Instytut Historii Sztuki <Posen> [Hrsg.]
Artium Quaestiones — 10.2000

Seite: 105
DOI Heft: DOI Artikel: DOI Seite: Zitierlink: 
https://digi.ub.uni-heidelberg.de/diglit/artium_quaestiones2000/0107
Lizenz: Creative Commons - Namensnennung - Weitergabe unter gleichen Bedingungen Nutzung / Bestellung
0.5
1 cm
facsimile
ANDREAS SCHLÜTER AND OTTO VAN VEEN: THE SOURCE, CONTEXT, AND ADAPTATION

105

(15 3 8),103 or another printed source may be discerned in Stefano délia
Bella’s etching Death and the Child (c. 1648-49).153 154 155 156 157

On the magnifïcent Sarcophagus of Queen Sophie Charlotte, Berlin
Cathédral (1705) a shrouded death records the beloved Queen’s name in
the book of eternity while a winged scythe-wielding skeleton with a vase
motif is found on a side-relief. (Figs. 44-45) Two striking precedents(?) for
this skeleton may be a cowled Death image taken from the East Portai of
the Bürgersaal of the Amsterdam Town Hall engraved after Artus Quel-
linus,100 and an Epitaph of Johann Jacob Pantzer in Leipzig’s Pauline
Church (dated 1673) attributed to Johann Caspar Sandtmann.lD(’

Influence from contemporary Italian and French funerary monuments
on the Queen Sophie Charlotte sarcophagus and on the Sarcophagus of
King Friedrich I (1713) was observed in François Girardon’s Tomb of Cardi-
nal Richelieu and Bernini’s striking skeleton motifs from the Tomb of
Urban VIII and Tomb of Alexander VII. Generally, both Berlin monuments
clearly demonstrate a general arrangement, figurai disposition, movement,
and gestures recalling works by Girardon and Antoine Coysevox. Indeed, ail
these important models were readily adapted by the sculptor.15'

On Friedrich I’s sarcophagus a weeping female figure and an innocent
child blowing soap-bubbles symbolize the tragic fragility and brevity of
human life - an established vanitas motif.158 (Fig. 46) The group itself is
directly inspired by Bernini’s Tomb of Cardinal Domenico Pimentel in
S. Maria Sopra Minerva, Rome (mid-1650’s).159 Bernini’s tomb group

153 First noted by W. Fl âge r, “Andréas Schlüter zum 250. Todestag,” in Dauer und
Wandel der Geschichte: Aspekte Europàischer Vergangenheit - Festgabe für Kurt von
Raumer, R. Vierhaus and M. Botzenhart (eds.), Münster 1966, p. 321.

lo4 Keisch, “Zur Todesikonographie,” p. 42 and ill. 9,2. Délia Bella’s Polish connec-
tions could also be noted here when we consider that he was responsible for detailed draw-
ings of Polish diplomatie envoys like that of Jerzy Ossolinski who entered Rome in 1633 as
well as Krzysztof Opalinski and Waclaw Leszczynski who entered Paris in 1645. Only the
former procession was ever realized as six large etchings. See M. Paskiewicz, “Polonika
w szkicownikach Stefana Délia Bella we florenckich Uffïzi,” Biuletyn Historii Sztuki,
39(1977), nr. 2, pp. 164-176. One might also return to Délia Bella’s sériés of engravings
(dated c. 1648) showing Death’s assault on individuals of ail âges and which are charac-
terized by an upside-down pose while the skeleton shoves his victims head-first into the
grave. See A. F. Tempesti, Mostri di incisione de Stefano Délia Bella, Florence 1973, pp.
98-100 and ill. 58-59 and 92-94.

155 Redslob, “Andréas Schlüter und die Plastik der Niederlande,” p. 94 and ill. 9
and 10.

156 Keisch, “Zur Todesikonographie,” p. 45 and fig. 10,2.

157 Kühn, “Schlüter als Bildhauer,” pp. 161-3.

108 An examination with examples of this motif is discussed by B. Lymant, “Sic Tran-
sit Gloria Mundi: Ein Glasgemalde mit Seifenblasenden als Vanitassymbol im Schnutgen-
Museum,” Wallraf-Richartz-Jahrbuch, 42(1981), pp. 115-132.

109 E. Benkard, Meister der Plastik: Andréas Schlüter, Frankfurt/Main 1925, p. 23.
loading ...