Marian column (Vienna)
The Marian column Am Hof in Vienna is a statue consecrated to Mary on a column. It is a bronze copy of the emperor Ferdinand III. gratitude for the rescue of the city of Vienna in front of a Swedish army in 1645 at the end of the Thirty Years' War , donated and 1646 by the master stonemason and sculptor Johann Jacob Pock built stone pillar that in 1667 at the instigation of Emperor Leopold I and Count Georg Ludwig von Sinzendorf by Wernstein am Innhas been translocated. The Viennese column was commissioned in 1664 from the imperial piece caster Balthasar Herold and inaugurated on December 8, 1667 Am Hof.
Building history
The emperor Ferdinand III. Donated Marian Column At the court stood when his second-born son, Emperor Leopold I, came up with the plan to build an identical, but cast metal, one in the same place. He himself laid the first stone for the pedestal of the new column.
On September 7, 1664, a contract was signed between the imperial court chamber and the imperial piece caster Balthasar Herold for the erection of the Marian column, which is "cast from the ore of cannons that had been captured by enemies". Herold cast columns and figures based on designs by the theater engineer Lodovico Ottavio Burnacini .
On March 12, 1666, Carlo Martino Carlone was initially commissioned with the stone pedestal and pedestal on which the ore column was to stand, but he died a year later and left the substructure unfinished. On September 14, 1667, Carlo Canevale was commissioned to complete the substructure for the column.
description
The Marian column of Leopold I is now almost exactly in the middle of the Am Hof square in downtown Vienna. A balustrade runs on a step system consisting of three steps , which should have enclosed the previous column, which is now in Wernstein . The base is exactly modeled on that of the stone column. The lanterns in the window-like recesses in the corner parts were only protected by slug panes before they were walled up. On the pedestal, in the middle of the four putti, there is another pedestal on which the metal inscriptions are attached, on it is a column of Corinthian order made of ore , at the top is the statue of Mary, which was gilded until 1730. At the feet of the four armored putti lie snake, dragon, basilisk and lion as allegories of the fight against plague, war, hunger and heresy. At the feet of Mary enthroned at the Chapter lies a dragon pierced by an arrow. As the conqueror of Satan, the immaculate virgin represents the victory of the church over her enemies.
The inscription is part of the vote that Emperor Ferdinand III. as a confession of the Immaculate Conception of Mary to the Church. This vote goes back to the previous Marian column on which the same text is located. The inscription facing the Jesuit Church reads:
"Ferdinandi / III / pii, et iusti, / votum / Omnipotens sempi / terne deus, per quem / reges regnant, in cuius / manu sunt omnium / Potestates, et omnium / iura Regnorum. Ego / Ferdinandus / coram divina tua Maiestate / humiliter prostrat (us), meo / meorumque Successorum, / et inclytae huius Provinciae / Austriae nomine, / immaculatam / Filii tui Matrem semper Virginem / MARIAM / hodie in peculiarem Domina (m) / et Patronam huius Archi / ducatus invoco / et assumo. "
"Vote of the pious and just Ferdinand III. Almighty, eternal God, through whom the kings rule, in whose hand all power and the rights of all kingdoms are. I, Ferdinand, prostrate before your divine majesty in humility, call and take mine today In the name and in the name of my successors and in the name of this great province of Austria, the Immaculate Mother of your Son and Eternal Virgin Mary as the special mistress and patroness of this Archduchy. "
Although it is a copy of the sandstone original from 1645, there has been a clear change in style over the years in between. The new Viennese Madonna already shows the influence of the painterly solutions of the type, which have now been shaped, and whose contrapostic attitude she adopts. Herold sought a material differentiation with his sculpture, the robe of the sitter has assumed an astonishing softness and materiality for bronze. The brocade pattern chiseled on the coat contributes to this, greatly reducing the brittleness of the material. In contrast to the majestic calm of the stone Madonna, the somewhat sensitive expression in the expression with the slightly open mouth shows that in the time of Balthasar Herold other expressive possibilities were sought.
literature
- Walter Kalina: The Marian Columns in Wernstein am Inn (1645/47), Vienna (1664/66), Munich (1637/38) and Prague (1650) , in: Bundesdenkmalamt (Hg.): Österreichische Zeitschrift für Kunst und Denkmalpflege 58 ( 2004), H. 1, pp. 43-61.
Web links
Individual evidence
- ↑ Walter F. Kalina: The Marian columns in Wernstein am Inn (1645/47), Vienna (1664/66), Munich (1637/38) and Prague (1650), in: Österreichische Zeitschrift für Kunst und Denkmalpflege 58 (2004), H. 1, p. 43.
- ↑ J. Kurz: On the history of the Marian column at court under devotions of the same, Vienna 1904.
- ^ Hofkammerarchiv , NÖ-HA, Fasz. W61 / B / 18, Second Contract between the Imperial Court Chamber and Balthasar Herold, Vienna, September 22, 1664; quoted by: Walter F. Kalina: The Marian Columns in Wernstein am Inn (1645/47), Vienna (1664/66), Munich (1637/38) and Prague (1650), in: Österreichische Zeitschrift für Kunst und Denkmalpflege 58 (2004) , H. 1, p. 56.
Coordinates: 48 ° 12 ′ 40.2 ″ N , 16 ° 22 ′ 4.2 ″ E