Seite - 94 - in Wiener Jahrbuch für Kunstgeschichte, Band LIX
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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.
Wiener Jahrbuch für Kunstgeschichte
Band LIX
Entnommen aus der FWF-E-Book-Library
- Titel
- Wiener Jahrbuch für Kunstgeschichte
- Band
- LIX
- Herausgeber
- Bundesdenkmalamt Wien
- Institut für Kunstgeschichte der Universität Wien
- Verlag
- Böhlau Verlag
- Ort
- Wien
- Datum
- 2011
- Sprache
- deutsch, englisch
- Lizenz
- CC BY-NC-ND 3.0
- ISBN
- 978-3-205-78674-0
- Abmessungen
- 19.0 x 26.2 cm
- Seiten
- 280
- Schlagwörter
- research, baroque art, methodology, modern art, medieval art, historiography, Baraock, Methodolgiem, Kunst, Wien
- Kategorie
- Kunst und Kultur