Work in Progress The Picture Of The Castle: Representations Of German Courts In Architectural Engravings 1600–1800

Abstract

A IS WELL KNOWN, since the sixteenth century the building of palaces became an important element of outward display at European courts. Less well known is a contemporary medium which was developed to introduce those palaces to those who were not privileged to see the buildings in situ: series of engravings. From the beginning those publications were not only means of information, but representative objects in their own right. Thus the architectural competition between courts in many cases was continued by 'folio-competition'. The question 'who is publishing his palaces in a more ambitous way?' for some courts seemed almost as important as the question 'who is building in a more luxurious manner?'. An outstanding production of series of engravings of that sort, as much with regard to their number as to the variety, can be found in the Holy Roman Empire· which contained up to· 300 courts. 1 There, between 1600 and 1800 around 40 sets of books showing palaces and their gardens were published. Their siz.ediffered from 15cm. x 20cm. to 1m. x 1m. and from around 10 to around 100 single sheets. Some of them, like Salomon Kleiner's publication of the two Belvederes and the garden of Prince Eugene of Savoy in Vienna shows every room, every fountain and even all the animals of the menagerie. To look at these prints carefully takes as much time as to visit the palaces in reality. Our group of architectural print series aims at glorifying a princely promoter by showing his architectural achievements. They almost exclusively focused. on palaces. Among the published buildings are residences (like Berlin, Munich and Schwedt); hunting-lodges (like Clemenswerth and Hubertusburg); and maisons de plaisance (like the 'Zwinger', the 'Favorita' in Mainz or the Marquardsburg near Bamberg); palaces which served as official residences (like Aschaffenburg) as well as family properties (like Lothar Franz von.Schonborn's Gaibach). As a genus this series continues the antique tradition of the Ekphrasis or panegyrical description. Pausanias's and Paulos Silentiarios' descriptions of Justinian's buildings were well known.2 In their own words they had been.written for three reasons: First, as a memorial of buildings which might be destroyed. Second, to tell coming generations who had built such miracles. Finally, to inform all contemporaries who were prevented from coming and seeing the buildings 1 Concerning the estimation of the number of German courts see J. v. Kruedener, Die Rolle des Hofes im Absolutismus (Stuttgart, 1973); A. Winterling, 'Der Hof des KurfUrsten von Kaln 1688-1794. Eine Fallstudie zur Bedeutung absoll.1tischerHofhaltung', Veroffentliehungen des Historisehen Vereins fur den Niederrhein 15 (Bonn, 1986); V.Bauer, 'Die hafische Gesellschaft in Deutschland von der Mitte des 17. bis zum Ausgang des 18. Jahrhunderts. Versucheiner Typologie',Fruhe Neuzeit 12 (TUbingen, 1993); J. J. Berns, 'Zur FrUhgeschichte des deutschen Museumhofes, oder: Duodezabsolutismus als Chance', in Fruhneuzeitliehe Hofkultur in Hessen und Thuringen (Jenaer Studien, I, Jena, 1993), pp. 10-43. 2 Prokop, Bauten; P. Silentiarios, Ekphrasis der Hagia Sofia