Former Schneider Building
From the mid-19th century, there was Jan Dobrowolski's building here. It was rebuilt in 1897 in historicist style according to Jan Schulz's design. Famous Café Schneider was located here. Among the house's owners, were Jakób Rollauer, jeweler Jan Jarzyna, architect Ignacy Drexler. It was to be dismantled in before WWI. The plans were not implemented.
Architecture
In the place of the contemporary building located between prospect Shevchenka and Nyzhankivskoho street, there were two building parcels in the early 19th century: a smaller one (number 435 ¼) from the east and a larger one (number 433 ¼) from the west. From the north, they were bordered by the building number 3 (then 436 ¼), and from the south by a section of Alte Post Gasse, which is no longer considered a separate street. The eastern part of the plot was built up in the early years of the 19thcentury, but the available data do not allow to reconstruct the appearance of this house.
In 1879, the plot’s western part was built up: a three-storied brick building was erected there, probably with the use of white stone masonry. Except for brick vaults above the basement, the floors and attic bridgings, as well as the stairs and galleries, were wooden. According to the requirements of that time, the roof was fireproof, i.e. made of tin. The façades and interiors were lavishly decorated with stucco, and the balconies had wrought iron railings.
The entrance to the café was arranged in the narrow west façade. Its hall had dimensions of 19.15 m in length and about 9.5 m in width and was practically one large space without partitions. There were stairs behind the hall: one leading to the basement and the other leading to the upper floors; behind the stairs, utility rooms were located. On both sides of the staircase, there were two small courtyards, where two toilets were situated in each gallery. Above the café, on the second and third floors, there were a five-room and a three-room apartments with kitchens for rent. The basement floor contained a bakery, a warehouse and other utility rooms. Outside, the house was richly decorated, its compositional techniques and elements borrowed from the Italian Renaissance, similar to the nearby City Casino building.
In 1896 the building’s western part was slightly reconstructed and the rest of the building was completely restructured under a project designed by Jan Schulz; as a result, both parts were combined into a coherent design. For the new part, the decorative techniques of the old part were reproduced by the architect fully. The café interior virtually doubled in size: the former utility roomswere turned into the second hall, andbehind it the third one was arranged. The main entrance to the café was now arranged in the center of the long south façade.
Typically of historicism, emphasized symmetry was used in the building's design. The main façade with 13 axes had three thin avant-corpses in the center and on the sides. The side avant-corpses had three axes each. The ground floor was accentuated by massive chamfered rustication and separated by a cornice; the windows were semicircular, with spandrels and decorative keystones and imposts. These windows reached floor level in order to let as much sunlight as possible inside the café. The main entrance in the center of the façade was arched and had pilasters on both sides. The second floor was covered with banded rustication; its windows had rectangular trimmings and linear pediments on consoles, except for the central window, which was designed as biforium with semicircular slots separated by a column in the form of a herm; the pediment was segmental. The third floor was divided with pilasters or, on the avant-corpses, blind arcades; on the extreme pilasters, there were sculptural arabesques. As archival photographs show, between the blind arcades, murals with female figures were planned (not implemented). On the façade’s extreme lateral axes, on the avant-corpses, there were balconies; they were rectangular, supported by consoles on the second floor and by cast semicircular "seashells" (typical of late baroque) on the third floor. The façade was topped with a massive cornice.
Personalities
Carolina Alzner — (co-)owner ofthe neighboring house number 3 (436 ¼) in 1850.
Jan / Johann Dobrowolski — owner of this property (at least in 1850-1867) and of the café.
Jakób Rollauer — owner of the former Café Schneider's from 1900 until at least 1910.
Gustaw Rudolf Schneider(1826-1900) — owner of the building and the café at least from 1879.
Józef Sosnowski (1865-1940) — famous architect, co-author of the sewer replacement project.
Andreas Ign. Schindler — the one who signed the 1828 townhouse project (not implemented), probably a trainee/draftsman of the Viceregency's construction department (mentioned as such in 1837).
Vinzenz Schmidt — customer of the 1828 townhouse project (not implemented).
Sources
2. Księga adresowa królewskiego stołecznego miasta Lwowa (Lwów, 1900)
3. Księga adresowa królewskiego stołecznego miasta Lwowa (Lemberg, 1902)
4. Neu verbesserter Wegweiser der kön. Hauptstadt Lemberg (Lemberg, 1863)
5. Skorowidz królewskiego stołecznego miasta Lwowa (Lemberg, 1871)
6. Skorowidz królewskiego stołecznego miasta Lwowa (Lemberg, 1889)
7. Skorowidz królewskiego stołecznego miasta Lwowa (Lemberg, 1910)
8. Skorowidz królewskiego stołecznego miasta Lwowa (Lwów, 1916)
9. Lwów, Café Schneider. Pocztówka
10. "Przysklepianie Pełtwi", Kurjer Lwowski, nr. 195, s.3
11. "Café Schneider", Kurjer Lwowski, nr. 252, 1890, s.6
12. "P. Gustaw Schneider", Dodatek do Kurjera Lwowskiego, nr. 290, 1897, s.3
13. "Zmarli", Kurjer Lwowski, nr. 96, 1900, s. 4
14. "Kawiarnia Schneidra", Kurjer Lwowski, nr. 257, 1903, s. 6
15. "Kawiarnia Schneidra", Kurjer Lwowski, nr. 100, 1912, s. 8
Media Archive Materials
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