Seite - 96 - in Wiener Jahrbuch für Kunstgeschichte, Band LIX
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Kristoffer
neville96
him to reconsider. Although the degree to which
Fischer intended the book for the imperial court
versus a broader audience is unclear, Joseph had
been deeply interested in architecture, and had
shared this interest with Fischer, his instructor in
architecture.26 With the accession of Charles VI,
he quickly became aware of the more immedi-
ate utility of the book as an impressive gift for
the new emperor, a token of his dedicated service
given in hope of reconfirmation of his position.27
The presentation piece would have lost much
of its value if it were a published book – even a
rich one – available to anyone with an interest
in architectural reconstructions, for it could not
then be offered as a unique piece created for the
emperor. Any publication plans in these years
would thus have been pushed back. The dedica-
tion page, dated 1712, supports this. Once the
manuscript had been presented, Fischer was free
to publish the work immediately. He could use
all of the materials he had already prepared, with
the exception of any dedication page. Given the evident state of preparation, even this may have
been engraved, but with a dedication to Joseph
I.28 A newly-cut plate was clearly required for the
new emperor, and was presumably given the date
of the foreseen publication.
The possible plan to publish immediately
after the presentation of the manuscript seems
also to have been delayed. Most obviously, the
date of the title page would have been adjusted if
such an edition had been produced. On a prac-
tical level, this must be in part because Fischer
soon became involved with a series of new com-
missions – the Clam-Gallas palace in Prague;
the Karlskirche and imperial stables in Vienna,
among others – which simultaneously kept him
away from the Entwurff and created material for
him to add to the book. The Karlskirche is the
best-represented building in the work, with four
plates, but it was begun in 1715, and the plates
depicting it were apparently still unavailable at
the beginning of 1720, since they were not in-
cluded in the Tessins’ volume.
COLLABORATION AND AUTHORSHIP
The arrival of Carl Gustaf Heraeus in Vienna and
his subsequent involvement in the project may
also have forced a reconsideration of the pro- ject. He came to Vienna in 1709 after a number
of years as an itinerant antiquarian, and was ap-
pointed inspector of the imperial antiquities and
26 H. Reuther, “Entwurf einer historischen Architektur” in: Kunsthalle Nürnberg (ed.), Der Traum von Raum: ge-
malte Architektur aus 7 Jahrhunderten, exhibition catalogue, Kunsthalle und Norishalle Nürnberg, 13.09.1986–
23.11.1986, Marburg 1986, pp. 113–121, suggests that the Entwurff may have been conceived within the context of this
relationship, and have been intended as a sort of instruction book in architecture for the emperor. Lorenz, Johann
Bernhard Fischer von Erlach (cit. n. 1), p. 44, points out that Fischer’s position at court likely influenced his choice
of ancient monuments, as several that were in Habsburg territories were included while more familiar ones, such as
the Pantheon, were not. Too much emphasis on a court audience is however difficult to reconcile with the (later)
announcement that the very limited first edition would be available in selected bookshops throughout the empire.
27 Sedlmayr, Johann Bernhard Fischer von Erlach (cit. n. 1), p. 233, suggests that Heraeus may have suggested to
Fischer the presentation of a historical-architectural work to the emperor, since he planned something comparable
in a history of the Habsburgs presented through medals.
28 This is complicated by the role of Heraeus, who evidently wrote the dedication, since he published it separately
under his name in Heraeus, Vermischte Neben=Arbeiten (cit. n. 20). Heraeus came to Vienna in 1709 and was
appointed to a court position in September of 1710, leaving a very small window for him to have become involved
in any sort of collaborative work on the Entwurff by that year. See F. Matsche, Die Kunst im Dienst der Staatsidee
Kaiser Karls VI. Ikonographie, Ikonologie und Programmatik des “Kaiserstils,” vol. I, Berlin 1981, p. 279.
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