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The Wittelsbach Court in Munich: History and Authority in the Visual Arts (1460-1508)

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The Wittelsbach Court in Munich: History and Authority in the Visual Arts (1460-1508) UNIVERSITY OF GLASGOW FACULTY OF ARTS DEPARTMENT OF HISTORY OF ART PHD Andreas M. Dahlem The Wittelsbach Court in Munich: History and Authority in the Visual Arts (1460-1508) May 2009 © Andreas Dahlem 2009 2 Abstract The culture at the ducal court of Sigmund and Albrecht IV of Bavaria-Munich was characterised by a coexistence of traditional as well as novel concepts and interests, which were expressed in the dukes’ artistic, architectural and literary patronage. Apart from examining the orthodox means of aristocratic self-aggrandizement like jousting, clothes, decorative arts and precious, exotic objects, this thesis discusses ‘innovative’ tendencies like the forward-looking application of retrospective motifs, historicising styles as well as the dukes’ genealogy, the ducal government’s imprint on the territory and the aesthetic qualities of the landscape. The study of a selection of buildings and works of art with the methodologies of the stylistic analysis, iconology and social history emphasises the conceptual relations between the ducal court’s various cultural products, which were conceived as ensembles and complemented each other. The elucidation of their meanings to contemporaries and the patrons’ intentions is substantiated with statements in contemporary written sources like travel reports, chronicles and the ducal court’s literary commissions. The principal chapters explore three thematic strands that are idiosyncratic for the culture at the court of Sigmund and Albrecht IV between 1460 and 1508, because they were consistently realised in several buildings and works of art. The first chapter provides an overview of the history of Munich, the Duchy of Bavaria and the Wittelsbach dynasty. The second chapter explores the princely self-conception at the threshold of the Late Middle Ages and the Early Modern Era by considering the application of clothes, decorative arts, knightly skills, exotic animals, and monuments of the patrons’ erudition as means of social communication and differentiation. The third chapter considers the dukes’ awareness as well as ‘manipulation’ of their genealogy and history as a forward-looking means for legitimating and realising their political objectives. It also examines the symbolism and origins of historicising motifs in art and architecture like the Church of Our Lady’s bulbous domes that acted as markers of the ducal sepulchre. The fourth chapter scrutinizes the impact of the dukes’ government and artistic as well as architectural patronage on their territory. It also considers emergence of poly-focal panoramic views from the interiors of castle and palaces into the surrounding countryside by examining the origins of this phenomenon and the perception of the landscape’s aesthetic qualities. 3 Acknowledgements This thesis and the preparatory research would not have been possible without the generous support from my parents and my supervisors who nurtured my interest in the fine arts and architecture. My parents encouraged and enabled me to pursue my research. They were attentive travel companions and were never tired of learning about my latest findings as well as ideas. Professor Robert Gibbs and Dr John Richards introduced me to the art historical discourse that forms the basis of this thesis. Their enthusiasm and passion for the art and architecture of the Middle Ages and the Renaissance prompted my interest in these periods. They always had a sympathetic ear for my ideas and provided me with valuable suggestions. Their kind, helpful guidance gave me new perspectives on the topic without being restrictive and forcing me into a predetermined trajectory. Nevertheless, they encouraged me to create a focussed argument. Therefore they played a crucial part in the creation and completion of this thesis. Stephan Hoppe altruistically shared his most recent articles and theses with me. They provided guidance, a better understanding of the princely culture in the late medieval as well as early modern periods, and above all they were thought provoking reading matter. Stephan Hoppe acted as a mentor and thus had a great impact on my research’s trajectory. The thesis would not exist in its current state without the helpful and thought- provoking comments and suggestions of Dr Sally Rush and Dr Thomas Tolley who carefully studied it and acted as examiners. They encouraged me to focus on the most compelling aspects of the culture at the late fifteenth-century Wittelsbach court in Munich and to look beyond the borders of the Duchy of Bavaria in an attempt to relate the patronage of the dukes of Bavaria-Munich with that of other princes in the region and throughout Europe. The staffs of the archives, libraries and museums in Munich were very helpful as they supplied me with information and sympathetically handled my enquiries. Especially Barbara Weis, Manfred Stephan and Dr Brigitte Langer of the Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen were very cooperative. Barbara Weis kindly sent me reproductions of the interiors of the Chapel of Blutenburg Palace and Schleißheim Palace. Manfred Stephan generously provided me with a copy of the manuscript for his forthcoming book on the gardens of Dachau Palace. Dr Elisabeth Noichl kindly allowed me to study the documents of Sigmund and Albrecht IV of Bavaria-Munich in the Geheimes Hausarchiv. Dr Thomas Weidner of the Münchner Stadtmuseum provided information of a sixteenth-century depiction of the Church of Our Lady. Angelika Grandi and Ursula Hirt of the Bayerisches Nationalmuseum organised the permission for photographing the works of art that had been commissioned by the ducal court in Munich. Dr Brigitte Gullath of the Abteilung für Handschriften und Alte Drucke in the Bayerische Staatsbibliothek München prepared 4 my research visit to study the books of Sigmund and Albrecht IV of Bavaria-Munich. Christina Schwill of the Bayerische Staatsgemäldesammlung and Henrike Dustmann of the Artothek supplied me with reproductions of paintings in the Alte Pinakothek in Munich. Emily Jane Anderson of the History of Art department at the University of Glasgow invited me to present a paper in one of the very good sessions that she organised at the International Medieval Congress 2007. She developed these sessions into a book project with Jill Farquhar. They kindly invited me to submit an extended version of my paper for publication in Visible Exports/Imports: New Research on Medieval and Renaissance European Art and Culture. Both opportunities are a welcome and beneficial platform for share my findings with other scholars. I am very grateful for their efforts. 5 Table of contents ABSTRACT ............................................................................................................................................2 ACKNOWLEDGEMENTS.........................................................................................................................3 TABLE OF CONTENTS ............................................................................................................................5 LIST OF PLATES .....................................................................................................................................8 INTRODUCTION AND METHODOLOGY................................................................................................16 THE THESIS’S STRUCTURE AND SUBJECT MATTER ...............................................................................................17 METHODOLOGY .........................................................................................................................................19 Focus on primary sources .................................................................................................................19 An appraisal of the primary sources.................................................................................................20 Stylistic analysis coupled with iconology and social history .............................................................26 The conception of buildings and works of art as ensembles ............................................................28 Innovative aspects of the patronage of the Dukes of Bavaria‐Munich.............................................29 Reflections on the terms ‘court art’ or ‘court culture’ ......................................................................30 The Bavarian dukes’ dynastic relations and the implications for their cultural patronage ..............30 HISTORICAL AND POLITICAL CONTEXT ................................................................................................33 THE FOUNDATION OF MUNICH .....................................................................................................................33 THE RISE OF THE WITTELSBACH DYNASTY ........................................................................................................34 THE EMERGENCE OF MUNICH AS DUCAL SEAT ..................................................................................................36 THE DUCAL FOUNDATION OF THE ROMANESQUE CHURCH OF OUR LADY ...............................................................37 THE REIGN OF EMPEROR LOUIS THE BAVARIAN.................................................................................................38 Louis the Bavarian’s political impact on late medieval Munich........................................................40 The cult of Louis the Bavarian and his office as Holy Roman emperor.............................................42
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