The building was completed in 1896 and has preserved its original form to date and is one of the most significant examples of eclectic architecture in the city. It was created by the renewal and upgrading of the centenary Baroque curia of the Skenderović family of Subotica. The building faces the square with a frontal block, and the side wings extend along the streets of Braće Radić and Cara Dušana, forming an irregular trapezoidal shape of the base.
The designer of this building was architect Ferenc Rajhl, who, according to the location of this building, realized a one-story building, which seemed to emerge from two streets and splendidly flashes on the frontal wall block. From the former Baroque cottage of the Skenderović family, hardly anything else was left, because a creative and ambitious architect wanted to fully confirm in his skill at this facility. From the old building in the style of the Baroque provincial variant, he built a new representative palace in the then dominant eclectic style. Rajl breathed her pomp to a lavish neo-baroque plastic, including the performance of this venture, and then another young, later one of the most famous Hungarian sculptors, Edea Telch.
Along the whole ground floor, the wall canvas is made in rust and made with lilies, with a rhythmic array of arched large openings in which only the tooth in the crown appears as a decorative detail. Along the same axis, the sloping windows feature slim arched windows and contribute to the ease of the entire architectonic architecture of this building with its neo-baroque plastic. The central block architecturally and aesthetically fits perfectly and connects with a complex building, but it also represents a luxurious and harmonious whole. The central lavish corpus, the Baroque masses, is sculpted with two sculptor sculptors (attributed to the Hungarian sculptor Edeu Telč), who wear a small, light balcony with a masonry balustrade so massive and full of voltage. On the balcony openings there is a striking large lunette of the width of the balcony, which rounds it up in its decorative plastic-made field.A trougaon with a trimmed tip contributes to the verticalism of the object with a niche and full plastic figure of the saint-girl in a sitting position in it.
A splendid large lunette is a special aesthetic entity. The author uses a well-known composition and decorative motifs of Baroque. In the center is a richly plastic Ancient vase, with the widened paths of wings spread, whose lower limbs melt in a curly intertwining in the form of a floral spiral. The theme was done on the template, but it feels the hand of an exceptional masters.
The side parts of the luxurious central corpus have a formidable appearance with the central niche in which a dissolved shell appears and in the roof zone ends with baroque atriums that fit in the roof.
The central part of the building is surrounded by a zinc-plated trapezoidal roof covering, while the calm side wings carry a roof covering to two water.

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