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Zur Antikensammlung der Grafen von Manderscheid-Blankenheim

  • Peter Noelke and Norbert Hanel
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Andere Ästhetik meets Andere Ästhetik
This chapter is in the book Andere Ästhetik meets Andere Ästhetik

Abstract

During the second half of 16th and the mid-17th centuries the antiquities collection of the Counts of Manderscheid-Blankenheim was the largest in the Rhineland. It consisted of 95 stone monuments (votive and funeral inscriptions and sculptures from Germania inferior and Germania superior etc.), including nine post-Roman sculptures. Count Hermann von Manderscheid-Blankenheim can be regarded as the initiator, instigating their unusual presentation in the castle courtyard of the main residence at Blankenheim. This comprised a stacking of monuments in nine pilasters (columnae), which were erected on the inner side of the castle wall. In the neighbouring castle garden, another 26 Roman stones were located, distributed amongst four ascending terraces. Count Hermann obviously received inspiration for the collecting and presentation of his Roman stones from the governor of the Duchy, Count Peter Ernst von Mansfeld, and his collection of local antiquities in the castle ‘La Fontaine’ in Clausen, as well as from the collecting passion of Emperor Rudolf II. The Blankenheim collection of stone monuments was supplemented by a cabinet of more than 3000 antique coins, as well as by small finds (intaglios, bronze statuettes of deities, ‘vases and urns’). It is mainly thanks to the initiative of Canon Ferdinand Franz Wallraf, the famous Cologne professor and collector, and of Canon Franz Pick (Bonn) that part of the former Blankenheim antiquities collection has been preserved until today in museums in Cologne, Bonn, and Trier.

Abstract

During the second half of 16th and the mid-17th centuries the antiquities collection of the Counts of Manderscheid-Blankenheim was the largest in the Rhineland. It consisted of 95 stone monuments (votive and funeral inscriptions and sculptures from Germania inferior and Germania superior etc.), including nine post-Roman sculptures. Count Hermann von Manderscheid-Blankenheim can be regarded as the initiator, instigating their unusual presentation in the castle courtyard of the main residence at Blankenheim. This comprised a stacking of monuments in nine pilasters (columnae), which were erected on the inner side of the castle wall. In the neighbouring castle garden, another 26 Roman stones were located, distributed amongst four ascending terraces. Count Hermann obviously received inspiration for the collecting and presentation of his Roman stones from the governor of the Duchy, Count Peter Ernst von Mansfeld, and his collection of local antiquities in the castle ‘La Fontaine’ in Clausen, as well as from the collecting passion of Emperor Rudolf II. The Blankenheim collection of stone monuments was supplemented by a cabinet of more than 3000 antique coins, as well as by small finds (intaglios, bronze statuettes of deities, ‘vases and urns’). It is mainly thanks to the initiative of Canon Ferdinand Franz Wallraf, the famous Cologne professor and collector, and of Canon Franz Pick (Bonn) that part of the former Blankenheim antiquities collection has been preserved until today in museums in Cologne, Bonn, and Trier.

Chapters in this book

  1. Frontmatter I
  2. Inhaltsverzeichnis V
  3. Visualisierungen von Antiken nördlich der Alpen in der frühneuzeitlichen Druckgraphik Zum Geleit VII
  4. I. Kartographieren
  5. COLONIA AGRIPPINA EXACTISSIME DESCRIPTA. Arnold Mercators großer Plan der Stadt Köln von 1571 1
  6. Ein Buch voll ‚Merkwürdigkeiten‘. Daniel Bruckners Beschreibung der Ruinen von Augusta Raurica und andere frühe Dokumentationen zu den Ruinen von Augst 45
  7. Brittenburg Reloaded 71
  8. II. Antikenstudium
  9. Zur Antikensammlung der Grafen von Manderscheid-Blankenheim 91
  10. Aneignung im Bild – nicht Objekt. Visualisierungen antiker Gemmen in der frühneuzeitlichen Druckgraphik 115
  11. Zwischen Antike und Neuzeit. Der Grabstein des Marcus Caelius 147
  12. III. Transformationen
  13. Rom in Reims. Die Rezeption der ‚Porte de Mars‘ in Druckgraphiken des 17. bis 19. Jahrhunderts 179
  14. Die Wahrnehmung römischer Bauwerke Triers im 16. und 17. Jahrhundert 207
  15. Exkurs: Die mittelalterliche Simeonskirche nach Merian 231
  16. Die sog. Igeler Säule in Druckgraphiken des 16. bis 18. Jahrhunderts 235
  17. IV. Kreative Aneignung
  18. Monumente niederländischer Geschichte. Der Hercules Gallicus in der frühneuzeitlichen Druckgraphik und Festkultur Antwerpens 257
  19. Visuelle Aushandlungen des Friedens. Die kreative Aneignung der Antike in Otto van Veens Batavorum cum Romanis Bellum 285
  20. Gemalte res publica. Zur kreativen Aneignung der Antike(n) im ehemaligen Rathaus von Amsterdam 319
  21. Abbildungsnachweise 361
  22. Register 367
https://doi.org/10.1515/9783111359076-005

Chapters in this book

  1. Frontmatter I
  2. Inhaltsverzeichnis V
  3. Visualisierungen von Antiken nördlich der Alpen in der frühneuzeitlichen Druckgraphik Zum Geleit VII
  4. I. Kartographieren
  5. COLONIA AGRIPPINA EXACTISSIME DESCRIPTA. Arnold Mercators großer Plan der Stadt Köln von 1571 1
  6. Ein Buch voll ‚Merkwürdigkeiten‘. Daniel Bruckners Beschreibung der Ruinen von Augusta Raurica und andere frühe Dokumentationen zu den Ruinen von Augst 45
  7. Brittenburg Reloaded 71
  8. II. Antikenstudium
  9. Zur Antikensammlung der Grafen von Manderscheid-Blankenheim 91
  10. Aneignung im Bild – nicht Objekt. Visualisierungen antiker Gemmen in der frühneuzeitlichen Druckgraphik 115
  11. Zwischen Antike und Neuzeit. Der Grabstein des Marcus Caelius 147
  12. III. Transformationen
  13. Rom in Reims. Die Rezeption der ‚Porte de Mars‘ in Druckgraphiken des 17. bis 19. Jahrhunderts 179
  14. Die Wahrnehmung römischer Bauwerke Triers im 16. und 17. Jahrhundert 207
  15. Exkurs: Die mittelalterliche Simeonskirche nach Merian 231
  16. Die sog. Igeler Säule in Druckgraphiken des 16. bis 18. Jahrhunderts 235
  17. IV. Kreative Aneignung
  18. Monumente niederländischer Geschichte. Der Hercules Gallicus in der frühneuzeitlichen Druckgraphik und Festkultur Antwerpens 257
  19. Visuelle Aushandlungen des Friedens. Die kreative Aneignung der Antike in Otto van Veens Batavorum cum Romanis Bellum 285
  20. Gemalte res publica. Zur kreativen Aneignung der Antike(n) im ehemaligen Rathaus von Amsterdam 319
  21. Abbildungsnachweise 361
  22. Register 367
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