DOI Heft:
Rozprawy
DOI Artikel:Kandt, Kevin E.: Andreas Schlüter and Otto van Veen: the source, context, and adaption of a classicizing embelm for the tomb of Jakub Sobieski
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.28185#0073
ANDREAS SCHLÜTER AND OTTO VAN VEEN: THE SOURCE, CONTEXT, AND ADAPTATION
71
in the final execution.100 This fiat effect seen in the court-façade relief is
not so surprising since much of the whole composition appears to hâve
been conceived from an extensive use of printed graphie sources. Indeed,
many figurai compositions and details of the palace’s tympana sculptures
(and even the original interior stucco herm décorations - now copied) are
replete with quotations from ancient and contemporary models derived
from various published sources like: Cesare Ripa, Iconologia, (Padua,
1611), Pietro Santo Bartoli, Colonna Trajana (Roma, 1673),101 François
Perrier, Icônes et segmenta illustrium e marmore tabularum quae Romae
adhuc extant (Roma, 1645), and Girolamo Teti (Tetius) Aedes Barberinae
(Roma, 1642); while possible 17th century French sources originating
from Versailles were, e.g. François Girardon, Martin Desjardins, and Le
Brun - the last whose works were engraved by Jean-Baptiste Tuby.102
Patron Jan Dobrogost Krasinski himself is believed to hâve researched and
established the iconographie program and influenced the final outcome by
Consulting writings of ancient authors and engraved archeological books
found in his library,103 and of which Schlüter evidently availed himself.104 * 100 101 102 103
(Mossakowski, Tilman van Gameren, p. 293). A figure of a winged female figure writing
on a shield borne by Chronos cornes from a related figure of "Victora Dacica” from Trajan’s
Column, recalling Ripa’s image, and was published as an engraving by Pietro Santo Bar-
toli in Colonna Trajana (Roma, 1673), plate 58. Plate 37 of the same édition has a second
version on this figurai theme. The single-entrance triumphal arch with coffered vaults re-
calls the Arch of Titus in Rome before its early 19th century reconstruction. The soldier re-
straining the fiery horses cornes from two known Roman works: a Hadrianic-period tondo
relief showing a Rest After the Hunt from the Arch of Constantine and the famous colossal
Quirinale Dioscouri. Both were known through engraved sources. The tondo cornes from
plate 35 of Perrier’s previously cited publication and the Dioscurii were published in
A. Lafferi’s Spéculum Romanae Magniflcentiae published in Rome c. 1575. (Mossakow-
ski, Tilman van Gameren, pp. 297-298). The two standard bearers wearing lion skins
were also influenced by the Bartoli publication, especially plates 19, 25, 38, and 97 and
numerous details also look strongly dépendent upon these engravings.
100 In correspondence, Peschken emphasizes the court-façade’s greater importance in
relation to the garden-façade and how the architect understandably permitted Schlüter
more responsibility for the latter façade’s realization. See, Peschken, “Neue Literatur,”
p. 234 and Kühn, "Schlüter als Bildhauer,” p. 119.
101 An édition of this publication may hâve once been in Tilman’s library. Mos-
sakowski, “Ksiqgozbior,” pp. 30, 31.
102 For a complété discussion of antique literary sources and illustrated prototypes
pertaining to the palace’s sculptural iconography, décorative program, and conception, see:
Mossakowski, Tilman van Gameren, pp. 283-301 and especially 285, 287, 289, 294-297 and 301.
103 Ibid., pp. 294, 298-299. More on these kinds of publications illustrating antique ar-
chitecture, coins, medallions, gems, painting, sculpture, and reliefs, e.g. by Bartoli, Per-
rier, and others, see: M. Daly Davis, Archàologie der Antike. Aus den Bestànden der Herzog
August Bibliothek, 1500-1700, Wiesbaden 1994, pp. 63-141; especially 117-118, 124-125
and 126-127.
101 Mossakowski, Tilman van Gameren, pp. 300-301.
71
in the final execution.100 This fiat effect seen in the court-façade relief is
not so surprising since much of the whole composition appears to hâve
been conceived from an extensive use of printed graphie sources. Indeed,
many figurai compositions and details of the palace’s tympana sculptures
(and even the original interior stucco herm décorations - now copied) are
replete with quotations from ancient and contemporary models derived
from various published sources like: Cesare Ripa, Iconologia, (Padua,
1611), Pietro Santo Bartoli, Colonna Trajana (Roma, 1673),101 François
Perrier, Icônes et segmenta illustrium e marmore tabularum quae Romae
adhuc extant (Roma, 1645), and Girolamo Teti (Tetius) Aedes Barberinae
(Roma, 1642); while possible 17th century French sources originating
from Versailles were, e.g. François Girardon, Martin Desjardins, and Le
Brun - the last whose works were engraved by Jean-Baptiste Tuby.102
Patron Jan Dobrogost Krasinski himself is believed to hâve researched and
established the iconographie program and influenced the final outcome by
Consulting writings of ancient authors and engraved archeological books
found in his library,103 and of which Schlüter evidently availed himself.104 * 100 101 102 103
(Mossakowski, Tilman van Gameren, p. 293). A figure of a winged female figure writing
on a shield borne by Chronos cornes from a related figure of "Victora Dacica” from Trajan’s
Column, recalling Ripa’s image, and was published as an engraving by Pietro Santo Bar-
toli in Colonna Trajana (Roma, 1673), plate 58. Plate 37 of the same édition has a second
version on this figurai theme. The single-entrance triumphal arch with coffered vaults re-
calls the Arch of Titus in Rome before its early 19th century reconstruction. The soldier re-
straining the fiery horses cornes from two known Roman works: a Hadrianic-period tondo
relief showing a Rest After the Hunt from the Arch of Constantine and the famous colossal
Quirinale Dioscouri. Both were known through engraved sources. The tondo cornes from
plate 35 of Perrier’s previously cited publication and the Dioscurii were published in
A. Lafferi’s Spéculum Romanae Magniflcentiae published in Rome c. 1575. (Mossakow-
ski, Tilman van Gameren, pp. 297-298). The two standard bearers wearing lion skins
were also influenced by the Bartoli publication, especially plates 19, 25, 38, and 97 and
numerous details also look strongly dépendent upon these engravings.
100 In correspondence, Peschken emphasizes the court-façade’s greater importance in
relation to the garden-façade and how the architect understandably permitted Schlüter
more responsibility for the latter façade’s realization. See, Peschken, “Neue Literatur,”
p. 234 and Kühn, "Schlüter als Bildhauer,” p. 119.
101 An édition of this publication may hâve once been in Tilman’s library. Mos-
sakowski, “Ksiqgozbior,” pp. 30, 31.
102 For a complété discussion of antique literary sources and illustrated prototypes
pertaining to the palace’s sculptural iconography, décorative program, and conception, see:
Mossakowski, Tilman van Gameren, pp. 283-301 and especially 285, 287, 289, 294-297 and 301.
103 Ibid., pp. 294, 298-299. More on these kinds of publications illustrating antique ar-
chitecture, coins, medallions, gems, painting, sculpture, and reliefs, e.g. by Bartoli, Per-
rier, and others, see: M. Daly Davis, Archàologie der Antike. Aus den Bestànden der Herzog
August Bibliothek, 1500-1700, Wiesbaden 1994, pp. 63-141; especially 117-118, 124-125
and 126-127.
101 Mossakowski, Tilman van Gameren, pp. 300-301.