Seite - 94 - in Wiener Jahrbuch für Kunstgeschichte, Band LIX

Kristoffer neville94 text whatsoever.17 The first of these differences is rather hard to explain, since the vases had been included in more or less finished form in the 1712 manuscript presented to the emperor, and they were listed by Carl Gustaf Tessin in 1718 as an integral part of the work. Perhaps Fischer (or Heraeus?) did not believe that the Tessins would be as interested in the vases as in the architectural images more strictly defined, and left them out. We will see that the second of these variations, the missing text, may be more important, for it gives us clearer insight into the roles of Fischer and Heraeus in the production of the work. A great deal of the work on the Entwurff was thus done in the last months before publication. Three of the outstanding plates were reconstruc- tions of ancient monuments, but the other six were of Fischer’s own works – all late projects be- gun after the 1712 manuscript was presented to the emperor. EARLY PUBLICATION PLANS? Albert Ilg, in his 1895 monograph on Fischer, mentions rumors of editions of the Entwurff from 1715 and 1718, but dismisses them as spuri- ous.18 Yet, the title page of the Tessins’ copy gives a date well before these rejected editions: 1710, with the dedication to the emperor dated 1712. Quite apart from the editions rejected by Ilg, do these dates imply that there was a 1710 or 1712 edition? This question can be answered only tenta- tively. Certainly, there are no known examples of earlier editions. There are however instances in which we know from documents of published books for which there are no known copies. In- deed, Fischer and his son, Joseph Emanuel, pro- duced one of these lost works, the Prospecte und Abrisse einiger Gebäude von Wien.19 This project to present views of Vienna developed alongside the Entwurff, though it was begun later. The first edition of 1713 contained thirteen plates. Although there are no known examples, it is documented by Heraeus’s foreword for it, which he published separately in 1715.20 There was an enlarged second edition in that year, and a fi- nal edition in 1719. All three editions contained only residences and squares. A second volume was promised, which was presumably to include churches. Cumulatively, this venture indicates a rolling publication process. As soon as enough material had been compiled, it was published; when more was available, it was added to the ear- lier material. This occasionally induced infelici- ties that are inconceivable in modern publishing practices, such as a plate 10A in the Prospecte und Abrisse, but these seem not to have bothered the Fischers. There are some indications that the Entwurff may have gone through a similar developmen- tal process. Heraeus published a slightly-altered dedication to the emperor in 1715, in the same 17 The only exceptions are the dedication to the emperor, the title pages, and the inscriptions at the bottom of the plates. The extended commentary accompanying the first two books in the published edition is missing. 18 Ilg, Die Fischer von Erlach (cit. n. 1), p. 540. The question of earlier editions of the Entwurff has not been addressed subsequently. 19 This was a collaborative project of Fischer, his son, Joseph Emanuel Fischer von Erlach, and Heraeus. See H. Lorenz/H. Weigl, Das barocke Wien: die Kupferstiche von Joseph Emanuel Fischer von Erlach und Johann Adam Delsenbach (1719), Petersberg 2007. 20 Carl Gustaf Heraeus, Vermischte Neben=Arbeiten, Vienna 1715, unpaginated. – Ilg, Die Fischer von Erlach (cit. n. 1), pp. 684–685, seems also to have seen a first edition of the work, though he did not say so expressly.