Niederwald monument, Rüdesheim am Rhein, Germany

Publisher: Knackstedt & Nather, Hamburg

Google Street VIew

The monument was constructed to commemorate the founding of the German Empire in 1871 after the end of the Franco-Prussian War. The first stone was laid on 16 September 1871 by Kaiser Wilhelm I. The sculptor was Johannes Schilling, and the architect was Karl Weißbach. The total cost of the work is estimated at one million gold marks. The monument was inaugurated on 28 September 1883. The 38 metres (125 ft) tall monument represents the union of all Germans. The central figure is the 10.5 metres (34 ft) tall Germania figure. Her right hand holds the recovered crown, and her left holds the Imperial Sword. Beneath Germania is a large relief depicting Kaiser Wilhelm I riding a horse with the nobility, army commanders, and soldiers. The relief has the lyrics to “Die Wacht am Rhein” (Watch on the Rhine) engraved. The right side of the monument is considered the “peace statue”, while the left is considered the “war statue.”

[Via Google Translate]
Standing in front of the Niederwald monument is impressive because of its sheer size. The entire facility is 38.18 meters high and weighs around 75 tons in total. The most striking and at the same time largest part is the Germania placed on the upper pedestal and visible from afar . It alone reaches a height of 12.5 meters and weighs around 32 tons. The main inscription commemorating the Franco-Prussian War and the unification of the empire is carved into the base at her feet. It reads in capital letters: “In memory of the unanimous, victorious uprising of the German people and the reestablishment of the German Reich 1870-1871”. Directly below is the main relief, which depicts a total of 133 people. These are primarily generals and princes who played an important role in the founding of the empire and in the preceding war against France. You can also see a Prussian guard with a flag and a Saxon infantryman carrying a drum. Wilhelm I is depicted in the center of the relief. He is the only figure sitting on a horse and surrounded by all the others. This emphasizes its importance once more. All people shown are life-size. :: Alles Rund um das Niederwalddenkmal

Tugendbrunnen/Fountain of Virtues, Nuremberg

Nürnberg, Tugendbrunnen
Publisher: Hermann Martin

Google Street VIew

(Via Google Translate)
The Tugendbrunnen was built between 1584 and 1589 during the sensuous Renaissance period by the Nuremberg ore founder Benedikt Wurzelbauer. Like the beautiful fountain [Schönen Brunnen], it is one of the symbols of the city of Nuremberg and is located on the north side of the Lorenzkirche on Lorenzer Platz. Seven human figures and six putti adorn the bronze fountain column, which is divided into three floors and rises from an octagonal basin. The seven figures represent the seven virtues of the Middle Ages, with six putti between them.
Bayern Online

Fountain with a central column with three storeys with statues:
Top: Gerechtigkeit – Justice, blindfolded woman with scales and sword, with behind here a crane.
Middle: six music-making putti with coats of arms (each coat of arms appears twice):
Great arms of Nürnberg (eagle with a king’s head)
Holy Roman Empire (crowned, double-headed eagle)
Small arms of Nürnberg (eagle and red bends)
Lower: six virtues
Glaube – Faith, woman with chalice and cross.
Liebe – Charity, woman with two children.
Hoffnung – Hope, woman with anchor.
Tapferheit – Fortitude, armoured woman with gun and lion.
Mäßigkeit – Temperance, woman pouring wine from a jug in a goblet.
Geduld – Patience, woman with lamb.
Statues – Hither & Thither

Richard Wagner’s Grave, Bayreuth, Germany

Bayreuth. | Grab Rich. Wagners.
Publisher: Ottmar Zieher, Munich

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Wilhelm Richard Wagner); 22 May 1813 – 13 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, “music dramas”). . . . After the festival, the Wagner family journeyed to Venice for the winter. Wagner died of a heart attack at the age of 69 on 13 February 1883 at Ca’ Vendramin Calergi, a 16th-century palazzo on the Grand Canal.[145] The legend that the attack was prompted by argument with Cosima over Wagner’s supposedly amorous interest in the singer Carrie Pringle, who had been a Flower-maiden in Parsifal at Bayreuth, is without credible evidence. After a funerary gondola bore Wagner’s remains over the Grand Canal, his body was taken to Germany where it was buried in the garden of the Villa Wahnfried in Bayreuth.

Zytglogge/Clock tower, Bern, Switzerland

Bern, Kramgasse mit Zeitglockenturmc.
Publisher: G. Metz, Basel

Google Street View.

First it was a fortified guard tower, then a prison, a lookout and fire observation tower, and finally a clock tower. Over the centuries, this landmark has fulfilled different functions for the city of Bern but has always played a key role. As Bern continued to grow and expand its city limits, the former guard tower gradually found itself closer and closer to the city center. After the devastating fire of 1405, the structure was rebuilt and given a new identity. Now known as the Zytglogge (Clock Tower), it began telling time for the inhabitants of Bern. As the official timekeeper, its location could not be more central and from then on, the locals listened for it to strike the hours. The tower was also an authoritative building for other matters in the capital city. For example, official travel times were measured from the Clock Tower and marked on stones along the cantonal roads. The ancient length measurements of cubit and fathom – which are still marked today in the tower entrance as meter and double meter – served as the reference length and for official checks.

“Details of the Zytglogge tower in Bern, Switzerland”, Sketches by cobbler journeyman Sebastian Fischer of Ulm, 1534 (from Wikimedia Commons

When it was built around 1218–1220, the Zytglogge served as the gate tower of Bern’s western fortifications. These were erected after the city’s first westward expansion following its de facto independence from the Empire. At that time, the Zytglogge was a squat building of only 16 metres (52 ft) in height. When the rapid growth of the city and the further expansion of the fortifications (up to the Käfigturm) relegated the tower to second-line status at around 1270–1275, it was heightened by 7 metres (23 ft) to overlook the surrounding houses. Only after the city’s western defences were extended again in 1344–1346 up to the now-destroyed Christoffelturm, the Zytglogge was converted to a women’s prison, notably housing Pfaffendirnen – “priests’ whores”, women convicted of sexual relations with clerics.[4] At this time, the Zytglogge also received its first slanted roof. In the great fire of 1405, the tower burnt out completely. It suffered severe structural damage that required thorough repairs, which were not complete until after the last restoration in 1983. The prison cells were abandoned[6] and a clock was first installed above the gate in the early 15th century, probably including a simple astronomical clock and musical mechanism. This clock, together with the great bell cast in 1405, gave the Zytglogge its name, which in Bernese German means “time bell”.
. . .
The Zytglogge’s internal layout has changed over time to reflect the tower’s change of purpose from guard tower to city prison to clock tower. The thirteenth-century guard tower was not much more than a hollow shell of walls that was open towards the city in the east. Only in the fourteenth century was a layer of four storeys inserted. The rooms above the clockwork mechanism were used by the city administration for various purposes up until the late 20th century, including as archives, storerooms, as a firehose magazine and even as an air raid shelter. The interior was frequently remodelled in a careless, even vandalistic fashion; for instance, all but three of the original wooden beams supporting the intermediate floors were destroyed.

The Clock Tower (Zeitglockenturm) was Bern’s first western city gate (1191 – 1256) and formed the boundary of the first city extension. Today it is one of Bern’s most important sights. The ornate astronomical calendar clock was created in 1530. The tower clock was the city’s main clock and therefore had an authoritative function in Bern. It was from there that travel times indicated on the hour stones along the cantonal roads were measured. Length units – formerly cubit and fathom, today meter and double meter – for public inspection are displayed in the arch of the gate.

Photos of inside

“Kramgasse mit Zeitglockenturm und Zähringerbrunnen” (Kramgrasse with the clock tower & statue), Adolf von Graffenried, c.1830 (from Wikimedia Commons).

In 1527, the Zytglogge’s movement had broken down. A local blacksmith by the name of Kaspar Brunner who had no previous experience in horology won the construction bid to repair the movement for around 1,000 Bernese Gulden. By 1530, Brunner had completed the astronomical clock’s new movement – even adding additional new features in the process. This new movement is still being used to power the Zytglogge today, without any major breakdowns along the way! For this great mechanical feat, Brunner is remembered fondly in Bern.
Montres Publiques

A journey inside Bern’s whimsical clock tower reveals how clicking gears and dancing bears changed the meaning of time. Deep inside a medieval watchtower, Markus Marti presides over the passage of time. Several times a week in the heart of Bern, Switzerland, the retired engineer leads a small group of visitors up a twisting narrow staircase. Then, using a wooden baton as a pointer, he explains how a maze of iron parts powered by a swinging pendulum has, second by second, counted off the last half millennium.
BBC Travel

The Zähringerbrunnen (Zähringen Fountain) is a fountain on Kramgasse in the Old City of Bern, Switzerland. It is a Swiss Cultural Property of National Significance and is part of the UNESCO World Heritage Site of the Old City of Bern. The Zähringerbrunnen was built in 1535[2] as a memorial to the founder of Bern, Berchtold von Zähringer. The statue is a bear in full armor, with another bear cub at his feet. The bear represents the bear that, according to legend, Berchtold shot on the Aare peninsula as he was searching for a site to build a city. The armored bear carries a shield and a banner, both emblazoned with the Zähringen lion.

Cathedral, Cologne, Germany

CÖLN a. Rh.
Dom – Südseite (160 m hoch)
Grundsteinlegung 15. August 1248. Vollendet 15. Okt. 1880.
Baukosten seit 1824: 20¾ Millionon
[Cathedral – south side (160 m high) Foundation stone laid August 15, 1248. Completed Oct. 15, 1880. Building costs since 1824: 20¾ million]
Publisher “Dr. Trenkler Co.”

Google Street View.

Virtual tour (in German)

“Cologne Cathedral on September 4th, 1842, cornerstone ceremony for the restart of construction work,” Georg Osterwald, 1842 (from Wikimedia Commons)

Begun in 1248, the building of this Gothic masterpiece took place in several stages and was not completed until 1880. Over seven centuries, its successive builders were inspired by the same faith and by a spirit of absolute fidelity to the original plans. Apart from its exceptional intrinsic value and the artistic masterpieces it contains, Cologne Cathedral bears witness to the strength and endurance of European Christianity. No other Cathedral is so perfectly conceived, so uniformly and uncompromisingly executed in all its parts.

Cologne Cathedral is a High Gothic five-aisled basilica (144.5 m long), with a projecting transept (86.25 m wide) and a tower façade (157.22 m high). The nave is 43.58 m high and the side-aisles 19.80 m. The western section, nave and transept begun in 1330, changes in style, but this is not perceptible in the overall building. The 19th century work follows the medieval forms and techniques faithfully, as can be seen by comparing it with the original medieval plan on parchment.

At 157 m (515 ft), the cathedral is currently the tallest twin-spired church in the world, the second tallest church in Europe after Ulm Minster, and the third tallest church in the world. It is the largest Gothic church in Northern Europe and has the second-tallest spires. The towers for its two huge spires give the cathedral the largest façade of any church in the world. The choir has the largest height-to-width ratio, 3.6:1, of any medieval church.

Construction of Cologne Cathedral began in 1248 but was halted in the years around 1560, unfinished. Work did not restart until the 1840s, and the edifice was completed to its original Medieval plan in 1880. Cologne’s medieval builders had planned a grand structure to house the reliquary of the Three Kings and fit its role as a place of worship for the Holy Roman Emperor. Despite having been left incomplete during the medieval period, Cologne Cathedral eventually became unified as “a masterpiece of exceptional intrinsic value” and “a powerful testimony to the strength and persistence of Christian belief in medieval and modern Europe”. Only the telecommunications tower is higher than the Cathedral

Construction of cathedral, 1855 (from Wikimedia Commons)

New Palace, Potsdam, Germany

A colossal palace building, its high tambour dome recognizable from afar, rises up at the western end of the Hauptallee (the main promenade) in Sanssouci Park: the Neues Palais (New Palace). In strong contrast to the intimate and rather modest Sanssouci Palace the large palace complex served official, representational needs. Grand banquet halls, splendid galleries and regally designed suites, not to mention Sanssouci’s Baroque palace theater in the southern wing, await visitors in its interior.
Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg

When the Seven Years’ War ended with the signing of the Treaty of Hubertusburg in 1763, and Prussia had survived the latter without territorial losses, Frederick the Great resumed his construction activities. The New Palace was erected in the western part of Park Sanssouci between 1763 and 1769. Frederick’s New Palace marks the symbolic end of an era, since after its completion no further baroque palaces were built in Prussia.
Sanssouci Park Potsdam

The New Palace is a palace situated on the western side of the Sanssouci park in Potsdam, Germany. . . In an architectural form, Frederick the Great sought to demonstrate the power and glories of Prussia attributing it as fanfaronade, an excess of splendor in marble, stone and gilt. For the King, the New Palace was not a principal residence, but a display for the reception of important royals and dignitaries.
. . .
After the death of Frederick the Great in 1786, the New Palace fell into disuse and was rarely occupied as a residence or entertainment venue. However, starting in 1859 it became the summer residence of the German Crown Prince, Frederick William, later German Emperor Frederick III. The palace was the preferred residence of Frederick and his empress, Victoria, throughout the 99 Days’ Reign. During the short reign of Frederick III, the palace was renamed “Friedrichskron Palace” (Schloss Friedrichskron) and a moat was dug around the palace. The accession of Wilhelm II saw renovation and restoration within the palace being carried out with the installation of steam heating, bathrooms in state apartments and electrification of the chandeliers which Frederick the Great had collected from across Europe. Until 1918, it remained the preferred residence of Wilhelm II and the Empress Augusta Viktoria. After the November Revolution and the abdication of Wilhelm II, the New Palace became a museum and remained such until the Second World War.

The New Palace is a baroque palace and consists of a three-winged corps de logis (residential wing) around a courtyard with low side wings. The three-wing system has a front length of 220 meters. The facade is characterized by a reddish brick pattern and fluted Corinthian pilasters made of sandstone in colossal order. The red brick was only painted on for cost reasons. . . . The middle section of the two-and-a-half-storey building – with a mezzanine – is crowned by a huge, functionless 55 meter high main dome. The Three Graces group is located on the dome. The dome is only used for architectural decoration and has no other purpose. It does not contain any space. The two single-storey pavilion-like side wings have an L-shaped floor plan. They also each have a dome.
Best of Potsdam

On back:
Potsdam — Neues Palais | Jaspisgalerie
Publisher (artist): Johann Jaunbersin

Google Street View.

(Via Google Translate)
The marble gallery to the south led to the king’s apartments. Red jasper and white Carrara marble dominate the picture in this long hall. French doors let a lot of light into the interior. Three ceiling paintings connected by a rich gold ornament symbolize the times of day – the night, the morning and the noon. They are works by the painter Bernhard Rode. The division of fields and framing stucco are based on the ceiling design of the much smaller gallery in Sanssouci Palace.

On back:
Potsdam — Neues Palais | Muschel- oder Grottensaal
Publisher (artist): Johann Jaunbersin

Google Street View.

As a visitor, you first enter the vestibule. Then you come to the grotto or shell hall. Over 20,000 different minerals, ores, fossils, shells and snails, rocks and artefacts adorn and decorate the garden room designed as a grotto. The hall was originally designed a little more simply, but the walls were further enriched with minerals, fossils and semi-precious stones in the 19th century.
Best of Potsdam

On the ground floor behind the vestibule is the Grotto Hall, attributed to Carl von Gontard, with walls encrusted with shells, stones, marble, quartz and semi-precious stones, which were enriched in the 19th century. Part of the design of the Groto Hall is a marble floor depicting marine animals and plants and an 1806 ceiling painting, Venus and Amor, the Three Graces and Putti. Attributed to Johann Gottfried Niedlich, the painting has replaced an earlier work. Niches around the room contain statuary and fountains, with cut crystal chandeliers hung in the arches.

Gänsemännchen Fountain, Nuremberg, Germany

On back:
Nürnberg Gänsemännchen
“S. Solden’sche Verlagsbuchh. (A. Zemsch). Nurnberg”

Google Street View (current location).

(via Google Translate)
The Goose Man Fountain is one of the oldest fountains in the city of Nuremberg . The fountain is located north of Nuremberg ‘s main market in the St. Sebald district . The name Goose Man refers to the bronze fountain figure, which depicts a farmer with two geese under his arm. . . . The ore founder Pankraz Labenwolf made the bronze goose figure in the Renaissance period, around 1550. As a template, he used a wooden model by the carver Hans Peisser , which is currently in the Fembohaus City Museum in Nuremberg. The bronze fountain figure with the two geese under the arm is based on a farmer, probably in the traditional costume of the Knoblauchsland north of Nuremberg. The fountain has a squat shaft. Above it is a renewed goblet-like sandstone basin, in the middle of which is a goose man on a pedestal. The fountain basin is surrounded by a rosettestudded wrought-iron trellis. The water drains through the two goose beaks and two tubes on the figure base.

In the absence of clear documentation (alas!) art historians are nevertheless unanimous in ascribing the Gänsemännchen Fountain to Labenwolf. He created the fountain from about 1550 to 1560. Thus Dürer’s drawings of Frankonian peasants and specifically of the “Goose-Man,” demonstrated a step-by-step evolution which culminated in the creation of this fountain. The location of the fountain was on the Goosemarket (Gänsemarkt), which later on became the Fruit Market (Obstmarkt). When World War II broke out, the fountain was moved to its present location in the Court of the New City Hall, Hauptmarkt 18. The flesh and blood “Goose-Man” came from the so-called Garlic Country (Knoblauchland) in the immediate vicinity of Nuremberg. It can easily be guessed what the farmers grew there. He was reputed to be a drunkard. After he sold his geese, he spent his money on wine and returned home empty-handed, albeit full in other respects. No doubt, this droll peasant was a unique specimen, a well-known “character” of his day.
Stein Collectors International

Nuremberg’s most famous city fountain is the Renaissance era Gänsemännchenbrunnen (The Geeseman Fountain) cast in brass. The modest fountain features a man carrying two plump geese, hence earning its famous title. The fountain is presently located at Rathausplatz, since 1945, but was originally in the Gänsemarkt (Goose market), at the southern end of the fruit market behind Frauenkirche. The figure has often been mistaken as a peasant or farmer, owing to its popular appeal, however, he is dressed in the fine period attire of an affluent Renaissance citizen. The figure’s meaning, purpose and subject have remained mysterious for centuries although the fountain’s facture has traditionally been associated with the brass caster Pankraz Labenwolf, an apprentice of the Vischer family of Nuremberg brass casters, who had established his own workshop by 1523 and foundry by 1537.

No documents are known regarding the purpose, subject or commission for the fountain. Modern local customs believe the Geeseman was a farmer from the garlic country of Northern Nuremberg who sought to sell his geese at the market, but sensing their fate they began to cry-out, inspiring the farmer to have a change-of-heart and return home with his adopted pets. . . . The sculpture’s unusual iconography and subject can be explained by certain events unfolding in Nuremberg during the advent of the Reformation and the city’s metamorphosis in the shifting tide of religious and social reorganization. The figure represents Philip Melanchthon, collaborator of Martin Luther and intellectual leader for Luther’s reformist principles. When Nuremberg adopted Protestantism in 1525 there was a sudden interruption in Nuremberg’s educational system which had formerly depended upon the church and its resources to educate its citizens. Anticipating such a problem, Martin Luther, in 1524, delivered an appeal to German cities to “establish and maintain Christian schools.”4 The Nuremberg councilmen took subsequent action to attract Philip Melanchthon to their city to help initiate and direct their first city-run school. Although invited, Melanchthon did not opt to fill a position as director, but arrived in November of 1524 enthusiastically recruiting and organizing the city’s educational program. In address to the city’s leadership, Melanchthon inaugurated Nuremberg’s first academy at St. Egidien on 23 May 1526.
Renaissance Brnoze

Innsbruck, Austria

Kloster Wilten-Innsbruck
Publisher: C. Lampe [? covered by writing], Innsbruck

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Innsbruck, the “Bridge over the Inn”, is the capital of Austria’s Tirol and home to one of Europe’s most delightful historic old town centres. Surrounded by the craggy peaks of the Austrian Alps, it scores both as an Alpine playground and as a showcase for Habsburg Empire heritage.
Tyrol, Austra

(Via Google Translate)
Wilten Abbey is a Premonstratensian monastery founded in 1138 by Bishop Reginbert von Brixen in Wilten , a district of Innsbruck at the foot of the Bergisel , the capital of the Austrian state of Tyrol. . . . Abbot Dominikus Löhr (1651–1687) laid the foundation stone for the baroque church building after the collapsing tower of the predecessor, Abbot Andreas Mayr, had completely destroyed the Gothic building. The actual consecration of the church and the high altar was carried out on October 18, 1665 by the Prince Bishop of Brixen, Sigmund Alfons Graf Thun . Emperor Leopold I was present in person. The north tower was completed in 1667, but the south tower was only half the height of the church roof, since the court architect Christoph Gumpp had died in 1672

Kammerzell House, Strasbourg, France

Strassburg. Kammerzell’sches Haus.
On back:
Kammerzell’sches Haus.
Die alte freie deutsche Reichsstadt Straßburg hatte eine wechselvolle Geschichte. In der ersten Blüthezeit der Stadt, im 13, Jahrhundert, zählte diese bereits ca. 50 000 Einwohner. Von der hohen Entwicklung der Kunst in dieser Zeitperiode zeugen u. a. in. die Werke des berühmten Baumeisters Erwin von Steinbach, welcher die herrliche Fassade des Münsters schuf. Trotz vieler Kriegsverheerungen und Brände, die Straßburg in dem Wandel der Gieschichte heimsuchten, sind noch etliche Holzhäuser aus dem 15, Jahrhundert übrig geblieben. Das sehenswerteste unter diesen altertümlichen Privatbauten liegt nahe dem Münster am Münsterplatz und ist allgemein unter dem Namen : ”Kammerzell’sches Haus” bekannt. Es dient jetzt dem schönen Wein-Restaurant ‘”Zum Stiftskeller” für den Ausschank rein elsässischer Weine.
[From Google Translate:
Kammerzell house.
The old free German imperial city of Strasbourg had an eventful history. In the city’s first heyday, in the 13th century, it already had around 50,000 inhabitants. Evidence of the high development of art in this period of time is e.g. in. the works of the famous master builder Erwin von Steinbach, who created the magnificent facade of the Minster. Despite the many devastations of war and fires that have ravaged Strasbourg throughout history, there are still a number of wooden houses from the 15th century left. The most worth seeing of these ancient private buildings is near the cathedral on Münsterplatz and is commonly known as the “Kammerzell’sches Haus”. It is now used by the beautiful wine restaurant “Zum Stiftskeller” for serving pure Alsatian wines.]
Publisher: Ortmann & Co

Google Street View.

The Kammerzell House is one of the most famous buildings of Strasbourg and one of the most ornate and well preserved medieval civil housing buildings in late Gothic architecture in the areas formerly belonging to the Holy Roman Empire. Built in 1427 but twice transformed in 1467 and 1589, the building as it is now historically belongs to the German Renaissance but is stylistically still attached to the Rhineland black and white timber-framed style of civil (as opposed to administrative, clerical or noble) architecture.

Strasbourg. Vieille maison Strassburg. Altes Haus”, Library of Congress

Strasbourg is proud to present Maison Kammerzell as one of its most charming building, an authentic and traditional symbol of the city’s age-old values. The original architecture of the building, somewhat come straight out of a fairy tale, is a great example of the region’s traditional artistic past. Wooden sculptures, frescoes, spiral staircases and view angles are just some of the details that reveal the richness of the past of this monument. The late Gothic foundations date back to 1427. Later on in 1467 and 1589, three upper floors of timber panelling were added, increasing the originality of Maison Kammerzell. The rich decoration on the façade, both secular and sacred, was inspired by the Renaissance humanistic ideal mixing Roman antiquity with the middle ages. The 75 bottle bottom stained glass windows give an extraordinary lighting to the rooms.
Maison Kammerzell

Although this house bears the name of the grocer Kammerzell, its owner in the 19th century, it actually owes its current appearance to Martin Braun, a cheese merchant who acquired it in 1571. He kept only the stone ground floor, dating from 1467, and rebuilt the house with three corbelled out storeys and three floors in the loft in 1589. The rich decoration on the façade, both secular and sacred, was inspired by the Bible, Greek and Roman Antiquity and the Middle Ages.
Visit Strasbourg

Stephanplatz Fountain, Karlsruhe, Germany

On back:
Karlsruhe — Der Stephansbrunnen
Postmarked 1906
Publisher: Edmond von König, Heidleberg

Google Street View.

(Via Google Translate)
In 1903, the architect Hermann Billing , who was a member of the artists’ commission, was commissioned to create a fountain for the center of the square without a design competition. Billing planned a fountain basin under a columned hall, in the center of which is the figure of a spring nymph should be placed. The production of the bronze figure was entrusted to the young sculptor Hermann Binz (1876-1946).

However, the naked nymph met with opposition from the city council, so Billing and Binz modified the designs so that the nymph should be placed at the edge of the pool on a flat base and without the canopy. The columns then only carry a ring-shaped open entablature. The water was supposed to flow into the basin from gargoyles in the form of faces on the pillars, the faces were directed towards the nymph. That has been approved. When the construction of the fountain was completed in the summer of 1905, there were surprises, ridicule and rejections, because not everyone liked both the naked bronze figure and the faces. Binz had worked out the faces as caricatures of well-known Karlsruhe personalities, especially those city councilors who had rejected the first draft.

(Via Google Translate)
The fountain was designed in 1905 by the architect Hermann Billing . The original design envisaged a spring mermaid placed on a pedestal, in the spirit of Art Nouveau , but it did not yet include the rotunda with the male faces. The draft was hotly debated in the municipal council. The depiction of a naked woman in such a prominent position was felt by some council members to be inappropriate. Nevertheless, the draft was finally released and Hermann Billing was allowed to realize it, including artistic modifications. He did this together with the sculptor Hermann Binz. Since Billing was obviously annoyed by the discussion in the municipal council, he designed the fountain in such a way that the municipal council members, in addition to him and Binz, also look at the naked woman. Oberbaurat Reinhard Baumeister, who preferred to see a girl in traditional costume, is even scratched by a mermaid on the beard.
Stadtwiki Karksruhe