Präsentation Vortrag Stetten

Michael La Corte M.A., University of Stuttgart
Lecture from 10th International Conference of the Society for Emblem Studies, Kiel 2014
Political propaganda with emblematic helps? Emblems from the
Sommersaal of Stetten castle.
Constructed in 1692, the so-called “Sommersaal” of Stetten castle was extensively
renovated for the first time in 1934 (s. Pic 1). The Antiquities and Monuments Office
replaced faulty plastering and brushed the pigments of nine oval wall frescos and three
ceiling frescos (s. Pic 2).1 After the restoration, the opportunity to examine the
iconographic program scientifically was lost. When Stetten castle was bought by the
welfare association Diakonie Deutschland – Evangelischer Bundesverband, a second
restoration of the “Sommersaal” followed in the year 1961. During these renewal and
preservation works, eleven emblems were surprisingly exposed in the base zone of the
walls, however only five of this are in an acceptable condition today (s. Pic 3).2 Adolph
Schahl delivered a first detailed stylistic analysis of the “Sommersaal” in his anthology
„Die Kunstdenkmäler des Rems-Murr-Kreises“ (Berlin 1983). After that, Theodor
Dierlamm published a discussion about the iconographic program for its 300th
anniversary: „Barocker Fingerzeig. Sommersaal, Schloss Stetten im Remstal“ (Stetten
1992). However, the emblem program was included only insufficiently in this short
anniversary publication, but instead Dierlamms’s thoughts are the more interesting. In
this lecture I would like to adopt Dierlamm's thoughts and verify them with the analysis
of the emblem program. Based on the idea of Dierlamm, that there is a correlation
between the iconographic program and the contemporary history, I will focus on the
history of the Duchy of Württemberg before the creation of the picture program at first.
The early history of Stetten castle dates back to the time of Duke Eberhard III of
Württemberg (1614-1674). The duke bought the village of Stetten and the associated
castle between 1664 and 1666. Stetten castle should become the second widow seat of
the House Württemberg next to Kirchheim castle.3 Some years with serious blows of
1
Vgl.: Schahl, Adolf (Edit.): Die Kunstdenkmäler im Rems-Murr Kreis. Band 1 (2); Berlin/ München 1983, p.
479./ Dierlamm, Theodor: Barocker Fingerzeig. Sommersaal Schloss Stetten im Remstal. Stetten 1992, p. 4.
2
Vgl.: Schahl (1992), p. 479.
3
Vgl.: Bochterle, Erwin: Aus der Geschichte von Stetten im Remstal und seinen Fluren. Remshalden 2005, p. 39.
1
fate followed in the Duchy of Württemberg, which primarily connected to the name
Magdalena Sibylla of Hessen-Darmstadt (1652-1712).
Magdalena Sibylla was the first of eight children of Landgrave Ludwig IV of HessenDarmstadt and Maria Elisabeth of Schleswig-Holstein-Gottorf (1634-1665). After the
early death of her mother in 1665, Ludwig IV sent Magdalena Sibylla to the Stockholm
court to her aunt Hedwig Eleonora of Schleswig-Holstein-Gottorf (1636-1715); widowed
queen of Sweden. There, she met Prince Wilhelm Ludwig of Württemberg (1647-1677)
while he was visiting the kingdom during his grand tour in the year 1671.4 They married
on Nov. 6th 1673 in Darmstadt and Magdalena Sibylla received Leonberg und Stetten as
a morning gift which included their local castles.5 In the year 1674, Duke Eberhard III of
Württemberg died, therefore the newly-married couple took control of the government
of the Duchy. Magdalena Sibylla finally gave birth to the hereditary prince Eberhard
Ludwig. Nevertheless, the marriage ended tragically. Wilhelm Ludwig died probably
from a stroke near Hirsau castle on June 23rd 1677.6 Magdalena was now a widow at just
25 years of age, a mother of three little children, and expecting a fourth. As a dower
residence, Magdalena was assigned to Stetten castle.7
Because of the early death of Wilhelm Ludwig, a conflict broke out between Magdalena
Sibylla and Friedrich Carl of Württemberg-Winnenthal over the domination in the Duchy
of Württemberg as well as the guardianship of the one-year-old hereditary prince
Eberhard Ludwig (1652-1698). Emperor Leopold I (1640-1705) ordered Friedrich Carl as
administrator of the Duchy and guardian of the hereditary prince on November 26th
1677. The emperor expected that Württemberg would give up its policy of neutrality
against France and the holy empire as Eberhard III and Wilhelm Ludwig had pursued
during the Dutch War. Co-guardianship was awarded to Magdalena Sibylla by Leopold I.
She also claimed the right to information about state affairs and lawfully formed a
political opposition against the administrator Friedrich Carl.8 The widow retired
4
Vgl.: Sauer, Paul: Musen, Machtspiel und Mätressen. Eberhard Ludwig – württembergischer Herzog und
Gründer Ludwigsburg. 1. Aufl., Tübingen 2008, pp. 13./ Huss, Frank: Eberhard Ludwig. Der schwäbische
Sonnenkönig. Gernsbach 2008, p. 19.
5
Vgl.: Huss (2008), p. 22. (q.v.: Hauptstaatsarchiv Stuttgart G 124 Bü 12.)
6
Vgl.: Brecht, Martin: Herzogin Magdalena Sibylle und die Frömmigkeit ihrer Zeit. In: Schwäbische Heimat,
hrsg. v. Schwäbischen Heimatbund, Jg. 26, Stuttgart 1975, p. 21.
7
Vgl.: Kaufmann, Adolf: Geschichte von Stetten im Remstal. 1. Aufl., Stetten im Remstal 1962, p. 320.
8
Vgl.: Wunder, Bernd, Der Administrator Herzog Friedrich Karl von Württemberg (1652- 1698), in: Zeitschrift
für Württembergische Landesgeschichte, Jg. 30 (1971), Stuttgart 1972, p.123-126.
2
momentarily with her children and moved into the Stetten castle. As an expression of
her mourning for the early death of her husband, Magdalena Sibylla had a chapel
installed in the so-called “Bonn’scher Bau”.9
After the peace of Nijmwegen in 1679, administrator Friedrich Carl disappointed the
expectation of the emperor. King Louis XIV of France had already occupied the county
Württemberg-Mömpelgard in 1674, Friedrich Carl accepted the French king as
paramount seigneur, and with it he also approved the French policy of reunion.10 During
this timeframe, the Catholic influence increased in the Duchy of Württemberg to the
frustration of the landed gentry. Magdalena Sibylla had to intervene into the state affairs
with the Privy Councillor Jakob Friedrich Rühle (1630-1708). In the beginning of the
reunion wars in 1683 between France and the holy empire, Friedrich Carl had to bow to
the Privy Council and the landed gentry of Württemberg; the Duchy wanted to keep his
policy of neutrality (of avoiding war) as he had in the past.11 The administrator Friedrich
Carl had thereby lost his political influence in the Duchy.12 When the Nine Years' War
broke out, the Duchy of Württemberg stood between frontlines. Friedrich Carl fled with
the hereditary prince Eberhard Ludwig from the invading Frenchmen.13 Magdalena
Sibylla assumed control of the government during the increasing chaos of war. When a
French army stood under leadership of General Ezéchiel de Mélac (1630-1704) in front
of Stuttgart, she prevented a destruction of the town because of her diplomatic skill.
She herself fled to Stetten back into her widow seat.14 In 1689, the administrator
followed the imperial troops.15 Magdalena Sibylla would profit from his accumulating
absenteeism.
9
further reading: Lieske, Reinhard: Protestantische Frömmigkeit im Spiegel der kirchlichen Kunst des
Herzogtums Württemberg. (Forschungen und Berichte der Bau- und Kunstdenkmalpflege in BadenWürttemberg; 2) München 1973./ Sommer, Johann Jacob: Die Stettener Schloßkapelle als volkskundliches
Zeugnis. In: Württembergisches Jahrbuch für Volkskunde Stuttgart, Jg. 1956, Stuttgart 1956, p.48-56./ Brecht
(1975)/ Schahl (1992).
10
Vgl.: Wunder, Bernd: Der Streit um das Kapellenrecht des französischen Gesandten in Stuttgart 1686/1687.
In: Blätter für württembergische Kirchengeschichte, Jg. 72 (1972), Stuttgart 1972, p. 124.
11
Vgl.: Wunder (1972), p. 126.
12
Vgl.: Wunder (1971), p. 130.
13
Vgl.: Sauer (2008), p. 25.
14
Vgl.: Starzmann, Holger: Zwischen Fürstenglanz und Weltenekel – zum 350. Geburtstag von Magdalena
Sibylla von Württemberg. In: Schriftenreihe des Stadtarchivs Kirchheim unter Teck; Bd. 28, Kirchheim 2002, p.
124ff.
15
Vgl.: Wunder (1972), p. 146ff.
3
During the French Invasion, the so-called "Sommersaal" was simultaneously being built
on the ground floor of the “Liebenstein'scher Bau”. Magdalena Sibylla needed a
representative dining-hall because during the siege of Stuttgart, Stetten castle became
her temporary main residence.16 The described conflict between Magdalena Sibylla and
Friedrich Carl is reflected in the iconographic program of the “Sommersaal” how
Dierlamm supposes.17 The picture program was painted by Paul Etschmann after drafts
of the Stuttgart glasscutter Johann Daniel David.18 The program is subdivided in three
zones. By the iconological analysis of the three ceiling frescos, one actually discovers
interesting parallels to contemporary events. The first oval ceiling fresco shows „The
birth of the Dionysus“ (s. Pic 4). God father Zeus appears to his lover Semele with
thunder and lightning. Dazzled by this appearance, Semele repels her unborn child
Dionysus. Zeus takes the child to himself and sews it on his leg.19 The ceiling fresco in
the middle illustrates the "The gods" (s. Pic 5). The eye-contact here is remarkable
between Zeus and Dionysus. The last ceiling fresco demonstrates "The Fall of the
Phaeton" (s. Pic 6).20 The collocation of the mythological topics commemorates the early
forfeit of guardianship of Magdalena Sibylle´s son. The hereditary prince spent his time
mostly at the court of administrator Friedrich Carl. The eye-contact between Zeus and
Dionysus in the middle ceiling fresco confirms this hypothesis (s. Pic 7). If one follows
the interpretation, the third ceiling fresco "The Fall of Phaeton" seems to be a warning
for the hereditary prince, because he is at the mercy of the administrator.
Nine oval wall frescos compose the second zone of the "Sommersaal". The picture cycle
starts with the fresco “Jason and the Argonauts” (s. Pic 8). Jason was sent out by his
uncle Pelias after a Delphic oracle to look for the golden fleece. Jason was the lawful heir
apparent of Thessalien after the death of his father Aison. Pelias was only the temporary
ruler and guardian over Jason. He hoped Jason would be killed in an accident during his
adventure. Dierlamm points out rightly that Magdalena Sibylla had for a long time
suspected administrator Friedrich Carl wanted to take power over the Duchy of
Württemberg. If her son Eberhard Ludwig had an accident, the Duchy would change over
16
Vgl.: Kaufmann (1962), p. 320.
Vgl.: Dierlamm (1992), p. 15.
18
Vgl.: Dierlamm (1992), p. 10./ Schahl (1983), p. 462.
19
Vgl.: Ovid: Metamorphosen, III, 310-315./ Lukian: Göttergespräche, 9, 286-287.
20
Vgl.: Ovid: Metamorphosen, II, 19ff/ Lukian: Göttergespräche, 25, 317-319.
17
4
to the royal house Württemberg-Winnenthal.21 The following wall frescos “Aglauros“
and “Perseus kills Medusa“ refer generally to the protection from such accidents (s. Pic
9). Philochoros reports that Aglauros sacrificed himself after an oracle to end the war
between Eumolpos and Erechtheus.22 Schahl and Dierlamm recognize Hermes in the
garlanded juvenile.23 However, to me it seems that the legend here is modified.
Aglauros, the rescuer of Athens, doesn’t receive Hermes here but rather Dionysos. Does
she show him a majority declaration in the picture? The young men of Athens gave her
majority statement in the Aglaureion; the sanctum of Aglauros.24 In the fresco „Perseus
kills Medusa“ godess Athene holds her hand protectively in front of the face of Theseus
and points him with the other hand to the mirror image of Medusa (s. Pic 10).25 Both
pictures refer to Magdalena Sibylla as protectress over the Duchy and her son Eberhard
Ludwig. Two Frescos with similar meaning show also protectresses: “Theseus and
Ariadne”26 and “Young Herakles”27 (s. Pic 11). Three other frescos symbolize the
cunning and the allurement as central topics: “King Sisyphos”28, “Narziss”29 and “The
Rape of Europa”30 (s. Pic 12). The last extant wall fresco is “Deukalion and Pyrrha” (s.
Pic 13). After the so-called Deukalionic flood, with which Zeus has finished the Iron Age,
Deukalion and Pyrrha were the only survivors. The fresco shows Deukalion with a scarf
throwing stones over his shoulder (the stones symbolize Gaia as mother earth). This was
an order of the oracle of Themis. A new humankind arose from the stones.31 That should
express the promise that the hereditary prince will be leading the land to a new height
after the war which in 1692 was still raging in the Duchy of Württemberg and leaving a
swath of destruction.
The emblem program on the lowest wall section might bring further information about
the meaning of the iconographic program of the "Sommersaal" (s. Pic 14). Five of eleven
21
Vgl.: Dierlamm (1992), p. 15.
Vgl.: Philochoros: Fragmenta historicorum graecorum, Nr.328 F 105 - 106./ Ovid: Metamorphosen, II, 708832.
23
Vgl.: Schahl (1983), p. 480./ Dierlamm (1992), p.18.
24
Vgl.: Melkenbach, Reinhold: Aglauros. Die Religion der Epheben. In: ZPE 9 (1972), Bonn 1972, p. 277-283 .
(q.v.: Iulius Pollux, Onomasticon, 8, 105 - 106.)
25
Vgl.: Ovid: Metamorphosen, IV, 772-803.
26
Vgl.: Ovid: Metamorphosen, VIII, 155-180.
27
Vgl.: Ovid: Metamorphosen, IX, 71.
28
Vgl.: Ovid: Metamorphosen; IV, 460-464./ Homer: Odyssee 11. Gesang, 598.
29
Vgl.: Ovid: Metamorphosen, III, 346-510.
30
Vgl.: Ovid: Metamorphosen, II, 708-875.
31
Vgl.: Ovid, Metamorphosen, I, 318-415.
22
5
emblems are in good condition today. However, the motto of one emblem is
fragmentarily preserved. The rest of the emblems show only scrolls (s. Pic 15). I could
not locate the emblematic pattern books yet. Regarding the typical tools for emblem
research, I could only sometimes find analogies to other emblems. The emblems are
located partly under the oval wall frescos. Under the fresco "Sisyphos" is the first
received emblem (s. Pic 16). It shows a compass with a swinging magnetic needle in the
pictura. Red draperies hang down along the picture margins. They open to a view of a
castle garden with two gates. The compass is in the middle of the stage-like scene. The
motto of the emblem means "TENDIT AD UNUM". The motto refers possibly on Thomas
of Aquin: „Hoc autem oportet esse unum, quia natura non tendit, nisi ad unum.”32 On
one hand it means determination and on the other hand the objective target of nature
as well as human being. An emblem at Otto Van Veen’s “Amorum Emblemata”
(Antwerpen 1608) could give further information (s. Pic 17): „Perfectus amor non est nisi
ad unum“. Being elected might not only be the meaning of the emblem in van Veen's
book but also in Stetten castle. The next emblem is subordinated to the fresco "Ariadne
and Theseus" (s. Pic 18). Only the motto is fragmentarily preserved: “…PRIMORDIA”.
The word “Primordium“ describes a first beginning or an origin. The Roman historian
Tacitus used the word in his “Annals“ particularly for a new beginnings of the
government or a taking of power.33 Another emblem shows a candleholder with a
burning candle in his picture (s. Pic 19). To the right of the table a shadow vanishes
through a door. The motto means: „UMBRAM INSECTAE DE LVCEEFFVGIT.”. I could not
find references to other emblems yet. It seems to me, that the pictura alludes to a
Christological light-metaphor.34 An allusion to strength of Christianity is also possible:
The ones remaining firm in Christianity do not move out of the light! The emblem in a
window recess between the frescos "Narzissos" and "The rape of Europa" is easier to
analyze (s. Pic 20). The Pictura shows a rocket in the picture middle which fired off from
a glass vase to the sky. The motto is: “EVEHOR VT PEREAM.“. The fireworks symbolize
the fugaciousness of glory. If one includes the river of the picture and his flowing in the
32
Thomas von Aquin: De beatitudine, 1 quaestio, arcticulus 5. Quoted from: Schwartz, Thomas: Zwischen
Unmittelbarkeit und Vermittlung. Das Gewissen in der Anthropologie Ethik des Thomas von Aquin.(Dogma und
Geschichte; 3) Münster 2001, S. 159, Anm. 55.
33
Vgl.: Tacitus: Annalen, 1, 7.
34
Vgl.: Joh 1, 9./ Jes. 9,1.
6
interpretation, the emblem is a motive of Vanitas: memento memoriendum esse. The
emblem below the wall fresco "The rape of Europa" leaves also latitude for
interpretations open (s. Pic 21). The motto is fragmentarily: „VM I BID`”. The Pictura
shows two elephants. One elephant follows the other elephant into a house entrance.
Elephants symbolize in the Christian iconography inter alia the chasteness. The
Physiologos reports that elephants copulate secretly nearby the paradise.35 This process
might be represented on the emblem. If one considers a sound shift, the fragmentary
motto could be ascribed to the Latin verb "oebedire": to obey, follow. In this meaning
the emblem could interpret like the emblem with the Motto "TENDIT AD UNUM" and
then it means being elected or following the lawful ruler. Has the emblem with the
Motto “UMBRAM INSECTAE DE LUCEEFFUGIT.“ a similar meaning (s. Pic 22)? The
Christian light-metaphor is a part of the profane ruler iconography at the latest since the
beginning of the 16th century. Does the shadow vanish out of the light because he does
not justice to the responsibility of government? The emblem under the fresco "Young
Herakles" shows two fishing boats with four men in the picture (s. Pic 23) . They try to
reel a fishnet in. On the left fishing boat, a fisherman shines his torch’s light into the
fishnet. All faces seem astonished about the catch. Unfortunately, this picture section is
not received any more. The motto is also only fragmentary received. It seems that the
emblem comments the wall fresco being over it. Being elected could be the essential
meaning of both again (s. Pic 24).
The received emblems of the emblem program could be interpreted only with difficulty
because of its condition. Furthermore, there are no sources about the program and the
emblematic pattern books are missing as of yet. It appears that the emblems refer to a
claim of power. If one examines the complete iconographic program, one could come
to the following thesis. The ceiling frescos allude to the relationship between the
administrator Friedrich Carl and the hereditary prince Eberhard Ludwig (s. Pic 25). In this
context, the ceiling frescos including "The Fall of Phaeton" could show the rise and fall
of the administrator. The nine wall frescos symbolize the relationship between
Madalena Sibylla and her son Eberhard Ludwig. In some frescos she appears as a patron
about the career of her son (s. Pic 26). The emblem program finally claims the throne of
the Duchy of Württemberg for the hereditary prince. Friedrich Carl is at this time still
35
Vgl.: Physiologus, 43.
7
incumbent ruler of the Duchy of Württemberg, that's why the iconographic program
operates like a propagandistic medium against the authority of Friedrich Carl. The
Frenchmen captured Friedrich Carl on September 26th 1692 after the Battle of
Ötisheim36; Magdalena Sibylla used the favor of the hour. She obtained the declaration
of majority for her son by the emperor Leopold I on January 22nd 1693, a few days
before Friedrich Carl returned from French captivity.37 Eberhard Ludwig had been
named Duke of Württemberg at the age of 16.
36
37
Vgl.: Wunder (1972), p.150ff.
Vgl.: Wunder (1972), p.153-157.
8
Bibliography
I.
Sources:
Homer: Ilias / Odyssee. Übers. von Johann Heinrich Voß. München 1976.
Lukian: Göttergespräche. In: Lukian: Werke in drei Bänden. Hrsg. von Jürgen Werner. Bd. 1(3), 2.
Aufl., Berlin/Weimar 1981.
Philochoros: Fragmenta historicorum graecorum, Nr.328 F 105 - 106. In: . FGrHist. Hrsg. von Felix
Jacoby. Berlin 1923ff.
Phsyiologus. Griechisch-Deutsch. Übers. u. hrsg. von Otto Schönberger. Stuttgart 2001.
Ovid: Metamorphosen. Lateinisch-Deutsch. Übers. u. hrsg. von Michael von Albrecht. Bibliografisch
erg. Ausg., Stuttgart 2003.
Tacitus: Annalen. Lateinisch-Deutsch. Hrsg. von Erich Heller. Mit einer Einführung von Manfred
Fuhrmann. (Sammlung Tusculum) 3. Aufl., Düsseldorf/Zürich 1997.
II.
Research literature:
Bochterle, Erwin: Aus der Geschichte von Stetten im Remstal und seinen Fluren.
Remshalden 2005.
Brecht, Martin: Herzogin Magdalena Sibylle und die Frömmigkeit ihrer Zeit. In:
Schwäbische Heimat, hrsg. v. Schwäbischen Heimatbund, Jg. 26, Stuttgart 1975, p.2130.
Dierlamm, Theodor: Barocker Fingerzeig. Sommersaal Schloss Stetten im Remstal.
Stetten 1992.
Huss, Frank: Eberhard Ludwig. Der schwäbische Sonnenkönig. Gernsbach 2008.
Kaufmann, Adolf: Geschichte von Stetten im Remstal. 1. Aufl., Stetten im Remstal 1962.
Lieske, Reinhard: Protestantische Frömmigkeit im Spiegel der kirchlichen Kunst des
Herzogtums Württemberg. (Forschungen und Berichte der Bau- und
Kunstdenkmalpflege in Baden-Württemberg; 2) München 1973.
Melkenbach, Reinhold: Aglauros. Die Religion der Epheben. In: ZPE 9 (1972), Bonn 1972,
p. 277-283 .
Sauer, Paul: Musen, Machtspiel und Mätressen. Eberhard Ludwig – württembergischer
Herzog und Gründer Ludwigsburg. 1. Aufl., Tübingen 2008.
Schahl, Adolf (Edit.): Die Kunstdenkmäler im Rems-Murr Kreis. Band 1 (2); Berlin und
München 1983.
Schwartz, Thomas: Zwischen Unmittelbarkeit und Vermittlung. Das Gewissen in der
Anthropologie Ethik des Thomas von Aquin. (Dogma und Geschichte; 3) Münster 2001.
9
Sommer, Johann Jacob: Die Stettener Schloßkapelle als volkskundliches Zeugnis. In:
Württembergisches Jahrbuch für Volkskunde Stuttgart, Jg. 1956, Stuttgart 1956, p.4856.
Starzmann, Holger: Zwischen Fürstenglanz und Weltenekel – zum 350. Geburtstag von
Magdalena Sibylla von Württemberg. In: Schriftenreihe des Stadtarchivs Kirchheim
unter Teck; 28, Kirchheim 2002, p. 119-133.
Wunder, Bernd: Der Administrator Herzog Friedrich Karl von Württemberg (1652- 1698).
In: Zeitschrift für Württembergische Landesgeschichte, Jg. 30 (1971), Stuttgart 1972,
p.117-163.
Wunder, Bernd: Der Streit um das Kapellenrecht des französischen Gesandten in
Stuttgart 1686/1687. In: Blätter für württembergische Kirchengeschichte, Jg. 72 (1972),
Stuttgart 1972, p. 113-133.
10
Paul Etschmann, iconographic program, al fresco, 1692, Sommersaal, Stetten Castle
1
Paul Etschmann, ceiling frescos, 1692,
Sommersaal, Stetten Castle
2
Paul Etschmann, emblem program,
al fresco, 1692, Sommersaal,
Stetten Castle
3
Paul Etschmann, The birth of Dyonisos, ceiling fresco, 1692, Sommersaal, Stetten Castle
4
Paul Etschmann, The gods, ceiling fresco, 1692, Sommersaal, Stetten Castle
5
Paul Etschmann, The Fall of Phaeton, ceiling fresco, 1692, Sommersaal, Stetten Castle
6
Paul Etschmann, The gods (detail), ceiling fresco, 1692, Sommersaal, Stetten Castle
7
Paul Etschmann, Jason and the Argonauts, wall fresco, 1692, Sommersaal, Stetten Castle
8
Paul Etschmann, Aglauros, wall fresco, 1692, Sommersaal, Stetten Castle
9
Paul Etschmann, Perseus kills Medusa, wall fresco, 1692, Sommersaal, Stetten Castle
10
Paul Etschmann, Young Herakles, wall fresco, 1692,
Sommersaal, Stetten Castle
Paul Etschmann, Ariadne and Theseus, wall fresco, 1692,
Sommersaal, Stetten Castle
11
Paul Etschmann, King Sisyphos, wall
fresco, 1692, Sommersaal, Stetten Castle
Paul Etschmann, Narziss, wall fresco,
1692, Sommersaal, Stetten Castle
Paul Etschmann, The Rape of Europa,
wall fresco, 1692, Sommersaal, Stetten Castle
12
Paul Etschmann, Deukalion and Pyrrha, wall fresco, 1692, Sommersaal, Stetten Castle
13
Paul Etschmann, emblem program,
al fresco, 1692, Sommersaal,
Stetten Castle
14
Paul Etschmann, emblems only with scrolls,
wall fresco, 1692, Sommersaal, Stetten Castle
15
Paul Etschmann, emblem „TENDIT AD UNUM“, wall fresco, 1692, Sommersaal, Stetten Castle
16
Otto Van Veen: Amorum Emblemata, Antwerpen 1608, p.2-3.
17
Paul Etschmann, emblem „… PRIMORDIA“, wall fresco, 1692, Sommersaal, Stetten Castle
18
Paul Etschmann, emblem „VMBRAM INSECTAE DE LVCEEFFVGIT.“, wall fresco, 1692, Sommersaal, Stetten Castle
19
Paul Etschmann, emblem „EVEHOR VT PEREAM.“, wall fresco, 1692, Sommersaal, Stetten Castle
20
Paul Etschmann, emblem „… VM I BID‘“, wall fresco, 1692, Sommersaal, Stetten Castle
21
22
Paul Etschmann, emblem „…VLGF…N…I…RNKI…M“, wall fresco, 1692, Sommersaal, Stetten Castle
23
Paul Etschmann, Young Herakles and emblem, wall fresco, 1692, Sommersaal, Stetten Castle
24
Paul Etschmann, The Fall of Phaeton, ceiling fresco, 1692, Sommersaal, Stetten Castle
25
Paul Etschmann, wall frescos, 1692, Sommersaal,
Stetten Castle
26
Photo credits:
Pic 1:
Fleischhauer, Werner: Barock im Herzogtum Württemberg. 2.
Aufl., Stuttgart 1981. Picture 20.
Pic 17:
Otto Van Veen: Amorum Emblemata, Antwerpen 1608, p.2-3.
Pic 2-16/ 18-26:
Pictures by Michael La Corte
27