Die Wahrnehmung römischer Bauwerke Triers im 16. und 17. Jahrhundert
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Karl-Uwe Mahler
Abstract
During the 19th century, numerous pictorial representations emerged of the Roman structures and ruins in Trier, which today are UNESCO World Heritage. Compared to the rich tradition of this century, earlier prints and other representations in different mediums are much rarer. The perception of the historic buildings during this time is described by means of cityscapes and the first representations of individual monuments, which emerged in the 16th and 17th centuries. Two structures, or their respective ruins, are the centre of attention, although in very different ways: the Porta Nigra and the Barbara Baths. In the first example, the twofold perception and identification as a Roman building and as a church is interesting. This dichotomy persisted in the consciousness of the city community well into the 19th century and only ended with the church’s deconstruction. In contrast, the ruin of the former baths had already completely disappeared during the 17th century. Therefore, interested contemporaries had difficulties in that they were no longer able to evaluate the building through personal inspection and had to resort to older representations. This is why there are contradictory descriptions and assessments within the reception of the Barbara Baths.
Abstract
During the 19th century, numerous pictorial representations emerged of the Roman structures and ruins in Trier, which today are UNESCO World Heritage. Compared to the rich tradition of this century, earlier prints and other representations in different mediums are much rarer. The perception of the historic buildings during this time is described by means of cityscapes and the first representations of individual monuments, which emerged in the 16th and 17th centuries. Two structures, or their respective ruins, are the centre of attention, although in very different ways: the Porta Nigra and the Barbara Baths. In the first example, the twofold perception and identification as a Roman building and as a church is interesting. This dichotomy persisted in the consciousness of the city community well into the 19th century and only ended with the church’s deconstruction. In contrast, the ruin of the former baths had already completely disappeared during the 17th century. Therefore, interested contemporaries had difficulties in that they were no longer able to evaluate the building through personal inspection and had to resort to older representations. This is why there are contradictory descriptions and assessments within the reception of the Barbara Baths.
Chapters in this book
- Frontmatter I
- Inhaltsverzeichnis V
- Visualisierungen von Antiken nördlich der Alpen in der frühneuzeitlichen Druckgraphik Zum Geleit VII
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I. Kartographieren
- COLONIA AGRIPPINA EXACTISSIME DESCRIPTA. Arnold Mercators großer Plan der Stadt Köln von 1571 1
- Ein Buch voll ‚Merkwürdigkeiten‘. Daniel Bruckners Beschreibung der Ruinen von Augusta Raurica und andere frühe Dokumentationen zu den Ruinen von Augst 45
- Brittenburg Reloaded 71
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II. Antikenstudium
- Zur Antikensammlung der Grafen von Manderscheid-Blankenheim 91
- Aneignung im Bild – nicht Objekt. Visualisierungen antiker Gemmen in der frühneuzeitlichen Druckgraphik 115
- Zwischen Antike und Neuzeit. Der Grabstein des Marcus Caelius 147
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III. Transformationen
- Rom in Reims. Die Rezeption der ‚Porte de Mars‘ in Druckgraphiken des 17. bis 19. Jahrhunderts 179
- Die Wahrnehmung römischer Bauwerke Triers im 16. und 17. Jahrhundert 207
- Exkurs: Die mittelalterliche Simeonskirche nach Merian 231
- Die sog. Igeler Säule in Druckgraphiken des 16. bis 18. Jahrhunderts 235
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IV. Kreative Aneignung
- Monumente niederländischer Geschichte. Der Hercules Gallicus in der frühneuzeitlichen Druckgraphik und Festkultur Antwerpens 257
- Visuelle Aushandlungen des Friedens. Die kreative Aneignung der Antike in Otto van Veens Batavorum cum Romanis Bellum 285
- Gemalte res publica. Zur kreativen Aneignung der Antike(n) im ehemaligen Rathaus von Amsterdam 319
- Abbildungsnachweise 361
- Register 367
Chapters in this book
- Frontmatter I
- Inhaltsverzeichnis V
- Visualisierungen von Antiken nördlich der Alpen in der frühneuzeitlichen Druckgraphik Zum Geleit VII
-
I. Kartographieren
- COLONIA AGRIPPINA EXACTISSIME DESCRIPTA. Arnold Mercators großer Plan der Stadt Köln von 1571 1
- Ein Buch voll ‚Merkwürdigkeiten‘. Daniel Bruckners Beschreibung der Ruinen von Augusta Raurica und andere frühe Dokumentationen zu den Ruinen von Augst 45
- Brittenburg Reloaded 71
-
II. Antikenstudium
- Zur Antikensammlung der Grafen von Manderscheid-Blankenheim 91
- Aneignung im Bild – nicht Objekt. Visualisierungen antiker Gemmen in der frühneuzeitlichen Druckgraphik 115
- Zwischen Antike und Neuzeit. Der Grabstein des Marcus Caelius 147
-
III. Transformationen
- Rom in Reims. Die Rezeption der ‚Porte de Mars‘ in Druckgraphiken des 17. bis 19. Jahrhunderts 179
- Die Wahrnehmung römischer Bauwerke Triers im 16. und 17. Jahrhundert 207
- Exkurs: Die mittelalterliche Simeonskirche nach Merian 231
- Die sog. Igeler Säule in Druckgraphiken des 16. bis 18. Jahrhunderts 235
-
IV. Kreative Aneignung
- Monumente niederländischer Geschichte. Der Hercules Gallicus in der frühneuzeitlichen Druckgraphik und Festkultur Antwerpens 257
- Visuelle Aushandlungen des Friedens. Die kreative Aneignung der Antike in Otto van Veens Batavorum cum Romanis Bellum 285
- Gemalte res publica. Zur kreativen Aneignung der Antike(n) im ehemaligen Rathaus von Amsterdam 319
- Abbildungsnachweise 361
- Register 367
