The Choral Tem­ple in Bucharest

Vien­na: Leopold­städter Tem­ple, 1858

Vien­na, long the cap­i­tal of the Holy Roman Empire, became the cap­i­tal of the new­ly cre­at­ed Aus­tri­an Empire in 1804. After the first World War, as the Empire became the First Repub­lic of Aus­tria, it remained the cap­i­tal. Vien­na briefly became part of Ger­many, upon the Third Reich’s annex­a­tion of Aus­tria in 1938, but once Aus­tria regained its state­hood after World War II, Vien­na returned to its sta­tus as capital. 

Jews have been present in Aus­tria for close to two thou­sand years. In 2008 arche­ol­o­gists uncov­ered the third-cen­tu­ry C.E. grave of an infant in Aus­tria con­tain­ing an amulet with the She­ma prayer (a cen­tral ele­ment of the Jew­ish litur­gy) inscribed on it.

The first Jews in Aus­tria may have fol­lowed the Roman army back from their occu­pa­tion of Israel as aids, pro­cur­ers of goods, and mer­chants to the sol­diers. A tenth-cen­tu­ry doc­u­ment dis­cussing Jew­ish and Chris­t­ian traders sug­gests that Jews lived in Vien­na. The com­mu­ni­ty was estab­lished by 1204, when a syn­a­gogue was con­struct­ed and records show new Jew­ish res­i­dents arriv­ing from Bavaria and the Rhineland.

In July 1244 Duke Fred­er­ick II issued a char­ter that out­lined rights for Jews in Vien­na and also affect­ed Jew­ish com­mu­ni­ties in near­by areas. Jews were barred from many jobs, eco­nom­ic activ­i­ties, and learn­ing set­tings but were allowed to make sales, orga­nize com­merce, and lend mon­ey. The bill promised the monarch’s pro­tec­tion and the community’s right to its own court sys­tem and abil­i­ty to col­lect tax­es. Though it encour­aged oth­er Jews to move to the area, over the cen­turies Jews under­went cycles of harass­ment, expul­sion, and reset­tle­ment. In the late 1600s only the first-born Jew­ish chil­dren were allowed to mar­ry, in an attempt to min­i­mize the num­ber of Jew­ish residents. 

Although Leopold I, Holy Roman Emper­or and Arch­duke of Aus­tria (16401705), treat­ed the Jew­ish pop­u­la­tion severe­ly, his eco­nom­ic advi­sor was Sam­son Wertheimer, who also served as chief rab­bi of Eisen­stadt, Hun­gary, and Moravia. As an inter­me­di­ary between the Emper­or and the Jew­ish com­mu­ni­ty, Wertheimer was a Court Jew whose ser­vices to the Emper­or ele­vat­ed his sta­tus. Ten roy­al sol­diers served as guards at his res­i­dence. He owned many palaces and gar­dens in Vien­na and else­where and estab­lished schools, endowed syn­a­gogues, and dis­trib­uted sig­nif­i­cant funds in Europe and the Land of Israel. Jews vis­it­ing Vien­na from out­side the city were not allowed to remain overnight with­out a writ­ten per­mit from Wertheimer.

Artist Andrea Strongwater’s paint­ing of the Leopold­städter Temple

Start­ing in 1848, with Franz Joseph I’s reign as Emper­or of the Aus­tria-Hun­gary Empire, the Jew­ish com­mu­ni­ty of Aus­tria expe­ri­enced an era of rel­a­tive pros­per­i­ty. A new con­sti­tu­tion writ­ten in 1867 gave Jews full equal rights that includ­ed the right to live wher­ev­er they wished in Aus­tria and to prac­tice their Judaism freely. The num­ber of Jews resid­ing in Vien­na increased from 6,200 in 1860 to 40,200 in 1870 to 185,000 in 1938, with Vien­nese Jews mak­ing con­tri­bu­tions in the arts, med­i­cine, bank­ing, and business.

Leopold­städter Tem­ple, also called Israelitis­che Bethaus in der Wiener Vorstadt Leopold­stadt, opened in 1858 in the Leopold­stadt dis­trict. The largest syn­a­gogue in Vien­na at the time, it seat­ed 2,200 peo­ple with stand­ing room for anoth­er 1,500. Archi­tect Lud­wig Förster, who was not Jew­ish but designed oth­er syn­a­gogues (most notably the Dohány Street Syn­a­gogue in Budapest and the Syn­a­gogue of Miskolc, Hun­gary) as well as church­es, designed and built all three syn­a­gogues in a Moor­ish style. His con­cept was influ­en­tial and many syn­a­gogues would imi­tate it — some copy­ing exact­ly the Leopoldstadt’s flat three-part facade and roof, orna­men­tal minarets of sym­met­ri­cal design, and a basil­i­ca lay­out with bal­conies. The Choral Tem­ple in Bucharest, the Zagreb Syn­a­gogue in Croa­t­ia, the Span­ish Syn­a­gogue in Prague, the Tem­pel Syn­a­gogue in Kraków, and the Grand Syn­a­gogue of Edirne are examples.

The syn­a­gogue housed an impor­tant Jew­ish library. In August 1917, after a cel­e­bra­tion for Emper­or Karl I’s birth­day orga­nized by young Jew­ish sol­diers, a fire severe­ly dam­aged the build­ing. The ren­o­va­tions were fin­ished in 1921.

The syn­a­gogue was destroyed on Kristall­nacht along with all but one of the oth­er twen­ty-one for­mal syn­a­gogues in Vien­na. The syn­a­gogue that remained on the Seit­en­stet­ten­gasse had been built between two build­ings owned by Chris­tians. Set­ting it on fire or blow­ing it up would have dam­aged the oth­er build­ings. It is also pos­si­ble that the Nazis did not real­ize it was a synagogue. 

A memo­r­i­al plaque on the site is writ­ten in Ger­man and Hebrew. Trans­lat­ed into Eng­lish it reads: Here stood the Leopold­städter Tem­ple, built in 1858 in Moor­ish style to the plans of Leopold Forster, and destroyed down to the foun­da­tions on the so-called Night of Bro­ken Glass, 10th Novem­ber 1938 by Nation­al Social­ist barbarians.”

Today, Vienna’s approx­i­mate­ly 12,000 Jews include East­ern Euro­pean refugees and their chil­dren, Aus­tri­an Jews who lived abroad dur­ing WWII, and Iran­ian Jews. The city was also a tran­sit point for Jews leav­ing the Sovi­et Union on their way to the U.S. or Israel.

Excerpt­ed with per­mis­sion from Lost Syn­a­gogues of Europe: Paint­ings and His­to­ries by Andrea Strong­wa­ter, The Jew­ish Pub­li­ca­tion Soci­ety, Novem­ber 2025. Artist Andrea Strongwater’s paint­ing of the Leopold­städter Tem­ple appears on the book cover. 

Andrea Strong­wa­ter is an author and artist whose art­work has been shown world­wide, includ­ing in the col­lec­tions of the Uni­ver­si­ty Med­ical Cen­ter of Prince­ton, the Her­bert F. John­son Muse­um in Itha­ca, New York, the Jew­ish The­o­log­i­cal Sem­i­nary in New York, Or Hadash Syn­a­gogue in Atlanta, and the Georges Cziffra Foun­da­tion in Sen­lis, France. Some of her paint­ings have been sold, and their images have also been sold as prints, post­cards, and note­cards at the Unit­ed States Holo­caust Memo­r­i­al Muse­um in Wash­ing­ton, DC, the Shoah Memo­r­i­al in Paris, and to pri­vate col­lec­tors. The fore­run­ner to this present vol­ume is her award-win­ning chil­dren’s book Where We Once Gath­ered: Lost Syn­a­gogues of Europe.