Sculptures and sculptures around Schönbrunn Palace

Orientation sketch of the large parterre of Schönbrunn Palace

Most of the figures in Schönbrunn Palace Park and in its immediate vicinity are on the edge of the Great Parterre and were mostly created in his studio between 1773 and 1780 under the direction of Johann Christian Wilhelm Beyer . Almost as many figures, often created by the same artists, are spread across the rest of the park. This article tries to give an overview of the complete works. See also the notes .

Mythology about the stone figures

Wilhelm Beyer wrote in his essay in 1784: The New Muse or the National Garden.

“Statues attached in this way will certainly
not
arouse any subtle and relational feeling to the mob, who have no knowledge of mythology : but the enlightened
part of the nation, on which art lovers and
patrons are and must make a pleasant,
charming impression. "

An integral part of this mythology is Homer's Iliad The War for Troy and Virgil's Aeneid .

Beatrix Hajos writes in her book:

“The representations from the Trojan saga are based on the idea that the destruction of Troy by the Greeks and the rise of Rome corresponded to the intentions of the gods because they wanted to create a new kingdom based on godliness and virtue. The basis for this is Virgil's 'Aeneid', the national epic of the Romans, which was written 29–19 BC. In the time of the emperor Augustus and formulated the state myth of the Roman Empire. In the 'Aeneid' Jupiter promises that the descendants of Aeneas would rule over an empire encompassing the whole world. The epic tells the story of the pious hero Aeneas, who fled from the burning Troy with his loyal followers and also took the idols of his homeland with him. He has to endure a long odyssey before reaching Italy. His son Ascanius later called himself Julus (derived from 'Ilion', the second name of his former home Troy) and became the progenitor of the Julier family, from which Julius Caesar later emerged and to which Emperor Augustus belonged by adoption. So Aeneas became the progenitor of the Roman Caesars. "

The marble statues on the Great Parterre

To describe these 32 statues, they were numbered clockwise, starting to the left of the castle (see sketch above). This numbering corresponds to that of Beatrix Hajós (see literature), from whose authoritative book the details of the interpretation and creation of all objects discussed were taken.

Left side (Figures 1–16)

1 Artemisia
2 calliope
3 Brutus and Lucretia
4 Ceres and Bacchus

(1) - Artemisia was the wife of Mausolus . When he died, she built the mausoleum for him and mixed some of his ashes into her potion every day in order to remain united with him. She is shown leaning against the urn and with the drinking vessel in her hand. The people understood the statue as an allusion to Maria Theresa, who cut her hair after the death of her husband and only wore widow's costume.
(Design by Beyer, elaboration started by Schletterer, finished by Hagenauer after his death, 1774.)

(2) - Calliope , the one with the beautiful voice, muse of the arts and sciences. According to Zedler's (1732) interpretation , it has a state-supporting function: it can move peoples without violence. Amphitryon (31), opposite her on the right side of the ground floor, is her complementary counterpart.
(Beyer).

(3) - Brutus holds the dagger with which Lucretia just murdered herself. A son of Tarquinius , the last of the seven kings of Rome, who was later called superbus, "the haughty one" , had violated Lucretia and thus driven her to suicide.
In the Brutus family (Latin for "the simple one" ), Tarquinius (his uncle) murdered in order to secure the succession of his own descendants. Brutus survived because he was too stupid to be a candidate for the throne. As a witness to Lucretia's suicide, he abandoned the pretense and vowed to drive the Tarquinians out of Rome. He is considered the founder of the republic and [historically untenable] as the first consul of Rome. The sculpture is a reminder to rulers.
(Design by Beyer, elaboration by Platzer, who deviated significantly from the design (Beyer had planned a seated Lucretia).)

(4) - Ceres , goddess of agriculture, fertility, marriage and death, with Bacchus , god of viticulture and vegetation. Both deities are often depicted together. Ceres carries ears of wheat and poppies in his hands, the latter (opium poppy) as an indication of the winter rest required for ripening. Bachus' symbols, the drinking wine and the evergreen ivy of his wreath, signify the cycle of life, death and rebirth. A leopard skin , a symbol of vitality, lies over the shoulder of Bacchus .
(Draft (plaster model) by Beyer, executed by Günther.)

Escape from Troy
6 Angerona
7 Jason
8 aspasia

(5) - Aeneas carries his paralyzed father Anchises , whose left hand embraces the household gods. At his side his son Iulus , who would later become the progenitor of the Iulians. Aeneas is regarded as a model of caring heroism and principality.
A clay model (in the Austrian Baroque Museum ) and the execution are from Prokop.

(6) - Angerona , a patron deity of Rome, is also the goddess of shrewd secrecy [to which the snake indicates] and the winter solstice. She is often portrayed with her mouth bandaged, or as here. with the index finger in front of the lips (damaged).
(Beyer)
(7) - Jason , the leader of the Argonauts , steals the Golden Fleece . At its feet lies the dragon that guarded it.
(Beyer)
(8) - Aspasia was a spirited woman and philosopher, because of whom Pericles left his first wife. She is depicted as Athena, wearing a shield with the head of Medusa ; this representation of Aspasia is said to have already given in Athens.
(Beyer)

9 Omphale
10 nymph of flora
11 Bacchante
12 Apollo

(9) - Queen Omphale , who Heracles had bought as a slave, wears his lion skin and club while he does women's work in deluded love for her. In addition to the interpretation of the wrong world , this sculpture also allows the interpretation of heroine, and an allusion to Maria Theresa cannot be ruled out. It is the counterpart to the Hercules (24) opposite.
(Weinmüller)
(10) - The fact that this figure carries a vase of flowers shows that it belongs to the entourage of the spring goddess Flora . As with all statues that stand at the confluence of avenues, the base, as a connection between parquet and avenue, is placed at an angle to the main axis of the garden.
(Beyer)
(11) - Bacchante (maenad) with a bowl full of grapes on her head. Her left hand rests on a tripod with goats' heads, over which hangs a panther skin. Both animals are dedicated to Bacchus and are related to death and rebirth.
(Beyer)
(12) - Apollo , deity of light, spring and moral purity, lord of the oracle of Delphi , as indicated by tripod and serpent. The lyre indicates his position as head of the muses , his laurel wreath refers to his mourning for Daphne , which eluded him by turning into a laurel bush.
(Beyer)

13 Hygieía
14 vestal virgin
15 Paris
16 Hannibal

(13) - Hygieia , daughter of Aesculapius, goddess of regained health and patron saint of pharmacists. The snake that winds around its arm symbolizes threat on the one hand, renewal (molting) and connection to secret knowledge (it penetrates the earth) on the other.
(Hagenauer)
(14) - Vestalin (virgin priestess of the goddess Vesta) with lamp (with the sacred fire). This statue was the first to be erected in Schönbrunn in 1774 [but on a corner of the parquet] and was celebrated accordingly. It has stood in its current location since 1777.
(Posch, completed by Hagenauer.)
(15) Paris , the son of the Trojan king, as a shepherd with a dog and with the golden apple , which was to become Troy.
(Kings)
(16) - Hannibal , the almost equal opponent also admired by the Romans, after his greatest and the last successful of his battles, the Battle of Cannae .
(Design: Beyer, Execution: Hagenauer)

Right side (Figures 17–32)

17 Meleager
18 Mercury
19 priestess
20 The Sibyl of Cumae

(17) - The great hunter Meleager , king's son and one of the Argonauts, with the head of the Kalydonian boar he killed . His gesture points to the debate surrounding his decision, despite protests from the other hunters, to hand over this trophy to Atalante , who was the first to hit the animal with an arrow. The sculpture is located at the former small pheasant garden [now part of the zoo], where hunting was also carried out.
(Beyer)
(18) - Mercury , the messenger of the gods , a son of Jupiter . He invented the lyre (hanging from the trunk on which he leans) and the flute.
(Burst)
(19) - Priestess in a long dress, carrying an offering bowl.
(Weinmüller)
(20) - The Sibyl of Cumae , burning her oracle books (except for three).
(Design: Beyer, execution started by Lang in Tirol, finished by Hagenauer in Vienna.)

21 Aesculapia
22 priestess of Ceres
23 priestess of Ceres
24 Hercules

(21) - Aesculapian , god of healing, with stick and snake.
(Kings)
(22) - Priestess of Ceres, carrying a basket with fruits for the goddess on her head.
(Hagenauer)
(23) - Another priestess of Ceres, also with a fruit basket, but around the edge of which are snakes [symbol of renewal]. These two sculptures are to be understood as counterparts to the nymphs of Flora (10) and Bacchus (11).
(Hagenauer)
(24) - Hercules in an unusual version: with spindle, mask, tambourine and panpipe. This symbolizes the value of arts and crafts compared to combat and is to be seen in connection with Omphale (9).
(Burst)

25 Perseus
26 Fabius Maximus Cunctator
27 flora
28 Rape of Helen

(25) - Perseus , armed with a winged camouflage helmet and winged shoes, with the head of Medusa.
(Beyer)
(26) - Fabius Maximus , dictator and opponent of Hannibal, nicknamed "the procrastinator". The shield at his feet means the "shield of Rome", his army, which by hesitating he saved from destruction.
(Hagenauer)
(27) - Flora, the goddess of flowers, with a wreath of flowers in her hand, modeled on Pietro Bernini's famous Flora Farnese (1616).
(Beyer)
(28) - The beautiful Helena is kidnapped from Paris, which sets off the Trojan War . She does not specifically defend herself. The kneeling figure holding anchors and ropes [not recognizable from this perspective] indicates that the two are about to embark. The package Paris is stepping on indicates that more than just the woman was stolen.
(Beyer)

29 Janus and Bellona
30 Mars and Minerva
31 amphion
32 Gaius Mucius Scaevola

(29) - Janus , the two- faced Roman god of the beginning and the end, with the goddess of war Bellona , who is also considered the sister, wife, friend or charioteer of Mars. Janus, acting with a view to the past and the future, appeases the impulsive Bellona.
(Beyer)

(30) - Mars, the god of war, with Minerva , originally the protector of crafts and trades, later also the poet and teacher. Same subject as (29): Minerva prevents Mars from drawing the sword: she represents the deliberate war that leads to peace.
(Kings)

(31) - Amphion with the lyre, through the play of which during the construction of Thebes the bricks [indicated behind him] joined together by themselves.
(Hagenauer)

(32) - Gaius Mucius Scaevola ("The Left-Handed") is said to be 508 BC. He saved the city of Rome from the Etruscans by holding his right hand in the open fire after an unsuccessful assassination attempt on the enemy king and having it burned; This and his announcement that there were three hundred other Roman youths like him who could carry out his plan impressed the Etruscan king so much that he released Mucius and broke off the siege.
(Design and model by Beyer, execution started in Tyrol by Boos, finished by Fischer, but with considerable deviations from the model.)

Stone figures pendants

As a complement to mythology

Stone figures of pedants

(2) Calliope, who with the beautiful voice, muse of the arts and sciences
(31) Amphion with the lyre, through whose play the bricks (indicated behind him) joined together by themselves during the construction of Thebes

(5) Aeneas carries his paralyzed father Anchises, whose left hand embraces the household gods. At his side his son Julus, who would later become the progenitor of Julier.
(15) Paris, the son of the Trojan king, as a shepherd with a dog and with the golden apple, which was to become Troy.
(28) The beautiful Helena is kidnapped from Paris, which sets off the Trojan War. She does not specifically defend herself.

Right next to the kidnapping of the beautiful Helena, not entirely by chance, the gods of war:
(29) Janus, the double-faced Roman god of the beginning and end, with the goddess of war Bellona, who is also considered the sister, wife, friend or charioteer of Mars. With an eye to the past and the future, Janus appeases the impulsive Bellona.
(30) The god of war Mars with Minerva, originally the protector of handicrafts and trades, later also the poet and teacher. Minerva prevents Mars from drawing the sword: she represents the deliberate war that leads to peace.

(9) Queen Omphale, who Heracles bought as a slave, wears his lion's skin and club while he does women's work in deluded love for her.
(24) Hercules in an unusual version: with spindle, mask, tambourine and pan flute.

(10) The fact that this figure carries a vase of flowers shows that it belongs to the entourage of the spring goddess Flora.
(11) Bacchante (maenad) with a bowl full of grapes on her head. Her left hand rests on a tripod with goats' heads, over which hangs a panther skin. Both animals are dedicated to Bacchus and are related to death and rebirth.
(22) Priestess of Ceres, carrying a basket with fruits for the goddess on her head.
(23) Another priestess of Ceres, also with a fruit basket, but around the edge of which are snakes (symbol of renewal).

(12) Apollo, deity of light, spring and moral purity, lord of the oracle of Delphi, as indicated by tripod and serpent. The lyre indicates his position as head of the muses, his laurel wreath refers to his mourning for Daphne, which eluded him by turning into a laurel bush.
(21) Aesculapius, a son of Apollo, on the opposite side.
(13) Hygieia, daughter of Asclepius, stands next to her grandfather Apollo.

(14) Vestalin (virgin priestess of the goddess Vesta) with lamp (with the sacred fire).
(19) Priestess in a long dress, carrying an offering bowl.

(16) Hannibal, the almost equal opponent also admired by the Romans, after his greatest and the last successful of his battles, the Battle of Cannae.
(26) Fabius Maximus, dictator and opponent of Hannibal, nicknamed “the procrastinator”. Who saved the Roman army from annihilation through hesitation.

(7) Jason (leader of the Argonauts) helps Atalante, his daughter and virgin from Arcadia -
(17) Meleanger (Argonaut) to hunt down the wild boar of Diana, the goddess of hunting.

Other parts

Orientation sketch: further figures (33–55)

The numbering of the figures corresponds from here to a walk through the park, again starting at the castle and in the eastern bosket. The path initially leads clockwise to the eastern (round) Najadenbrunnen, from there to the western, the star fountain, crossing the large ground floor without paying any attention to its statues.

In addition to the objects described here, the eastern part of the park includes the Schöne Brunnen, the ruin, the Kleine Gloriette , the pigeon house and the dairy (now a café and restaurant). In the western bosket, the maze and fan deserve special treatment. The Japanese garden should be discussed here, as its stone formations, created according to classical rules, have a sculptural character. The Gloriette is located on a hill .

After a short detour in front of the Hietzinger Tor, the strollers return to the Hietzinger Kammergarten (51), grazing the fish pond (50), to perhaps admire the fountains in the courtyard of honor (52) and the lions and sphinxes in the forecourt (53, 54).

Eastern bosket

33 Alexander and Olympias
34 family monument
35 Hesperia and Arethusa
36 Roman matron

(33) Alexander and Olympias : Before leaving against the Persians, Alexander learns from his mother that she is the son of Jupiter. The two figures have been understood as portraits of Joseph II and his wife Isabella since 1800.
(Beyer)

(34) The family monument was ordered by Queen Maria Carolina of Naples-Sicily , Maria Theresa's 13th child, on the occasion of her stay in Vienna in 1802. The medallion on the front of the granite base crowned by a bronze vase shows the queen and four of her children, namely Maria Christina , Maria Amalia , Maria Antonietta and Leopold. The plaque on the back contains the dedication in memory ... of every joy of carefree youth ... and indicates that the queen herself tended a garden at this point ( vegetables around Alexander and Olympias still existed in the 19th century - and orchards of the imperial children).
(Franz Thaler, a student of Zauner)

(35) Hesperia, and Arethusa : the Hesperides was of Hera been entrusted to the tree with the golden apples, the fruits of which were allowed to enjoy the gods. Since the sisters had occasionally cut off fruit for themselves, the dragon Ladon was also placed as a guard in front of it. In the 16th and until the 18th century oranges were considered apples of the Hesperides.
(Hagenauer)

(36) Roman matron : female figure in a long robe, without special attributes.
(Hagenauer)

37 Hercules
38 Rhea Cybele
39 Cincinnaticus
40 Angel Fountain

(37) Heracles, who fights with the three-headed Kerberos and the embodiments of envy and other vices (an old spiteful woman, a dog and a snake with a dog's head). This figure was bought by Hohenberg as early as 1771 and set up in the forest aisle that runs towards the ruins and is divided into terraced steps that are barely recognizable today. Plans to build a cascade in which the virtuous Hercules sent a flood down on the sinking Carthage were not implemented due to lack of money and water.

(38) Rhea Cybele , enthroned on two lions opposite the beautiful fountain, is the patroness of Aeneas. He owes her, among other things, the indestructible ships with which he reached Italy - in this context she is also the patroness of Rome.
(Beyer)

(39) Lucius Quinctius Cincinnatus embodies the ideal servant of the state: he puts his foot on his plow while he ties his sandals in order to immediately follow the messengers of the Senate. He has just chosen him to be dictator.
(Beyer)

(40) The Engelbrunnen also dates from 1773–1780, but was restored in 1949, whereby the heads of the putti and the drapery were changed. In the course of another restoration in 1994, a pink marble basin was made. It replaces the earlier snail-shaped basin made of pink and white speckled limestone, which is now set up in the foyer of the palace, and which is believed to have come from Neugebauten Palace .

41 Euridyke

(41) The persecuted Eurydice looks around anxiously as she tries to tear off the poisonous snake that will bring her death.
(Design by Beyer, execution: Pfaff)

(42) Eastern naiad basin (round basin): This naiad was originally supposed to lie at Neptune's feet - it comes from Beyers' studio and was intended as one of the figures in the basin of the Neptune fountain - see these and (43). The eight-pointed star, the center of which is the fountain, is bordered by eight Hagenauer's stone vases at the confluences of the main and transverse axes .

Western Bosket and Botanical Garden

44 Apollo
45 Diana
47 Emperor Franz I Stephan
51 Meleager in the Hietzinger Kammergarten

(43) Western Naiad Basin (Sternbassin): The basin dates from around 1700 and is shown in the picture of Canaletto (Bellotto) from 1760 as the center of the Great Parterre. It was only moved here in the course of the redesign. The Najade, again from Beyer , is the counterpart to (42), the stone vases are again from Hagenauer .

(44) Apollo and his twin sister Diana (45) represent the sun and moon or day and night and are therefore often contrasted with one another. The sticks in the hands of both figures are supposed to represent relics of an arch and indicate that they are images of already dilapidated statues.
(Hagenauer)

(46) Japanese garden

(47) The monument to Franz Stephan von Lothringen was ordered by Maria Theresa on the occasion of his death in 1765 from Moll and erected in 1766. The inscription indicates that her husband had gardens, including the Botanical Garden, laid out here. Insignia of Roman and German emperors (fasces, standard signs, scepter, orb and crown) worn by the three eagles on the base have been lost.
(48) The monument to Joseph II comes from Zauner and is a scaled-down test cast created around 1795 for the one that was ordered for Josefsplatz . One of the base reliefs depicts the emperor who orders Mercury to loosen the chains of trade (the woman sitting on a bale). The second relief shows how the emperor (accompanied by prudence, represented by a snake) is referred to Europe by a genius (which is marked by the horse). Four bronze medallions each on the four granite pillars that line the monument refer to important achievements of the emperor.

49 Emperor Maximilian

(49) Monument to Emperor Maximilian of Mexico . It is located in Hietzing - Am Platz, in the park next to the Hietzing parish church.

(50) Fish basin: Goldfish were already kept in this basin in the 18th century. Two marble putti playing with a fish correspond to the style of the time when the large parterre was redesigned.

(51) Hietzinger Kammergarten - Franz Joseph's private garden. Diana and Meleager , made of Carrara marble, were probably created for interiors. The statue of Meleager (a modification of (17)) was still in the billiard room of Laxenburg Castle in 1880 , and Diana is suspected to be the same. Around 1900 they came to the western part of the chamber garden; they have only been in their current location since around 1960.
(Beyer)

Ehrenhof, forecourt and Maria Theresia Gate

(52) The groups of figures in the fountains in the courtyard are from 1776. They should have decorated two of the four fountains on the large ground floor, but they were not built due to lack of water or were filled in again in an unfinished state. The western one is Franz Zauner's first major Viennese work . The three main characters represent the Danube , Inn and Enns. Zauner was formally based on the figures of the Donner fountain . Zauner could not have finished the figures for the eastern fountain within the required time of seven months, so the contract was awarded to Hagenauer . Its figures represent Galicia , Lodomeria and Transylvania .

(53) The sphinxes on the forecourt originally guarded the bridge over the Wien River, which was not replaced by the spacious square until 1900 as part of the regulation. Their shape is typical of the Baroque period. Sandstone with a white protective coating, which should also give the impression of marble.
(Beyer)

(54) The lions in the forecourt, as the sphinxes have shown, originally stood as bridge guards on the left bank of the Vienna.
(Beyer)

(55) The sphinxes at Maria Theresia Tor are located opposite the gate, on the other side of the Tivoli Bridge , which crosses Grünbergstrasse, and thus in the Meidling district .

(53) Schönbrunn Palace forecourt with Sphinx and main gate with obelisk.
Eastern courtyard fountain: Galicia, Lodomeria and Transylvania
western Ehrenhof fountain: Danube, Inn and Enns

55 Maria Theresien Tor
Inscription plate with initials MM
Sphinx at Maria-Theresia-Tor

The inscription plate with double initials MM and bow crown, in the surrounding wall of the castle park, at Maria-Theresientor. The inscription was clearly assigned to Emperor Maximilian II (1527–1576).

Remarks

↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u ^v ^w ^x ^y ^z ^aa ^ab Beyer, as general contractor, organized the design of the park with sculptures, most of which he designed himself and produced in his studio let. The sculptors who actually carried out the work can only be found for part of the work as a whole, as he himself tried to prevent this in principle. See the main article by Johann Wilhelm Beyer .

^ Johannes Wilhelm Beyer: The new muse, or the national garden, presented to the academic societies in 1784. ÖNB collection of manuscripts. Microfilm MF3227

↑ Beatrix Hajós: Schönbrunn statues.

↑ Jakob Christoph Schletterer

↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m Johann Baptist Hagenauer ; One of Hagenauer's employees who did preliminary work for (unspecified) Schönbrunn statues in the Tyrolean quarries was Anton Matthias Grassi

↑ A "dilapidated" statue based on the same model is located in a wall niche in the left side wing of the Roman ruins. It was created by Franz Zächerl (born June 3, 1738, Hall in Tirol; † August 5, 1801, Vienna, from 1778 Beyer's close collaborator, also created the Egeria of the beautiful fountain.

↑ Calliope, des Jouis and Mnemofynes daughter. In: Johann Heinrich Zedler : Large complete universal lexicon of all sciences and arts . Volume 5, Leipzig 1733, column 282.

↑ ^a ^b ^c Ignaz Franz Platzer and his son Johann Nepomuk Platzer , who reworked all of his father's statues in Schönbrunn.

↑ Joachim Günther (plasterer and sculptor) (* 1717 in Zusmarshausen near Augsburg; † July 12, 1789 in Bruchsal)

↑ Philip Jakob Prokop (born May 1, 1740 in Romberg in Bohemia; † October 16, 1814 in Vienna) pupil of Balthasar Ferdinand Moll at the Vienna Academy, 1772 Beyer's assistant. He created this statue and the 57 cm high terracotta model, presumably based on Beyer's design. A gold medal that Maria Theresa awarded him for this is said to have led to a falling out with Beyer. This view of the motif is not only found among Beyer's drafts published in 1779, but also in the Villa Borghese around 1616–1619 (Pietro and Gian Lorenzo Bernini ), and before that, around 1515, in Raffael's (Lit. B. Hajós, p. 69).

^ Josef Anton Weinmüller

^ Leonhard Posch (born November 7, 1750 in Fügen in the Zillertal; † July 1, 1831 in Berlin) At that time he was an employee of Hagenauer.

↑ ^a ^b ^c Veit Königer .

^ Vinzenz Lang , Tyrolean sculptor, who began the Sibylle according to Beyer's design in Tyrol.

↑ B. Hajós here cites Hederich's lexicon from 1741: He has a beard like this, because the Medici are not supposed to be young people, but rather experienced people. He has a staff in his hand on which he rests, because medicine is also the support of human life. Such a rod is wound around by a snake, which is said to be very sharp-eyed, and the like is also required by a medico, but is full of knots, because there are still many difficulties in medicine. (Lit. B. Hajós, p. 101).

^ Roman Anton Boos

↑ Johann Martin Fischer

↑ Richard Kurdiovsky: The gardens of Schönbrunn . Pp. 34-46

^ ^A ^b ^c Franz Anton von Zauner Until 1774 employee of Beyer; his share in the works described here can hardly be determined. From 1775 own orders for other Schönbrunn figures

↑ Probably Sebastian Pfaff (* July 11, 1747, Obertheres near Bamberg; † March 30, 1794, Mainz) pupil of Peter Wagner , 1771–1773 journeyman with J. Günther; Only one Churmainzian court sculptor, Pfaf, is mentioned, who worked out the Euridice in Beyer's studio .

↑ Both countries fell to the Habsburgs only in 1772 when Poland was partitioned. The coats of arms were removed as early as 1805, which made it possible to clearly assign the figures to the countries. (B. Hajós p. 173)

literature

Johannes Wilhelm Beyer: The new muse, or the national garden, presented to the academic societies in 1784. ÖNB collection of manuscripts. Microfilm MF3227
Erwin Frohmann, Rupert Doblhammer: Schönbrunn. An in-depth encounter with the palace gardens. Ennsthaler, Steyr 2005, ISBN 3-85068-625-6 .
Beatrix Hajós: Schönbrunn statues. 1773-1780. A new Rome in Vienna (= a series of publications by the museums of the Mobiliendepot. Vol. 19). Böhlau, Vienna et al. 2004, ISBN 3-205-77228-8 .
Richard Kurdiovsky: The gardens of Schönbrunn. A stroll through one of the most important baroque gardens in Europe. Residenz-Verlag et al., St. Pölten et al. 2005, ISBN 3-7017-1411-8 .
Uta Schedler: The statue cycles in the palace gardens of Schönbrunn and Nymphenburg. Reception of antiquities based on engravings (= studies on art history. Vol. 27). Olms, Hildesheim et al. 1985, ISBN 3-487-07694-2 (also: Munich, University, dissertation, 1982).

Web links

Commons : Statues in Schönbrunn Palace Gardens - collection of images, videos and audio files

Schönbrunn statues. In: Official website of Schönbrunn Palace. Retrieved December 31, 2017 (with plan and numbering).
Schönbrunn statues

48.183055555556 16.310833333333Coordinates: 48 ° 10 ′ 59 ″ N , 16 ° 18 ′ 39 ″ E

[Beyer-1] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u ^v ^w ^x ^y ^z ^aa ^ab Beyer, as general contractor, organized the design of the park with sculptures, most of which he designed himself and produced in his studio let. The sculptors who actually carried out the work can only be found for part of the work as a whole, as he himself tried to prevent this in principle. See the main article by Johann Wilhelm Beyer .