The Art Nouveau and Secession Style in Central and Eastern Europe (Romania, Serbia, Hungary) / 10 days

After hopping over hills and vast expanses of farmland, as well as after an optional break in Turda to see the Villa Mandel built by a Jewish merchant in 1902 and featuring some fine plasterwork façade decorations, we shall reach Cluj with its vibrant student life and big city buzz. Just like in Târgu Mureș, the turn of the 20th century saw an interest in revitalising and modernizing the city infrastructure and public buildings, and in this greater process the Secession style was the one that was often embraced. The most notable project for us here includes the Berde, Elian, Babos and Széki buildings, of which the former two were set in Secession style, the third was set in Eclectic style blending in Secession elements, while the latter saw a Neogothic design; the project commenced in 1889 and was completed in 1900, and the Berde is arguably the most evocative for the Secession Style of them all. Then, just a few steps away the Urania Building, inspired by the homonymous property in Vienna, has some fine plaster figurines on the façade, while a short drive or 10 minute walk away there is another interesting property down the Calea Dorobanților with its captivating, unplastered brickwork design. Also in the central area of the city, we may take in the fine floral panels and belts at the so-called Crane House down the Strada Republicii. Upon completing our walk here, we shall carry on Westwards, to what is by far and wide the richest town in Secession architecture in Romania: Oradea. Reflecting the Budapest Szecesszió and less so the Viennese Secession, most major buildings set between 1890 and 1914 were set in or bore great influences from the Secession Style. Closer to the Art Nouveau core, the main feature of the buildings here feature a rich floral decoration which unfolds with buds ready to erupt, oversized flowers, grapes or leaves, as well as with friezes depicting the Tree of Life. The great number of properties in Secession style here is due to the fact that the population here at the time included a majority of Hungarians, but also Germans, Romanians and, importantly, Jews. The latter found in the new style and its refreshing approach a way of including in their projects ethnic and traditional elements without the restrictions their ancestors had been faced with. The first Secession building in Oradea was the Sonnefeld House in 1899 and an outstanding array of properties would follow, including the Füchsl Building, the Deutsch Glass Shop, the Adorján House, the Ullman and Miklós Stern buildings, the Vulturul Negru Palace (the symbol of the city, completed in 1908 and featuring an impressive passage with its fine stained glass roofing and monumental entrance façades), the Moskovits Building (completed in 1905, a wonderful sample of Secession architecture with its iconic corner formula including a women’s head coming out of a thicket of leaves, branches and flowers), the Poynár House with its wonderful corner balconies or the Darvas-La Roche House. What greatly helped Secessionist Style integrate in the overall city landscape was the gradual addition of Secession elements into the typical, local Eclectic projects, especially of into those of a Gothic core. This way, the visual tour across the old town flows naturally, without fractures granted by the architecture.

• Breakfast.
  • Optional visit to the Palace of Culture in Târgu Mureș (allow at least one hour, closed on Mondays).
• Walking tour in Cluj taking in Berde, Elian, Babos and Urania buildings, as well as the brickwork façade house on 15 Calea Dorobanților and the Crane House at 10 Republicii (exterior views only).
• Walking tour in Oradea taking in the Füchsl Building, the old Deutsch Glass Shop, the Vulturul Negru Palace, the Adorján House, the Moskovits Building, the Poynár
  House, and, optionally, also the Seasons (a contemporary mural in Art Nouveau Style on a great blindwall a 5 minute walk North from the Vulturul Negru); exterior views only.
  • Optional visit to the Secession Style Darvas – La Roche House (open daily except on Mondays until 6 PM).
• Accommodation in Oradea in a period, classical hotel within walking distance of the old town centre.

In the morning we shall carry on Southwards across the rather flat Western Plains to Arad. Not as extensive as the one in Oradea and partly unkept, partly altered by the typically clumsy restorations after 1948, the Secession Style heritage here is however also quite impressive. A walk across the old town will take in the Lajos Szántay Building completed in 1911, with its wrought iron balustrade balconies featuring the Muses’ lyre motif, the Reinhardt Building with its extensive balconies, as well as the plaster floral patterns above them, the Albert Szabó Building with a smaller scale continuation of the floral theme of its neighbour, as well as the highlight, the Bohuș Building completed in 1913 and enhanced by a fair restoration; the balcony alternation and floral patterns on the top of the façade create a great visual effect. Optionally, we may also carry on for half an hour more so as to see the Rozsnyay Mátyás and Kelemen Földes buildings, the latter of which with its rich decoration including the medallions of Hippocrates, Hygieia and Aesculap, as well as the Serbian Orthodox Parish Administration with its interesting alternation of floral and geometric patterns. Then, in the afternoon, we shall reach Timișoara. As the city saw the end of the building ban on an extensive area and the demolishing of a major part of its fortifications in 1892, the ground became available for major projects and the Secession (mostly of Viennese origin, with some Hungarian influences here). The result was a vast heritage that is present not only in the mentioned central area, but also farther away. Of this, we shall see the Alexandru Pisică Building of 1912 with its wavy attics (a feature also typical for the Ludwig Besch and Karl Piffl buildings), richness of floral motifs and red glazed ceramic tiles, the Franz Marschall Building completed in 1904 featuring a rich decoration including the Tree of Life, flowers, fruits, butterflies, fishes and rams, as well as the Water Palace completed in 1911 and oozing a rich marine theme including fishes, seahorses, shells and aquatic plants. Also, we shall take in the complex heritage gravitating around a couple of public areas such as the Plevna Square with, among others, the Hartlauer House (also known as the House with Peacocks and Owls), the Romulus Nicolin House (again with fine peacock decorations) and the Adolf Vértes Building (with its panels showing a young woman), respectively the Victoria Square where four buildings were erected in Hungarian Szecesszió style between 1910 and 1914: the Széchenyi, Hilt, Dauerbach and Neuhausz buildings, while several others bear Secession Style decorations including the figurines adorning the Lloyd and the Löffler. Not too far away, the Piarist High School Complex comes as the largest Secession Style project in the city, completed in 1913 and impressive even now, in its bad state needing restoration. At the same time, a walk towards the heart of the old town centre will reveal other gems, including the colourful Ágoston Gálgon Building with its dancing women decorative panels and the captivating Max Steiner Building complete with the fine Zsolnay ceramic tiles adorning it. Should we still have the time and energy, a drive out of the city centre, to the Ștefania Building, decorated with zoomorphic motifs such as bears and gorillas, placed under the cornice. A rich day that we may end down in Unirii Square, taking in the architecture around us in all its grandeur and diversity.

• Breakfast.
• Walking tour in Arad taking in the Lajos Szántay, Reinhardt, Albert Szabó and Bohuș buildings (exterior views only).
  • Optional extension so as to also see the Rozsnyay Mátyás and Kelemen Földes buildings, as well as the Serbian Orthodox Parish Administration building (exterior views only).
• Walking tour in Timișoara taking in the Alexandru Pisică and Franz Marschall buildings, the Water Palace, as well as the heritage gravitating around the Plevna Square and the Victoria Square; the walk may then carry on to the Piarist High School Complex and towards the heart of the old town centre, including the Ágoston Gálgon and the Max Steiner buildings (all exterior views only).
  • Optional drive to the Ștefania Building (exterior view only).
• Accommodation in Timișoara, in an aparthotel hosted in one of the Secession style properties or in a heritage hotel just out of the old town.

This morning we shall cross the border into Serbia. First, we shall head to Belgrade, the city that evolved in two separate worlds, with the Southern part under Ottoman rule, respectively with Zemun across the Danube that was under Austro-Hungarian rule. Given the proximity of the border and the many local architects studying in Western Europe at the time, there is no wonder that the city hosts a highly heterogeneous architecture. In terms of Secession Style, we cannot miss the iconic Moskva Hotel set in 1908 with its shiny façade covered with glazed ceramic tiles, as well as with its ancient Greek figures and patterns. Nearby, the Dom Vukove (House of Vuk) and the Stare Telefonske Centrale (Old Phone Hub) with their rather solemn, geometric patterns provide a blend of medieval, Byzantine and Secessionist architecture. Not too far away, the Stamenković House down the Kralja Petra reminds one of the Hotel Moskva style with its green tile belts, while its human face emerging from a rich floral pattern is highly inspiring. At the same time, the classical Vienna Secession Style can be observed at a few other properties including the Uroš Predić Building and the Vučo House on the Sava River. Leaving Belgrade, we shall proceed Northwards into Novi Sad, in the very heart of Vojvodina. The first decade of the 20th century saw an influx of Vienna Secession Style properties being built in Novi Sad, with an epicenter in Trg Slobode. Here, we may admire the Vojvodjanska Banka (formerly the Katolička Banka) Building completed in 1907 with its typical floral ironwork, flowing balconies and dynamic façade and the Gvozdeni Čovek Building completed in 1908 with its emblematic helmeted human figure on the top of its façade providing its name (En. Iron Man), while at a short walking distance down the streets emerging from the square we will find the Menrath House (1910) with its elegant decorative patterns, the Synagogue (1909) featuring a highly ornate Moorish Revival façade, the Tomin Building (1909) with its wonderful alternation of brickwork and floral band plasterwork, as well as the more austere Matica Srpska with its fine interiors (housing an old, veneered cultural centre). Also, several properties down the Dunavska and Kralja Aleksandra (down the latter finding the imposing Winkler Family Building) will tell us more about the significance the turn of the 20th century architecture had for Novi Sad and generally for Vojvodina. And there will be more to come the following day!

• Breakfast.
• Walking tour in Belgrade taking in the Moskva Hotel, the Dom Vukove, the Stare Telefonske Centrale, the Stamenković House, the Uroš Predić Building and the Vučo House (all exterior views only).
• Walking tour in Novi Sad taking in the Vojvodjanska Banka, the Gvozdeni Čovek Building, the Menrath House, the Synagogue, the Tomin Building, the Matica Srpska, as well as parts of the Dunavska and Kralja Aleksandra streets.
• Accommodation in Novi Sad in an elegant hotel located inside the Petrovaradin Fortress on the right bank of the Danube (opposite the old town) or in a modern hotel close to the Trg Slobode.

A lesser visited town way off the main Belgrade – Novi Sad – Budapest route, Zrenjanin is as charming as it is quiet. However, for the curious, the town reveals wonderful samples of architecture, and Secession Style properties – which started to be built in the last two decades of the 19th century – are some of the architectural highlights here. The two approaches, the Vienna and Budapest facets of Secession Style, are present here, including the highly decorative City Hall completed in 1887, the equally large, but purist Dundjerski Family Building with its solar paint scheme completed in 1906, as well as the Karlo Helmbold House completed in 1900 and featuring an appealing Moorish Revival Style blending in Secession and Oriental patterns; other than that, there are several other houses in town that draw one’s attention, including the Bence House with its fine window patterns. And then, we shall head straight up towards the Hungarian border, but we shall stop short of it, in Subotica, the town with its dozen upon dozen of Secession style properties. Following the completion of the railway line in 1869 and the subsequent trade it facilitated (mainly wheat from the agricultural area around), the town became wealthy and this attracted no shortage of merchants, businessmen, bankers and artists which created a great background for the new ideas and artistic trends of the time, and the Art Nouveau found one of the best homes here in its various approaches: Hungarian and Viennese Secession, German Jugendstil, French and Belgian Art Nouveau. Differently from, say, Novi Sad, there are two epicenters of Art Nouveau here. The first one is the central Trg Republike and the adjoining Plava Fontana, with outstanding monuments right there and down the streets around. These include the City Hall (completed in 1910, with its floral patterns above the top floor windows matching the pointed rooftop tileworks), the Hungarian Szecesszió Style Synagogue (completed in 1901 and being the second largest still standing synagogue in Europe, second to the Dohány Street Synagogue we are going to see in Budapest), as well as the former Savings Bank (completed in 1907, with its façade decoration inspired from its function: the hive and the stylized owls standing for wisdom, with the sun and peacock standing for fortune and success, respectively with squirrels standing for careful gatherers and savers) down the pleasant pedestrian Korzo Street. At the same time, other Secession Style properties in the town centre will enchant us, such as the colourful Ferenc Raichl Family Mansion completed in 1904, with its fine Zsolnay ceramics-adorned façade, the omnipresent heart motif (from the monumental entrance which is upside down heart – shaped, to the wrought iron gate and interior balcony fence carvings), the Simeon Leović Building that was the first one in town to mark the transition from Historicism to Art Nouveau in 1893, and the Municipal Museum completed in 1908. The other epicenter is just out of town, in Palić, with a homogenous group of fine properties set in the park off the local lake: the Water Tower completed in 1910 and featuring a wonderful carved wood gate and belfry, the Women’s Lido, the Great Terrace and the Konen Villa. An enchanting treat before leaving Serbia!

• Breakfast.
• Walking tour in Zrenjanin taking in the City Hall, the Dundjerski Family Building, the Karlo Helmbold House, the Bence House (all exterior views).
• Walking tour in Subotica taking in the City Hall (exterior view), the Synagogue (visit inside if open), the former Savings Bank (exterior view), the Ferenc Raichl Family Mansion (currently hosting an art gallery; visit inside if open to tourists, as it often hosts private events and movie or show filming sessions; always closed on Sundays and Mondays), the Simeon Leović Building (exterior view), the Municipal Museum (exterior view).
• Drive to Palić and walk in the park by the lake taking in the Water Tower, the Women’s Lido, the Great Terrace and the Konen Villa (all exterior views; in case of a shortage of time, the drive to Palić and the walk there can also be done the following day, en route to Szeged).
• Accommodation in Subotica, artistic theme hotel hosted in a heritage property in the old town centre or modern hotel in the same area.

Once in Hungary but virtually across the same rather flat background, we shall reach Szeged this morning. While the railway and wealth that came with the trade it eased created the background for new real estate projects to develop in Subotica, an entirely different event made room for these in Szeged: the devastating flood of 1879 and the subsequent need to rebuild the town. The result included elegant avenues, airy squares, sumptuous residences and public buildings of daring (at the time) architecture. The Secession style here saw a blend of the international approach and traditional materials, respectively vernacular architecture, and embraced various shapes, from large public buildings to small houses. Commencing in the old town centre, we shall not miss the Beregi and Schäffer buildings with their respective fascinating brickwork (the former) and bad idea of the owners that in the 1920s, due to financial issues, had the wonderful decoration including the great window and door carpentry, removed (the latter), the Reformed Church Palace with its unusual unfolding, the Ungár-Mayer Building with its eye catching corner roof that appears as held together by a circle of human figures, the Reök Palace completed in 1907 with its light, dreamy appearance and floral belts, the Ferenc Raichl Palace that, at a smaller scale, will remind us of the homonymous property in Subotica, and the building of the Upper Elementary School for Girls with its fine brickwork patterns on a light colour background. Moving farther West, we shall see the New Synagogue completed in 1903 with its painted glass windows and astounding glass dome, the Goldschmidt Building, that was unfortunately stripped of its outstanding decoration, but still preserves the amazingly beautiful stucco figures down the gangway leading to the entrance, and the two gems North of the centre, the Deutsch (1902) and Gróf (1913) buildings, the former with its appealing green, red and orange, floral motif majolica, and the latter with its monumental façade complete with Hungarian folk art-inspired decorative patterns. The more energetic and curious can also include the Moricz House completed in 1912 farther North, as well as the Márer House with its playful, asymmetrical design all the way South of the centre. After such a rich insight, we shall turn Westwards all the way to Pécs.

• Breakfast.
• Walking and driven tour in Szeged taking in some of the following (according to your preference): the Beregi and Schäffer buildings, the Reformed Church Palace, the Ungár-Mayer Building, the Reök and the Ferenc Raichl palaces, the building of the Upper Elementary School for Girls, the New Synagogue, the Goldschmidt Building, the Deutsch, Gróf, Moricz and Márer houses.
• Visit to the Reök Palace nowadays hosting an art gallery, with modern or contemporary exhibitions (closed on Mondays); the focus here will be on the architecture, including the fine stairway and window carpentry work, as well as the stucco decorations and round cafeteria hall.
• Accommodation in Pécs in a period hotel set up and decorated in Art Nouveau style or in a heritage villa oozing an old times atmosphere and featuring Zsolnay ceramic decorations within the Zsolnay Quarter.

The day will commence with a walk in the district in Pécs where the famous Zsolnay ceramics have long been produced, an essential ingredient for the Magyar Szecesszió style. There, we shall first follow the chronological presentation of the factory’s decorative works, with a particular focus on the grouping according to stylistic trends and designers. And then we shall walk through the Zsolnay Quarter, where the family-run manufacture has been producing its outstanding ceramics for generations. The decorated minaret structures reminiscent of Safavid art will definitely get our attention and so will the floral patterns speaking of the turn of the 20th century; a visit to the Sikorski House (where the clay preparation was initially done) comes without saying and so is the line-up of some 700 exhibits belonging to the three major stages: Historicism (including folk-inspired art, from the founding 1853 to 1897), Szecesszió (joined by Art Deco, from 1897 to 1920), respectively Modernism (after 1920). Leaving Pécs, we shall move on to Kiskunfélegyháza, where we shall once again see the great Zsolnay ceramics being used; and to what extent! The Town Hall there, completed in 1904, resembles a shop window dedicated to ceramics, with its floral patterns running all around it, just under the eaves. Then, while it was agriculture making Subotica prosperous and Secession Style embraced there, it was wine making in nearby Kecskemét that brought in the capital needed for outstanding architectural projects. Of these, the Cifra Palota (suitably meaning ‘Adorned Palace’) completed in 1902 blends in elements of international Art Nouveau and those of Hungarian folk art, while the roof is covered in majolica. The wave-like belt and roof line and the pink panels filled with vegetal motifs are reminiscent of Architect Ödön Lechner’s playful mode, hence making one think of a once popular Hungarian child game starting with a song:

“Adorned palace,
Its window is green,
Rose, you come out now,
The violet is waiting for you.”

Next, we shall see the City Hall completed in 1897, with its more austere decoration (compared to what we saw earlier in the day), but equally impactful ceramic inserts, wrought iron door patterns and stained glass windows. Two other public buildings in town will then come into focus, especially through the contrast of their architecture. Because, standing close to the older one, the Calvinist Church built in early Baroque style in the 1680s, there is the Calvinist College, completed in 1912 in Magyar Szecesszió Style and being adorned with Transylvanian motifs. We shall then make our way North to Budapest, to see where the Hungarian take on Art Nouveau started, and to what extent it developed there.

• Breakfast.
• Visit to the Zsolnay Museum in Pécs.
• Walk in the Zsolnay Cultural Quarter in Pécs and visit to the local art gallery of ceramics.
• Walk around the Town Hall in Kiskunfélegyháza (exterior view only; brief visit inside only if open and allowed, usually possible before noon, not on Saturdays and Sundays).
• Walking tour in Kecskemét taking in the Cifra Palota (visit inside included if open, unless there are events or periods of closure at the time) and the Calvinist College (exterior view only).
• Accommodation in Budapest, in a hotel hosted in an old monastery in the Buda (quieter) part of the city or, for a price supplement, at the Art Nouveau Four Seasons Gresham Palace in the Pest part of town.

The two architectural trends that would greatly influence Hungarian arts at the turn of the 20th century could hardly be better looked into than there where the debate was at its both fiercest and most prolific: in Budapest. Because, in their search for identity and new forms of expression, while some local architects looked Eastwards and back in history for traditions, crafts and materials, others looked at what was then occurring in Western Europe for the up-to-date trends, new materials and audacious projects. The former, including celebrated Ödön Lechner, turned to Indian and Persian art (that is the source, apart from Lechner’s growing in a family running a brick making manufacture, the extensive use of Zsolnay ceramics) blended in with old Hungarian art motifs. Some of Lechner’s followers – for instance Károly Kós with his deep interest in Székely culture – would develop their own approach by reverting to old building techniques, folk motifs and vernacular – sometimes Transylvanian – architecture. The latter, including József Vágó, sought a pan-European road and rather looked into the Vienna Secession and German Jugendstil for inspiration. Therefore, our tour of Budapest will follow these two approaches with their distinct results. We shall see today some of Lechner’s projects including the Museum of Applied Arts completed in 1896 with its outsized roofs featuring great tileworks, as well as with its highly decorative ceilings, the Geological Museum completed in 1899 and the Postal Savings Bank Building completed in 1901, with its extravagant use of highly creative ceramics (extravagance that would have him banned from working on public projects after 1902), as well as some of Károly Kós’ projects including the Budapest Zoo built in 1910-1912 and the Wekerletelep (En. Wekerle Estate), an all inclusive “garden city” with its own urban facilities and extensive green areas, running on a community involvement principle, built in 1908-1921. From the “internationalist” camp, we shall see Zsigmond Quittner and József Vágó’s Gresham Palace completed in 1906 with its fine mosaics and carved stone decorated façade.

Other public buildings of extraordinary architecture include the Gellért Thermal Baths completed in 1918 relying on the city’s thermal water resources known as early as the 13th century, the National Institute for the Blind completed in 1904 with its intricate, embroidery-like façade, as well as the Erzsébetváros Primary School down 85 Dob Street
completed in 1906 featuring some fine ceramic works appropriately inspired by teaching scenes, while in terms of interiors the Franz Liszt Music Academy completed in 1907 hosts an amazingly rich concert hall including frescoes, stained glass panels and mosaics. At the same time, the once thriving Jewish presence in Budapest also showed interest for the Art Nouveau, with the Kazinczy Street Synagogue completed in 1913 for the Orthodox community, that, while rather austere on the outside, impresses one with the ornate stonework and blue ceiling inside, as well as with the Kozma Street Jewish Cemetery, where we may find the striking Schmidl Tomb featuring some high class mosaics. And then, down to the residential scene, a few samples of houses or multi-family buildings are striking, starting with the Kőrössy Villa (nowadays hosting a cultural centre called ResoArt and a wonderful Zsolnay ceramic collection that can be usually visited) designed by Albert Kálmán Kőrössy in 1899 for his own family and boasting enchanting delicate floral patterns above the typical, impressive round window. And, while one can go wandering across Budapest for days on end exploring the Art Nouveau or local Secession style projects, we highly recommend seeing three more properties: the Lindenbaum Villa completed in 1897, drawing our attention with its ceramic decorations inspired by floral motifs, as well as by the Garden of Eden biblical scene, the Léderer Building down Bajza Street completed in 1902 and featuring fine panels of mosaic frieze depicting hunting and dancing scenes, done in the workshop of well known Miksa Róth, as well as the Schwartz Building down 53 Dob Street completed in 1905 and featuring some superbly done balcony fences both street-side and along the access way in the typical atrium.

Then, with such a vast heritage, we recommend arranging the sights according to one’s preferences and interests, but an option would be to start along the Danube, with the Museum of Applied Arts, the Gellért Baths, the Gresham Palace, the Postal Savings Bank, then moving Eastwards to the Kazinczy Street Synagogue, from where an extensive walk with optional driving legs could take in the Schwartz Building, the Erzsébetváros Primary School, the Geology Museum, the Franz Liszt Music Academy, the Léderer and Lindenbaum buildings, the Zoological Gardens and the Kőrössy Villa. Time and energy allowing, a drive farther away could take in the Kozma Street Jewish Cemetery and the Károly Kós’ Wekerletelep project. Such a fulfilling day!

• Breakfast.
• Driving and walking tour of Budapest taking in the Museum of Applied Arts (closed for renovation as of 2025, when they reopen we recommend the galleries hosting the Art Nouveau and Magyar Szecesszió artefacts, the Turn of the Century Dress Code, Budapest Interiors circa 1900 and Art Nouveau Ex Libris exhibitions, please allow at least 2 hours), the Gellért Baths (exterior view only, we recommend a visit / bath in the late afternoon), the Gresham Palace, the Postal Savings Bank, the Kazinczy Street Synagogue, the Schwartz Building, the Erzsébetváros Primary School, the Geology Museum, the Franz Liszt Music Academy, the Léderer and Lindenbaum buildings, the Zoological Gardens and the Kőrössy Villa (all exterior views only).
• If open, visit to the Kazinczy Street Synagogue and the Kőrössy Villa (no extra charge required).
• Optionally, time and energy allowing (no extra charge required), drive taking in the Kozma Street Jewish Cemetery and the Károly Kós’ Wekerletelep project.
• Recommended: if there is something on that night, a classical music concert at the Franz Liszt Music Academy, so as to also see the wonderful concert hall (not included).
• Accommodation in Budapest, in a hotel hosted in an old monastery in the Buda (quieter) part of the city or, for a price supplement, at the Art Nouveau Four Seasons Gresham Palace in the Pest part of town.

With an afternoon flight, we may opt to have a relaxed walk across a part of the often overlooked Istvánmező District not too far from the busy Keleti Station. There, between the streets of Városliget and Thököly we shall be able to explore the exterior of several Art Nouveau properties – this time strictly residential, therefore with smaller proportions – including the 23 Szabó József villa with its elegant brickwork, the 21 Abonyi villa with its entrance of ancestral inspiration, the 47 Hermina villa with its elegant design complete with its fancy orangerie, as well as the 11A Jávor villa built by an architect and featuring a depiction of his family on the outside wall. Or, well, with a more relaxed end of the tour, yet in full line with its itinerary, a visit to the Gellért Baths so as to take in the extraordinary architecture, great ceramics and nonetheless the thermal waters there.

• Breakfast.
• With an afternoon flight: walking tour in the Istvánmező District spotting smaller Art Nouveau properties (no extra charge required).
• Visit to the Gellért Baths (no extra charge required).
• Transfer to the Budapest Airport for the flight onwards.
• End of services.