DOI Artikel:
Welcker, A.: A wedding-gift by Jan van der Straet, also called Johannes Stradanus, to Christina of Lorraine in the year 1589: The retreat of the turks from Vienna after the siege in the year 1529
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.6336#0112
A. WELCKER / A WEDDING-GIFT BY JAN VAN DER STRAET,
ALSO CALLED JOHANNES STRADANUS, TO CHRISTINA OF LORRAINE IN THE
YEAR 1589: THE RETREAT OF THE TÜRKS FROM VIENNA AFTER THE SIEGE
IN THE YEAR 15291
The reasons for the publication of this drawing by J. Stradanus (Bruges 1523—Florence 1605)
are manifold. In the first place it is justified by the attractive and artistic manner in which he
has solved such a problem as we are here confronted with; secondly, because with this drawing
before us, we are able to draw comparisons which will give us a clear insight into Stradanus' cri-
ticism of himself as a draughtsman, thirdly we can understand him where he is borrowing from
other artists; while, last though not least, it is justified by the historical interest connected
with the drawing.
The engraving by A. Collaert, here reproduced (Fig. 1), furnishes the evidence that
Stradanus, at that time chief draughtsman at the Arazzeria, in Florence, presented the drawing
(Fig. 3) as a wedding-gift, to Christina of Lorraine, on the occasion of her entry into Florence
in the year 1589, as the wife of the Archduke Ferdinand II, of Florence. This drawing of the
above-mentioned subject, then, is a convincing proof that this raising of the siege of Vienna,
a achievement of Charles V (her ancestor), sixty years later still, lived in the minds of the
people as an historical event of the utmost importance.
The fact that this drawing was a wedding-gift is evident from the inscription on the en-
graving, which, translated freely, runs as follows: „Thus did the most eminent painter, Johannes
Stradanus, do honour to Christina of Lorraine, Archduchess of Tuscany, on her entry into
Florence, depicting in his artful manner, the memorable victory over the Türks by the in-
vincible and august Emperor Charles V, who forced them to raise the siege they had laid to
the Austrian Vienna."
The sketch for this engraving is still in existence and is now in the Albertina, at Vienna,
under the inventory number 23437, reproduced as No. 169 in Vol. II. of the Catalogue (con-
taining the drawings of the Dutch School). This sketch, in the reversed position, is 20.5 cm
by 30 cm (the original drawing being 44 cm : 68.5 cm), is signed and dated: „Joa. Stra-
danus, inventor, 1589." For purposes of comparison it is reproduced here (Fig. 2).
Now, with the aid of this sketch, we are in the position to compare it with the original dra-
wing that was presented to Christina herseif, as reproduced on Fig. 3. Perhaps the drawing
was presented to give the Archduchess an idea of an Arazzo to be made later.
The survival of this drawing was unknown until it was seen at an auction, held at Amsterdam
in June, 1932, and identified afterwards. As will be seen from the reproduction, it is larger
than the engraving and the Albertina sketch. For in the latter two a strip, about 5 cm in
width, is missing from the top and from the foreground. Still visible in the large drawing
are the chalk lines showing to what extent the drawing had to be reduced for purposes of
reproduction, the result then being about half of the original size.
It is interesting to note the alterations made by Stradanus in his sketch for the engraving.
A comparison will show a number of more or less important changes, though these cannot
all be termed improvements. I will merely mention here the most striking of them.
The faces of Suliman the Great and of his staff, in the engraving and the Albertina sketch,
1 Collection Dr. A. Welcker, Amsterdam. Pen and bistre wash, hightened with white; 44 cm by
68.5 cm Coli. G. Vallardi (Lugt 1223). On two sheets of paper gummed together in the middle.
103
ALSO CALLED JOHANNES STRADANUS, TO CHRISTINA OF LORRAINE IN THE
YEAR 1589: THE RETREAT OF THE TÜRKS FROM VIENNA AFTER THE SIEGE
IN THE YEAR 15291
The reasons for the publication of this drawing by J. Stradanus (Bruges 1523—Florence 1605)
are manifold. In the first place it is justified by the attractive and artistic manner in which he
has solved such a problem as we are here confronted with; secondly, because with this drawing
before us, we are able to draw comparisons which will give us a clear insight into Stradanus' cri-
ticism of himself as a draughtsman, thirdly we can understand him where he is borrowing from
other artists; while, last though not least, it is justified by the historical interest connected
with the drawing.
The engraving by A. Collaert, here reproduced (Fig. 1), furnishes the evidence that
Stradanus, at that time chief draughtsman at the Arazzeria, in Florence, presented the drawing
(Fig. 3) as a wedding-gift, to Christina of Lorraine, on the occasion of her entry into Florence
in the year 1589, as the wife of the Archduke Ferdinand II, of Florence. This drawing of the
above-mentioned subject, then, is a convincing proof that this raising of the siege of Vienna,
a achievement of Charles V (her ancestor), sixty years later still, lived in the minds of the
people as an historical event of the utmost importance.
The fact that this drawing was a wedding-gift is evident from the inscription on the en-
graving, which, translated freely, runs as follows: „Thus did the most eminent painter, Johannes
Stradanus, do honour to Christina of Lorraine, Archduchess of Tuscany, on her entry into
Florence, depicting in his artful manner, the memorable victory over the Türks by the in-
vincible and august Emperor Charles V, who forced them to raise the siege they had laid to
the Austrian Vienna."
The sketch for this engraving is still in existence and is now in the Albertina, at Vienna,
under the inventory number 23437, reproduced as No. 169 in Vol. II. of the Catalogue (con-
taining the drawings of the Dutch School). This sketch, in the reversed position, is 20.5 cm
by 30 cm (the original drawing being 44 cm : 68.5 cm), is signed and dated: „Joa. Stra-
danus, inventor, 1589." For purposes of comparison it is reproduced here (Fig. 2).
Now, with the aid of this sketch, we are in the position to compare it with the original dra-
wing that was presented to Christina herseif, as reproduced on Fig. 3. Perhaps the drawing
was presented to give the Archduchess an idea of an Arazzo to be made later.
The survival of this drawing was unknown until it was seen at an auction, held at Amsterdam
in June, 1932, and identified afterwards. As will be seen from the reproduction, it is larger
than the engraving and the Albertina sketch. For in the latter two a strip, about 5 cm in
width, is missing from the top and from the foreground. Still visible in the large drawing
are the chalk lines showing to what extent the drawing had to be reduced for purposes of
reproduction, the result then being about half of the original size.
It is interesting to note the alterations made by Stradanus in his sketch for the engraving.
A comparison will show a number of more or less important changes, though these cannot
all be termed improvements. I will merely mention here the most striking of them.
The faces of Suliman the Great and of his staff, in the engraving and the Albertina sketch,
1 Collection Dr. A. Welcker, Amsterdam. Pen and bistre wash, hightened with white; 44 cm by
68.5 cm Coli. G. Vallardi (Lugt 1223). On two sheets of paper gummed together in the middle.
103