Seite - 92 - in Wiener Jahrbuch für Kunstgeschichte, Band LIX

Kristoffer neville92 facing financial hardship, sold his library and print collection to the Swedish crown. The small, green collectors’ stamps incorporating the initials “KM” in a circle demonstrate that the Entwurff was in the Royal Museum (Kungliga Museet) in the first half of the nineteenth century. This col- lection formed the basis of the Nationalmuseum, opened in 1866. In 1904 some of Tessin’s graphic collections were transferred from the Royal Library to the Nationalmuseum. The principles governing the division of materials between these two institu- tions are unclear, and it may be that the Entwurff, as a bound volume, was moved to the library at this time.13 It is now in the rare books collection of the Swedish Royal Library in Stockholm.14 Although Carl Gustaf Tessin’s description of the Entwurff suggests that the work was in principal complete by the summer of 1718, the copy he received nineteen months later shows a project in disarray. Because there is no title page for Book Two, the first and second books run together, disrupting the structural clarity of the work. The prints in the first book are in the ap- propriate order, but those in the following three are not. Since Tessin’s 1718 description demon- strates that the sequence was determined at this point, this can perhaps be attributed to the bind- er’s error. The plates in the first book have Ro- man numerals in the upper right corner indicat- ing the order; the plates in the subsequent books do not, though this was changed before the 1721 edition was published. (One wonders if Fischer and Heraeus were dismayed by the confusion of the Stockholm copy, and revised the plates in this 13 P. Bjurström, Nationalmuseum 1792–1992, Stockholm 1992, pp. 18–21. 14 The copy of the Entwurff sent by Heraeus to the Tessins is in the Royal Library, Stockholm, SkK. Atl. Fol. 43. 2: Dedication to emperor Charles VI, Entwurff einer historischen Architectur, engraved by Johann Adam Delsenbach. c. 1712.