CÍSAŘSKÉ LÁZNĚ IMPERIAL SPA IN KARLOVY VARY HISTORY The second half of the 19th century was a time of enormous boom for Karlovy Vary. The number of visitors and spa guests at least tripled, which entailed more intensive construction initiatives. It was necessary to build new pensions, cafés, guesthouses, and other public buildings such as spas, sanatoriums, colonnades, etc. Karlovy Vary, like many other towns, was greatly influenced by the various styles of Historicist architecture that perfectly convened the illusive aspirations of the individual, so-called awakening social classes and nations.1 Also, typical and determining for the architecture of the spa town continued to be the considerable influence and distinct orientation on models from the Viennese milieu. Increased construction activities concentrated on reconstruction of older-date, no longer suitable objects, on the one hand, and expansion beyond the existing limits of the town’s historical development, on the other. Thus, new development began to spread in northern direction, towards the Buštěhrad railroad track and station (current Horní Nádraží / Upper Railway Station), where the town’s current business and administration district is today, with T.G. Masaryk Boulevard as the main traffic route that branches out southwards, where it ends in a T-stop with the street to Mariánské Lázně, i.e., today’s Mariánskolázeňská Street. The Municipal Building Authority picked up on this trend promptly and responded with the issue of a number
Karlovy Vary - town‘s brew-house. A. Drum 1890 01
Karlovy Vary - map the cities Karlovy Vary 1921
of new requirements which it imposed without hesitation by way of intervention into construction projects. The boom came to a point towards the turn of the centuries, as the urban development of the town and the construction activities climaxed and entered history as the town’s “golden era”, taking up the previous construction periods, and that came to be known, as the most important period, both in terms of urban planning and architectural styles, in Karlovy Vary. The Municipal Council passed a resolution about the construction of a new peat-moss spa on Dec. 3, 1892. Upon making a definitive decision to go ahead, the Municipal Council decided to explore the latest European and global trends both in balneology and in construction techniques. Elaboration of the project was commissioned, 02
by resolution of the Municipal Council of April 27, 1893, to experienced and reputed Viennese architects, Ferdinand Fellner and Hermann Helmer, who had successfully realized a number of spa projects in Karlovy Vary, including several magnificent colonnades and the town’s theater.2 The commission called for building a large and sophisticated spa facility with luxurious, state-of-the-art furnishings that would be optimally capable of providing highly popular moor bath treatments. The site selected for the new spa facility was situated at the end of the Teplá River valley, across from grandiosely developing Hotel Etablissement, currently Grand Hotel Pupp. The spa was to be built on the site of the former beer brewery that the town’s burghers had 03
built there in the years 1729-1732. The beer brewery’s deep cellars carved into the massive rock on the opposite side of Mariánskolázeňská Street, are preserved to this day. From there, the road continued towards Mariánské Lázně and a tourist-outing route to Poštovní Dvůr. Following demolition of the beer brewery at the beginning of 1893, construction work on the new spa building could begin the same year, and continued throughout all of 1894 until May 1895, when the last technical utilities were installed. On May 6, 1895, the building of Císařské Lázně was completed and ceremonially opened. The monumental building was to become the pride of Karlovy Vary. With developed area of 2,800 m2, the overall costs of the construction, including interior facilities and special technical provisions, exceeded one million gulden.3 Today, Císařské Lázně still counts among the
Karlovy Vary - Císařské lázně, Wilhelm Gause 1895
largest and artistically most endowed spa houses in Karlovy Vary. On April 19, 1898, a fire broke out in the attic of the building. The roof over the left rear wing containing mineral baths and the towerlike shell of the chimneystack were damaged, but the damages were quickly removed and the building repaired. Following the establishment of independent Czechoslovakia in October 1918, Císařské Lázně was renamed to Lázně I. In 1926, the complex underwent a partial reconstruction that was limited to the basement only. A major reconstruction of Lázně I, with the aim to ensure all-year operations, took place in the years 1948-1953 after a project by Leo Šimon. During the reconstruction, the inner courtyard was covered with a roof and additional bath treatment rooms were added around the courtyard’s gallery on the 2nd floor. In 1947, 04
Karlovy Vary - Císařské lázně, front tract
the chimney was demolished and, in 1952, the ground-floor as well as first-floor cabins modified.4 Unfortunately, this adaptation modified also the bath treatment system. Císařské Lázně was used for balneological purposes practically until the end of the 20th century. Subsequent development of spa treatments called, above all, for greater comfort of the spa clientele, so that virtually all contemporary prominent spas, sanatoriums, and spa hotels own their own balneological facilities that offer a whole range of treatments in the place of their guests’ accommodation. Primarily for the above reason central Spa has completely lost its singular importance. By the beginning of the 1990’s, however, as the tooth of time kept working on the spa equipment and the overall condition of the building itself deteriorated severely, the spa operations in Císařské Lázně had to be eventually terminated. Towards the end of the 1990’s, the building was vacated, as part of intended (prepared) a substantial reconstruction and conversion into a luxury hotel, including demolition of the steel service galleries in the courtyard, dismounting of the bath tubs and all balneological equipment. Fortunately, the extensive reconstruction plan was never realized. Since then, the building has been used for public purposes on exceptional occasions only. Usually, the Zander Hall is used during the Karlovy Vary International Film Festival and for ceremonial events, such as celebration of the bi-centennial anniversary of the company Jan Becher – Karlovarská Becherovka in 2007, or the 650th anniversary of the foundation of the town of Karlovy Vary in 2008.
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A TOUR OF CÍSAŘSKÉ LÁZNĚ
Karlovy Vary - Císařské lázně, situation F. Fellner and H. Helmer 1893 (SA MM K. Vary)
The spectacular building, built in the Historicized style of the French neo-Renaissance, conceals magnificent interiors that offer extraordinary comfort and state-of-the-art period furnishings. The source of inspiration for the Fellner & Helmer Studio were the architectural forms of the French Renaissance and classicized Baroque. The central bay motif, topped with tall roofs and mansards, visibly favors the style concept of French Renaissance and Baroque chateaux. Elevated pavilions with domes remind one of the recently finished renovations of the Louvre by architects Lefuel and Visconti during the rule of Napoleon III in the years 1852-1857 (completed in 1876). However, the overall composition of the individual front-wing elements with a massive central bay and corner bays, complemented 06
Vittel - Bath, Ch. Garnier, plan of layout
with a horseshoe-shaped rear wing, derives clearly from a spa building and the Casino built by Charles Garnier in a French spa named Vittel in 1884 (another copy of the Casino in Vittel was also built in 1898 in Néris-les-Bains). Apart from that resemblance, the disposiion of Císařské Lázně in Karlovy Vary is absolutely unique.
Vittel - 1884
THE EXTERIOR The building’s dominant perpendicular rear wing, which faces the town, is articulated into three parts by the central bay, topped by a massive dome with mansards, and two side wings ending with corner bays, also topped with proportionately smaller domes and mansards. 07
Karlovy Vary - Císařské lázně 1895
Karlovy Vary - Císařské lázně, ground plan basement
Karlovy Vary - Císařské lázně, ground-floor plan 08
Karlovy Vary - Císařské lázně, ground plan 1st floor
Karlovy Vary - Císařské lázně, ground plan 2nd floor 09
The horseshoe-like rear wing connects to the front wing at the point of the rear wing’s central bay, also topped with a dome, from which a massive chimney used to be protruding in the past.
Karlovy Vary - Císařské lázně, separate building of peat-moss
Karlovy Vary - Císařské lázně, entrance 10
Karlovy Vary - Císařské lázně, memorial dedicate for emperor Franz Joseph
Karlovy Vary - Císařské lázně, memorial tablet of city
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The roofs of the both the front and rear wing are articulated by mansards along their whole length. The ground floor of the building is enhanced by a massive horizontal bossage and the upper floor is articulated by means of shallow-profile rustication. The central bay opens up inside into a foyer with a straight monumental stairway with two drive-up ramps. The ground floor of the front wings is segmented into open lodge-like corridors that are lined with Tuscany columns, and the same-style Tuscany columns support the porticoes of the corner bays. The windows on the upper floors are arched, with Tuscany pilasters on the sides, thus creating the image of arcades. In the rear wing,
Karlovy Vary - Císařské lázně, loggia 12
Karlovy Vary - Císařské lázně, windows in the Hall central buttress
Tuscany columns are combined with semi-columns and Ionic pilasters. Between the windows of the front wing’s central bay are two caryatides (this detail is repeated at the corner bays). Mounted above the windows are plaques bearing the names of prominent Karlovy Vary spa physicians – on the front wing: Wenzel Payer, David Becher, and Eduard Hlawaczek; on the side wings: Rudolf Mannl and Gallus Hochberger. The upper edge of the central bay’s façade ends with an attic and cartouche underneath the dome, with the emblem of the municipality of Karlovy Vary; the corner bays are adorned with playful putti with dolphins, in addition to frontispiece segments. The rear-wing
Karlovy Vary - Císařské lázně, attic in central buttress 13
Karlovy Vary - Císařské lázně, roof central buttress
bay is articulated by groups of semi-columns (Tuscany style on the ground floor, Ionic on the upper floor). The façade below the roof is adorned with a frontispiece parapet with inserted “putti” with dolphins and two corner emblems with imperial crowns – the one on
Karlovy Vary - Císařské lázně, emblem of the municipalitz of Karlovy Vary in cartouche roof central buttress 14
Karlovy Vary - Císařské lázně, dormer-window
the right being the symbol of Karlovy Vary and the one on the left currently empty (formerly, there was the imperial eagle that was removed after W.W.I). Figural decorations are the work of sculptor and stucco master Karl Watzek of Rybáře and the stonework was made by Peter Wolf of Andělská Hora. The domes and roof mansards are adorned with magnificent decorative trims in the form of burning torches with snakes wound around them, and Antique-like galleries with wartime clowns in front. In 1908, two allegorical sculptures by a Cheb sculptor, Karl Wilfert Jr., were installed in front of the entrance to the vestibule, symbolizing Primal Force and Healing Power. 15
Karlovy Vary - Císařské lázně, the domes roof on mansards cornice
Karlovy Vary - Císařské lázně, painting in waiting room 16
THE INTERIOR Matching the luxurious exterior, the interior of the building, too, is richly decorated in the neo-Renaissance style adorned with Art-nouveau details. The inventory includes very valuable vistas of Karlovy Vary or genre sceneries. Particularly valuable are numerous examples of artistically exquisite craftsmanship (paneling, ceramic tile work, vitrages, grating, metal fixtures, door panels, etc.).
Karlovy Vary - Císařské lázně, vestibule, building plan 1893 (SA MM K. Vary)
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Karlovy Vary - Císařské lázně, vestibule, Wilhelm Gause 1895
Karlovy Vary - Císařské lázně, vestibule 18
Karlovy Vary - Císařské lázně, vestibule, molding with garlands and busts of Roman emperors and so-called „Green men“
The Vestibule The vestibule had a drive-in entrance for carriages. Formerly, there was a cash register, a reception office, and a janitor or porter. The vestibule is ar-
Karlovy Vary - Císařské lázně, vestibule, detail the emblem of Karlovy Vary on mirror vault in cartouche 19
ticulated with massive marble-like (stucco lustro) co-lumns with Ionic heads that split the vestibule into two halves with mirror vaults. Near the entrance into the building, the emblem of Karlovy Vary is placed in the top mirror in a Baroque-like cartouche. Groups of columns form a circumferential support for a molding with garlands and Art-Nouveau busts of Roman emperors and so-called green men.
Karlovy Vary - Císařské lázně, entrance corridor 20
Karlovy Vary - Císařské lázně, corridor, stucco decór
The Corridor and impressive Stairway The entrance vestibule opens up into a hall with a majestic tripleflight stairs to the first floor. White columns and stucco-lustro pilasters with a spectacular balustrade and ingenious through-vistas evoke associations with the exquisite forms of the majestic stairways in French Renaissance chateaux or the Opera House by Charles Garnier in Paris. On the stairs to the upper floor are still the frescoes by academic painter Alexander Jakesch of Prague depicting the Discovery of a dozing Vřídelní Fairy and the scene of Vřídlo Discovery.
Karlovy Vary - Císařské lázně, corridor, detail fronton (supraporta) door 21
Karlovy Vary - Císařské lázně, flight of steps to the basement
Karlovy Vary - Císařské lázně, flight of steps in the basement
Karlovy Vary - Císařské lázně, flight of steps to the 1st floor 22
Karlovy Vary - Císařské lázně, flight of steps to the 1st floor
Karlovy Vary - Císařské lázně, painting the Discovery of a dozing Vřídelní Fairy 23
Karlovy Vary - Císařské lázně, painting the Vřídlo Discovery
On the half-landing is the bust of a prominent Karlovy Vary physician, Jean de Carro. The upper floor could also have been accessed by means of a hydraulic elevator. The Waiting Rooms
Karlovy Vary - Císařské lázně, bust of dr. Jean de Carro
The right and left sides of the front wing contain a waiting room each, separate for ladies and gentlemen, where spa guests used to wait for their treatments. On the walls of the waiting rooms are two paintings by a Karlovy Vary painter named 24
Karlovy Vary - Císařské lázně, waiting room
Karlovy Vary - Císařské lázně, waiting room 25
Karlovy Vary - Císařské lázně, waiting room, detail fronton (supraporta) door
Karlovy Vary - Císařské lázně, prominent visitors of Spa 26
Karlovy Vary - Císařské lázně, waiting room, detail fronton (supraporta) door
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Karlovy Vary - Císařské lázně, prominent visitors of Spa
Wilhelm Schneider, depicting the most prominent visitors of Karlovy Vary before 1914. For the guests’ convenience, there also was a hairdresser’s beauty shop. The Spa Facilities and Baths The semi-circular rear wing was lined with a gallery of individual spa cabins around the central atrium. The disposition of the stairs was threewinged, with a throughcorridor around the circumference and cabins facing the atrium. In fact,
Karlovy Vary - Císařské lázně, peripheral corridor 28
the whole layout was so ingeniously designed that no alterations were necessary even after 100 years. All in all, there were 120 bathrooms on that floor. On the ground floor were cabins for moor baths; cabins for peat-moss and mineral baths and showers in the basement.
Karlovy Vary - Císařské lázně, Imperial Bath 29
Karlovy Vary - Císařské lázně, Imperial Bath, saloon 30
Karlovy Vary - Císařské lázně, Imperial Bath
Karlovy Vary - Císařské lázně, Imperial Bath, changing room 31
Karlovy Vary - Císařské lázně, Imperial Bath, saloon 32
Karlovy Vary - Císařské lázně, Imperial Bath
The most valuable and precious is so-called Císařská Lázeň (Fürstenbad / Imperial Bath) in the front part of the right wing, which was reserved for VIP guests exclusively. During his visit of Karlovy Vary in 1904, however, Emperor Franz Josef I never took a bath in it, as he merely inspected the spa as a whole. The accessory rooms to Císařská Lázeň, i.e., the changing room and the relaxation parlor, are also richly decorated, featuring a magnificent interior in the Tudor neo-Gothic style with exquisite paneling and colorful Art-Nouveau vitrages in the windows and murals on the walls, all well preserved. Císařská Lázeň still contains original chandeliers. Each of the bathrooms on the ground floor as well as upper floor had its own changing room and a cabin. The floors and walls of the cabins were lined with ceramic tile work. There were two bath tubs in each cabin, one for 33
Karlovy Vary - Císařské lázně, bathroom 34
moor and the other for mineral water, with a fresh-water shower. While the tubs mineral bath, made of English faïence, were stationary (built-in), the peat-moss tubs, made of oak, were mobile, as they were brought, already filled with mixed peat-moss, into the bathroom, where they were put into a marble-lined frame. The cabins had electrically heated floors and ventilation. There were even so-called English (i.e., flushing) toilets, bidets, and spa robe heaters made of zinc-coated copper. Furthermore, Císařské Lázně had – in addition to 25 peat-moss bathrooms on the ground floor - 22 bathrooms for mineral water treatment, 4 rooms with carbonic baths and other procedures, such as steam baths and hot-air baths, cold-water baths, whirl-pool baths for feet, sit-baths, and three bathrooms for electrotherapy, all with changing rooms, all kinds of showers, private bathrooms for patients who wanted to be isolated from others, and steam baths after the Bértle system of Paris.5 Quite original and unique was the system of transporting peat-moss to the tubs. Peat-moss was imported from Františkovy Lázně, from a well-known location named Soos, by the company of Heinrich Mattoni.6 Preparation and mixing of the peat-moss was done in a separate building behind Císařské Lázně, from where it was transported in the tubs to the formerly open-air courtyard of Císařské Lázně. The courtyard was surrounded by galle-
Karlovy Vary - Císařské lázně, bathroom, tin-glazed earthenware 35
Karlovy Vary - Císařské lázně, court
Karlovy Vary - Císařské lázně, court 36
Karlovy Vary - Císařské lázně, gallery about bathrooms, building plan 1893 (SA MM K. Vary)
ries made of steel. With the aid of a hydraulic elevator, the tubs were pulled up to the particular floor and rolled along the gallery to concrete bathrooms. Fitting the oak tubs was done through small doors located below the bathroom’s floor level – this
Karlovy Vary - Císařské lázně, dvůr, court, little door to the bathrooms 37
Karlovy Vary - Císařské lázně, system of transporting peat-moss to the bathrooms
Karlovy Vary - Císařské lázně, front view to the 1st floor 38
Karlovy Vary - Císařské lázně, separate building for peat-moss, building plan 1893 (SA MM K. Vary)
39
Karlovy Vary - Císařské lázně, corridor 1st floor 40
Karlovy Vary - Císařské lázně, ceiling over flight of steps
eliminated the possibility of unpleasant cold-air draughts in the bathrooms. The rear wing also had back stairs for the personnel, storage rooms, and apartments of the manager of operations and the janitor.
Karlovy Vary - Hall for Swedish gymnastics, building plan 1893 (SA MM K. Vary)
Karlovy Vary - Císařské lázně, Zander Hall with gymnastics facilites 41
Zander Hall On the 1st upper floor of the central bay is a large hall, called Zander Hall, which was outfitted with sports facilities for Swedish gymnastics according to Dr. Zander. The walls of this hall are lined with flatgrain wainscoting with five paintings by Eduard Lebiedzki of Vienna on the upper part of the walls, depicting celebration of sports and
Karlovy Vary - Císařské lázně, Zander Hall 42
health, entitled: Olympic Games; Welcoming an Olympic Champion Back Home in the Village; Ball Games; Swimming in a Spa; Aesculapius, God of Medicine, and His Daughter, Hygieia.7 Over the entrance in a frontispiece is the bust of Dr. Zander himself. The ceiling is designed as wooden vaults with Gothicized bearing pillars that were part of the building’s metal (iron) structural frame. Groups of massive columns and pilasters in the Corinth style are coated with pan-
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Karlovy Vary - Císařské lázně, Zander Hall, entrance 44
Karlovy Vary - Císařské lázně, Zander Hall, entrance for bust dr. Zander
Karlovy Vary - Císařské lázně, Zander Hall, painting Olympic Games
Karlovy Vary - Císařské lázně, Zander Hall, painting Wlcoming an Olympic Champion 45
Karlovy Vary - Císařské lázně, Zander Hall, painting Swimming in a Spa 46
Karlovy Vary - Císařské lázně, Zander Hall, painting Ball Games 47
Karlovy Vary - Císařské lázně, Zander Hall
Karlovy Vary - Císařské lázně, Zander Hall, window 48
Karlovy Vary - Císařské lázně, Z
Zander Hall, capital columns
Karlovy Vary - Císařské lázně, Zandr Hall, ceiling
Karlovy Vary - Císařské lázně, Zander Hall 49
eling to look like made of wood. Large arched windows with inserted wooden ediculas imitate Garnier’s windows in the Opera in Paris or Monte Carlo (Casino). The hall is fitted with 64 apparatuses for gymnastics and rehabilitation, some of them electrical. Not only the latter equipment, but also all other technical provisions in the building were highly sophisticated, so to speak state-of-the-art at the time when the spa was opened. The facilities included changing rooms for ladies and gentlemen, a waiting room, and six massage parlors. PLANNED RENOVATION AND NEW EXPLOITATION OF CÍSAŘSKÉ LÁZNĚ Císařské Lázně is the symbol of the golden era of Karlovy Vary as well as the spa culture as a whole in the West-
Karlovy Vary - Císařské lázně, changing room for ladies Zanders institute
Karlovy Vary - Císařské lázně, waiting room in 1st floor 50
Karlovy Vary - Císařs
ské lázně, changing room for ladies Zanders institute 51
Karlovy Vary - Císařské lázně, flight of steps in the basement, detail balustrade
Bohemian Spa Triangle. Due to a decline in spa operations and their complete termination in 1990, Císařské Lázně has been gradually deteriorating and search for a meaningful exploitation of the building’s potential continues. In 2008, Císařské Lázně became part of assets of the Karlovy Vary Regional Authority. The Regional Authority endeavors to restore the extraordinary building and make it accessible to the public again. Due to changes in the balneological services in Karlovy Vary, Císařské 52
Lázně will no longer be used for its original purposes (i.e., full-fledged and comprehensive spa treatments). At present, the building suffers from excessive humidity on the ground floor and must therefore undergo a major reconstruction and sanitation. The interiors containing valuable artistic objects and examples of extraordinary craftsmanship must be professionally restored. Thus, preservation of the unique disposition and all the works of art for cultural and social purposes as much as possible appears to be the optimal solution. Hitherto suggested ways of exploiting Císařské Lázně, after restora53
Karlovy Vary - Císařské lázně, chandelier in Imperial Bath
tion, include plans for using the building for museum expositions, as the building’s architecture itself and all its elements preserved to date offer magnificent dispositions for displaying relevant exhibits. Although Karlovy Vary is our most significant spa location, there exists no special exposition as yet documenting the history of the spa industry and its development, as a phenomenon of this town and the whole region. Every globally important spa town in Europe has either an independent museum that presents the history of the spas in the region, or at least a specialized institution that collects relevant exhibits to document their spa history, e.g., The Regional Museum in Teplice, The Balneological Museum in Piešťany, The Roman Baths Museum 54
Karlovy Vary -
- Císařské lázně, vitrages in Imperial Bath 55
Karlovy Vary - Císařské lázně, historical light fitting in the vestibule 56
Karlovy Vary - Císařské lázně, window fittings
in Bath, Museums in Bad Pyrmont, Baden-Baden, Bad Ischl, Spa, The Kurhaus Museum in Kleve, The Spa Museum in Zinnowitz, Heiligendamm, The Balnea Museum in Rimini, The Spa Museum in Parádfürdő, etc. It is therefore proposed to open a spa museum exposition in Císařské Lázně and establish an institution specializing in studying the history of balneology.8 Karlovy Vary and the whole Karlovy Vary Region, being the home region of the world renowned spa triangle, would certainly deserve to have an independent spa exposition dedicated to preserving the town’s legacy and, for Císařské Lázně, it would be chance to become the pride of Karlovy Vary once again. Relevant expositions and a specialized institution for research and studies could significantly contribute to presenting and promoting the idea of nominating the West-Bohemian Spa Triangle for registration in the 57
Karlovy Vary - Císařské lázně, Imperial Spa
UNESCO List of World Heritage Sites. In addition to serving as a spa museum and museum of the Karlovy Vary International Film Festival, other options come to mind, such as a congress center or home for the Karlovy Vary Symphonic Orchestra. Moreover, the complex could also be used as a regional and municipal info center or as premises for occasional expositions with a multifunctional hall for concerts and conventions. Yet another option might be to use this highly presentable and exquisite building amidst the globally reputed spa town as the domicile of an EU institution. Given the historical value and singularity of the building, it goes without saying that any and all restoration work would require en58
gaging genuine professionals, i.e., renowned conservators, specialized construction companies with relevant references and experience, and top-quality craftsmen. The project would have to be strictly supervised by governmental as well as relevant local institutions of competence over conservation of the national heritage fund, the National Conservation Institute, and other relevant authorities of competence by venue over conservation of historical sites.
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Notes: 1
2 3
4 5 6 7
8
Srov.: Roubínek Zdeněk – ROUBÍNKOVÁ Dana, Historismus v architektuře Karlových Varů, Karlovy Vary 1996; Burachovič Stanislav, Zlatý věk Karlových Varů, Karlovy Vary 1993. Zídková Anna, Fellner a Helmer v Karlových Varech, Karlovy Vary 1997, 276 s. Festschrift zur 74. Versammlung deutscher Naturforscher und Ärzte, Karlsbad 1902, s. 250. Zídková Anna, Fellner a Helmer ... s. 161. Festschrift ... s. 255-257. Festschrift ... s. 258. Festschrift ... s. 251-254, Linke Eugen, Heimatkunde des Bezirkes Karlsbad. Kunstgeschichte I. Teil: Baukunst und Bildnerei. Karlsbad 1937, s. 32-34. Ideový záměr nové muzejní expozice lázeňství v Císařských lázních v Karlových Varech, rukopis L. Zeman, Z. Černý, S. Burachovič, T. Vylita, Karlovy Vary 2008.
SOURCES Stavební archiv Magistrátu města Karlovy Vary BIBLIOGRAPHY Burachovič Stanislav, Zlatý věk Karlových Varů, Karlovy Vary 1993. Festschrift zur 74. Versammlung deutscher Naturforscher und Ärzte, Karlsbad 1902 kolektiv autorů (L. Zeman, Z. Černý, S. Burachovič, T. Vylita), Ideový záměr nové muzejní expozice lázeňství v Císařských lázních v Karlových Varech, rukopis Karlovy Vary 2008 Kuča Karel - Zeman, Lubomír, Památky Karlovarského kraje. Koncepce památkové péče v Karlovarském kraji. Karlovy Vary 2006 Linke Eugen, Heimatkunde des Bezirkes Karlsbad. Kunstgeschichte I. Teil: Baukunst und Bildnerei. Karlsbad 1937 Roubínek Zdeněk – ROUBÍNKOVÁ Dana, Historismus v architektuře Karlových Varů, Karlovy Vary 1996 Zídková Anna, Fellner a Helmer v Karlových Varech, Karlovy Vary 1997 60