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Fig. 18.1: the City Plan of Trondheim 1681, the Small Version (59 X 45 Cm). Regional State Archives in Trondheim. Eystein M

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Fig. 18.1: the City Plan of Trondheim 1681, the Small Version (59 X 45 Cm). Regional State Archives in Trondheim. Eystein M The city plan of Trondheim 1681, the small version (59 x 45 cm). Regional State Archives in Trondheim. Fig. 18.1: Open Access. © 2021 Eystein M. Andersen, published by De Gruyter. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. https://doi.org/10.1515/9783110639452-019 Eystein M. Andersen Chapter 18 The Heavenly Jerusalem and the City Plan of Trondheim 1681 The city of Trondheim in central Norway has a Baroque city plan from 1681. This article will examine how Christian faith, understandings, and symbolic systems were integrated into the plan. The dominating approach in studies of early modern city planning has been to emphasize the irreligious aspects, but the search for heav- enly perfection did not stop with the building of churches. It is found in city plan- ning as well. This article will, with the city plan of Trondheim as a case study of the Jerusalem Code, explore how interpretations of the Temple and the urban prophesy of the Heavenly Jerusalem were integrated into city planning on the outskirts of sev- enteenth-century Europe. InhisreviewofRudolfWittkower’s 1949 book Architectural Principles in the Age of Humanism, W. A. Eden wrote in 1950 that the search for heavenly perfection in the Renaissance did not stop with the building of churches, but is found in city planning as well.1 However, it is only quite recently that this perspective, with an emphasis on Christian symbolic systems and understandings of connections be- tween shapes and numbers in the earthly and celestial worlds, has become more familiar in scholarly literature on Baroque architecture and cities. Nonetheless, in Scandinavia it is hardly used at all, where the dominant approach has been to em- phasize the irreligious aspects. The 1681 Baroque city plan of Trondheim in central Norway can, by utilizing Eden’s approach, supplement the history of city plan- ning in Europe and be an interesting case study of the Jerusalem Code in early modern Scandinavia.2 The night between 18 and 19 April 1681 was devastating for the old medieval city of Trondheim. The whole city, which at that time was the second largest in Norway, burned down within a matter of twelve hours. Only the old cathedral and the archbishop’s palace from medieval times on the southern outskirts of the 1 W. A. Eden, “Wittkower, Architectural Principles in the Age of Humanism (Book Review),” The Town Planning Review 21, no. 3 (1950). 2 This article is based on my article: Eystein M. Andersen, “Cicignons katolske byplan for Trondhjem,” in Fortidsminneforeningens Årbok 2015 (Oslo: Fortidsminneforeningen, 2015). Eystein M. Andersen, Cultural Heritage Officer, Vestfold and Telemark County Municipality, Norway 346 Eystein M. Andersen peninsula were spared. This was the most devastating fire in the history of Trondheim. Just a few months later on 10 September, King Christian V of Denmark and Norway approved the new city plan of the Luxembourgian Jean Gaspard de Cicignon (1625–96) – a plan that changed the visual layout of Trondheim completely and still constitutes the central parts of the city. The medieval city of Trondheim with itsnarrowstreetsandorganicformhad been rebuilt after earlier fires, like so many other cities, with a relatively similar layout to its earlier one. This time, however, the initial starting point disregarded property borders and other obstacles in order to make way for the northernmost planned city in early modern Europe. The result was a geometrical and monumen- tal Baroque city with wide, straight streets in a grid, radial streets, a large main square, axes, and vanishing points – one of the few realized Baroque planned cit- ies in Europe (Fig. 18.1). There are very few studies of Cicignon’s plan in any discipline in Norwegian historiography. The two main and still most influential studies both belong to an object-centred tradition where architecture and city planning in the early mod- ern period are understood as practical, secular, and aesthetic phenomena.3 Topographical circumstances and practical and political considerations and demands were of course important in early modern city planning and influenced the new lay- out of Trondheim in 1681 as well. The constant threat of fire and frequent wars against Sweden obviously affected the plan. It is, nonetheless, a fallacy to emphasize this more than other considerations like philosophy, theology, and the Christian faith of persons involved. Contemporary Christian faith and interpretations of the Temple and the Heavenly Jerusalem were integral parts of architecture, garden art, and urban form in the Renaissance and Baroque periods.4 Scholars associated with the Warburg Institute in London, such as the aforemen- tioned art historian Rudolf Wittkower, have with a cultural-historical interdisciplin- ary approach created an alternative to object-centred modernism and the widespread 3 Guthorm Kavli, trønderske Trepaléer (Oslo: J.W. Cappelens Forlag, 1966), 36–51; Rolf Grankvist, ed., 300 år med Cicignon 1681–1981 (Trondheim: Trondhjems Historiske Forening, 1981), 45–66. 4 Berthold Hub, “‘Vedete come é bella la cittade quando é ordinate’: Politics and the Art of City Planning in Republican Siena,” in Art as Politics in Late Medieval and Renaissance Siena,eds. T. B. Smith and J. B. Steinhoff (Farnham: Ashgate, 2012); George L. Hersey, Architecture and Geometry intheAgeoftheBaroque(Chicago: University of Chicago Press, 2000); Claus Bernet, “Gebaute Apokalypse”. Die Utopie des Himmlischen Jerusalem in der Frühen Neuzeit (Mainz: Phillip von Zabern, 2007), 1–3; Frank E. Manuel and Fritzie P. Manuel, Utopian Thought in the Western World (Cambridge, MA: Harvard University Press, 1979), 161–67, 77–78; Eystein M. Andersen, Paradishaven. Trondhjems kulturmiljø på 1700-tallet (Trondheim: Trondhjems Historiske Forening, 2014); Victor Plathe Tschudi, “Heavenly Jerusalem in Baroque Architectural Theory,” in Visual Constructs of Jerusalem,eds.Bianca Kühnel, Galit Noga-Banai, and Hanna Vorholt, Cultural Encounters in Late Antiquity and the Middle Ages 18 (Turnhout: Brepols, 2014). Chapter 18 The Heavenly Jerusalem and the City Plan of Trondheim 1681 347 view of the Renaissance as secular. Wittkower wrote: “Thus, the line of art-historians have generally taken falls in with the attitude of those historians who emphasize the irreligious aspect of the Renaissance. Their interpretation derives from the simple – not to say naïve – formula that mediaeval transcendental religion was replaced by the autonomy of man in the Renaissance.”5 In Architectural Principles in the Age of Humanism, he changed the focus to the wider history of architectural thought behind the realization of churches and buildings.6 The Baroque city plan of Trondheim is an interesting example of the realization of European ideas in urban form in the early modern period, and even more so when we – following Wittkower and Eden – examine the oft overlooked, but essen- tial Christian aspects of city planning in this period. The plan was, as we will see, designed by a devoted Catholic working for the Counter Reformation in Lutheran Norway. Jean Gaspard de Cicignon Jean Gaspard de Cicignon was born to a Catholic noble family in Luxembourg in 1625 (Fig. 18.2).7 During his Grand Tour he studied at several institutions and built himself a career as a mercenary in different armies. According to him, the Tour in- cluded Spain, Italy, Malta, Flanders, and Holland. Moreover, Cicignon probably studied mathematics, architecture, and fortifications at several Jesuit institutions. He worked as an officer in Flanders where he – despite his religion – became a mer- cenary in the Danish-Norwegian army in 1657 where he remained for the rest of his life. In 1662, he was relocated to Norway where he swiftly rose in his military career, culminating in his appointment as Major-General for Norway and commander at Fredrikstad close to the Swedish border. Cicignon was at the top of his career when he was asked to design a new city plan for Trondheim – his only known city plan among several fortifications. Major-General Cicignon had a seat on the Generals’ board led by Ulrik Frederik Gyldenløve (1638–1704), an illegitimate son of King Fredrik III. Gyldenløve was viceroy and Commander-in-Chief of Norway, the supreme civil and military author- ity in Norway from 1666 to 1699. Major-General Cicignon answered to Gyldenløve, and thus received from him the king’s mission to create a new city plan for 5 Rudolf Wittkower, Architectural Principles in the Age of Humanism (London: Academy Editions, 1973), 2–3. First published in 1949 as volume 19 in Studies of the Warburg Institute. 6 James S. Ackerman, “Reviewed Work: Architectural Principles in the Age of Humanism by Rudolf Wittkower,” The Art Bulletin 33, no. 3 (1951). 7 O.v. Munthe af Morgenstierne, “Generalmajor Johan Caspar von Cicignon liv og levned,” in Personalhistorisk Tidsskrift 7. Rekke 5. Bind (1921). 348 Eystein M. Andersen Fig. 18.2: Jean Gaspard de Cicignon. Copper engraving from 1674 by Willem van der Laegh. National Gallery of Denmark (Statens Museum for Kunst), Copenhagen. Trondheim.8 Cicignon engaged the Fortifications Department, led by Chief Engineer Anthony Coucheron (1650–89), for the practical work and led the process, came up with the ideas, and signed the plan himself.9 In Denmark-Norway several engineers and fortification and city planners were, like Cicignon, recruited from the Continent, particularly the Low Countries. Planning cities and fortifications along with the related theories were important parts of a military education and a very sought-after competence. Cicignon ob- tained the necessary theoretical and practical background for city planning dur- ing his Grand Tour and his work as an officer on the Continent. He was, like other students, given a language and knowledge of city planning and architecture with deeply integrated Christian ideas. The Heavenly Jerusalem and the Temple were frequently used subjects, but the perceptions and understandings were diverse and multiple in a confessionally divided Europe.
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