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Blijde Inkomst Für Erzherzog Ernst Von Österreich in Brüssel Und Antwerpen, 1594

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Blijde Inkomst Für Erzherzog Ernst Von Österreich in Brüssel Und Antwerpen, 1594 Ivo Raband Vergängliche Kunst & fortwährende Macht Die Blijde Inkomst für Erzherzog Ernst von Österreich in Brüssel und Antwerpen, 1594 ad picturam Ivo Raband Vergängliche Kunst & fortwährende Macht Die Blijde Inkomst für Erzherzog Ernst von Österreich in Brüssel und Antwerpen, 1594 ad picturam Fachverlag für kunstwissenschaftliche Literatur e. K. Merzhausen 2019 Titelbild: Pieter van der Borcht (Stecher) nach Joos de Momper und Cornelis Floris III., Kaiserpforte mit Erzherzog Ernst, 1595, Radierung, 32,6 x 20,1 cm, Amsterdam, Rijksmuseum, Inv. Nr. BI-1953-0546B-04. Image © Rijksmuseum Amsterdam. Diese Publikation erscheint mit freundlicher Unterstützung der Karl-Jaberg Stiftung der Universität Bern und des Schweizerischen Nationalfonds zur Förderung der wissenschaft- lichen Forschung Für meine Eltern Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über https://dnb. de abrufbar. Ivo Raband: Vergängliche Kunst und fortwährende Macht: Die Blijde Inkomst für Erzherzog Ernst von Österreich in Brüssel und Antwerpen, 1594. ISBN: 978-3-942919-06-7 (Hardcover) Die Online-Version dieser Publikation ist auf arthistoricum.net dauerhaft frei verfügbar (Open Access): ISBN: 978-3-947449-34-7 (PDF) URN: urn:nbn:de:bsz:16-ahn-artbook-449-8 DOI: 10.11588/arthistoricum.449 Lizenz CC-BY-NC-SA Umschlagentwurf, Layout und Satz: ad picturam Lektorat: Carmen Flum, ad picturam Website: ad-picturam. de Druck und Verarbeitung: digital art book, Esslingen Made in Germany Inhalt Vorbemerkung 7 Einleitung 9 Teil I: Vergängliche Kunst 1. Die Blijde Inkomst: Form und Funktion 31 1.1. Triumphus, Adventus und Blijde Inkomst 32 1.2. Die Festbücher der Blijde Inkomst 39 2. Brüssel: Der Triumph der Habsburger 49 2.1. Das Festbuch 50 2.2. Die Stadt inszeniert die Dynastie 55 2.3. Der Retter der Belgica 79 2.4. Die Bühne der Siebzehn Provinzen 93 3. Antwerpen: Der Wunsch nach Frieden und Wohlstand 99 3.1. Das Festbuch 101 3.2. Die Ankunft eines neuen Apoll und Merkur 104 3.3. Die Welt begrüßt den Erherzog 141 3.4. Das Feuerwerk und das Ringelrennen 179 Teil II: Fortwährende Macht 4. Potential und Nachwirken der Blijde Inkomst 195 4.1. Der Porträtstich der Gebrüder Otto und Gijsbert van Veen 196 4.2. Die erzherzogliche Sammlung 210 4.3. Das Grabmonument Ernsts von Österreich in Brüssel 244 Fazit: Fortwährende Kunst und vergängliche Macht? 273 Bibliographie 283 Vorbemerkung Die vorliegende Arbeit wurde im September 2016 von der Philosophisch-historischen Fakultät der Universität Bern als Dissertation im Fach Kunstgeschichte angenommen. Das Manuskript wurde bis zur Drucklegung überarbeitet und aktuelle Literatur hin- zugefügt. Mein größter Dank gilt meiner Doktoratsbetreuerin Prof. em. Dr. Christine Göttler. Sie hat mich im Mai 2012 in das von ihr geleitete Forschungsmodul „Erfinder neuer Dinge“: Zur Verflechtungsgeschichte der Künste in Antwerpen um 1600an der Uni- versität Bern im Rahmen des SNF ProDoc Sites of Mediation: Europäische Verflech- tungsgeschichte, 1350–1650 aufgenommen und dadurch das Verfassen dieser Arbeit erst ermöglicht. Ich danke ihr für unsere immer hilfreichen Gespräche, ihren großen Zuspruch, ihre anhaltende Förderung, Inspiration und Motivation sowie im Beson- deren für ihre intensive Unterstützung während der Endphase des Abfassens der Arbeit im Sommer 2016. Dank gilt ebenfalls meinem Zweitgutachter Prof. Dr. Philipp Zitzlsperger, der mich 2010 in Berlin dazu motiviert hat, eine Promotion anzustreben und mich auch nach meinem Wechsel von der Humboldt-Universität zu Berlin an die Universität Bern fortwährend unterstützt, gefördert und motiviert hat. Ebenfalls möchte ich allen Mitgliedern des ProDoc Sites of Mediation danken, einem vom Schweizerischen Nationalfonds geförderten Projekt, das zwischen 2012 und 2016 von Prof. Dr. Susanna Burghartz, Prof. Dr. Lucas Burkart und Prof. em. Dr. Christine Göttler als interdis- ziplinäres Forschungsprojekt durchgeführt wurde; ihnen gilt mein Dank eben so wie: Tina Asmussen, Davina Benkert, Benedikt Bego-Ghina, Maike Christadler, Nicolai Kölmel, Jennifer Rabe, Michael Schaffner, Sarah-Maria Schober und Stefanie Wyssenbach. 7 Vorbemerkung Dank für anregende Hinweise und gute Gespräche gilt nicht zuletzt auch: Nadia Baadj, Nils Büttner, Thomas DaCosta Kaufmann, Krista De Jonge, Luc Duerloo, Miriam Hall Kirch, Mark Hengerer, Aaron Hyman, Annemarie Jordan Gschwend, Theda Jürjens, Nadine Keul, Alrun Kompa, Anett Ladegast, Léon Lock, Sarah Joan Moran, Yvonne Schweizer, Michèle Seehafer, Véronique Van de Kerckhof, Ismene Wyss und Steffen Zierholz sowie dem Rubenianum. Ich danke dem Schweizeri- schen Nationalfonds sowie der Karl-Jaberg Stiftung der Philosophisch-historischen Fakultät der Universität Bern für die finanzielle Unterstützung zur Herausgabe und Drucklegung dieses Buches. Ebenfalls danke ich Carmen Flum für die Hilfe und Förderung, die ich durch sie und den ad picturam Verlag erfahren habe. Der letzte und größte Dank gilt meinen Eltern, Karin und Peter Raband, ohne deren immerwährenden Zuspruch das Studium der Kunstgeschichte nie möglich gewesen wäre, ihnen ist diese Arbeit gewidmet. Florenz und Edinburgh, im Winter 2018/19 8 Einleitung Erzherzog Ernst von Österreich (1553–1595) erreichte die südlichen Provinzen der Niederlande als ihr neuer Statthalter am 30. Januar 1594. Übertragen hatte ihm dieses Amt sein Onkel Philipp II. von Spanien (1527–1598) im Jahr zuvor, um die Machtpo- sition der Habsburger im Konflikt mit den nördlichen Provinzen zu stärken. Ende Januar wurde Ernst von Österreich vom Magistrat und der Bevölkerung Brüssels, dem historischen Sitz der Herzoge von Brabant und Burgund, festlich empfangen. Vor den Toren der Stadt begann in diesem Moment die Blijde Inkomst, der ,fröhliche Einzug‘, als traditionelle und politisch bedeutsame Zeremonie.1 Im Sommer 1594, am 14. Juni, folgte ein zweiter Einzug in die Handelsmetropole Antwerpen.2 Die vorliegende Untersuchung widmet sich diesen beiden festlichen Ereignissen umfas- send und fragt sowohl nach ihren Bedeutungen für die südniederländischen Städte 1 Ob diese Ereignisse historisch als korrekte Blijde Inkomst angesehen werden können, ist ein in den letzten Jahren aufgekommener Diskussionspunkt. So gibt Natasja Peeters (Peeters 2013, Kapitel VII) die Blijde Inkomst nur in Anführungszeichen an und auch Peter Davidson und Adriaan van der Weel (Davidson/van der Weel 2004) halten fest, dass es sich hierbei um einen Einzug mit ambigem Status handelt. Trotz formaler Unterschiede zu einer zeremoniell-korrekten Blijde Inkomst wird im Rahmen dieser Untersuchung auf Anführungszeichen und Differenzierung verzichtet, da die Städte Brüssel und Antwerpen in ihren Festdekorationen keinen Unterschied gemacht haben. Ihre Aufbauten standen denen für ‚korrekte‘ Einzüge in nichts nach und bauten konsequent auf den Bildtraditionen der vorherigen Einzüge des 16. Jahrhunderts auf. 2 Die Bedeutung Antwerpens als ‚Metropole‘ ist besonders in den vergangenen Jahrzehnten heraus- gearbeitet worden, denn kaum eine andere vormoderne Großstadt zeigt so deutlich, wie sehr Kunst, Wissenschaft und Handel miteinander verbunden waren. Siehe zur Geschichte Antwerpens im 16. und 17. Jahrhundert unter anderem Baetens 1976, Ausst.-Kat. Antwerpen 1993, Honig 1998, Vermeylen 2003, Arblaster 2004, Jonckheere 2012a, Göttler/Ramakers/Woodall 2014a, Puttevils 2015. Für Brüssel fehlt eine solche Untersuchung, zu verweisen ist hier lediglich auf Van Der Stighelen/Kelchtermans/Brogens 2013. 9 Einleitung aufgrund der Festdekorationen und Feierlichkeiten als auch nach dem Potential und dem Nachwirken dieses ephemeren Ereignisses auf die habsburgischen Regenten, ihr dynastisches Verständnis als Inhaber der Kaiserwürde, Könige von Spanien sowie Portugal und Erben Burgunds. Dies erweitert den Rahmen der (kunst)historischen Festforschung bewusst, da im Folgenden mehr als Nacherzählungen der Festabläufe beschrieben werden. Vielmehr geht es auf Grundlage der im Nachgang der Einzüge geschaffenen Festbücher um eine detaillierte Analyse der im Jahr 1594 aufgestellten ephemeren Festarchitekturen mit ihren umfangreichen Dekorationsprogrammen und um die Frage, inwiefern Ernst von Österreich und seine Nachfolger in der Folge der Einzüge auf diese reagiert haben. Eine Karte des berühmten Antwerpener Kartographen Abraham Ortelius (1527–1598) aus dem Jahr der zwei Einzüge ermöglicht – bevor historische Kontexte, Methoden und Forschungsstände diskutiert werden – eine erste Annäherung an die Situation in den Niederlanden, welcher Ernst von Österreich als neuer Statthalter gegenüber- stand (Abb. 1). Es handelt sich um Ortelius’ Wandkarte der Reise des Aeneas, die Aeneae Troiani Navigatio von 1594.3 Diese Wandkarte, die als Einzelwerk gedruckt worden war und erst später von Ortelius in seinen Atlas antiker Karten – den Parer- gon – integriert wurde, zeigt das zentrale und östliche Mittelmeer. Sie illustriert Vergils Epos Aeneis (ca. 29–19 v. Chr.) folgend die Reise und die Zwischenhalte des Aeneas nach dem Fall Trojas. Mit der Fahrt über das Mittelmeer erreichte der Held zuerst Karthago und schließlich Latium, wo Aeneas dem lokalen Volksstamm siegreich zur Seite stand und damit die Stadt Rom und folglich auch das antike Kaiserreich mit- begründete. Diese Wandkarte scheint mit dem prunkvollen Großereignis der Blijde Inkomst für Erzherzog Ernst in Verbindung zu stehen, denn Ortelius publizierte die Aeneae Troiani Navigatio erstmalig im Juni 1594 und damit zeitgleich zum Einzug des habsburgischen Prinzen
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