Councillor Krespel - Virginia Commonwealth University

'The Cremona Violin' is the story of Councillor Krespel, an eccentric violin maker who lives with a mysterious woman, Antonia, who has the most beautiful singing voice ever heard by anyone in the town, but she was only ever heard to sing once. Krespel makes the best violins in the world but never sells any and plays each violin only once. There is a strange secret behind this odd behaviour...but it is only years later that the strange truth comes out.

Councillor Krespel by - Powell's Books

Get this from a library! Councillor Krespel. [E T A Hoffmann; Ian Richardson]

Councillor Krespel (Open Library)

“Come here, come here, men. Make me a door right here!" He specified the exact dimensions to the inch, and his orders were carried out. Then he walked into the house and smiled with pleasure as the builder remarked that the walls were precisely the height of a well-constructed two-story house. Krespel walked thoughtfully back and forth inside. The builders, hammers and picks in hand, followed behind him; and whenever he cried "Put a window here, six by four; and a little window here, three by two!" space was immediately knocked out.” – from ETA Hoffman’s ‘Councillor Krespel’4

Councillor Krespel - The Art and Popular Culture Encyclopedia

4 E.T.A. Hoffmann, ‘Councillor Krespel’, in Tales of E.T.A. Hoffmann. Edited and Translated by Leonard J. Kent and Elizabeth C. Knight (Chicago: University of Chicago, 1972), 127-128.

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like Councillor Krespel in “Rat Krespel” (“Councillor Krespel”).

The most successful gardens adhere to the Classical ideal according to which the garden should reflect the complexities of character of the person who takes pleasure in spending time within it. In (1819), the poet describes the house belonging to the character Councillor Krespel. This man has been of service to his Count and, as a reward, he is permitted to build himself a house at the expense of that gentleman. First, he has a compact, square building constructed. Then, he tells the builders how he imagines the entrance, rooms, hallways, bathrooms and windows should look. These are subsequently modelled to fit into the solid entity according to Krespel’s feeling for proportion, until the house and the person become identical. The is just such a concentration of identity: an intimate setting that not only stems from the eighteenth century revival of classicism, but also offers an entry to heaven. It is a precursor of individualism, but has unmistakable traits in a way individualism never can.

Councillor Krespel, building on a poetic image, in collaboration with Mike Schäfer

Councillor Krespel Councillor Krespel E.T.A

During my stay in H- I met councilor Krespel one of the most unique men alive and he was full of creative ideas. He was one of the wisest lawyers around and an excellent diplomat thus attracting prominent clientele like the Prince of German whom he drew up a memorial which he was to present to the Imperial court to further his legitimacy claims upon a certain strip of territory. He was rewarded through an offer of a house in any part of the territory but he declined and preferred his own construction in his piece of land. He did most of the work and even had to contract an architect under his own instructions. He only invited his journeymen, the master, apprentices and labourers to the housewarming party and not distinguished guests as expected. The construction took away most of his social life. He however resumes and is seen to charm everyone even children through his creativity. I soon met Antonia whom according to the professor was the best singer ever. This explained his obsession with the violin. I later was invited and it became a habit to dine with the two. My attention to her led him to ask me to leave and my state of being upset never went back till two years later walked in on her funeral.

How does Councillor Krespel have to do with the history of German science

Councillor Krespel The Mines of Falun Mademoiselle de Scudéri

Councillor Krespel’s house is enveloped around the physical needs of the inhabitant; the dimension of the space, the entrance of the daylight, all derive out of the presence of the contemplator. No architect is in the position of first erecting the structure, and afterwards adapting it to the inhabitants needs. In the design phase the architect should therefore start with erecting such a structure. Like the writer who must consider the relationship between reader and narrative, the architect must consider the same relationship between the contemplator and space. Both in literature as architecture, empathy is important for the experience of the narrative or space. An experience which derives out of the constant dialogue between man direct environment and their memory: poetically man dwells3 like Martin Heidegger proposes.