Originalveröffentlichung in: Bussmann, Klaus u.a.(Hrsg.): 1648 - War and peace in Europe. Art and culture, München 1998, S. 271-279 (Europarat-Ausstellung ; 26)

ARCHITECTURE AT THE TIME OF THE THIRTY YEARS' WAR: CHURCHES AND CASTLES IN THE GERMAN- SPEAKING COUNTRIES"'

WOLFGANG LIPPMANN

The effects of the Thirty Years' War could finally be celebrated, where nearly varied widely with respect to individual all members of the Catholic League were regions. Some areas suffered more heavi­ in attendance.4 Building activity in ly1 than others. Nor did the battles rage Salzburg, as in many other cities after equally strong in all parts of the Holy 1620, concentrated on reinforcing city Roman Empire of the German Nation. It fortifications. I is therefore impossible to speak of a con­ Bohemia and Moravia were also spar­ sistent architectural development in Ger­ ed, for the most part, from the destruc­ raax many. tion of war. Following the Battle of the f I During the Habsburg Dynasty to­ White Mountain in 1620, a semblance of wards the end of the sixteenth century, peace could be established there, despite I hardly any significant buildings were the persistent fighting in neighbouring erected, as most moneys were needed for regions. These two Bohemian provinces the war against the Turks. When some­ saw not only the raising of religious thing was built, it was usually a fortress buildings, as in Bavaria, but also of along the Hungarian border. Around the numerous noble residencies and palaces. \6 turn of the century, Vienna experienced a The duchy of Bavaria experienced a strong resurgence of architectural activ­ similar development. Though it was initial­ Fig. 1: Draft of the Holy Trinity Church in Prague ity. 1603 saw the beginning of construc­ ly weakened financially through its con­ (since 1624: S. Maria de Victoria), ca. 1611; tion on the Franciscan Church, and in tributions to the League, it was not real­ Prague, Muzeum hlavm'ho mesta Prahy 1607 the Jesuit Church "am Hof" was ly affected by the war until sometime renovated in a baroque style. But build­ later. It is therefore not surprising that Maria Eck Chapel near Traunstein, com­ ing activity did not really gain momen­ much building activity even occurred pleted in several phases between 1635 tum until 1618, when Emperor Matthias during the Thirty Years' War and con­ and 1642­43. But can these various foun­ moved his residence to the city. In short tinued through the beginning of the dations in Bavaria be explained merely succession a host of order churches were 1630s. The buildings were predominate­ from the historical context, as a result of founded or renewed.1 Meanwhile around ly churches. A host of pilgrimage church­ a more widespread turning to religion in 1620­30, at a time when construction es and order churches were established the face of impending war? had virtually come to a standstill in most through the support of the Wittelsbachs, In the Imperial free city of Augsburg, of Germany, other parts of the Habsburg who assumed the role of protector of which was pulled into war in 1632 and dynasty were experiencing the beginning Catholicism in Germany, fortifying the besieged and occupied by various aggres­ of various major building projects. While Catholic church in its territories.5 The sors thereafter, construction of the town modernisation work around 1620 on Jesuits played a central role in Bavaria, hall's exterior continued until 1618, Kremsmiinster and Gottweig monastery founding almost twenty settlements betw­ while the interior was not finished until concentrated on the churches, the monas­ een 1556 and ca. 1630, as well as build­ 1624. Similarly, the town hall in the teries of Seckau (from 1619­1625) and ing some order churches after the out­ Imperial free city of Nuremburg was St. Lambrecht (1639/40­ca. 1660) pri­ break of war.6 expanded between 1616 and 1622 with marily had their cloister buildings reno­ Additionally, a variety of cloister an imposing addition. The elaborate de­ vated. In Innsbruck, the former Jesuit churches7 and above all pilgrimage church­ signs of both buildings, as representative Church (1619­22) was begun, but not es were built in the years between 1618 structures of the wealthy trade centres, completed until 1646, during which a and 1630: St. Michael in Violau (1617­ are worthy architectural challengers for comedy theatre was built from 1628 to 20) and the Chapel of the Five Saints in the palaces of the time. 1630. Starting in 1625, the impressive Aislingen (1629­30), both near Dillingen; With the outset of war, many cities castle of Eggenberg' was built near Graz. the parish and pilgrimage church Maria renovated their peripheral walls with re­ In 1628, after years of construction, the Himmelfahrt in Tuntenhausen (1628­ spect to the new defensive technologies. consecration of the Salzburg Cathedral 29, consecrated 1630), as well as the Munich placed massive bastions in front

Architecture at the Time of the Thirty Years' War 271 of the city gates. Bremen began building The choice of a more Gothic architec­ large rampart systems in 1623 and Lii- ture around 1600 could be seen as a con­ beck accelerated the development of its scious opposition to the Renaissance and fortification system, as decided in 1595 early baroque style in Italy, the centre of (but not completed until 1660-70). Ulm Catholicism. Yet this position was not also continued strengthening its bastions always consistent. Increasingly after and outer walls, as begun at the start of 1600, Renaissance forms began to appear the century, transforming the city be­ throughout Germany. Even Protestant Fig. 2: Paul Francke, Principal Church Beatae Mari- tween 1616 and 1623 into a veritable for­ ae Virginis, Wolfenbuttel, outline, 1608­ca. 1615 churches began to show "modern" Ital­ tress of the Union. Frankfurt, on the other ian architectural detail, as demonstrated hand, decided relatively late (1627) to set that time as an oblong building with on the two most important churches in up defences, which were not completed three longitudinal aisles, and occasional­ the Weser river region, the Stadtkirche in until the end of the century. The bish­ ly in the form of a basilica. Joseph Furt­ Biickeburg (1610­15) and the main opric of Mainz, because of its central tenbach, in his 1628 treatise Architecture! church of Beatae Mariae Virginis in position on the Rhine and Main Rivers, civilis refers mainly to the Florence Wolfenbuttel (ca. 1608­20). Both constantly played an important role: Duomo, expressing his partiality for the employ the traditional Gothic hall church after the city's fortifications were devel­ three­aisled, oblong structure with free­ structure, yet the columns are topped oping too sluggishly at the start of the sev­ standing columns and a trefoiled apse.11 with modern Renaissance capitals. enteenth century, work began in 1620 Later, his 1649 thesis on KirchenGebaw, In this context, the construction of on the Jakobsfeste, then known as published posthumously by his son, two other churches are of particular Schweickhardtsburg, where building con­ offers more detail about his ideas on importance: the court Church of Our tinued through Swedish occupation. Gus­ church architecture. Furttenbach descri­ Lady in Neuburg and the former Church tavus Adolphus, who had made Mainz bes the ideal church as a utilitarian build­ of the Holy Trinity in Prague. The Protes­ his headquarters, also had a military city ing without great aesthetic elaboration: a tant Duke Philipp Ludwig wanted the built on the opposite bank of the Rhine in simple rectangular space free of vaults new church of Neuburg (founded in 1631, the so­called Gustavsburg, which (for better acoustics) and of supports (for 1603) to represent the Italian style, with was destroyed four years later, after the unhindered views) with free hanging gal­ two flanking towers each crowned with a withdrawal of the Swedish troops.8 leries, which he called "stages". Above dome. He intended to create a "Trutz­ the small apse there should be a library Michael" (Defiant Michael), and to 1. RELIGIOUS ARCHITECTURE with direct access to the pulpit.1' outdo the Jesuit St. Michael's Church in The conflict between the Protestant and While architectural theory does not Munich, completed just a few years earli­ Catholic confessions had a major influ­ offer any clear definition about the form er. Joseph Heintz designed the plans in ence on the tractate literature of the six­ of Protestant churches, it should not obvious reference to Bohemian projects. teenth century. The Protestants, in parti­ come as a surprise to discover very con­ Yet the church council found the plans cular, attempted to distinguish their tradictory solutions in architectural prax­ problematic, and criticised the niches be­ churches, even architecturally, from is. A unique version of Protestant archi­ tween the supports as dysfunctional: the}' those of the Catholics.9 John Calvin, in tecture appears in palace chapels, built could make it difficult to hear the ser­ his 1536 treatise, Institutiones Christi- primarily in Saxony and eastern regions mon, they might lead to increased costs, anae religionis, criticised the "Dei habita­ of the empire in the sixteenth and seven­ and beyond that, these "anguli" (niches) cula",10 the imposing houses of God. Jo­ teenth centuries.1­* The first of their kind were too reminiscent of the "old papal hannes Aeschardt also denounced the was constructed in Hartenfels Palace churches"."1 Ultimately, all sides agreed architectural extravagance of churches in near Torgau in 1543­44 and consecrated to build a hall with three aisles, setting his 1617 tractate on church architecture, by Martin Luther, who, it is therefore be­ galleries between the piers. The church Examen disputationis R. Eellarmini de lieved, also influenced its design.11" The was erected between 1607 and 1624. The Templis, in which he proposed using the building is twenty­three meters long with difference from St. Michael's lies de facto money instead for charitable Christian late Gothic vaults and double galleries in the design of the galleries as well as in causes." Beyond such references, how­ along the sides. The altar is set just before the loss of the side chapels and transept, ever, the texts fail to offer any more con­ the chancel's back wall, with a musicians' thereby essentially achieving a re­dimen­ crete discussion of the form and appear­ gallery above it; a choir, as such, was not sioning of the architecture in favour of ance of Protestant churches, though the included. In the subsequent decades, the functionality. Temple of Solomon is often referred to as church was frequently referred to as a Yet, as much as the outward appear­ a paragon, and reconstructed mostly at model of Protestant church architecture. ance of the church ostensibly shares fca­

272 Wolfgang Lippmann tures with the Catholic church architec­ Maximilian I of Bavaria, the self­named ture in Bavaria, particularly the Italian patron of the Catholic church in Ger­ capitals and the ornamentation, clear many, had his court chapel built in the references to contemporary Protestant style of a Saxonian Protestant palace church architecture do exist. For exam­ church, initially even doing without a ple, the rectangular floor plan corres­ choir, which was later added around ponds to the main church in Wolfen­ 1630. Another remarkable example is the f biittel, with its six piers divided into three St. Michael's church in Munich, which aisles, while the elevation is reminiscent was to a great extent based on the Gesu of the palace chapels in Hillerod and Hei­ Church in Rome. Yet during building, the delberg. Both Heidelberg's Friedrichsbau Jesuits replaced the screened­off oratories chapel (1601­07) as well as the church in with open galleries, which at that time Hillerod's Frederiksborg Palace (1602­ were more common in Protestant churches. 16) are oblong buildings with side spaces In this regard, it would seem that the instead of a transept, with a gallery above Catholics were not particularly interested 4 them.1? in distinguishing their churches architec­ Catholic models played a much more turally from those of the Protestants. Ra­ significant role in the planning of the for­ ther than considerations of confessional mer Trinity Church in Prague. Following specificity, functionality and the respec­ Fig. 3: Munich Residence, Court Chapel, interior the 1609 decree of the "Majesty's Let­ tive regional style seem to have been view, 1600-30 ter", the Lutheran parish began building more decisive criteria in choosing the a church in the Lesser Town (Mala type of church to build. In the case of the worship tailored to their respective ser­ Strana) in 1611. The project was sub­ pilgrimage church in Tuntenhausen, the vices, which also accommodated a larger sidised by the Protestant rulers, as they hall church form was selected as being congregation; and independent of their saw it their duty to establish a Protestant more functional for processions.10 Maxi­ confession, they each favoured the cathedral in the primarily Catholic, Im­ milian I of Bavaria appears to have opted church with galleries. perial residence city.'8 The double­tower for the Protestant palace chapel, as it Confessional reasons were repeatedly facade of the Protestant church had a economised space and it had already used, especially by the Protestants, when Catholic church as its model, the Trinita proved itself as a palace church. choosing the architectural style, but ulti­ dei Monti church in Rome. In tins way, a Likewise, just as the Protestants em­ mately such reasons were only of second­ patron saint became crucial for the archi­ ployed the more common early baroque ary importance. Though Catholics tend­ tectural form. The lack of any galleries in style in Prague and Neuburg, even reach­ ed to favour churches with chapels and the interior is just as contrary to Protes­ ing compromises in terms of their church barrel vaults, while Protestants preferred tant church architecture as the three chap­ forms, the Jesuits decided in favour of galleries and Gothic hall churches, reli­ el niches on each side of the nave. It is galleries for their monastic order church­ gious architecture in the seventeenth cen­ probable, because of the clear precedence es in the Rhineland between 1590 and tury cannot be defined absolutely accord­ set by the Catholic churches of the previ­ 1620, even decorating them mostly with ing to confession. 21 ous decades in Prague, that the Protes­ late Gothic motifs. This is evident inso­ During the Thirty Years' War, many tants ­ just as in Neuburg initially ­ were far as the orders strove for a more uni­ churches were plundered and damaged, attempting to emulate the Catholic form church architecture. The order then often re­consecrated. When Imperi­ churches of the city by building the most churches in Bavaria are mainly modelled al troops conquered a city, Protestant representative church possible. after the pilastered church, as exemplified churches would be re­sanctified as Cath­ Such interchanging of floor plan types by St. Michael's in Munich, but also olic. Or the other way around, if the and architectural models was not only show some early baroque influence. Swedes and their allies took over a town, possible in multi­confessional Prague. Meanwhile, the Rhineland Jesuit church­ all Catholic churches became Protestant. Even in the thoroughly Catholic region of es corresponded to the churches of the Following the peace treaty, confessions Upper Bavaria church types were borrow­ Bohemian Brothers, a religious commu­ were re­established in the various regions ed from the other confession, but in this nity founded by fifteenth­century Hus­ of the empire. The treaty stated, for 11 case, the Catholics sampled from Protes­ sites. But here again, of primary con­ example, that the Silesian principalities tant church architecture. The court chap­ cern was not religious belief but belonging to the Habsburgs were to be el in the Munich Residence of 1600­03 is functionality. Both the Jesuits and their re­Catholicised, meaning all the Protes­ a startling example."' Prince Elector Bohemian brothers needed a place of tant churches had to be closed. Only

Architecture at the Time of the Thirty Years' War 273 »- i had to be built to protect the city from The construction of significant pal­ aggressors. Construction was brought to aces and residences was also started dur­ a complete standstill in the spring of ing the first years of the war: after the K 1632, when Gustavus Adolphus' ad­ Weimar Palace suffered damages from • . i vancing troops conquered much of fire in 1618, work on the new building n* Bavaria, and Munich was only able to was started immediately. In 1627, mar­ buy its freedom through a large ransom. grave Christian von Bayreuth began Fig. 4: Court Chapel of Our Beloved Lady, The architectural division of the resi­ building his residence, Scharffeneck Pal­ Neuhurg a. D., outline, 1607-18 dence's various facades was merely paint­ ace near Baiersdorf in Franconia. How­ three churches, the so-called Churches of ed on, and was intended to articulate to ever, the war brought both projects to a Peace, were allowed to be built in front of the viewers of the day through the selec­ halt in 1630. The Weimar Palace could the town gates of Schweidnitz (Swidni- tion of historical models certain political later be completed after the war, albeit ca), Jauer (Jawor), and Glogau (Gtogow), ideas and issues. While rustication can be according to revised plans, but the between 1654 and 1658. seen as a general trait of royal residences, Scharffeneck Palace was destroyed in the colossal order over two stories could 1632 and never reconstructed.2­­'' Both II. SECULAR ARCHITECTURE: be a reference to the Emperor's Palace in buildings were laid out symmetrically in ROYAL PALACES AND NOBLE RESI­ Granada, begun in 1536, or to Amalien­ four wings, a popular plan for palaces DENCES burg, a wing of the Habsburg residence in and residences throughout Germany, Not all areas were directly affected by Vienna, begun in 1575. Individual win­ which, like much of the architectural the initial events of the war, which allo­ dow forms, particularly the rondel above detail, was based primarily on Italian wed the completion of those buildings the rectangular windows, can be traced forerunners. already under construction. This was back to the Ambras Palace near Inns­ Yet the Italian forms were interpreted the case with two residences, which, bruck. in different ways. For instance, the archi­ because of their close geographic proxi­ mity to one another, shared many simila­ rities: the residence of the archbishop of Salzburg and that of the Wittelsbach dukes in Munich. As Bavaria's political importance grew increasingly stronger, its capital city Munich also gained new ­T fj significance, which in turn was inten­ ded to be reflected in the renovation of r the residence. What began as sporadic alterations under Duke Albrecht V (1550­ 79) to accommodate his art collection, WtV" later became a systematic renovation VI •A IV j.mll under his grandson Maximilian I (1597­ •i LLjM 1651)^3 The expansion of the residence occur­ TO* KrtiSmmM 1 red mainly between 1612­17. Work on 1* w&U the Imperial court took precedence, with -*! its imperial staircase and hall. From 1612 r- iT to 1616 a new frontal element, with a thirty­three window fenestration, was set . S3 before the various building section of dif­ ferent heights, becoming one of the most monumental facades of the residence.24 1 In the years after 1618, the interior de­ sign of the residence and the completion 4 m of the garden followed, yet in general, the building activity seems to have slowed. i J Between 1619 and 1638, massive bastions Fig. 5: Protestant Church of Peace in Schweidnitz (Swidnica), interior view

274 Wolfgang Lippmann Italy since the "Cancelleria" in Rome years prior, and had been involved with (1489­1511), whose courtyard also dem­ the Schwerin Palace. The hunting palace onstrates a change in orders. Only the was damaged by Imperial troops in 1637 staircases are not Italian. Bonalino as it was nearing completion." planned to house them in four corner Another such three­winged residence towers in the courtyard, a solution which is the palace in Plon (1633­36) which could also be found in the palaces of opened to the sea, and was home of the Chambord (ca. 1519­50) and Dresden Protestant Schleswig­Holstein­Plon nobil­ (ca. 1549). ity. The Plon Palace is one of the few res­ Bonalino left Weimar in 15 26, though idences that could be completed during work on the palace continued, if only the war, probably due to its peripheral slowly during the war. Building was ceas­ location, but mainly because of Peace of Q-fef^u ed entirely in 1630, but resumed years Liibeck (1629) allowed work to continue Fig. 6: Valentin Juncker, Former Scbarffeneck Cas­ later and was finally completed in 1662 undisturbed. tle, Baiersdorf, outline, begun in 1627, destroyed in 1632; Nuremberg, Staatsarchiv according to revised plans no longer In another example of switching based on Italian models, but instead on plans, the building of the Friedenstein Pal­ tect of the Scharffeneck Palace, the court French palace architecture. Respectively, ace in Gotha began according to Italian master builder Valentin Juncker, was only three of the four originally planned models, but was later re­conceived as German; as a result, he was reliant on wings were built.19 The French tradition "non­Italian". Gotha became a residence engravings and architectural tractates for employed only three wings, defining a city in 1640­41, following the division of understanding the Italian forms. An court of honour or com d'honneurj0 as the estate. Duke Ernst von Sachsen­ important model for Juncker was the well as a so­called pavilion, which served Gotha (1643­54) had a new palace built, Palace in Ancy-le-Franc (Burgundy) built both as eye­catcher and as a final fourth which he named the Friedenstein (stone by Sebastiano Serlio from 153 8— facade to the courtyard. The pavilion­like of peace) Palace31 as expression of his 46, which Serlio published in his Tutte building with its curved roof was later longing for peace. In 1646 the Duke and I'opere d'architettma.2-6 However, Jun­ removed during renovation work follow­ his administrators were able to move into cker seems to have been less impressed by ing the fire of 1774. the new building. After the palace build­ Serlio's engravings, depicting an early (or Such a stylistic shift could be under­ ing itself was complete, excavation of the a revised?) version, and more focused on stood as a reaction to the events of war walls and the construction of the bastions the views provided by J. Androuet Ducer­ and the resulting political and confession­ could begin, which were finished in ceau,17 who depicted the finished build­ al situation. Weimar had been ruled by 1662­65. ing. the Protestant Wettin Dynasty. While the However, before the actual building For the new palace in Weimar in Catholic rulers of the empire, foremost began, there was a complicated planning 1618, an architect was employed who the emperor in Vienna, as well as the Wit­ phase, from which numerous documents was familiar with Italian style from first­ telsbachs in Munich, and the archbishops and particularly several models remain hand experience: Giovanni Bonalino of Salzburg, all built their residences intact. 33 One of the earliest models, dated from Grisons, who brought with him a clearly in the Catholic Italian tradition, 1643 and attributed to Andreas Rudolph team of Italian­Swiss builders. According Protestant Weimar abandoned its origi­ (1601­79), the court's master builder to Bonalino's plans, the palace was to be nal plans in favour of architectural tradi­ and fortress engineer, reveals a symmetri­ three­storied throughout with slightly pro­ tions found in France, the emperor's arch cal, three­storied, four­winged building truding corner wings of the same height enemy. as the rest of the building. The look of a The three­winged model was even used during the war in the northern and city palace was to be diminished through - - * the addition of rounded bastions at the eastern areas of the empire. The earliest 1 ll 1 ft ft 1 f 1 1 corners and entrances, which would give example is the hunting palace in Neu­ 1 1 ^JK 111 I 1:1 1' the residence the semblance of a fortifica­ stadt­Glewe, south of Schwerin, built for 1 I l i Jf]§l^' I i I Jj""':;'^' tion. Duke Adolf Friedrich I of Mecklenburg. Like the wall sections dividing18 the The Emden architect Ghert Evert Piloot exterior facade, the rhythmic, pilastered (died 1629) designed the plans for this tufaJt 'ailoucj facade of the courtyard also reflects the prototypical three­winged structure with Fig. 7: Valentin Juncker, Former Scharffeneck Cas­ influence of Italian palazzo architecture. its nearly square com d'honneur. Piloot tle, Baiersdorf, elevation sketch, begun in 1627, Pilastered facades were widespread in had been working in the area for some destroyed in 1632, Nuremberg, Staatsarchiv

Architecture at the Time of the Thirty Years' War 275 with a rectangular courtyard, lined with surprising that such landed officers, arcades on almost all sides and stories many of whom had acquired their rank (only on the north wing was an arcade and wealth during the war, tended to de­ sacrificed to accommodate a large hall). sign their new homes somewhat extrav­ <•:,»': A second model, until recently thought to agantly, to demonstrate their new­found be the work of the master fortress builder social status. Matthias Staudt, has been newly attrib­ An especially characteristic example uted to the master builder Nikol Teiner can be found in the Holleschau Palace by Georg Skalecki.34 The building was (Czech: Holesov) in Moravia. Johann planned in four wings with a uniform Fig. 9: Castle Friedenstein, Gotha, view of the third Freiherr von Rottal from Steiermark facade design, despite the various win­ wooden model; Gotha, Schlol?museum (Austria), who reached the rank of cap­ dow forms. When it came to the realisa­ tain in 1610, then became a count in tion, a third model was brought into the architecture, but wished instead to dem­ 1641, began building the residence in planning, which has been attributed to onstrate dynastic continuity through ref­ 1652.36 He hired the architect Filiberto the master fortress builder Caspar Vogel erences to earlier Saxonian residences, Luchese (1606­66), a moulding master from Erfurt. This new model was based such as Augustusburg Palace. However, and architect, whose presence in Austria on a completely different concept. The for the subsequent development of palace can be documented back to 1640, when four wings were replaced by three wings architecture in Saxony, particularly for he renovated and restored numerous opening to the garden, with monumental the palaces in Zeitz and Weissenfels, it noble palaces. This new job involved a arcades on the ground floor. Although was not the Gotha palace which was held rectangular palace with small, hexagonal the three wings and the two tower­like up as the paragon, but the palace in corner towers and an interior courtyard pavilions on the garden side attest to Weimar, with its finer­looking and more lined with arcades. While the two main French influence, the palace has neither modern architectural details. stories are described by pilaster strips on the court of honour as an entrance, nor the outer facade, a colossal Tuscan order does the long fenestrated facade indicate III. SECULAR ARCHITECTURE: with an angulated cornice extends over the buildings subdivisions. The form of PALACES OF ARMY COMMANDERS both stories on the courtyard facade. The the windows is conspicuously simple, AND ARMY SUPPLIERS colossal order, though originally used with Gothic window splays. Otherwise, While the construction of royal residences exclusively in religious architecture, was little attention is paid to decorative detail, were plagued with problems during the also used in Germany, for example on the allowing the building's volume to achieve war years and, save for the palaces in Plon Viennese Hofburg and on the so­called maximum effect. and Gotha, rarely completed, the palaces Kaiserhof (Imperial Court) of the Mu­ Sharing architectural responsibility of military commanders and the business­ for the palace project was the master savvy army suppliers were usually finished builder Andreas Rudolph, who is prob­ by war's end. Here as well, the owner's ably to thank for the incorporation of ele­ confession and respective political orien­ ments derived from earlier projects. tation played a decisive role in the deter­ Many details can be traced back to build­ mination of architectural style. Palaces in t ings erected decades earlier. Duke Ernst Catholic Bohemia and Moravia uniform­ was not interested in innovative palace ly emulated the Italian style, while the only residence built at this time in a corre­ r spondingly Protestant region was desi­ gned by a French architect. This was the palace for the Major General Joachim Heinrich Vieregge, built in 1657 in Rosse­ ff r r witz in the region of Mecklenburg, and designed by Charles Philippe Diessart. '5 1 1 • f-* V _> —• Palaces in Bohemia and Moravia, on I » » the other hand, were built for Catholic 11U •••in, > • • nf D "•«•>.- • • • • commanders and war profiteers, who had acquired land after the Protestants Fig. 8: M. Staud (attributed to), Friedenstein Castle, were forced to flee after their defeat at Gotha, view of the second wooden model; Gotha, Schlofimuseum White Mountain (1620). Thus, it is not Fig. 10: Palais Michna, Prague, exterior viev

276 Wolfgang Lippmann nich Residence (i612-18). That a former captain, who only just received his noble status a few years earlier, would choose such a court design, could almost be con­ sidered presumptuous. Another example can be found in the summer residence of Count Michna in Prague. Paul von Michna (ca. 1572­ 1632), a butcher's son, made a consider­ im able fortune during the Thirty Years' War as an army supplier. He was en­ nobled for his contributions to the strengthening of the Catholic faith and even served as secretary in the Bohemian : ** Court Chamber. In 1625 he acquired a small summer residence in Prague's Less­ mmsmmkn er Town. His nephew, Count Wenzel m m CI Michna, then renovated and expanded mmml m • •I the building in 1644­45. Financial prob­ lems permitted only the north projection­ Fig. 11: Eggenberg Castle, Graz, exterior view wing facing the garden to be completed. The details are of Italian influence, work began around 1625 to renovate the nineteen window axes. Yet, compared to though no single reference can be named: old residence on the periphery of the city Italian palazzi, the individual stories the prominent, large niche with the of Graz. Eggenberg did not live to see it appear surprisingly flat. Furthermore, the glassed door in the middle story recalls completed. The courtyard was finished in ground­floor windows extend so low as Vignola's Villa Giulia (1551­55) in 1644­1646, while work on the interior to allow passers­by a look inside. Even Rome. The busts in the round niches continued into the eighteenth century.37 the stocky side portals appear to belong above the windows are often compared The palace was surrounded by a moat more to a middle­class house than to a to their Roman predecessors: the Villa and comprised four wings with tower­ palace. Medici (renovated in 1 564) and the Casi­ like corner projections. The large oblong The more impressive parts of the no Borghese, designed by Hans von courtyard was set slightly off­centre with estate are the more private areas: the gar­ Xanten, known as Giovanni Vasanzio, in the building itself and surrounded on den with bronze figures, the palatial rid­ 1613­15. The stucco garland motif can three sides ­ as was common in the Steier­ ing stall, whose grandeur easily matched also be found in the stucco ornamenta­ mark, and throughout Austria ­ with log­ the Imperial Stallburg in Vienna, and the tion in the courtyard of the Palazzo gias, arcaded with rounded arches and monumental "sala terrena", a garden Spada, also in Rome. Even the attic story Tuscan half columns, which are doubled loggia with three aisles and double can be traced to an Italian forerunner. at the entrances. A mezzanine level tops columns, whose height with the roof The Eggenberg Palace provides yet off the courtyard's facade. The protrud­ almost surpasses that of the palace itself. another example. The owner, Hans Ul­ ing half columns suggests the influence of Yet, as grand and imposing as Wallen­ rich von Eggenberg (1568­1634), was the Escorial, particularly because the stein's loggia might appear, it seems as neither a commander nor a supplier, but architect and owner travelled to Spain modest as the main facade of the palace his success was a result of the war. Born together in 1626 and because Hans Ul­ when compared to the imperial garden 8 into a Protestant family, he converted to rich von Eggenberg served as a diplomat loggia near Vienna, the Neugebaude3 Catholicism which enabled his quick to the Spanish court. built under Maximillian II between career achievement. He was named Impe­ A completely different situation is 1569^3.1587. rial prince in 1623 and five years later introduced with the Wallenstein Palaces Wallenstein also seems to have prac­ attained the title of duke. Parallel to his in Prague and Jici'n. Though he also expe­ tised the art of moderation on the facade advancement, he acquired a variety of rienced quick success, his city residence in of his palace in Jici'n,^ the capital of the properties. For his new social standing, Prague, built from 1624­30, was not lav­ duchy of Friedland. From 1625 to 1633 he now required a representative resi­ ishly designed, though twenty­five hous­ he expanded the residence, thereby trans­ dence. Thus, under the direction of Gio­ es had to be demolished to make room forming the original building into a sec­ vanni Pietro de Pomis (1569­1633), for it, and its facade had a fenestration of ondary wing, and adding two additional

Architecture at the Time of the Thirty Years' War 277 courtyards. The additions more than cline during the Thirty Years' War. Yet, Imperial troops from later damaging the doubled the breadth of the front facing as in the case of the Scharffeneck Palace, building. the market, creating, as with his palace in only seldom were they destroyed,40 as Architectural masterpieces, like those Prague, an elongated facade with only though the acting Generals were not inter­ from the first two decades of the seven­ slight architectural subdivision. The indi­ ested. It has even been reported that the teenth century, are a rarity, with the ex­ vidual stories are noticeably low, and the Swedish King Gustavus Adolphus dis­ ception of Wallenstein's palace in Prague. portico is unusually long, extending the gustedly rejected the suggestion from Significant for palace architecture is the entire length of the facade, an indication Frederick V and other Protestant princes political/confessional influence on the se­ perhaps that a uniformity in the frontal to destroy the residence of Munich.41 lection of models. Ultimately, it is a won­ design took priority over the prince's Similarly, Wallenstein apparently was so der that during the Thirty Years' War the desire for a representational building. impressed by the hunting palace in Neu­ palaces were not secured with massive In conclusion, the building activity of stadt­Glewe that he ordered it restored, fortifications, nor the residences moved these regal residencies can be seen to de­ which nevertheless did not prevent the to fortresses.

* The following text is a much abridged version of a more modern Italian facade (plate 27). Before him, (Czech: Mlada Boleslav) built around 1550; cf. a more comprehensive original text. Johann Fichard, in his Italia of 1 536, also emphasis­ Seibt 1985, pp. 168, 193 ff., fig. 139­41. es the exemplary nature of the Florence Duomo, 23. Cf. Stierhof 1980; Klingensmith 1993, 1. Among those cities severely damaged were because, as he claims, its form is based on the Temple pp. 20 ff. Bautzen, Magdeburg, Rothenburg ob der Tauber, of Solomon. Cf. Hipp 1979, pp. 448, 664. 24. For the engravings by G.P. Fischer (1644) and and Meissen; other cities such as Munich were spar­ 13. Furttenbach 1649, cf. Hipp 1979, pp. 487 ff. by M. Wening (1701) see exhib. cat. Munich 1980, ed, but at a high price. Furttenbach's concept of the church space can be II, book 1, plate 36, figs. 115­17. Concerning the 2. The Jesuit and University Churches (1628­31), seen as a reaction to the churches built in the architects, see Diemer 1980, pp. 279, 287 ff., cf. the Carmelite Church of St. Josef in Leopoldstadt Netherlands and in the Danish Christianstad a­ also Stierhof 1980, p. 277. (1622­24/39), the Paulaner Church Zu den HI. round 1620, as well as to those churches built 25. Floor plan and elevation plan of the palace Schutzengeln (1627­51), the Schotten Church directly thereafter in Germany. near Erlangen are known through copies of the (1638­48), and the Domenican Church (1631­34, r4. Mentioned are the palace chapels in Dresden original plans. Cf. Skalecki 1989, p. 94. completed 1674); cf. Brucher 1983, p. 56 ff. (1549­55, destroyed in 1945), Schwerin (1560­ 26. Serlio 1584, book 7, chapter 2, pp. 208 ff. 3. Cf. Feuchtmulier 1973, II, pp. 17 ff.; Skalecki 63), Stuttgart (1566), Stettin (1577), Augustusburg 27. Ducerceau 1576­79, part 1. He shows the 1989, pp. 116 ff., 132 ff. See below for more on the (1 568­72), and Schmalkalden (1 586­90), as well as original appearance of the palace before later alter­ Eggenberg Castle. the palace chapels in former Carolath (Polish: ations. For more on the palace construction cf. 4. Cf. Heinisch 1968, pp. 117 ff. An overview of Siedlisko) in Silesia (completed 1618) and in Weik­ Prinz/Kecks 1985, pp. 625 ff. the most recent research papers can be found in: ersheim Palace near Heilbronn (after 1595). For 28. First employed by Bramante (Belvedere­Hof, Osterreichische Ingenieur- und Arcbitekten-Zeit- more on palace chapels in Saxony, cf. Jockle 1 994. pp. 1 503 ff.), this motif quickly became popular in schrift 140 (1995), no­ I2" 15. Cf. Kadatz 1983, pp. 104, 117 ff., Hitchcock Rome (e.g. Palazzo Vidoni­Caffarelli, Palazzo Mac­ 5. For example, the Loreto Chapel in Reutberg 1981, pp. 101 ff., fig. 125. carani, Palazzo Alberini), and was later used in (1608), the churches in Landshut (1624) and in Berg 16. Cf. Zimmer 1971, pp. 32 ff. 144; Hipp 1979, northern Italy (e.g. Palazzo della Pilotta in Parma, am Laim (1632), as well as the churches of Maria pp. 780 ff. the so­called "Corridore", and on the Palazzo della Eck and Tuntenhausen (see below). More on the 17. While Heidelberg's Protestant reformed pal­ Galleria in Sabbioneta); cf. Benedetti 1984, figs. Wittelsbachs' role in church building can be found ace chapel is a late Gothic building (cf. Hitchcock 167, 169. These wall divisions also appear in sever­ in: Albrecht 1980, pp. 13 ff., Schnell 1936, pp. 28 ff. 1981, pp. 332 ff., fig. 425), the palace church of al courtyards of the Escorial. 6. Among them, the Schutzengel­Kirche in Eich­ Frederiksborg uses Renaissance forms (cf. Beckett 29. After 1623 construction was directed by Nikol statt (1617­20), the Church of the Holy Trinity 1914, pp. 142 ff.). Teiner, who was later involved in the planning of in Aschaffenburg (1619­21), St. Joseph's Church 18. After the Battle of the White Mountain (1620), the Friedenstein castle in Gotha; cf. Heubach 1927, in Burghausen (1629­31), and the Church of the church was turned over to the Catholics and pp. 116 ff.; Skalecki 1989, pp. 224 ff. St. Ignatius in Landshut (1631­41). Cf. Braun taken over by the Carmelites. By the time it was 30. The paragon example would be the Palais du 1908­10, Q. For more on the first Jesuit settlements completed in 1626, it had undergone major changes Luxembourg (1615­31, architect: Salomon de in Bavaria, cf. exhib. cat., Munich 1997. and was now known as S. Maria de Victoria; cf. Brosse) in Paris, built for the reigning monarch 7. Such were the former Benedictine Abbey Krcalova 1982; Skalecki 1989, pp. 45 ff., 173 ff. Maria de Medici just outside the city; cf. Coope Church of St. Peter and Paul in Obertaltaich (1622­ 19. Cf. Lieb/Sauermost 1973, pp. 101 ff.; 1972, pp. 110 ff. The development of the three­ 30), the Augustinian Canonical Church (Chorher­ Schalkhausser 1958, p. 265. winged palace began as early as the fifteenth centu­ renstiftskirche) Beuerberg (1628/30­35), and the 20. Cf. Hauttmann 1923, pp. 122 ff. ry in France, salient forerunners are the Bury castle former Paulaner Church of St. Karl Borromaus in 21. These are the Peterskirche (St. Peter's Church) (ca. 1520) in Loire­et­Cher and the castle in Anet der Au in front of the gates of Munich (1621­23), in Miinster (1591­97), the Church of St. John the (1 545­55); cf. Prinz/Kecks 1985, pp. 545 ff. French which was demolished in 1903. Cf. Bauer/Bauer Baptist in Koblenz (1607­17), the Dreifaltigkeit­ three­winged palaces were also published by Duc­ 1985, pp. 6if., 122 ff., 200 ff. skirche (Trinity Church) in Molsheim (1614­17), erceau and by Serlio; cf. Serlio 1 584, book 7, chap­ 8. Cf. Kahlenberg 1963, pp. 95 ff.; Eimer 1961, Himmelfahrtskirche (The Church of Ascension) in ter 24, pp. 56 ff. pp. 214 ff. Cologne (1617­24), and the Michaelskirche (St. 31. Cf. Skalecki 1989, pp. 236 ff. 9. Cf. Schutte 1984. Michael's Church) in Aachen (1618­23). The only 32. Since ca. 1650, the so­called "Kiss of Peace" 10. Cf. Hipp 1979, pp. 440, 1006 (note 823). exception is the Church of St. Andreas in Diissel­ can be found on the palace portal. The name might [ 1. Cf. Hipp 1979, pp. 444 ff. dorf (1621­29/37), which is more Italian early also be understood as a reaction to the name of the 12. Furttenbach (1628, plate 28) discusses church baroque. Cf. Braun 1908­10, [, earlier "Grimmsrein" castle. architecture only in general terms, but clearly favours 22. For example, the church in Jungbun/laii 33. An evaluation of the archive files was under­

278 Wolfgang Lippmann taken most recently: Schutte 1994, pp. 76 ff. For 38. Emperor Ferdinand II (1619-37), then 39. However, Wallenstein was planning a palace more on the models see Skalecki 1989, pp. 228 ff.; owner of the Neugebaude, was Wallenstein's in Sagan, which would have outdone all previous Heubach 1927, pp. 65 ff., esp. pp. 70 ff. direct employer. The imitation is quite detailed: buildings and whose proportions would have 34. N. Teiner was involved from 1623 to ca. 1630 like the new imperial loggia, the arcades of matched those of the great royal residences of Italv. with directing the building of the Weimar Palace Wallenstein's garden loggia are supported by a The facade of the Jici'n residence was significantly and has been traced to Gotha through a payment double entablature resting on double Tuscan altered in the eighteenth century. Cf. Skalecki 1989, slip. Cf . Skalecki 1989, pp. 230-3 1. columns on flat bases. Furthermore, Wallenstein's pp. 152 ff. 35. Cf. Schlie 1898, pp 480 ff.; Skalecki 1989, arcades incorporate similarly prominent key­ 40. An especially tragic example is the archbish­ pp. 238 ff. stones, as in the imperial loggia, and the roof op's residence in Mainz. Building began in 1627 but 36. Cf. Skalecki 1989, pp. 214 ff.; Umelecke in both cases includes dormers. For more on had to be interrupted in the winter of 1631/32 with pamatky Moravy a Slezska, 1 (1994), pp. 500 ff. the reconstruction of the new imperial loggia: the invasion of the Swedes. Finally, it was inade­ 37. Cf. Luchner 1983, pp. 83 ff., fig. 58 ff.; Kaiser cf. Lietzmann 1987, pp. 49 ff­ fig­ PP­ 13* 39, quately completed in 1675­78. 1994. 97­ 41. Cf. Rystad 1980, p. 425.

Architecture at the Time of the Thirty Years' War 279