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#0096
94
KEVIN E. KANDT
35. Andréas Schlüter and Giovanni Simonetti. Minerva Battling the Giants, (after 1704).
Stadtschloss, Berlin. (Destroyed)
the Battle ofthe Giants (c.1700) preserved in Berlin and ultimately deter-
mined the hall’s final décorative program.139 (Fig. 38)
In the same palace’s Erste Paradekammern, designed by Schlüter begin-
ning c. 1699, is the so-called Drap d’Or Kammern; the fïrst chamber in
these suites. It has ceiling reliefs with allegorical représentations of
Prussian kingship including “Rébellion” shown as a falling muscular youth
being subjugated by Minerva,140 similar to those found in the Great
139 The 496x360 mm gray-brown pen-and-ink drawing (Hdz 5800), Kupferstich-Ka-
binet - Berlin, utilizes sorne Roman characteristics in the coffers, rosettes, and trophies,
but the figurai disposition and frame recall the Le Pautre design. In: E. Berckenhagen,
Barock in Deutschland: Residenzen, Berlin 1966, pp. 90-91. An association with the Ter-
westen drawing and Schlüter’s designs seems conceivable yet remains uncertain. See:
L. Wiesinger, “Berliner Maler um 1700 und die Gründung der Akademie der Künste,” in
Berlin und die Antike, pp. 84-86. An interesting 18th century print by Antonio Baratti
(1724-87) entitled Superbia (and with accompanying verses) done after the Venetian
painter, Vincezno Scozia, depicts a similar composition with falling figures based on this
moralizing theme of downfall caused by excessive pride.
140 Peschken and Klünner, Das Berliner Schloss, p. 463, 474.
KEVIN E. KANDT
35. Andréas Schlüter and Giovanni Simonetti. Minerva Battling the Giants, (after 1704).
Stadtschloss, Berlin. (Destroyed)
the Battle ofthe Giants (c.1700) preserved in Berlin and ultimately deter-
mined the hall’s final décorative program.139 (Fig. 38)
In the same palace’s Erste Paradekammern, designed by Schlüter begin-
ning c. 1699, is the so-called Drap d’Or Kammern; the fïrst chamber in
these suites. It has ceiling reliefs with allegorical représentations of
Prussian kingship including “Rébellion” shown as a falling muscular youth
being subjugated by Minerva,140 similar to those found in the Great
139 The 496x360 mm gray-brown pen-and-ink drawing (Hdz 5800), Kupferstich-Ka-
binet - Berlin, utilizes sorne Roman characteristics in the coffers, rosettes, and trophies,
but the figurai disposition and frame recall the Le Pautre design. In: E. Berckenhagen,
Barock in Deutschland: Residenzen, Berlin 1966, pp. 90-91. An association with the Ter-
westen drawing and Schlüter’s designs seems conceivable yet remains uncertain. See:
L. Wiesinger, “Berliner Maler um 1700 und die Gründung der Akademie der Künste,” in
Berlin und die Antike, pp. 84-86. An interesting 18th century print by Antonio Baratti
(1724-87) entitled Superbia (and with accompanying verses) done after the Venetian
painter, Vincezno Scozia, depicts a similar composition with falling figures based on this
moralizing theme of downfall caused by excessive pride.
140 Peschken and Klünner, Das Berliner Schloss, p. 463, 474.