You are now in front of the Gemaltes Haus, or Painted House. Look up. What you’re looking at is a masterpiece created in the eighteenth century by a local artist named Johann Mayer that depicts scenes from Greco-Roman mythology. But long before Mayer got his hand on it, the building had an interesting story associated with the young and ambitious Duke of Styria, Duke Rudolf the Fourth, who earned the title “The Founder” for his contribution to the city of Vienna. Officially called the Herzogshof, the building was originally the site of a manor managed by a local administrator who got a pretty sweet deal from the young twenty-year-old duke. Rudolf wanted to emphasize that the Duke of Styria was a sovereign ruler with imperial-level dignity, so he commissioned a magnificent Princely Chair to be built in Graz. Whenever the Duke arrived in Graz to hold court, the administrator was responsible for erecting the Princely Chair. In exchange for this prestigious service, Rudolf granted the administrator and his manor a permanent tax exemption. It is here where the Dukes of Styria used to grant land or property to their subjects. The building has witnessed high-stakes diplomacy when the city of Trieste came here to beg the Habsburgs for protection from the Venetians, a deal that lasted over five centuries. So, while we admire the artistry, we’re also standing on the site of a diplomatic maneuver that reshaped the map of Europe. Now, try to immerse yourself in the paintings and see if you can identify any of the Greek gods. I’ll give you a hint: a lot of the gods are not depicted with the usual imagery associated with them, which makes it a little tricky. You’ll also notice that the gods and heroes are depicted in their hierarchical order. Look at the first floor. Right above the armored horseman on the right, you’ll notice Bacchus reclining in a relaxed posture, with grape leaves depicting the spirit of carefree pleasure. Towards the left, above the armored horseman, is Vulcan, depicted as a robust, semi-nude man representing strength and craftsmanship. He is accompanied by a child (putto) who appears to be assisting or interacting with him, a common artistic shorthand for the “spirit of the forge.” His powerful physique emphasizes his role as the god of fire and the blacksmith of the gods. Seated right in between them is Vesta, shown as a dignified woman draped in a bright yellow cloak, a color often associated with the warmth of the hearth and home. Her calm, seated posture symbolizes the stability and sanctity of the domestic sphere. The mural is famous for its trompe l'œil (optical illusion) effects. If you look closely to the left of Vulcan in the next frame, there is a small putto (child) whose leg is a 3D sculpture sticking out from the flat wall to enhance the illusion of depth. At the top, towards the roof, you’ll find the heavy hitters, the gods of cosmic and divine order. You will spot Apollo, Pluto, Jupiter, or Zeus. As we continue down Herrengasse, keep that sense of curiosity with you. We’re moving from the public gallery of the streets toward a hidden sanctuary of stone and arches.
