Location:
Vienna, Prinz Eugen Str 27
Map
Entrance Fee: €16, children free
Subway: Taubstummengasse
www.belvedere.at
Upper Belvedere
Prinz- Eugen- Strasse 27
Tel. 01- 795 570
Bus: 13A
Trolley: 0,18, D, 71
Open: 10am- 6pm Tue- Sun
(Good Friday, Dec 24 & 31: 10am- 3pm)
Closed: Jan 1, May 1,
Nov 1, Dec 25
Lower Belvedere
Rennweg 6a
Tel. 01- 795 570
Trolley:
71, D
Open: 10am- 6pm Tue- Sun (Good Friday, Dec 24 & 31:
10am- 3pm)
Closed: Jan 1, May 1, Nov 1, Dec 25
The Belvedere Palace in Vienna is a palace complex built by
Johann Lucas von Hildebrandt (1668–1745) between 1714 and 1723
for Prince Eugene of Savoy (1663–1736) (since 1850 in the
Landstraße district). The Upper Belvedere and the Lower
Belvedere (named because of their location on a slope south of
what was then the city) form a baroque ensemble with the
connecting gardens. The two palace buildings now house the
collections of the Belvedere (Austrian Gallery Belvedere) and
rooms for temporary exhibitions. On May 15, 1955, the Austrian
State Treaty was signed in the Upper Belvedere.
Origins: Prince Eugene of Savoy and the Baroque Vision (Late
17th–Early 18th Century)
The story begins with Prince Eugene of Savoy
(1663–1736), one of the Habsburg monarchy’s most celebrated military
commanders and a brilliant strategist who played a key role in defeating
the Ottomans and in the War of the Spanish Succession. A sophisticated
patron of the arts and architecture, Eugene amassed enormous wealth and
sought to create a grand summer residence outside Vienna’s city walls
(then still fortified). In 1697, he purchased a large plot of land south
of the Rennweg road to Hungary.
Eugene commissioned the renowned
Baroque architect Johann Lukas von Hildebrandt (a military engineer as
well as designer) to build the complex. Construction unfolded in phases:
The Lower Belvedere (the residential palace) was begun around
1712–1714 and largely completed by 1716. This U-shaped building served
as Eugene’s actual living quarters, featuring lavish interiors like the
Marble Hall, Grotesque Hall, and Sala Terrena.
The Upper Belvedere,
positioned higher on the slope for dramatic effect and panoramic views
of Vienna, was started in 1717 and finished in 1723. It was designed
purely for ceremonial purposes—receptions, banquets, and
representation—rather than daily living.
The entire estate,
including cascading fountains, parterres, sculptures (many by Balthasar
Permoser, such as the Apotheosis of Prince Eugene), and the Baroque
gardens laid out by Dominique Girard, formed a theatrical “garden
palace” (Gartenpalais) that symbolized power, refinement, and victory.
Interiors were adorned by Italian and Austrian artists like Francesco
Solimena, Carlo Carlone, and Giacomo del Pò. Eugene kept a menagerie
nearby and lived a cultured life here amid his campaigns.
By
1723, the completed Belvedere stood as a masterpiece of Austrian Baroque
architecture, blending Hildebrandt’s elegant symmetry, dramatic
staircases, and playful ornamentation with the sloping terrain for
maximum visual impact.
Transition to Habsburg Ownership and the
Birth of a Public Museum (1736–Late 18th Century)
Prince Eugene died
in 1736 without direct heirs or a clear will. The estate passed briefly
to his niece, Princess Victoria of Savoy-Carignan, who showed little
interest in maintaining it. In 1752, Empress Maria Theresa acquired the
entire complex for the Habsburg imperial family, incorporating it into
the crown estates. Minor interior modifications were made, but the
palaces largely retained their Baroque splendor.
Under Maria Theresa
and her son Emperor Joseph II, a transformative chapter began. In
1776–1777, the Upper Belvedere was repurposed to display the imperial
picture gallery (previously housed in the Hofburg). It opened to the
public in 1781, making the Belvedere one of the world’s earliest public
art museums—predating many famous institutions and reflecting
Enlightenment ideals of accessibility.
The palace also hosted grand
events, including lavish celebrations in 1770 for the marriage of Maria
Theresa’s daughter Maria Antonia (later Marie Antoinette) to the French
Dauphin Louis XVI.
19th Century: Imperial Residence and Shifting
Collections
Throughout the 19th century, the Belvedere continued as
an imperial property. The imperial art collections remained on display
until 1888–1891, when they were moved to the newly built
Kunsthistorisches Museum on the Ringstrasse. The Upper Belvedere was
then closed temporarily as a museum space.
In 1896, it was renovated
and adapted as a residence for Archduke Franz Ferdinand, the heir
presumptive to the Austro-Hungarian throne (whose 1914 assassination in
Sarajevo triggered World War I). This phase underscored the complex’s
ongoing prestige within the Habsburg court.
20th Century: Modern
Gallery, Wars, and Diplomatic Milestone
The 20th century brought new
cultural and political roles. In 1903, the Lower Belvedere reopened as
the Modern Gallery (Moderne Galerie), later renamed the Austrian State
Gallery (Österreichische Staatsgalerie) in 1912. It focused on Austrian
art from the Middle Ages onward, showcasing works that reflected
national identity in an international context. The Upper Belvedere
rejoined as part of the gallery in 1918.
The complex suffered severe
damage during World War II bombings and was meticulously reconstructed
afterward. It reopened as the Österreichische Galerie (Austrian
Gallery), preserving its dual role as historic palace and museum.
A
pivotal moment came on 15 May 1955, when the Austrian State Treaty was
signed in the Upper Belvedere’s Marble Hall. This landmark agreement
ended the postwar Allied occupation and restored Austria’s full
sovereignty as a neutral state—often called the “Second Republic’s birth
certificate.” Leaders from the four occupying powers (US, USSR, UK,
France) gathered here, and the event was celebrated from the palace
balcony.
In 1962, the nearby 20er Haus (designed by Karl Schwanzer
for the 1958 Brussels World’s Fair and later relocated) opened as a
museum of 20th-century art. The Belvedere acquired it in 2002; after
renovation, it reopened in 2011 as the 21er Haus (renamed Belvedere 21
in 2018) for contemporary Austrian and international art.
Architecture, Gardens, and Enduring Significance
Throughout its
history, the Belvedere’s design has remained remarkably intact. The
Upper Belvedere’s grand facade, green copper roofs, and interior stucco
work; the Lower’s more intimate residential scale; and the gardens’
geometric precision with their central axis, cascades, and sculptures
create a unified Baroque Gesamtkunstwerk (total work of art). The site’s
elevated position offers sweeping views toward Vienna’s historic center
and the Vienna Woods.
Today, the Belvedere operates as a federal
museum across three sites: Upper Belvedere (permanent collection,
including Klimt, Egon Schiele, and international masters like Monet and
van Gogh), Lower Belvedere and Orangery (temporary exhibitions), and the
medieval art display in the former stables. The gardens remain freely
accessible to the public, serving as a beloved park and event space.
Belvedere Palace (Schloss Belvedere) in Vienna, Austria, is one of
the finest and most complete examples of late Baroque architecture in
Europe. Commissioned by Prince Eugene of Savoy as a summer residence, it
comprises two distinct palaces—the Lower Belvedere (Unteres Belvedere,
1712–1717) and the Upper Belvedere (Oberes Belvedere, 1717–1723)—linked
by a spectacular formal Baroque garden. The entire ensemble was designed
by the Austrian Baroque architect Johann Lukas von Hildebrandt
(1668–1745).
Hildebrandt, trained in Rome under Carlo Fontana and
with a background in military engineering, created a theatrical,
integrated landscape of architecture and nature that perfectly embodied
the High Baroque ideals of grandeur, symmetry, movement, illusion, and
dynastic power. The complex blends Italian late-Baroque plasticity with
French formal garden design (influenced by Versailles via gardener
Dominique Girard). It features dramatic spatial progression, rich
sculptural decoration, illusionistic frescoes (quadratura), stucco work,
gilding, and masterful use of light and perspective.
Site,
Layout, and Gardens: A Baroque Stage
The palace stands on a gentle
south-eastern slope outside Vienna’s historic center (now the 3rd
district). The terrain’s natural incline was transformed into a symbolic
ascent: from the more intimate Lower Belvedere (the prince’s actual
residence) uphill through tiered gardens to the grander, ceremonial
Upper Belvedere. This layout allegorically mirrors Prince Eugene’s rise
from outsider to imperial hero.
The Baroque gardens (designed
primarily by Dominique Girard, a Versailles-trained specialist) are a
masterpiece of French formal style (jardin à la française). They
feature:
Symmetrical parterres (originally patterned flowerbeds,
now largely grassed but under restoration).
Gravel walks, clipped
hedges, and topiary.
Cascading staircases with fountains, jeux d’eau
(water jets), and large reflecting basins.
Mythological sculptures
(nymphs, goddesses, sphinxes, and figures evoking Apollo and Hercules to
link Prince Eugene to divine triumph).
Wrought-iron gates and
balustrades.
A large oval reflecting pool in front of the Upper
Belvedere mirrors its façade, creating optical drama. The gardens
include a private Kammergarten (Privy Garden) and originally extended to
a menagerie and kitchen garden. Today, they remain one of Europe’s most
significant preserved Baroque landscapes, blending seamlessly with the
architecture for a “theatrical” effect where building and nature form
one unified composition.
Lower Belvedere: The Residential
Pleasure Palace
The Lower Belvedere, completed first (1712–1717),
served as Prince Eugene’s private summer retreat and guesthouse. It is
more compact and intimate than its counterpart, with a U-shaped plan
opening onto a cour d’honneur (honor courtyard) facing the city. The
garden façade aligns axially with the Upper Belvedere, creating dramatic
perspectives.
Key exterior features include elegant pavilions,
red-tiled roofs, and restrained yet ornate sculptural detailing typical
of Hildebrandt’s style—curving forms, pilasters, and balustrades crowned
with statues.
Interiors emphasize opulent but livable luxury:
Marble Hall/Gallery — A ceremonial space with marble floors and walls,
plaster medallions (often depicting Apollo), stucco reliefs, and
architectural illusions.
Hall of Grotesques — One of the most
distinctive rooms, featuring bizarre, fantastical wall paintings
inspired by ancient Roman grotesque frescoes—mythological figures,
botanical, and zoological motifs in a playful, mannerist vein.
Golden
Cabinet (Goldkabinett) — An extraordinary mirrored chamber with gilded
stucco, chinoiserie lacquer panels, and a ceiling fresco by Francesco
Solimena (1719). Mirrors create infinite reflections, a quintessential
Baroque illusion of boundless space and wealth.
An attached
Orangery (for citrus trees, reflecting the prince’s exotic tastes) and
Palace Stables complete the lower complex.
Upper Belvedere: The
Ceremonial Masterpiece
Perched higher on the slope, the Upper
Belvedere was designed purely for representation—lavish receptions,
balls, and displays of power. Its façade is a dynamic Baroque tour de
force: a central pavilion flanked by symmetrical wings that terminate in
octagonal corner pavilions topped with green copper domes. Ornate
columns, pilasters, pediments, railings, and a profusion of sculptural
figures (putti, allegories, and military motifs) give the white stucco
façade a sculptural, almost three-dimensional quality. Sweeping exterior
staircases lead to the main entrance, and the building’s massing creates
strong light-and-shadow contrasts.
Interior highlights include:
Sala Terrena (ground-floor hall) — Originally open to the garden;
Hildebrandt reinforced it in 1732–33 with a vaulted ceiling supported by
four massive Atlas figures after structural issues arose. It exemplifies
his engineering prowess and illusionistic architecture.
Grand
Staircase — Opulent with detailed stucco and gilding, leading to the
ceremonial floors.
Marble Hall (Marmorsaal) — The dazzling central
hall, with illusionistic quadratura frescoes by Gaetano Fanti
(architectural perspectives that trick the eye into seeing greater
depth) and a magnificent ceiling fresco by Carlo Carlone (1721–1723,
introducing early Rococo lightness). Marble elements, gilded ornaments,
chandeliers, and panoramic views over Vienna make it one of the most
spectacular Baroque interiors in Austria. It later hosted the 1955
signing of the Austrian State Treaty.
Golden Room/Cabinet and Palace
Chapel — Both feature ceiling frescoes and an altarpiece by Neapolitan
master Francesco Solimena (1719), emphasizing celestial and mythological
themes.
Architectural Significance
Hildebrandt’s genius lies
in the perfect integration of building, garden, and topography, the
sophisticated use of axial vistas, and the rich interplay of sculpture,
painting, and architecture. The complex was documented in lavish
engravings by Salomon Kleiner (1731), spreading its fame across Europe.
After Prince Eugene’s death in 1736, Empress Maria Theresa acquired it
in 1752 and turned the Upper Belvedere into one of the world’s earliest
public museums (Imperial Picture Gallery, opened 1777–1781).
Planning Your Visit: Tickets, Hours, and Practical Tips
Tickets
and Time Slots: Upper and Lower Belvedere require timed-entry tickets
(you can stay as long as you like once inside). Book online in advance,
especially for Upper Belvedere, to skip queues and secure your slot.
On-site purchases are possible but risk waits during peak times.
Upper Belvedere: ~€23 adult (discounts for seniors 65+, students under
26 ~€19; under 19 free).
Lower Belvedere: ~€20 adult (similar
discounts).
Belvedere 21: ~€12.
Combo tickets (2-in-1 or 3-in-1
day tickets) offer savings (e.g., Upper + Lower ~€32). Vienna City Card,
Vienna Pass, or Bundesmuseen Card provide discounts or free entry.
Opening Hours (as of 2026; check for changes):
Upper Belvedere:
Daily 9 AM–6 PM (extended to 7 PM on some dates/seasons).
Lower
Belvedere: Daily 10 AM–6 PM.
Belvedere 21: Tue–Sun 11 AM–6 PM
(Thursdays until 9 PM).
Best Time to Visit: Spring (March–May) or
fall (September–October) for milder crowds and pleasant garden weather.
Arrive early (at opening) to beat tour groups. Avoid peak summer midday
crowds. Free Friday Nights (first Friday of the month, 6–9 PM) are a
budget option but book ahead.
How Much Time? 1.5–3 hours for Upper
Belvedere highlights; 4–6+ hours for the full complex including gardens
and Lower Belvedere. Half a day works well for most visitors.
Pro
Tip: Gardens are free and open 24/7—stroll them even without museum
tickets. They are especially magical at sunrise/sunset or in spring
bloom.
Getting There and Navigation
The complex is southeast
of Vienna's center, easy to reach:
Tram D to "Schloss Belvedere"
(right at Upper entrance).
U1 metro to Südtiroler Platz/Hauptbahnhof
+ 10–15 min walk.
Other options: Tram 71/O/18 to Lower Belvedere
area; S-Bahn to Quartier Belvedere; ~30-min walk from Stephansplatz.
By car/bike: Limited parking (discounted options nearby); bike racks
available. Eco-friendly public transport is encouraged.
Upper and
Lower are connected by sloping gardens (10–15 min walk downhill).
Belvedere 21 is nearby.
What to See and Experience
Upper
Belvedere (priority for most): Klimt Room with The Kiss and ~24 other
works, Egon Schiele, medieval-to-modern Austrian art (Cranach,
Messerschmidt character heads, etc.), the spectacular Marble Hall (site
of the 1955 Austrian State Treaty), Grand Staircase, and Sala Terrena
entrance. Current permanent collection spans 800 years.
Lower
Belvedere: More intimate Baroque interiors (Marble Hall/Gallery),
temporary exhibitions (e.g., historical or themed shows), Orangery, and
Palace Stables (medieval art).
Gardens: Formal Baroque design with
fountains, statues, and views linking the palaces—perfect for photos and
relaxation.
Belvedere 21: Contemporary art, film, and events in a
modernist building.
Audio guides (€5, various languages) and
smartphone tours enhance the experience. Look for Salomon Kleiner
engravings in rooms to compare historical vs. current layouts.
In-Depth Visiting Tips
Crowd Management: Time slots help, but Upper
Belvedere gets busy—start with Klimt rooms early. Weekdays > weekends.
Photography: Allowed (no flash/tripods in most areas); respect rules
around artworks.
Facilities: Café (Schlosscafé) for coffee and views;
shops; gender-neutral restrooms; wheelchair accessible (elevators,
ramps). Service dogs welcome.
Accessibility: Fully equipped for
disabilities; contact ahead for assistance.
What to Bring/Wear:
Comfortable shoes (gardens and stairs); layers for variable weather;
personal headphones for audio guides.
Combine With Nearby:
Hauptbahnhof area, Schwarzenbergplatz, or a full Vienna itinerary. Pair
with a Hop-On Hop-Off bus stop.
Budget Options: Gardens only (free),
Vienna Pass for multiples, or focus solely on Upper Belvedere.
Guided
Tours: Worth it for deeper history/architecture/art context (bookable
online or on-site).
Current/Seasonal Notes: Check exhibitions (e.g.,
Waldmüller, contemporary installs). Extended summer hours possible.
Gardens change with seasons.
The Primary Haunting: The Angry Ghost of Archduke Franz Ferdinand and
“The Revenge of the White Chamois”
The most detailed and recurring
legend centers on Archduke Franz Ferdinand (1863–1914), heir to the
Austro-Hungarian throne and nephew of Emperor Franz Joseph I. He was not
a beloved figure: contemporaries described him as ambitious, arrogant
(präpotent), hot-tempered, and abrasive. In 1894, the Upper
Belvedere—originally Prince Eugene’s ceremonial palace—was adapted as
his official residence. He lived there with his family (including his
morganatic wife Sophie Chotek and their children) from around 1899 until
his assassination in Sarajevo on 28 June 1914, an event that triggered
World War I.
According to Viennese ghost lore, Franz Ferdinand’s
unpopularity followed him into the afterlife. Mourning for him was
minimal—even Emperor Franz Joseph reportedly felt only limited grief.
Locals and paranormal accounts claim his spirit still roams the halls
and rooms of the Upper Belvedere, where he once lived. He is described
as remaining as irascible and angry in death as he was in life—perhaps
resentful that his violent end brought so little sorrow. Witnesses or
storytellers portray the ghost as restless and volatile, a fitting end
for a man known for his explosive temper.
This haunting is closely
intertwined with a folk legend known as “Die Rache der weißen Gams”
(“The Revenge of the White Chamois”). In August 1913, the avid hunter
Franz Ferdinand was in the Blühnbachtal (Blühnbach Valley) in Salzburg.
There, he shot a rare white chamois (Gams), an animal protected in local
Alpine folklore by nature spirits or mountain entities. According to the
superstition, killing such a creature invoked a curse: the hunter would
die within one year. Exactly 10 months later, Franz Ferdinand and his
wife were killed by Gavrilo Princip’s bullets in Sarajevo—fulfilling the
“prophecy” with eerie precision.
This story features prominently in
Gabriele Hasmann’s Spukguide Wien: Die schaurigsten Plätze der Stadt (a
popular guide to Vienna’s haunted sites). The Belvedere section is
explicitly titled “Die Rache der weißen Gams,” framing the chamois
incident as the origin of the haunting and linking it to unexplained
ghostly activity in the palace. The book also notes broader “mysterious
and inexplicable encounters with ghosts” at Schloss Belvedere (alongside
places like the Narrenturm and Kunsthistorisches Museum), often based on
anonymized witness reports of apparitions or eerie phenomena, though
specifics beyond the Franz Ferdinand lore are not widely publicized.
Other Minor or Anecdotal Associations
Prince Eugene of Savoy: As
the palace’s original builder and resident (who died in 1736), Eugene
occasionally appears in light-hearted or artistic narratives about the
site. One Belvedere Museum-related story playfully mentions rumors that
“he still haunts the place,” perhaps riding a white horse at midnight,
though the narrator claims never to have seen him. This seems more
atmospheric storytelling or exhibit flair than a serious folk legend,
and it is not a prominent part of broader Viennese ghost lore.
General Paranormal Mentions: The Spukguide Wien and occasional local
articles reference unexplained encounters (e.g., shadowy figures or odd
sensations) without tying them to named historical figures beyond Franz
Ferdinand. No classic Viennese ghosts like the “White Lady” (Weiße
Frau)—a Habsburg family specter usually linked to the Hofburg or other
imperial sites—are traditionally associated with Belvedere.
Atmospheric Elements: The palace’s Baroque sculptures (some with
dramatic or grotesque expressions in the gardens), mythological
frescoes, and the eerie artworks in its collection (such as Franz
Sedlacek’s Ghosts on a Tree in the museum) can enhance a spooky vibe for
visitors, but these are artistic rather than supernatural.