Forschungsberichte

lungen mit Adelsprovenienz oder aus dem der romischen Graphik am meisten pragende Kontext der alten Kunstakademien nicht - ein Studium der erhaltenen gedruckten untypische Akzentsetzung auf Vollstandigkeit Lagerlisten steht aus, ware jedoch fur die im Sinne einer Bestandsvertretung des Kiinst- Geschmacksgeschichte des spateren 18. Jh.s lers und seiner bekanntesten Reproduzenten. hochst ertragreich). Erst die in den i95oer Weitaus weniger Augenmerk wurde an- Jahren hinzugekommenen Geschenke der scheinend auf friihe Abziige und damit auf Max-Kade-Foundation New York sowie erstklassige Druckqualitat gelegt; wahrschein- einige rezente Ankaufe haben das Qualitats- lich waren solche Stiicke fur viele der im Fun­ niveau der Sammlung in der Staatsgalerie dus zusammengeflossenen alten Sammlungen nachhaltig verbessert. kaum noch greifbar oder bezahlbar. Was Rai­ Unter den deutschen graphischen Sammlun­ mondi und seinen Kreis angeht, bestimmen gen ist Stuttgart sicher nicht das wichtigste Abziige des spateren 17. und 18. Jh.s das Bild, Repositorium von Raffael-Reproduktionen, also Drucke mit den Verlegeradressen der de kann aber wegen der Schwerfalligkeit der Rossi und des kurz vor der franzdsischen Re­ meisten anderen Institute wieder einmal punk- volution tatigen Carlo Losi (letzterer verdient ten: Eine solche Ubersicht uber Verbreitung iibrigens mehr Beachtung; sein Sortiment war und EinfluE der Inventionen Raffaels im neben dem der Calcografia camerale das wohl europaischen Bilddruck fehlte bisher in umfangreichste und den historischen Kanon deutscher Sprache. Eckhard Leuschner

Hans Vredeman de Vries Hans Vredeman de Vries und die Renaissance im Norden

Exhibition catalogue Weserrenaissance-Museum, Lemgo, edited by Heiner Borggreve, Vera Lupkes, Paul Huvenne, and Ben van Beneden. With Thomas Fusenig and Barbara Uppenkamp. Munchen, Hirmer Verlag 2002. 399 p. with illustrations in colour and b/w, € 55-. ISBN 3-7774-9470-4

Petra Sophia Zimmermann Die Architectura von Hans Vredeman de Vries Entwicklung der Renaissancearchitektur in Mitteleuropa. Miinchen and Berlin, Deutscher Kunstverlag 2002, 262 p, with illustrations in b/w, € 49,80. ISBN 3-422-06370-6

Hans Vredeman de Vries (before October the meanwhile he travelled thousands of miles 1526-1609), son of a German officer, is probably between Kollum in Frisia, Mechlin, Antwerp, the most influential artist ever as far as the Liege, a few cities of the Holy Roman Empire spread of Renaissance architecture and orna­ as Aix-la-Chapelle, Wolfenbiittel, Danzig ment in Northern and Central Europe is con­ (now Gdansk) and Prague, and at the end of cerned. Two northernmost cities, Leeuwarden his life back to Amsterdam and The Hague in in Netherlands’ Frisia and Hamburg witnessed the young Dutch Republic. His itinerary was the beginning (hence the addition De Vries, the determined partly by the political and religious Frisian, in his name) and the end of his life. In events of the time, and partly by his search for

169 Forschungsberichte

new commissions. One surprising thing about the architectural historian Petra Zimmermann his wanderings is the fact, that he never got from Cologne, whose own book is also subject further south than Prague. The eye-opener in to this review. The result is, that for the first his case was not the confrontation with time the various fields of Vredeman’s activity ancient ruins in Rome, but an extract from the are discussed in one, richly illustrated publi­ architectural treatises of Vitruvius and the cation. fourth book of the Italian architect Sebastiano The first chapter attempts to come to the most Serlio on classical orders, which he read (and reliable study of the artist’s life with the help copied) in the 1539 translations of Pieter of long known and recently published docu­ Coecke. Details on Vredeman’s life like these ments. Borggrefe combines in his biography we know from Karel van Mander. When the all available information to come to better latter’s Schilder-boeck was published in 1604, defined dates of Vredeman’s life. Vredeman was the oldest Netherlandish The data given by him and Zimmermann, respectively painter still in life, and accordingly the chapter 152.6-1609 and 1527-1606, typify the controverse on living artists starts with him (fols 265a- among art historians on this subject. The two dates of 267a). He was a versatile person, not only birth based on respectively a document from October 1560 stating the age of the artist as 34 years old (p. 31, architect and author of very practical treatises, note 25), and on the mention of his age as 77 in the but also fortifications engineer, painter, artist’s portrait published by Hondius in 1604 (fig. on rhetorician and last but not least, designer for p. 184), can only be reconciliated if the artist was born all possible fields of the decorative arts. His before October 1526. The problem of the date of death is solvedby documents. Notwithstanding the absence stimulating work gave rise in 2002 to two new of the customary dedication in the 1606 publication of publications in Germany: the first devoted to the book of architecture, in August 1607 the artist is his overall oeuvre, and the second to his work still reported alive, living in Hamburg, and only two as an architectural theorist. years later is there talk of his estate (pp. 29-30). Hans Vredeman de Vries and die Renaissance Also Vredeman’s stay in Antwerp is better im Norden is the result of a cooperation defined now. After his first short stay in 1548- among art historians from seven countries, 49 he only returned in 1564, which means that worthy the artist’s international career. for nine years he maintained contacts from Although it was meant to accompany the exhi­ Mechlin with Antwerp publishers. The role bition in the Weserrenaissance-Museum Antwerp, the artistic capital par excellence of Schlofi Brake in Lemgo, held between May 26 Northern Europe, played in his career, justifies and August 25 (and on its next stage in the essay by DaCosta Kaufmann on the Antwerp until early December 2002), the importance of the city and his artists for book has certainly more to it than a mere Europe and the world. catalogue. Thirteen introductory essays high­ Interest in the work of Vredeman focussed in light the life, work and influence of the artist, the past on his place either in architectural whose work was decisive even for the devel­ history or in history of art, above all painting. opment of the Weserrenaissance itself. Heiner His print designs, published in Antwerp Borggrefe and his museum staff called ona between 1555 and 1586 are evaluated now in number of people involved in the Vredeman two essays. Ilja Veldman elaborates the research or in related fields, among whom chronological role played by publishers, such renowned professors in art history - in as Gerard de Jode, Hieronymus Cock, and alphabetical order DaCosta Kaufmann from Philips Galle in disseminating Vredeman’s Princeton, Van de Velde from Antwerp and ideas. The prints mentioning his name and Ilja Veldman from Amsterdam, - the orna­ concerning a wide range of fields - furniture, ment specialist Peter Fuhring from Paris and sculpture, vases, fountains and wells, not to

170 Forschungsberichte

Fig- i Sheet no. 17 of the Scenographiae, 1560, Van Doetecum brothers from design by Hans Vredeman de Vries, published by Hieronymus Cock in Antwerp forget gardens and ornament prints in general The artist’s work as architect inAntwerp and -were the best ‘letter of recommendation’ during his wandering years is the subject of the anyone could have wished, once the artist following studies: as theorist by Zimmermann decided to leave the city forever. It is interesting (see below), as author of the temporary to read how he switched from one publisher to constructions for triumphal entries in another, depending on their rising or falling Antwerp by Van de Velde, and as fortifications stars, and to realise how innovative Galle was engineer by Lombaerde and Van den Heuvel. by (probably) commissioning and publishing When the books on architecture are under­ in 1583 the first ever garden designs in the stood as books about applied ornament, the North. Peter Fuhring, who supplemented the influence of the artist is enormous. The essays 1967 dissertation by the late Hans Mielke by Uppenkamp (general influence) and Muchka with new research on the prints for the Holl­ (focussed on Bohemian architecture) are stein volumes XLVII-XLVIII, gives an in-depth devoted to this aspect, while the first author analysis of the types of ornament invented by also discusses some examples of the widely the artist. Within the customary division of his varying uses of pattern books in the field of ceuvre in antique, universal and ‘modern’, i.e. the decorative arts. Indeed, Vredeman’s typically Renaissance ornament, he draws compositions went through many editions and attention to a virtually unknown aspect within were almost permanently available on the the last category, namely graining (Fladern, market as a source for others. pp. 66-67). This technique of trompe I’ceil The Leitmotiv within the artist’s oeuvre, the painting or of applying coloured prints to for one that pervades all his paintings and designs example ceilings in imitation of grained wood with architectural decor is perspective. The was represented by Vredeman in six prints consequent and didactic manner inwhich his from three series. self-developed method to combine mathematics

171 Forschungsberichte

with painting and drawing appears in his important collaborator later on. With joint work led to the spread of perspectival skills in efforts father and son painted in 1594-95 an the Netherlands. In a learned essay by impressive series for the Council’s Grand Dubourg Glatigny the artist’smost important Chamber in the Gdank City Hall. The seven publications in this field, Scenographiae from paintings, exceptionally all on show, are 1560 and Artis perspectivae from 1568 are commented on in an essay by Krzysztof discussed in a European context, just like Gronowicz, curator of the Historical Museum Perspective from 1604-05, where for the first of Gdansk. Finally, in the last chapter of the time the illustrations were accompanied by a introduction the influence of easel paintings commentary. Vredeman’s mastery of perspec­ by the Vredemans is followed as far as the tive must have come to full effect in his trompe 18^ century. It is well known, that Vredeman I’ceil wall paintings. Lifesize decorations with de Vries is credited with the invention of archi­ illusionistic perspective were executed by him tectural painting as a specialisation. One for illustrious patrons, like Rudolf II in could only add his impact on the realistic tra­ Prague. As unfortunately none of these survivedition of church- and domestic interiors in - cat. 144 and a large formate painting by i7th-century Holland, where the rules of Hendrick van Steenwijck, illustrated on p. perspective, although still present, are soft­ 164, are all to keep the memory of thisgenre ened by a new sense of atmosphere. - the discussion of Vredeman’s painted oeuvre The impressive catalogue proper with 213 has to remain restricted to the stylistic and entries, again the result of an international iconographic aspects of his easel paintings. As cooperation, is divided into five categories, to the share of painted Serlian architecture, based partly on content (Vitruvianism, Borggrefe rightly recalls the influence of Scenographia), partly on medium (Prints), and Venetian painters and the works by Pieter partly on chronology (Antwerp, Cities in Aertsen and Joachim Beuckelaer in Antwerp. exile). A complex oeuvre like that of Vredeman Another Antwerp contemporary, Lambert van is not easily classified, and indeed, various Noort (c. 1520-1570/71), could also have been items fit in more than one category. The mentioned in this context, as his paintings and organisers wished to incorporate not only the especially window designs show experiments exhibits, but to publish a complete ceuvre- with architecture in perspective from 1555 on, catalogue including paintings, of which the the date of the first known drawing by Vrede- present whereabouts are unknown. Besides, man in this field (cat. 28 and my monograph some works by precursors, contemporaries, on Van Noort, Brussels 1995). Especially the and many more by followers are also stained glass windows from Van Noort’s described, just like a few documents. Once designs, executed before 1563 for churches in chosen for such a wide context, it would have Amsterdam and Gouda, are perfect illustra­ been interesting to retrace the roots of Vrede­ tions of the art of perspective, paired to a correct man’s trompe-l’ceil wall paintings to monu­ use of Serlian architecture. That discoveries in mental stained glass, especially in view of his Vredeman’s oeuvre are still possible, is attested mastery of the craft of glass painting, as stated byhis painting Uriah receiving the letter in by Van Mander. David’spalace (cat. 125). This panel from c. The only attempt to include stained glass (cat. 25 with 1570 in a private collection was executed in erroneous title and illustration; the left section actually cooperation with a figure painter, i. c. Gillis crowns the right piece) is less fortunate, because it Mostaert. This practice is characteristic for concerns a work by Dirck Crabeth from 1543 for a private house in Leiden. More relevant for Vredeman’s Vredeman’s approach during most of his work on monumental scale and also more accessible career, with his son Paul becoming his most are the windows in Brussels cathedral (transept and

172 Forschungsberichte

Chapel of the Holy Sacrament of Miracles from the late man’s clumsy figures from his design drawings 1530s and early 1540s; cf. Corpus Vitrearum, Belgium, were systematically left out when his inven­ vol. Ill, Gent 1974, cat. nos. 7-12). Their designs by tions were turned into print, as all attention Barent van Orley and Pieter Coecke address the same issues in which Vredeman de Vries was so much inter­ had to be focussed on the perspectivic rendering ested, the representation of Renaissance architecture in of architecture, one would expect a matching perspective, albeit as a decor for figural scenes.illustration (cf. cat. nos. 29-30 and the present Another point of criticism concerns the inac­ fig. 1 as a counterpart to the signed drawing curacies around the first available Dutch Christ and the doctors, cat. 29!). In general, a editions of Serlio (cat. 7; book III appeared more careful layout with the corresponding already in 1546, as rightly mentioned in Zim­ text and illustration of the catalogue entries on mermann, p. 165). In another entry (no. 35) it the same page, or closer by, would have facili­ is suggested as if Serlio’s theory of perspective tated the reader’s task. and the important closing images with stage­ In respect to the wonderful exhibition with a settings of the comic, tragic and satirical wealth of exhibits just one remark. Once the scenes, actually in his book II, had already painters, who worked in collaboration with been included in the 1539 Dutch edition (of the artist, are mentioned by name, why are the book IV). The description of prints is at times names of the engravers and etchers, who trans­ erroneous, when the works of Wierix and lated Vredeman’s designs on to the copper Goltzius are called etchings, instead of engrav­ plate, omitted? The artist owes his fame ings (cat. nos. 22, 54). Moreover, cat. 22 was exactly to these able craftsmen, in the first executed not by Hieronymus Wierix, a mistake place the Van Doetecum brothers, but also to occurring already with Mielke, but by other Antwerp artists such as Frans Huys, Johannes (as on p. 56). A quick check of the Pieter van der Borcht and later Hendrick Persons register reveals also some short­ Hondius. They and the publishers were the comings; both Wierixes are missing, just like ones, who immortalised the artist’s designs. for example De Witte and Houckgeest. The The omission can furthermore mislead the vis­ provenance of paintings supplies on the other itor, who credits Vredeman with the design hand useful information, and the attentive and execution as well of the prints. reader can find on the same page 377 supple­ Petra Zimmermann, already cited above a mentary information to the Vredeman oeuvre, number of times, based her catalogue essay on not announced in the content: paintings not Vitruvianism and the Architectlira of Vrede­ any more considered as works by Hans and man de Vries on her thesis (Habilitation in additional paintings by Paul. 2000), which was published halfway the exhi­ The numerous illustrations in black-and-white bition under the title Die Architectura von and colour are of good quality, save an excep­ Hans Vredeman de Vries. Entwicklung der tion likefig. 9 on p. 166. The choice of illus­ Renaissancearchitektur in Mitteleuropa. Her trations seems somehow at times arbitrary. thorough study is a detailed analysis of the The discussion of the 1539 edition of Serlio’s architectural theory of the artist in the light of fourth book (cat. 7) is for example accom­ a broader Serlian tradition. She follows him panied by the title-page of the third book of from Antwerp to Wolfenbiittel, Gdansk and the 1606 Amsterdam edition from the collec­ Prague, where Vredeman was as architect and tion of the Weserrenaissance-Museum itself, engineer also involved with fortification instead of the required editionin the Herzog works and city planning. Her historiographic August Bibliothek of nearby Wolfenbiittel (cf. overview of earlier publications on Vredeman fig. 77 in Zimmermann). And when in the text deVries is a welcome addition to the short the attention is drawn to the fact, that Vrede- note summing up some titles in the Lemgo

173 Rezensionen

catalogue (p. 31, note 1). Thanks to her careful fied by differences in the text between the bibliographical research (cf. pp. 71-74) we various editions (pp. 82-83). After all, Vrede­ know now for sure that the first edition man could not implement his theory into prac­ published by Gerard de Jode in 1577 in tice; the only building, which can directly be Antwerp only appeared in German and attributed to him, is the Chancellery at French, although based on a Dutch manu­ Wolfenbiittel. Nevertheless, the numerous script, and that 1581 is the correct date for the reissues of his books and prints and the indi­ first Dutch edition, unlike generally believed rect and wide use others made of them can until now. She spotted several undescribed serve to him as a (posthumous) comfort. examples of the first German edition, Whether Hans Vredeman de Vries should be although the one from the City Library of considered as a painter and draftsman, whose Antwerp, on show in Antwerp as an addition imaginative power made it possible for him to to the catalogue, escaped her attention. From work also on other fields (Lemgo cat. p. 30), her analysis of text and plates she argues, that or whether he was an architect and engineer, the heritage of Serlio was adapted by Vrede- who only produced monumental and easel man to the specific need of Netherlandish and paintings when architectural commissions German architecture, and that it was exactly failed (Zimmermann, p. 54), is a questionof his lack of knowledge from first hand of the lesser importance, which is moreover incon­ ancient art and Italian Renaissance which sistent with the reality of the i6t^1 century. enabled him to do so. The Architecture! is What matters is the extraordinarily richness of further discussed in respect to previous archi­ his varied oeuvre, without which the face of tectural prints by Vredeman, to his later Renaissance art in Northern and Central treatise Perspective from 1604-05, and in the Europe would have been different. The Vrede­ context of i6t^1 century European authors and man literature fares well with both publi­ building practice. In the supplement there is a cations, however distinct they may be. The reprint of the first German edition from 1577, Lemgo catalogue provides an insight at one and the text only of the first Dutch edition glance into the diverse activities of the artist, from 1581. Although there was already a while Zimmermann’s specialised study is a reprint of the 1581 German version (Hildes- tribute to the ‘Vitruvius of the North’. heim/New York, 1973), her decision is justi- Zsuzsanna van Ruyven-Zeman

Ute Engel Die Kathedrale von Worcester Kunstwissenschaftliche Studien, Bd. 88. Miinchen, Deutscher Kunstverlag 2000. 367 S., 24 Plane, 220 s/w-Abb. € 75,80. ISBN 5-422-06505-6

Trotz des hervorragenden Uberblicks von aber auch ein Ban aus der westlichsten Provinz Gunter Kowa (Architektur der Englischen Englands unsere Kenntnis iiber den mittelal- Gotik, Koln 1990) spielt die gotische terlichen Kirchenbau und die Inszenierung Architektur Englands inder deutschen Kunst- einer koniglichen Grablege bereichern kann, geschichtsschreibung eine untergeordnete zeigt das Beispiel der Kathedrale von Worce­ Rolle. Zu weit reicht der Schatten, den die ster, der Ute Engel eine Monographic gewidmet franzdsischen Kathedralen iiber alle Nachbar- hat. Mit diesem Buch liegt nun erstmals eine regionen zu werfen scheinen. In welcher Weise umfassende Abhandlung iiber den Bau vor,

i74