Among the sites offin-de-siècle modernism in Vienna, there is not yet a museum featuring the life of the physician-turned-author Arthur Schnitzler (1862–1931), who lived his entire life there. Museums that offer alternatives to imperial grandeur are plentiful enough: two radically different buildings, the Upper Belvedere and the Secession, both display the work of Gustav Klimt (1862–1918), famous for his Byzantine friezes of Viennese art nouveau. Another monument to modernism is the Freud Museum at 19 Berggasse, where Sigmund Freud (1856–1939) lived and worked. Yet anyone who looks for the house of Schnitzler, whom Freud termed his Doppelgänger, will find only a plaque by the front door at 71 Sternwartestraße, because Schnitzler's museum is of a different sort. More likely his name would surface during a stroll past the Burgtheater on Dr-Karl-Lueger-Ring. Here it would not be surprising to see banners advertising his play Das weite Land (The Vast Country), which premiered in the imposing classical structure in 1911. Within walking distance from the Burg is Theater in der Josefstadt, a typical venue for one-acts from the Anatol cycle (1888–91). Somewhere near the university, a bookstore of the First District might be displaying the ten volumes of Schnitzler's diary next to eight volumes of his Ausgewählte Werke (Selected Works, 1999), or new paperback editions emblazoned with prints by Klimt. The biography section might feature Arthur Schnitzler: Ein Leben in Wien (1862–1931) by Giuseppe Farese (1999); the history section might offer the Fischer Verlag translation — “Das Zeitalter des Doktor Arthur Schnitzler: Innenansichten des 19.