
Durch Habsburgs Lande
Ronald Friedrich Schwarzer
Second, expanded Edition
2025 Karolinger Verlag (Vienna, Leipzig)
155 pp.
(in German)
In the foreword to Through the Lands of Habsburg Lothar Höbelt describes the author, Ronald Friedrich Schwarzer, as a well-known “character” in Vienna. Ronald Schwarzer, our author, was born in 1965 – just outside “Boomer land.” In his “day job,” he is involved in the management of an old, established Viennese jewelry firm. In that regard, he resembles that leading Catholic traditionalist of New York, unfortunately deceased, Alex Sepkus.
Schwarzer’s book, combining history, travel, politics, art and religion, reminds me too of the late Arkady Nebolsine of New York – like Schwarzer, also a “character.” The world views of the two men are strongly aligned – monarchist, proud of their heritage, and traditionalist in religion and culture – even if their specific interests differ. Arkady Nebolsine revered the great traditions of Russia in art, literature and music, the Russian empire and people and especially the Orthodox church. Schwarzer is devoted to the House of Habsburg, the Austrian people and culture and the (traditional) Catholic faith. In Through the Lands of Habsburg, moreover, he covers half of Europe in addition to territories within the pre–1918 Austrian Empire
For, starting out in the 12th-13th centuries from what is now Switzerland, the Habsburg family eventually reigned over, at one time or another, almost all of Western and Central Europe except for France and Scandinavia. Starting in the 13th Century until 1806 the Habsburgs provided (with some significant interruptions) the Holy Roman Emperors. The Habsburgs reigned until 1700 over the vast Spanish domains in Europe, but also in the Americas, Asia and Africa. Through this connection Schwarzer is able to include in his book Portugal, which was only Habsburg between 1580 and 1640. A further extraordinary fact – although Schwarzer doesn’t mention it – is that Philip II of Spain was recognized as king of England between 1554 and 1558 by reason of his marriage to Mary I.
The last phase of Habsburg rule was the new “Austrian Empire” after 1804/06. It was, in a certain sense, as extraordinary as its predecessors: what of an empire that by 1847 ruled Vienna, Prague and Salzburg; Milan and Venice in Italy; Cracow and Lemberg (Lvov) from the former Polish kingdom; Budapest and Dubrovnik further south and east? It was a dazzling collection, under one ruler, of many of the great cultural centers of European history! Schwarzer’s book is, however, most specific and detailed when the covers those areas in or adjacent to today’s Austria.
Schwarzer comes to grips with his almost unlimited subject matter by focusing one or more features of each city or landscape of which the writes. It can be a church, a painting, a sculpture, the memory of a historical event or the entire current population of a locality. Or it can even be an individual. Schwarzer tells us of Polyxena von Lobkowicz of Prague. It was she who rescued the Catholic representatives of the emperor after they had been “defenestrated” by the Protestant rebels – an event which ignited the Thirty Years’ War. And it was she who gave the statue of the Infant of Prague to the church of Our Lady of Victory, where it still resides.
Schwarzer covers large, famous cities like Prague, Milan or Venice but also isolated towns, country churches and (formerly) out-of-the-way valleys. He has a particular fondness for the former resort towns of the 19th century Austrian empire. This is an opportunity for him to describe the lifestyles and tell us the gossip of that era. For, regrettably, as the 19th century progressed and especially as the fateful year 1914 approached the number of scandals in the imperial house increased. It was but one aspect of the decline of the Austrian state and the Habsburg monarchy.
Schwarzer is a clear and forthright writer. He is not afraid to violate the taboos governing the current German- speaking world. For the intellectual culture of Germany and Austria is stifled by conformism, Denkverbote and thought crimes. So, Schwarzer describes the trashing of formerly German neighborhoods of Slovakia by their new gypsy inhabitants. He describes for us a major late Medieval fresco that includes a very uncomplimentary depiction of a (symbolic) synagogue. Schwarzer wonders why this depiction of the “elder brothers in the faith” still is visible – other such images have been covered up by now.
The same could be said of his review of the tragedies of the 20th century. He describes how the German populations of Brunn (Brno) and Slovakia were either expelled or massacred at the end of World War II. He recounts the heroic defense against the Red Army by a pickup mountain division in April of 1945. He depicts vividly the horrors of the Isonzo campaigns in the First World War on the Italian/Austrian border. The murderous struggle, in which Austria generally fought against overwhelming odds, did produce in 1917 a tremendous German-Austrian victory. A certain young officer from Württemberg named Erwin Rommel accomplished a particularly heroic exploit in that battle. A tragic reminder of those days is a church, still standing, that was built in 1916 by soldiers of the imperial army, In it the names of thousands of Austrian soldiers – names from every nationality of the empire – are commemorated.
Schwarzer has a keen understanding of the symbolism ever present in works of art or buildings before the “modern age.” It was a world laden with meaning. Let me give you some examples of his writing on this subject. These sections – and there are others – should be mandatory reading for those who are currently carrying out a witch hunt against Sebastian Morello for his laudable attempt to rediscover the symbolic meanings of the world.

(Above) The crown of Rudolf II.
Schwarzer describes the “house crown” created by order of the Emperor Rudolf II between 1598 and 1602; the “imperial crown” of the Holy Roman Empire was preserved separately. After 1806 Rudolf’s crown served as the crown of the Austrian empire.
Typical of these “house crowns” is the combination of the royal circular band with the miter, set crosswise, of the high priest and the imperial arch which symbolically encompasses the world. With this crown, the emperor raised his rank above that of the kings as a secular and spiritual lord of the world, as king and high priest in the succession of Christ. (p15)
( The diamonds in the royal band), as the hardest of all gemstones, were intended to symbolize the invincible Christ. The great red spinel on the central lily, which rests on the forehead, the seat of the monarch’s spirit, symbolizes the fire of the Holy Ghost. At the top of the imperial arch, the great sapphire represents God the Father – it is set above the cross as a sign that only through the cross of Christ can one come to the Father. (p.16)
In the baroque library of Vorau monastery, every aspect of the architecture and decoration has symbolic meaning:
In the east where the sun rises the image of Christ as Salvator Mundi dominates the space and shows who rules here. Then there follows on the ceiling a depiction of the judgment of Solomon (jurisprudence), at the West End of the library we recognize the queen of Sheba requesting knowledge from the wise Solomon (philosophy).
The emblematic depictions on the North and South sides of the library play exactly with that tension between the spiritual and the profane. The theological books are displayed on the South side of the room where the sun’s rays rest. The profane works are on the cold north wall. One sees as the very first image in the west a medical bleeding under which are the words “vulnerat ut sanet” – it wounds in order to heal. This represents preaching, that with severe words brings the sinner to repentance and so heals his soul. As the counterpart on the opposite wall, we recognize a trumpet and the words “clangit et tangit” – it resounds and touches – this leads to the practical methods of preaching, in other words, the art of rhetoric. Like a trumpet it sends out well-crafted words into the world. (pp. 77-78)
Then Schwarzer takes us through the secular palace of Eggenberg, built after 1620.
In the chaos of the 30 Years War there arose a model of a world in order. A moat that was never filled with water separates the palace like an island from the crazy world of madness. 365 external windows represent the days of the year, 31 rooms on each floor the days of the month. In the piano nobile, 12 state rooms stand for the hours of the day and night; together they have 52 windows for the weeks of the year. if you count the 52 windows of the state rooms with the eight of the “ planetary room” we arrive at 60 minutes/ seconds of time. The four facades show the four seasons, the four directions of the wind, and the four elements. Enclosed in the innermost part of central tower is the chapel where rests the Most Holy, God himself, as the center of everything. (p.85)
As is the case with any book, I can’t agree with everything the author states – this is particularly true for such a dense, highly factual work as this. I don’t think that the Vorau bible is the first German language translation of the bible. Schwarzer seems to have a dislike for the Duomo of Milan that I don’t share and don’t understand. He tells us a legend of the derivation of Wiener Schnitzel from Cotoletta alla Milanese in the 19th century. I’m not totally sure that scholars of culinary history agree with his story.
Schwarzer concludes on a somewhat apocalyptic note with a visit to Fatima. For the visions of Fatima in 1917 occurred the year of the Russian revolution and one year before the end of the Austrian monarchy. In 2007 arose the “new” basilica, ”an orgy of steel, stone and glass,” with space for 9,000 people, and, before it, the largest paved church square in the world. Dominating everything is a distorted cross of structural steel, 34 meters high, which Schwarzer calls an “optical blasphemy.” He points out that all this is worthy of the liturgies that are celebrated there today (describing an ecumenical celebration).(Schwarzer doesn’t mention the huge mosaic of Fr. Rupnik which still presides over the interior of the basilica – the management is defiant on this point.) Schwarzer concludes with the thoughts about what the content of the Third Secret of Fatima might be (mentioning Cardinals Kaspar and McCarrick) ….
Schwarzer has given us a comprehensive tour of those parts of Europe where monarchs of the Habsburg house ruled at one time or another. I think he has demonstrated the validity and continued relevance of the political form of monarchy by showing that in all these countries amazing things were achieved in art and culture – things that the current generation cannot understand, let alone match. I would love to see this book translated into English. But I think it might be necessary to have a set of footnotes equal in length to the present text of the volume in order to explain it to English-speaking readers!












