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Sarah Churchill, Duchess of Marlborough, Und Ihre Rolle Als Bauherrin Am Beispiel Marlborough House, London“

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Sarah Churchill, Duchess of Marlborough, Und Ihre Rolle Als Bauherrin Am Beispiel Marlborough House, London“ DIPLOMARBEIT Titel der Diplomarbeit „Sarah Churchill, Duchess of Marlborough, und ihre Rolle als Bauherrin am Beispiel Marlborough House, London“ Verfasserin Andrea Maria Fraunbaum angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, März 2013 Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuerin / Betreuer: Ao. Univ.-Prof. Dr. Ingeborg Schemper-Sparholz Für meine Familie per aspera ad astra Inhaltsverzeichnis 1. Einleitung ................................................................................................................................. 7 2. Quellenlage – Forschungsstand – Methodik .......................................................................... 10 3. Biografie ................................................................................................................................. 18 3.1 Sarah im Portrait - Clostermans Familienportrait ........................................................... 22 3.2 Exkurs: Die Entwicklung der Familie zwischen 1640 und 1800 .................................. 26 4. Sarahs Rolle als Bauherrin ..................................................................................................... 29 4.1 Die Grundvoraussetzungen ............................................................................................ 29 4.1.1 Sarahs Einstellung zu Kunst und Architektur – Ihr „taste“ .................................... 29 4.1.2 Einflussreiche Vorbilder und beispielhafte Bauaufträge ........................................ 35 4.1.2.1 Die Stuarts als Förderer der Künste und Bauherren ........................................... 36 4.1.2.2 Architektonische Aufträge des Englischen Adels .............................................. 41 Exkurs: Hardwick Hall ............................................................................................................... 44 4.2 Marlborough House – DAS Beispiel für Sarahs Rolle als Bauherrin ............................ 46 4.2.1 Lage und kurze Beschreibung ................................................................................ 46 4.2.2 Baugeschichte ......................................................................................................... 47 4.2.3 Vergleich mit Buckingham House ......................................................................... 52 4.2.4 Baubeschreibung .................................................................................................... 56 4.2.5 Sarahs Umgang mit Architekten und Künstlern: Christopher Wren und Louis Laguerre in Marlborough House ........................................................................... 64 4.2.5.1 Sarah und Wren .................................................................................................. 65 4.2.5.2 Sarah und Laguerre ............................................................................................. 67 4.2.6 Inventar ................................................................................................................... 69 Exkurs: Englische Kunstsammler im 18. Jahrhundert ................................................................ 70 4.3 Weitere Bauaufträge der Marlboroughs ......................................................................... 72 4.3.1 Holywell House ...................................................................................................... 72 4.3.2 Windsor Lodge ....................................................................................................... 76 4.3.3 Blenheim Palace ..................................................................................................... 77 Exkurs: Der Tribut der Witwe .................................................................................................... 81 4.3.4 Wimbledon House .................................................................................................. 89 4.3.5 St. Albans Almhouse .............................................................................................. 93 4.4 Sarah als Bauherrin – Zusammenfassung und Vergleich ............................................... 94 5. Conclusio ................................................................................................................................ 97 ˑ5ˑ 6. Bibliografie .......................................................................................................................... 100 7. Anhang ................................................................................................................................. 111 7.1 Inventar Marlborough House ....................................................................................... 111 7.2 Vertrag mit Rysbrack ................................................................................................... 123 8. Abbildungsverzeichnis ......................................................................................................... 124 9. Abbildungen ......................................................................................................................... 130 10. Zusammenfassung ............................................................................................................ 168 11. Abstract ............................................................................................................................ 170 ˑ6ˑ 1. Einleitung „ […] my taste having always been to have things plain and clean from a piece of wainscot to a lady’s face.“1 „[…] an architect, for I know of none that are not mad or ridiculous, and I really believe that anybody that has sense with the best workmen of all sorts could make a better house without an architect, than any has been built these many years.“ 2 Diese beiden Zitate findet man wohl am häufigsten in der Literatur wieder, wenn es da- rum geht, wie Sarah Churchill als Auftraggeberin agierte. Es scheint auch bezeichnend für diese Rolle gewesen zu sein, da Sarah immer wieder Kontroversen mit den von ihr oder ihrem Gatten John beschäftigten Architekten hatte. Auch für die vorliegende Arbeit, die sich auf Sarahs Rolle als Bauherrin konzentriert, bilden diese beiden Zitate den Kern. Aber wer war eigentlich besagte Sarah? Sarah Churchill, geborene Jennings, kam 1660 in St. Albans, nordwestlich Londons, zur Welt. Nachdem ihr Vater verstorben war, kam die junge Dame bereits im Alter von zwölf Jahren an den englischen Hof. Dieser Schritt war für den weiteren Verlauf ihres Lebens wesentlich. Hier lernte sie ihren späteren Ehemann John Churchill kennen. Dieser wurde nach einigen siegreichen Feldzügen in den Her- zogsstand erhoben und konnte so ein beträchtliches Vermögen sichern. Das junge Paar wurde zum ersten Duke bzw. Duchess of Marlborough. Aber auch Sarah selbst machte Karriere bei Hof: Sie wurde zur besten Freundin Princess Annes, die 1702 zur Königin Englands gekrönt wurde und dem Herzogspaar lange sehr verbunden war. Genaueres zur Biografie wird im Laufe der Arbeit noch erhoben, aber diese zwei wichtigen Begebenhei- ten, die Ehe mit John und die Freundschaft zu Anne, waren ausschlaggebend, dass Sarah Churchill überhaupt Auftraggeberin werden konnte. Diese Rolle Sarahs als Auftraggebe- rin vor allem in Bezug auf Architektur bildet den zentralen Kern der vorliegenden Arbeit. Außerdem wird versucht die aufgestellte These, dass Sarah, wie es in der Primär- und Sekundärliteratur sooft dargestellt wird, nicht aus ihrem Geiz heraus als Bauherrin agier- te, zu beweisen. Entscheidungen wurden nicht nur auf Grund der Kostenersparnis getrof- 1 Thomson, Gladys Scott: Letters of a grandmother. 1732 – 1735. Being the Correspondence of Sarah Duchess of Marlborough with her granddaughter Diana Duchess of Bedford. Oxford 1943. 2 Sarah an Diana, Duchess of Bedford, Scarborough, 21. Juli 1732. In: Thomson 1943, S. 52. ˑ7ˑ fen, sondern und vor allem auf Grund der Errichtung des höchstmöglichen Komforts. Die von Sarah gewünschte Schlichtheit in der Ausgestaltung der Bauten entsprach lediglich ihrem Geschmack. Ebenso wie mancher kein Schweinchenrosa oder Neongelb mag, ver- abscheute Sarah die barocke Oppulenz. Um diese Aspekte nachvollziehen zu können, wurden folgende Fragen gestellt: Was entsprach Sarahs Geschmack? Woher kam Sarahs Interesse an Archtiektur? Gab es Frauen, die Vorbilder für Sarahs Rolle als Bauherrin waren? Wie behandelte Sarah die von ihr oder ihrem Gatten gewählten Architekten? Da bisher keine deutschsprachige Biografie zu Sarah Churchill, erste Herzogin von Marlborough erschienen ist, widmet sich der erste größere Abschnitt der vorliegenden Arbeit, dem herausragenden Leben der Duchess. Obwohl der Schwerpunkt der vorliegenden Arbeit auf der Tätigkeit als Bauherrin liegt, widmet sich ein kleiner Abschnitt auch ihrer Darstellung im Portrait. Es war ihr sicher bewusst, welche Aussage der im Portrait Dargestellten der Nachwelt vermittelt werden konnte. Bei den Aufträgen zu Portraits wird nur der wichtigste Auftrag näher beleuchtet: Das Familienportrait der Marlboroughs von John Closterman, das scheinbar auch gut die Rolle der Herzogin in ihrer Familie zeigt. Die Beschäftigung mit weiteren Gemälden, die von Sarah in Auftrag gegeben wurden, würde den Rahmen dieser Diplomarbeit sprengen, da aber Inventare zu den Bildern in Blenheim Palace und Marlborough House vorhanden sind, wäre dies durchaus eine intensivere Forschung wert. Man muss dabei nur beachten, dass John der große Kunstsammler war und viel während seiner Feldzüge am Kontinent erwerben konnte. Sarah dahingegen scheint hauptsächlich
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