DOI Artikel:
Kobe, Rainer: The copper engraving The pope in the Lateran by Jan van Londerseel after a painting by Hendrick Aerts
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.61185#0007
Rainer Kobe
Trewir
ORCID: 0000-0003-4592-0313
The Copper Engraving The Pope in the Lateran
by Jan van Londerseel after a Painting
by Hendrick Aerts*
https://d0i.0rg/l 0.2688 l/porta.2021.20.01
Keywords: engraving, church interior, Jan van Londerseel, Hendrick Aerts
Słowa kluczowe: miedzioryt, wnętrze kościelne, Jan van Londerseel, Hendrick Aerts
The undated copper engraving The Pope in the Lateran by the Dutchman Jan
van Londerseel1 is well-known in the history of art, precisely because it was
the architectural model for more than forty paintings of church interiors in the
17th century2 Since Hans Jantzens 1910 dissertation Das niederländische Archi-
tekturbild, it is the engraving’s painted model that has remained unknown to this
day, rather than the engraving itself, and which has been the focus of examina-
tions in art history3 Again and again, attempts were made to determine what
the original model might have looked like, and art historians have rarely focused
on the engraving as a separate piece of art. In this study the engraving and its
content will be the focus of attention, whereas the possible model is of secondary
importance. It will become evident that Londerseel’s The Pope in the Lateran,
contrary to its painted model, is very much connected to the denominational
politics in the Netherlands around 1600.
* This essay is based on: Rainer Kobe, Konfessionalismus im Bild: Der Kupferstich ,Der
Papst im Lateran von Jan van Londerseel nach einem Gemälde von Hendrick Aerts, in: Patrizio
Foresta/Federica Meloni (eds.), Arts, Portraits and Representation in the Reformation Era. Pro-
ceedings of the Fourth Reformation Research Consortium Conference, Göttingen 2019,173-193.
1 Hollstein s Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700, vol. XI,
Amsterdam 1955,101, no. 75 ‘Interior of the Lateran in Rome’.
2 Ludwig Schreiner, Ein Gemälde von Hendrick Aerts: Die Phantasiekirche, in: ‘Weltkunst’
50 (1980), 872-877, see 872, traces back about 25 paintings of the ‘gotische Prachtarchitektur’
to Londerseel’s engraving. Bernard Maillet, Interieurs d’eglises 1580-1720 La Peinture Architec-
turale des Ecoles du Nord, Merksem 2012, records about 50 such paintings, s. ibid., Catalogue,
M-0001-0054.
3 Hans Jantzen, Das niederländische Architekturbild [Erstausgabe 1910], Braunschweig
1979, 53-57.
7
Trewir
ORCID: 0000-0003-4592-0313
The Copper Engraving The Pope in the Lateran
by Jan van Londerseel after a Painting
by Hendrick Aerts*
https://d0i.0rg/l 0.2688 l/porta.2021.20.01
Keywords: engraving, church interior, Jan van Londerseel, Hendrick Aerts
Słowa kluczowe: miedzioryt, wnętrze kościelne, Jan van Londerseel, Hendrick Aerts
The undated copper engraving The Pope in the Lateran by the Dutchman Jan
van Londerseel1 is well-known in the history of art, precisely because it was
the architectural model for more than forty paintings of church interiors in the
17th century2 Since Hans Jantzens 1910 dissertation Das niederländische Archi-
tekturbild, it is the engraving’s painted model that has remained unknown to this
day, rather than the engraving itself, and which has been the focus of examina-
tions in art history3 Again and again, attempts were made to determine what
the original model might have looked like, and art historians have rarely focused
on the engraving as a separate piece of art. In this study the engraving and its
content will be the focus of attention, whereas the possible model is of secondary
importance. It will become evident that Londerseel’s The Pope in the Lateran,
contrary to its painted model, is very much connected to the denominational
politics in the Netherlands around 1600.
* This essay is based on: Rainer Kobe, Konfessionalismus im Bild: Der Kupferstich ,Der
Papst im Lateran von Jan van Londerseel nach einem Gemälde von Hendrick Aerts, in: Patrizio
Foresta/Federica Meloni (eds.), Arts, Portraits and Representation in the Reformation Era. Pro-
ceedings of the Fourth Reformation Research Consortium Conference, Göttingen 2019,173-193.
1 Hollstein s Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700, vol. XI,
Amsterdam 1955,101, no. 75 ‘Interior of the Lateran in Rome’.
2 Ludwig Schreiner, Ein Gemälde von Hendrick Aerts: Die Phantasiekirche, in: ‘Weltkunst’
50 (1980), 872-877, see 872, traces back about 25 paintings of the ‘gotische Prachtarchitektur’
to Londerseel’s engraving. Bernard Maillet, Interieurs d’eglises 1580-1720 La Peinture Architec-
turale des Ecoles du Nord, Merksem 2012, records about 50 such paintings, s. ibid., Catalogue,
M-0001-0054.
3 Hans Jantzen, Das niederländische Architekturbild [Erstausgabe 1910], Braunschweig
1979, 53-57.
7