7t r&G ir£&S >r.:x uv\ y3' v.'.'i' wtaEy oÏH as;: Mlabec dfjen the passer-by who is unaware of the legendary fame of the Vien- adjiese confectioner's Ch. Demel's Söhne will realize after a glance into otsjfindows in the Kohlmarkt that it is a house with a long tradition. ÜJ3M walks into the shop and the adjoining café, he will find himself /ienly transplanted into the era of the Emperor Franz-Joseph and g-r tess Elizabeth. 1 vijany things combine to cast this spell: the pale rococo decorations Id, azure and pink dating from 1888, the black green-veined marble e tables, the Empire period chairs, the cast-iron chandeliers, each of h carries eighteen spheres of milk glass with cut stars. Then the counter with silver fittings in the style of Louis XVI, on which to pastries, sandwiches, biscuits and chocolates are arrayed in prodigal SDiwdance and exhale, in company with the poured drinks, an inimitably a Idled sweet and spicy fragrance. And not least the public, which might stepped out of a fin-de-siecle novel and is waited upon by a personnel )!hit less distinguished. s the Demel establishment had simply clung to the style of the eight- 'dighties, the house would only be a charming relic of a lost cultural t'»n, rather like the Café Florian in Venice or the Café Greco in Rome, aiality the pastry-shop in the Kohlmarkt has the edge over its com- eprs because of an act of renewal in the nineteen-thirties by which Lusaa aaldi ïiiïfld r s'm band present were perfectly reconciled. 'HRt wer n^c'lts vom legendaren Ruf der Wiener Zuckerbackerei ■M^Ch. Demel's Söhne weiss, errat die grosse Tradition dieses Hauses beim ersten Blick in die Schaufensterauslagen am Kohlmarkt 14. Ti !*i#j:t er dann das Ladengeschaft und die daranstossenden Tee-Salons, !rd er mit einem Schlag in die Epoche Kaiser Franz-Josephs und drin Elisabeths versetzt. ele Elemente tragen zu dieser Verzauberung bei: die etwas blass- cl Rokoko-Dekoration von 1888 in Gold, Himmelblau und Rosa, der It was at that time that the young Baron Federigo Berszeviczy-Palla- vicini undertook the task of modernizing the equipment of the store and designed the range of wrapping papers that are illustrated here. They connect up clearly to the Viennese Biedermeier tradition and to the middle years of the nineteenth century, but also bear the stamp of a personal style. After many years of travel in Italy, France and the United States, Pallavicini again turned his attention to the Demel image a short time ago. It is now the display windows that particularly interest him and have inspired ideas that are the delight of the Viennese public, especially in the Christmas and Easter seasons. Here impulses from all quarters converge: surrealistic effects are mingled with Austrian folklore and with memories of the pomp and circumstance of Mannerism and the baroque age. Luxurant forms and colours are set beside tasteful simplicity, the old-fashioned and the modern are brought into harmonious accord. And yet this variety, bewildering as it may seem at first glance, is very successfully reduced to the common denominator of the Demel style that manifests itself just as unmistakably in the recipe of a cream or a chocolate dainty, in the decoration of a flan or an iced cake, as in the ribbon-bedizened packages or the window displays, glinting with gold tinsel and coloured stones, of Federigo Pallavicini. schwarze, grün geaderte Marmor der Tischchen, die Empire-Stiihle, die gusseisernen Leuchter, von denen jeder achtzehn Milchglaskugeln mit eingeschliffenen Sternen tragt. Der machtige, silberbeschlagene Laden- tisch im Stil Louis XVI sodann, auf dem in verschwenderischer Fülle Torten, Patisserien, Sandwiches, Salzgeback und Schokoladebonbons ausgebreitet und aufgestapelt sind und, zusammen mit den ausgeschenk- ten Getranken, einen unnachahmlichen, aus Süssem und Würzigem ge- mischten Duft ausströmen. Nicht zuletzt aber das Publikum, das einem 55

Graphis de | 1967 | | page 57