DOI issue:
Nr. 3-4
DOI article:Komunikaty
DOI article:Heuer, Christopher P.: Three "Danzig" drawings: notes on the limits of influence
DOI Page / Citation link:https://doi.org/10.11588/diglit.35031#0324
316
CHRISTOPHER P. HEUER
7. Copy o/7'//^trohoM 2P
^ow tAero/r^e o/*Perspective 7664
door. The vault is lined by smali ocM/ń The
construction lines, which converge at the
'eye-point' (cf. Dutch: oogAfpMrzf) of
Vredeman's initial print, have been omitted
in the Danzig drawing. The study of light
and shadow, however, has been retained.
The second drawing is a direct copy of
another Vredeman print frorn the same
publication (ill. 3). Unlike the previous
drawing, it is precisely the same size as the
original engraving, and shows piąte 12
from Book Two of the PgTispgc^W, of 1605
(ill. 4). We see an archway in deep perspect-
ive, lined by rows of houses on each side.
The architecture, surmounted by twin
obelisks, in the middle of the drawing is
reminiscent of the ephemeral structures
erected for triumphal entries. There is no
signature, but this form was copied often in
the 17th century. Indeed, Sebastian Vrancx
adopted Vredeman's same archway virtually
untouched for his GorA??? of around
1630, which was listed in a Danish collect-
ion before 16504 The archway here was set
in an imaginary courtyard ringed by other
7. Copy of /7/M,s0Y/0'o/? 72
f/^ow tAe 5*000^(7 vo/M/rze ofPerspectiye, 1605
^ Copenhagen, Staten Museum for Kunst, inv no. [059; see: CAnyPAn /P rzn<7 TMrcpg.' f/76 7 PA? CoMncA
FyAlAA/on, Kronborg. !988, cat. no. 327.
CHRISTOPHER P. HEUER
7. Copy o/7'//^trohoM 2P
^ow tAero/r^e o/*Perspective 7664
door. The vault is lined by smali ocM/ń The
construction lines, which converge at the
'eye-point' (cf. Dutch: oogAfpMrzf) of
Vredeman's initial print, have been omitted
in the Danzig drawing. The study of light
and shadow, however, has been retained.
The second drawing is a direct copy of
another Vredeman print frorn the same
publication (ill. 3). Unlike the previous
drawing, it is precisely the same size as the
original engraving, and shows piąte 12
from Book Two of the PgTispgc^W, of 1605
(ill. 4). We see an archway in deep perspect-
ive, lined by rows of houses on each side.
The architecture, surmounted by twin
obelisks, in the middle of the drawing is
reminiscent of the ephemeral structures
erected for triumphal entries. There is no
signature, but this form was copied often in
the 17th century. Indeed, Sebastian Vrancx
adopted Vredeman's same archway virtually
untouched for his GorA??? of around
1630, which was listed in a Danish collect-
ion before 16504 The archway here was set
in an imaginary courtyard ringed by other
7. Copy of /7/M,s0Y/0'o/? 72
f/^ow tAe 5*000^(7 vo/M/rze ofPerspectiye, 1605
^ Copenhagen, Staten Museum for Kunst, inv no. [059; see: CAnyPAn /P rzn<7 TMrcpg.' f/76 7 PA? CoMncA
FyAlAA/on, Kronborg. !988, cat. no. 327.