil Freiherr von Hansen, and his client – now knighted – was Ignace Ritter von Ephrussi. Ignace and Hansen started by disagreeing about the scale of the elevation: the plans record endless revisions as these two strong-willed men worked out how to use the spectacular site. Ignace demanded stables for four horses as well as a coach-house ‘for two to three carriages’. His chief requirement was for a staircase just for himself, one that couldn’t be used by anyone else living in the house. It is all spelt out in an article from 1871 in the architectural journal Allgemeine Bauzeitung, illustrated with splendid plans and elevations. The Palais would be a grandstand onto Vienna: its balconies would overlook the city, and the city would pass by its huge oak doors.
I stand outside. This is the last moment when I can choose to turn away, cross the road, take the tram and leave this dynastic house and story alone. I breathe in. I push the left door, cut into the huge oak double gates, and am in a long, high, dark corridor, a gold coffered ceiling above me. I go on and I am in a glazed courtyard five storeys high, with internal balconies punctuating the huge space. There is a life-size statue of a rather muscle-bound Apollo half-heartedly strumming his lyre in front of me, held on his pedestal.
There are some small trees in planters and a reception desk, and I explain, poorly, who I am and that this is my family house, and that I would love to look around if it is not too much of a problem. It is certainly not a problem. A charming man emerges and asks me what I would like to see.
All I can see is marble: there is lots of marble. This doesn’t say enough. Everything is marble. Floor, stairs, walls of staircase, columns on staircase, ceiling over staircase, mouldings on ceiling of staircase. Turn left and I go up the family stairs, shallow marble steps. Turn right and I go into another entrance hall. I look down and the patriarch’s initials are set in the marble floor: JE (for Joachim Ephrussi) with a coronet above them. By the grand stairs are two torchères, taller than me. The steps go on and on, trippingly shallow. Black marble frames to the huge double doors – black and gold – I push, and I enter the world of Ignace Ephrussi.
For rooms covered in gold, it is very, very dark. The walls are divided into panels, each delineated by ribbons of gilding. The fire-places are massive events of marble. The floors are intricate parquet. All the ceilings are divided into networks of lozenges and ovals and triangular panels by heavy gilded mouldings, raised and coffered into intricate scrolls of neoclassical froth. Wreaths and acanthus top the heady mixture. All the panels are painted by Christian Griepenkerl, the acclaimed decorator of the ceilings of the auditorium of the Opera. Each room takes a classical theme: in the billiard-room we have a series of Zeus’s conquests – Leda, Antiope, Danaë and Europa – each undraped girl held up by putti and velvet draping. The music-room has allegories of the muses; in the salon, miscellaneous goddesses sprinkle flowers; the smaller salon has random putti. The dining-room, achingly obvious, has nymphs pouring wine, draped with grapes or slung with game. There are more putti, for no good reason, sitting on doorway lintels.
Everything in this place, I realise, is very shiny. There is nothing to grip onto with these marbled surfaces. Its lack of tactility makes me panic: I run my hands along the walls and they feel slightly clammy. I thought I’d worked through my feelings about Belle Époque architecture in Paris, craning my neck to see the Baudrys on the ceilings of the Opéra. But here it is all so much closer, so much more personal. This is aggressively golden, aggressively lacking in purchase. What was Ignace trying to do? Smother his critics?
In the ballroom, with its three great windows looking across the square to the Votivkirche,
Ignace suddenly lets something slip. Here, on the ceiling – where in other Ringstrasse Palais you might find something Elysian – there is a series of paintings of stories from the biblical Book of Esther: Esther crowned as Queen of Israel, kneeling in front of the Chief Priest in his rabbinical robes, being blessed, with her servants kneeling behind her. And then there is the destruction of the sons of Hamam, the enemy of the Jews, by Jewish soldiers.
It is beautifully done. It is a long-lasting, covert way of staking a claim for who you are. The ballroom is the only place in a Jewish household – however grand, and however rich you might be – that your Gentile neighbours would ever see socially. This is the only Jewish painting on the whole of the Ringstrasse. Here on Zionstrasse is a little bit of Zion.
14. HISTORY AS IT HAPPENS
This implacably marble Palais is where Ignace’s three children were brought up. In the cache of family photographs that my father gave me is a salon picture of these children, caught stiffly between velvet drapes and a potted palm. Stefan is the eldest son, handsome and rather anxious. He is spending his days at the office with his father, learning grain. Anna is long-faced and huge-eyed, with massed curls, and looks utterly bored, her picture album almost falling out of her hands. She is fifteen and, apart from dancing lessons, spends her days in a carriage going between at-homes with her glacial mother. And my great-grandfather is the young Viktor. He is called by his father’s Russian nickname, Tascha, and is in a velvet suit, clutching a velvet hat and a cane. He has black, glossy, waved hair and looks as if he has been promised a reward for spending this long afternoon away from his schoolroom, under all these heavy drapes.
The Hare with Amber Eyes: A Family's Century of Art and Loss Page 11
