Francesco Mazzaferro. Where Naples meets Stockholm: the Viennese 'Entwurff einer historischen Architectur' by Johan Bernhard Fischer von Erlach (1712)

Italian Version

Francesco Mazzaferro

Where Naples meets Stockholm:
the Viennese Entwurff einer historischen Architectur 

by Johan Bernhard Fischer von Erlach (1712)

Fig. 1) Johann Bernhard Fischer von Erlach

Portrait by Ádám Mányoki (1723)

Naples, Vienna and Stockholm 

There is no direct flight between Naples and Stockholm, but the webpage www.amadeus.net – one of the most popular among frequent flyers – provides more than 120 options to move by plane from the respective Capodichino to Arlanda airports. One of these routes is through Schwechat, Vienna’s airport. 

At the very beginning of the Eighteenth Century, these were the mental coordinates which led to the creation of one of the most original works of the literature on history of architecture: the outline or project (Entwurff) of a history of architecture. The Entwurff consisted of 84 plates by Johan Bernhard Fischer von Erlach (1656-1723), an Austrian architect, and a short text by Carl Gustav Heraeus (1671-1725 or 1730), a Swedish antiquarian, literate and correspondent with Leibniz. 

The interest for the history of architecture was born during a stay of Fischer of Erlach in Italy, first in Rome and then in Naples, where he was active as very young sculptor. It was in Naples that artists and authorities– also under the impulsion of the Spanish Viceroy - had developed an intensive attention for old Roman remains. In Italy, Fischer von Erlach did not only work with Italians: he also developed a European-wide network of contacts, which he would use afterwards from Vienna, with important connections to Sweden. 

Preparation lasted between 1705 and 1712, date in which the manuscript was presented to the new Emperor Charles VI, the father of Maria Theresa, in Vienna, perhaps to gain his attention (after the previous Emperor Joseph I – to whom he had provided art private lessons for several years – had suddenly passed away at only 33 years). The Entwurff – together with the support of Leibniz – helped Fischer von Erlach to obtain new important commissions from the new Emperor, producing works like the Karlskirche (Fig. 4) and the Schönbrunn Palace (Fig. 6) which established the new ‘imperial’ style in Vienna. 

That the Entwurff was in any case due to capture the interest of the public of those days is testified by the several printed versions: the first in Vienna (1721), the second and third in Lipsia (1725 and 1737), the fourth in London (1737) in English language and the last again in Lipsia in 1742. Modern editions include one in English (1964) by Gregg Press publishers, one – much abridged – in German by Harenberg (1978) and one version in Japanese by Chuokoron Bijutsu Shuppan publishers (1995). For those interested, www.zvab.de offers an original of the 1725 Lipsia version for 8,000 euros (http://www.zvab.com/displayBookDetails.do?itemId=96994120&b=1). Those who may take the view that the price is a bit on the high side, would better consult the website of the Heidelberg University, which offers a splendid digital copy (http://digi.ub.uni-heidelberg.de/diglit/fischer1725). The list of the 84 plates, with the respective links to the pictures in the digital Heidelberg Library, is in Annex I.

Fig. 2) Nanking’s pagoda
(Plate XII of Book 3 of the Entwurff)

Vienna (from Baroque to 1990s)

However, Fischer von Erlach did neither follow the genre of Vasari’s Vite (based on biographies of artists) nor the one of Alberti’s De Architectura (a technical treatise), but inaugurated a new one: an illustrated compared history of architecture, from the ancients to contemporary architecture. Second, the history of architecture focused on the ancients (including what could be considered as a sort of pre-archaeological interest for ancient civilisations, like Babylonians, Egyptians, Phoenicians), on extra-European contemporary architecture and on Baroque, but did not cover either Middle Age or Renaissance, pointing to a direct continuity between baroque architecture and old civilizations. Third, the baroque age was uniquely represented by the main works of the author, Johann Bernhard Fischer von Erlach. Fourth, a large part of the Entwurff was devoted to the architecture of Asia, including not only from Byzantium and the Ottomans (well known in Vienna, which had been recently under siege of the Ottomans and had permanent contacts with them within the Habsburg empire, in particular Hungary), but also India, China, Indochina and Japan.

Fig. 3) Stonehenge (represented as an old Roman ruin),
in Plate XIV of Book 2 of the Entwurff

At the end of the nineteenth century Fischer von Erlach was rediscovered – as an architect and an art historian – by the Viennese art historian Arlbert Ilg. Ilg worked at his publication more than twenty years. He wanted to publish two volumes: one on the father (Johan Bernhard) and one on the son (Joseph Emanuel). He managed to publish only the first one in 1895, one year before his death in 1896. The work totals 800 pages and more. One original is owned by this library. Pages 522 to 581 are devoted to the Entwurff. 

About the Entwurff, Ilg wrote: „This work indeed merits having one of the very highest places in the history of the kunsthistorische Literatur (literature on history of art sources); its intrinsic importance – which qualifies it as funding block of the entire modern treatment of that scientific object [Kunstliteratur] – has not been discussed sufficiently. If Johann Bernahrd Fischer von Erlach had not also been the genial, god-gifted artist who has realised such a large number of extraordinary building, he should have been given nevertheless the highest consideration because he conceived this work (…)“ (p.522). It should be remembered that Ilg was the editor of the second series of the Quellenschriften für Kunstgeschichte und Kunsttechnik des Mittelalters und der Neuzeit (Written sources for history of art and art technique of the Middle Age and modern era).

It should be recalled that Ilg had already studied in his youth non-conventional pieces of literature of art, like the Hypnertomachia Poliphili of Francesco Colonna. “Ueber den kunsthistorischen Werth der `Hypnertomachia Poliphili” (On the value for history of art of the Hypnerotomachia Poliphili) of had been the title of his doctor dissemination, published in 1872.

Turning back to von Erlach, Ilg’s merit has been to design, with an enormous variety of references, the overall environment within which Fischer von Erlach acted in Italy and Austria, discovering that he was at the centre of an enormous network of acquaintances and frequentations, cultural influences and diplomatic relations, which helped him to bring together in Vienna the materials for the Entwurff, during several years (See Annex II, for a list of previous or contemporary sources consulted by Fischer von Erlach and identified by Ilg). 

Ilg saw in Fischer von Erlach the first art historian ever, not only in Austria-Hungary. This judgment opened a multi-generational discussion among art-historians in Vienna upon the real intentions of the artist and the assessment of his publication. As the Entwurff is substantially a visual work, with a limited accompanying text, the room for interpretation was large. Did Fischer von Erlach really intend to create a new (modern) genre of Kunstliteratur, based on compared study of architecture, and a global illustrated review of styles, as suggested by Ilg? Or did he rather want to produce an eccentric work, a sort of architectonic Wunderkammer (cabinet of curiosities), which had mainly the purpose of showing antiquities (including from very far countries), to interested public, perhaps in line with the visual and rhetorical traditions of baroque? Alternative interpretations, like by Sedlmayr (1956) were both political (he wanted to display the Kaiserstil, the imperial style at the court in Vienna both as heir of all great empires of the past – a form of translation imperii, see also Polleroß (2004) - to make of Vienna the new Rome- , as well as a peer to the great empires in Asia) or personal (he wanted to magnify his own work with Charles VI, the new emperor, making of it the summa of all styles of the past and the present).

Fig. 4) Karlskirche
Plate XII of Book IV of the Entwurff

The Vienna School of History of Art seems to have been characterised, as noted in other posts, by contrasting views and deep personal animosities. While Ilg considered his 20-year work on Fischer von Erlach as the most important output of his career of art historian, Julius von Schlosser wrote about it: in his Kunsliteratur: “The collection of sources about the biography of Johann Bernhard Fischer von Erlach (and it is no more than that) was not published until 1895, just before he died.” The Entwurff is described as a beautiful curiosum (using in positive sense the term merkwürdig, which in current German has a prevailing negative spin) without any link to the rest of the art literature of his time: “Completely isolated, remains as a special curiosity the magnificent work made by the famous Viennese architect J.B. Fischer von Erlach in cooperation with the antiquarian Heraeus, the Entwurff einer historischen Architektur, noteworthy simply because it includes old and new art from Asia (including Far East).” In any case, Fischer von Erlach merited only a few lines.

It should be noted that, while von Schlosser considered perhaps the interest for Asian art as a curiosum, his archenemy in Vienna, the art historian Josef Strzygowski (1862-1941), whom von Schlosser called ‘the Attila of history of art’, devoted his entire life to study the impact of past Asian art (Byzantium, Caucasus, Islamic) on European art, in particular in the field of architecture. Strzygowski and von Schlosser run two Viennese schools of art history in parallel, one against the other, after two cathedrae of History of Art were created, for two rivals. Strzygowski developed a comparative method which was exactly based on contrasting cultural styles, and turning to aesthetic imagination. In general, he came to the conclusion that Western art had been more influenced by Orient and the Gothic than by ancient classical art (something which put him in complete collision with von Schlosser, whose focus was on Renaissance and its links –throughout Middle Age – to Greek and old Roman art). Strzygowski linked part and present, greatly appreciating some aspects of secessionist architecture (like Otto Wagner, the main Austrian architect across the XIX and XX centuries) which he found inspired by Asian motives. In his late years, however, he took positions very close to (even if not completely adhering to) National Socialism, taking the view that it was the task of the Vienna School to free art from any “semitic influence” from Orient.

If von Schlosser devoted only a few lines to the Entwurff on 1924, he did not hesitate however to assign to one of his best pupils, Hans Sedlmayr (1896-1984), the task of compiling the master thesis on Fischer von Erlach. 

This turned to become one of the life’s projects of the art historian, who would specialise on baroque architecture, in the tradition of Alois Riegl, another master of the Vienna School of History of Art. Sedlymayr published three different texts, one in 1925, one in 1932 and one in 1956. He also authored the introduction to a further monograph on our architect by Thomas Zacharias, in 1960. Revised versions of the 1956 monograph by Sedlmayr were published in 1976 and – after his death in 1984, with an important contribution by Giovanna Curcio – in 1996/1997. 

In 1925, Sedlmayr published his Doctoral Thesis (Fischer von Erlach der Ältere, München, R. Piper & Co Verlag). The text could not be more different from the 800 page monograph (almost without any picture) by Ilg: it was a 68 page text, with a rich apparatus of pictures (88 pages). While Ilg builds up a picture of Fischer von Erlach based on an enormous set of different elements of information, Sedlmayr only focuses on formal style elements of his architectures. For instance, Ilg refers to the known Italian contacts of Fischer von Erlach and, while he broadens the spectrum to almost all those of his age, he refers clearly to Bernini, Fontana, Kircher and Schor). To the contrary, simply on the basis of a formal style analysis, Sedlmayr makes of Fischer von Erlach a follower of Borromini, and even the most important representative of the ‘stile borrominesco’ north of the Alps. This was a pure axiomatic conclusion: Borromini had already committed suicide in 1667, before von Erlach had reached Rome at 15 years. 

The Entwurff does not fit (as explained above) with the attempt to design a direct reference between Fischer von Erlach, and Italian Renaissance and Baroque. Therefore Sedlmayr simply avoids – in the 1925 text - discussing the Entwurff. It includes an annex of only two pages on it, explaining that the Entwurff is used in his work only to document the late roman (Spätantike) roots of Fischer von Erlach and his works. Nothing is said concerning the nature of the Entwurff, and its sections on old and modern non-European cultures are not mentioned. This recalls the influence of his master thesis professor, Julius von Schlosser, and of the initial pages of his Kunstliteratur, differentiating between proper history of art sources – contributing to the build-up of a theory of art history – and simple records, which can be used only as a source of information. The Entwurff is here treated as belonging to the second category.

Sedlmayr himself must have not been fully convinced of the 1925 work. In 1932 he publishes a 32 page annex, and finally in 1956 a new 400-page volume, also owned by this library. Everything changes. First, while the focus of the 1925 Doctoral Thesis is on tracing Italian roots, the 1956 monograph makes of von Erlach the inventor of German (and not simply Austrian) baroque architecture, in a direct liaison with developments in Berlin, London and Stockholm. This renovated Baroque north of the Alps is seen as a ‘middle ground’ style between the Italian model (which has lost energy, in the meantime) and French classicism (the style of the leading continental country in continental Europe, against which the catholic Austria tightens an alliance with the Protestant Holland and Britain). In this sense, Sedlmayr disagrees with Ilg’s reading of Baroque as national Austrian style. The Preface also establishes a link between the Entwurff and Dürer’s studies on proportion, speaking of re-birth of German art. Only twenty pages are reserved to the Italian time (against around one hundred in Ilg’s seminal work). Second, the Italian routes are now with Bernini, not anymore with Borromini, with whom no basis (Grundlage) for stylistic contact exists anymore. Sedlmayer identifies nine reasons to explain why Fischer von Erlach (and not Cortona) was the real Bernini’s heir: thereby, he is the last European artist who was educated according to the principle of ‘universal art’ of the Renaissance, whose heritage now moves north of the Alps. Third, Ilg’s appraisal of the Entwurff as first monumental history of architecture in pictures is renovated and reinforced. The Entwurff is now described as “Theatrum Architecturae Mundi” (Theater of World Architecture) and superior to Carlo Fontana's “Tempio Vaticano”. As a source of inspiration, Sedlmayr mentions the treatise by Christopher Wren “Of Architecture; and Observations on Antique Temples”, which also included references to Phoenician, Hebrew and Assirian architectonic orders, as well as the unfinished “Istoria universale provata con monumenti e figurata con simboli degli antichi” (Universal history evidenced by monuments and illustrates with antique symbols) by Francesco Bianchini.

The monograph was re-edited in 1976. After Sedlmayer’s death in 1984, an Italian translation edited by Giovanna Curcio contains a preface by her, entitled .”Pregiudizio storico e ricerca” (Historical prejudice and research). The Italian scholar writes that some aspects of Sedlmayr's work – and notably those trying to distance Fischer von Erlach from Italian architecture and art in general – are delirious (‘delirante’). It is worth saying that the Italian edition of 1996 has become the basis for a new German Curcio-Sedlmayr version in 1997.

Whatever has been the differentiated assessment of Fischer von Erlach by Sedlymayr, he has also not been completely immune from his contagion. Fischer von Erlach composed a sort of comparative architectural analysis. Hans Sedlymayr developed on his part a comparative methodology on architecture, which he used to make judgment on global philosophy of art issues. He developed in his main work of 1948 a theory on the "Loss of the Center: the Fine Arts of the Nineteenth and Twentieth Centuries as Symptom and Symbol of the Times". Deeply conservative (he had joined the nazi party in Austria in the early 1930s, at a stage when it was still far from certain that they would gain power in Germany), he came to the conclusion that modern art had lost equilibrium and brought people far from humanistic balance.

Fig. 5) Triumph arch in Vienna
in Plate I of Book 4 of the Entwurff

One generation after Sedlmayr, a further Viennese scholar of history of art to be mentioned is Hans Aurenhammer, who authored a monograph on Johann Bernhard Fischer von Erlach in 1957- in occasion of an exhibition in Salzburg – and then a second monograph on him in 1973, for Harvard University Press. Echoing Sedlmayr, Aurenhammer (which is also known to have studied the involvement of the Vienna School of History of Art with power during Nazism) focuses on the use which the architect made of some specific style motives (like the oval halls and the twin columns) which are to be found in several plates of the Entwurff. These ‘classical quotations’ both originate from Bernini’s Roman baroque and Bellori’s French classicism. More than as a history of art, the Entwurff is therefore seen as a sort of visual repertoire of thematic style motives – some from Italy and some from the artist’s innovative style – at the disposal of the architect.

The following generation of Viennese art historians working on Fischer von Erlach is represented by Friedrich Polleroß, who published a series of numerous articles on him and edited in 1995 a volume on “Fischer von Erlach und die Wiener Barocktradition”. He studied the Entwurff as a rhetorical, ‘emblematic exercise’, whose aim is first of all “to delight the reader, rather than to teach him”, based upon the baroque idea of concettismo. 

Also outside Vienna contemporaneous art historians studied the Entwurff less and less as a manual of history of architecture, and more and more in terms of a pure rhetoric exercise, also in relation to the idea of baroque architecture as a form of theatre. See the recent writing of Esther Gordon Dotson, the New York art historian who recently passed away still very active at 91 years.

Summing up: Vienna has been a meeting point between East and West, North and South. Johann Bernhard Fischer von Erlach reflected this feature, by inventing in 1712 a comparative history of architecture which, since Ilg’s re-discovery, continued to inspire the Vienna School of History of Art in all its (very diverse and often conflicting) expressions. Some members of the Vienna School of Art devoted great attention to the Entwurff, while others ignored it. Most recently, the attention of art historians seems to be on different aspects, linked to the use of architecture as a rhetorical tool.

Naples (between Rome and Vienna)

Johann Bernhard Fischer was resident in Italy for around 15 years, between beginning of the 1670s and 1686. Uncertainties exist about many precise aspects of his biography. When he arrived, he was around 15 years old. He was active, working as a sculptor, among other for the studios of Johann Paul Schor (a Tyrolean baroque artist called in Rome as Giovanni Paolo Tedesco). Schor was supporting as a decorator Bernini’s architectural work. In a letter quoted by Polleroß, the young Fischer is wrongly quoted as having been active in Bernini’s atelier for 16 years. (Polleroß, 2004). Most art historians however consider as absolutely obvious that Johann Bernhard Fischer had personal contacts with Bernini and several other important Italian artists, like Carlo Fontana, with whom he also co-operated. 

In Rom Johann Bernhard Fischer was also in contact with Giovanni Pietro Bellori and – through him – with the environment of Christina of Sweden and the Academy of San Luca. This was a different circle than the one of Bernini: Bellori was more interested in classicism, inspired from Renaissance rather than Baroque. It was in Bellori’s circles that Johann Bernhard Fischer started to develop interest in antiquities. Some of Bellori’s publications (as well as copied he took from some Bellori’s medals) served as a source of inspiration for the Entwurff (Neville). 

In the second part of his Italian stay, Johann Bernhard Fischer moved to Naples, where he remained between 1683-1684 and 1688. Naples was a flourishing, expanding and culturally boiling metropolis in those times. It had become one of the capitals of printing in Europe. Interestingly, when the Entwurff's manuscript was delivered to the Emperor (in 1712), Naples was since five years under Habsburg control. 

Ilg considers that experience in Naples as crucial to understand the genesis of the Entwurff. “It is an interesting phenomenon that, in the course of the XVII. Century exactly in Naples, where Fischer passed a long time, an active interest developed for antiquity, not only among artists, scholars and connoisseurs, but even within authorities. This included the scientific study of ancient art as well as its use to aims referring to contemporaneous art activity.“ (p.530). It should be perhaps noted that, fifty years after, Winckelmann felt attracted by the same environment in Naples. 

In Naples, Johann Bernhard Fischer followed - together with Philipp Schor (1646–1701) - Gaspar Méndez de Haro y Guzmán (called the Marchese del Carpio), first ambassador of Spain in Rome and then viceroy of Spain in Naples. The Marchese was perhaps a dissolute individual, but a first class administrator: the historian Giuseppe Galasso devoted to him a chapter entitled “Il nuovo ordine”(the new order). Under his 4 years tenure, lasting until his death, a monetary reform was realised and crime severely repressed. He was also a famous collector of art. His collection included 1,800 pieces (completely dispersed today), of which a catalogue however exists. He was, among others, the maecenas of Luca Giordano. 

Alba Cappellieri has published a set of articles on the activity of Philipp Schor and Johann Bernhard Fischer in Naples. There were two activities in which they seemed to be involved. The first one was the build-up of the Zecca Reale (the Royal Mint), necessary to produce the new silver currency which the Marchese del Carpio introduced; there are documentary probes that Johann Bernhard Fischer was at least active as a sculptor there. The second one was the organisation of baroque feasts. For instance, on 25 August 1685, Fischer and Schor organised a baroque feast entitled “Teatro del Mare”, in honour of Maria Ludovica di Borbone. One year later, on 17 September 1686, they organised the celebrations because of the capture of Buda from the Ottomans. 

The activity of Johann Bernhard Fischer as architect in Naples was therefore mainly concentrated on the build-up of provisional architectures, theatre scenes, special effects with water and lights, and more generally the “simulation” of reality. Those activities – Ms. Cappellieri explains – had been prohibited in Rome by Pope Innocent XI (1676-1689), and Naples had become the capital of ephemeral arts (it is also the time of the Scarlattis in Naples Opera; the San Carlo Theatre – the eldest still operating – was created a few years later, in 1737). Capellieri finds evidence of a strong triangular relationship between Rome, Naples and Vienna (see also Bologna; Borsi; and Garms). 

Johann Bernhard Fischer’s activity in Naples gave him the economic basis to return to Vienna and start there an activity as sculptor and later on architect on a solid economic basis (he will acquire in 1696 the noble title ‘von Erlach’). 

The Naples must have been also good, after all: back in Austria, Fischer von Erlach became immediately one of the reference architects of the country. Already in 1688 – in the first months - he developed a first plan for the Schönbrunn Palace, which he eventually implemented in 1696. In the subsequent decade, he contributed to the restyling of Salzburg, making of it one of the European capital of baroque. In 1715, he started the construction of the Karlskirche (fg. 4) in Vienna, combining the inspiration to byzantine (Hagia Sophia) and old roman (Trajan’s Columns). This was the essence of the Kaiserstil in Vienna, depicting the capital of the Habsburg Empire as the new Rome (Mutschlechner).

Fig. 6) Bernardo Bellotto

The Schönbrunn Palace, 1758

Moving across borders is like importing and exporting ideas, in an ideal balance of payments of architectural talents. What imports and exports of ideas were linked to our architect?

Seen from the north, Austria exported to Italy the perhaps not yet adolescent Johann Bernhard Fischer (and probably many others) in the 1670s. He learned the profession at a sort of ‘foreign branch’ of Austrian art, the Schors’ studio in Rome. A few decades later, Austria re-imported Fischer von Erlach as a well-prepared artist, ready to establish a new style at the service of the Emperor. In between, Vienna had resisted in 1683 the second siege of the Ottomans, and much had to be reconstructed or celebrated. From the Austrian side, this had been – all in all – a clear gain.

Seen from south, the invention of baroque and the solid heritage of classicism made of Italy a magnet for the best minds from regions beyond the Alps. At the same time, Rome and Naples were not only exporting styles, ideas, formats and language (Valeriani). Italy also exported architects and treatises on architecture to Vienna. One case is Andrea Pozzo, who was both active as architect in Vienna (at the request of Fischer von Erlach) and spread there and around the world his treatise entitles “Prospettiva de’ pittori e architetti” (Prospective of painters and architects). The intense ‘traffic’ of ideas and propositions caused by the mutual free circulation of art treatises also implied, a few years later, an Austrian influence over Italy, when Gian Battista Piranesi used the Entwurff as a source of inspiration (Ek; Marletta; Neville, Wittkower). All in all, this was also a clear gain. 

Therefore, as economists tell today, we had a “win-win” situation. 

Stockholm (and Northern Europe: London and Petersburg)

Besides the frequentation of circles close to Christina of Sweden in Rome (there is no direct prove of a real acquaintance between them), the Swedish connections of Fischer von Erlach were represented by Carl Gustav Heraeus, the architect Nicodemus Tessin the Younger (1654 – 1728) and his son Carl Gustaf Tessin (1695 – 1770). 

Heraeus has been a long-life friend and supporter of Fischer von Erlach (and of his son). He was an antiquarian and – as from 1710 – inspector of the medals and antiquities of the Habsburg family. Among others, he had regular contacts with Leibniz (with whom he exchanged an epistolary). In his quality of iconographer, he contributed to Fischer von Erlach’s activity as architect (for instance, in the Karlskirche). He wrote very hastily the text of the Entwurff (the title page of the manuscript version credited him as author) in 1712, most probably in order to make sure Fischer von Erlach and Heraeus could make his case with the new Emperor Charles VI, and retain their posts at the Vienna Court. (Neville) At the end of his life he made wrong speculations on metals and apparently did not only ruin himself, but also created damage to the patrimony of medals and antiquities of the Emperor. Nevertheless, the Emperor (instead of throwing Heraeus into prison) provided him with a small pension to avoid he would finish his days under a bridge.

Nicodemus Tessin the Younger was a well-known architect (the author of the Royal Palace of Stockholm). He met Fischer von Erlach first in Rom (1687-1988), where they were both active in the circles surrounding Bernini and Fontana, and again in Vienna. The son, Carl Gustaf Tessin was a collector and connoisseur of art, and later on an important politician. He visited Vienna, where Fischer von Erlach and Heraeus showed him the town as well as the original manuscript of the Entwurf, in 1718.

A manuscript of the Entwurff reached the Tessins in Stockholm in 1720, one year before publication of the princeps. The Tessins were not only collectors of books, engraves and graphic materials. Swedish art historians dispute whether Tessin the Younger (DaCosta) or Carl Gustaf (Bjurström) was the first art historian of Sweden. What is certain is that they both had theoretical interests. The father – Tessin the Younger – finalised a manuscript on 1717, entitled “Traictè dela decoration interieure” (Treatise on Interior Decoration), recently published by the Stockholm’s Nationalmuseum. He also planned an illustrated history of architecture, which was never finalised. The son, Carl Gustav, left us 29 books of memories, also containing reference to art. A selection of them was published in 1915. 

Tessin the Younger – who was the most famous Swedish architect of his time – had a correspondence with Peter the Great and turned to the Entwurff as a source of inspiration for a project of a church he presented to the Russian czar for Petersburg, which did not materialise. 

Art historians have different views on whether Fischer von Erlach visited or not London in 1704. Even those confirming the visit to Great Britain, do not agree on whether he met here with the architect Christopher Wren, the author of the St. Paul’s Cathedral. The latter must have nevertheless known the Entwurff, which may have been a source of inspiration for him (Neville).

Johann Bernhard Fischer von Erlach: the equivalent of a 'frequent flyer'? 

Today, people fly. In the early Eighteenth Century, they could not: nevertheless, they spread new ideas and organised cultural interdependence through the spreading of books. Airports linking people did not exist. Nevertheless, solid bounds could be created.

Johann Bernhard Fischer von Erlach promoted cultural interdependence in two ways. First, through his biography: fifteen years in Italy (of which probably ten in Rome and five in Naples) made of him a propagator of Italian architecture in Vienna and around Europe, also thanks to the solid contacts he had with Sweden through his acquaintances. He also attracted to Vienna other Italian artists (like Pozzo). Second, through his Entwurff, including in it the art pieces of very far civilisations, and permitting his readers to compare them with elder civilisations, within and outside Europe.

He was – I would say – the equivalent of a frequent flyer today, a commuter between Naples and Stockholm via Vienna. And it is well known that – for many of these commuters today, including me – the most important thing in an airport is the quality of the passenger lounge.

Looking at pictures of Capodichino, Arlanda and Schwechat, it is clear that Baroque has not yet left us. Johann Bernhard would appreciate it.

Capodichino (Airport of Naples)

Arlanda (Airport of Stockholm)

Schwechat (Airport of Vienna)

Sources

Aurenhammer, Hans - Johann Bernhard Fischer von Erlach, Harvard University Press, 1973, pp 193

Bologna, Ferdinando – Solimena e gli altri, durante il viceregno austriaco, in “Settecento Napoletano. Sulle ali dell’aquila imperiale, 1707-1734, Electa, Napoli, 1995. It is a catalogue of an exhibition held in Naples and Vienna.

Borsi, Franco - Bernini e l’Europa, in “Il Barocco romano e l'Europa (Centri e periferie del Barocco)”, Rom, Istituto poligrafico e Zecca dello Stato, Libreria dello Stato, 1992

Bjurström, Per – Carl Gustaf Tessin och Konsten, Rabén & Sjögren, 1970

Buscioni, Maria Cristina - Matrici berniniane nell'opera di Johann Bernhard Fischer von Erlach, in Gian Lorenzo Bernini Architetto e l’architettura europea del Sei-Settecento, atti del Convegno del 1981, a cura di G. Spahnoli, M. fagiolo. Roma, 1984, vol. II, pp. 661-672

Cappellieri, Alba – Filippo e Cristoforo Schor, “Regi Architetti e Ingegneri” alla corte di Napoli, Capolavori in festa : effimero barocco a Largo di Palazzo (1683 - 1759) / Soprintendenza per i Beni Ambientali e Architettonici di Napoli e Provincia , Napoli : Electa Napoli, 1997.

Cappellieri, Alba - Filippo Schor e Fischer von Erlach a Napoli : nuovi contributi per la diffusione del barocco romano nel viceregno del Marchese del Carpio, in: Johann Paul Schor und die internationale Sprache des Barock : un regista del gran teatro del barocco / hrsg. von Christina Strunck.( Römische Studien der Bibliotheca Hertziana) – München : Hirmer, 2008.

Cappellieri, Alba- Fischer von Erlach scultore per la Regia Zecca di Napoli: nuovi contributi per la diffusione del Barocco romano nel viceregno del marchese del Carpio, in Architettura nella stories. Scritti in onore di Alfonso Gambardella, a cura di Gaetana Cantone, Laura Marcucci, Elena Manzo, Skira, Ginevra-Milano, 2007, Vol. I, pp.269-278.

Curcio, Giovanna – Premessa – “Johann Bernhard Fischer von Erlach” di Hans Seydlmayr: pregiudizio storico e ricerca, in H. Seydlmayr, Johann Bernhard Fischer von Erlach architetto, a cura di G. Curcio, Milano, Electa, 1996, pp. 7-13

DaCosta, Thomas - Nicodemus Tessin the Younger – Sweden's First Art Historian, in Konsthistorisk Tidskrift/Journal of Art History, Volume 72, Issue 1-2, June 2003, pages 16-22

Ek, Fatma İpek, The Archaeological Sublime: History and Architecture in Piranesi’s Drawings, Izmir, 2006

Galasso, Giuseppe - Napoli spagnola dopo Masaniello, Naples, Edizioni Scientifiche Italiane, 1972

Garms, Jörg – Imperatore, chiesa, aristocrazia, architettura. Vienna e Napoli: confronti e connessioni, in “Settecento Napoletano. Sulle ali dell’aquila imperiale, 1707-1734, Electa, Napoli, 1995. It is a catalogue of an exhibition held in Naples and Vienna.

Gordon Dotson, Esther and Ashton, Mark Richard - J. B. Fischer von Erlach, Architecture as Theater in the Baroque Era, Yale University Press, 2012

Hager, Helmut - Carlo Fontana e i suoi allievi: il caso di Johann Bernhard Fischer von Erlach, in Studi sui Fontana, una dinastia di architetti ticinesi a Roma tra Manierismo e Barocco, a cura di M. Fagiolo, G. Bonaccorso, Roma, 2008, pp.237-256

Ilg, Albert – Die Fischer von Erlach – I – Leben und Werke Joh. Bernh. Fischer’s s von Erlach, Verlag von Carl Konegen, 1895, pp. 823

Iversen, Erik – Fischer von Erlach as Historian of Architecture, in The Burlington Magazine, Vol. 100, No. 166 (September 1958), pp. 323-325.

Kunoth, George - Die historische Architektur Fischers von Erlach. Bonner Beiträge zur Kunstwissenschaft, L. Schwann Verlag, 1956

Marletta, Angelo – L’arte del contemperare. Storia e progetto nell’opera Il Campo Marzio dell’antica Roma di Giovanni Battista Piranesi, Scuola Nazionale di Dottorato in Scienze della Rappresentazione e del Rilievo, Catania, 2011

Mutschlechner, Martin - The new Rome: Fischer von Erlach and the 'Kaiserstil', http://www.habsburger.net/en/chapter/new-rome-fischer-von-erlach-and-kaiserstil?language=en

Nationalmuseum - Nicodemus Tessin the Younger – Sources, Works, Collections,

See: http://www.nationalmuseum.se/sv/English-startpage/Research/Research-at-the-Museum/Current-Research-Projects/Nicodemus-Tessin-the-Younger--Sources-Works-Collections--/

Neville, Kristoffer – The Early Reception of Fischer von Erlach’s Entwurff einer historischen Architectur, in Journal of the Society of Architectural Historians, Vol. 66, No 2 (June 2007), pp. 160-175

Polleroß, Friedrich B. - Architecture and rhetoric in the work of Johann Bernhard Fischer on Erlach. In: Reinhart, Max (Hrsg.): Infinite boundaries: order, disorder and reorder in early modern German culture, in: Sixteenth Century Essays and Studies; Vol. 40, Kirksville, Missouri 1998, pp. 121-146

Polleroß, Friedrich B. - Docent et delectant. Architektur und Rhetorik am Beispiel von Johann Bernhard Fischer von Erlach, in: Wiener Jahrbuch für Kunstgeschichte, 49 (1996), 165-206 + 335-350.

Polleroß, Friedrich B. (Hrsg.) - Fischer von Erlach und die Wiener Barocktradition. Wien 1995

Polleroß, Friedrich B. -Kunstgeschichte oder Architekturgeschichte. Ergänzende Bemerkungen zur Forschungslage der Wiener Barockarchitektur. In: Polleroß, Friedrich B. (Hrsg.): Fischer von Erlach und die Wiener Barocktradition. Wien 1995, pp. 59-128

Polleroß, Friedrich B. - Von redenden Steinen und künstlich-erfundenen Architekturen. Oder: Johann Bernhard Fischer von Erlach und die Wurzeln seiner conceptus imaginatio. In: Römische Historische Mitteilungen, 49, 2007, pp. 319-396.

Polleroß, Friedrich B. – Von Rom nach Wien: Johann Bernhard Fischer von Erlach (1656-1723), in Checa Cremadas, Fernando (Hrsg): Arte barroco e ideal clásico, Madrid 2004, pp. 209-230.

Powell, Nicholas – J. B. Fischer Von Erlach by Hans Aurenhammer, in Burlington Magazine, Vol.116, No, 859, pp. 627-628,

Schlosser, Julius von - Die Kunstliteratur: ein Handbuch zur Quellenkunde der neueren Kunstgeschichte, Kunstverlag Anton Schroll & Co, Wien, 1924

Sedlmayr, Hans - Fischer von Erlach der Ältere, München, Piper, 1925

Sedlmayr, Hans - Johann Bernhard Fischer von Erlach, 1656-1723, Wien, Herold, 1956, p. 347 (second edition in 1976)

Sedlmayr, Hans - Johann Bernhard Fischer von Erlach, edited by Giovanna Curcio, München, DVA, 1997

Sedlmayr, Hans - Johann Bernhard Físcher von Erlach architetto, edited and translated by Giovanna Curcio, Milan, Art Books International, 1996

Sedlmayr, Hans - Zum Œuvre Fischers von Erlach, Abschn. 2 : zu den Werken, Zürich [u.a.] : Amalthea, 1932.

Tessin, Carl Gustafr, Dagbok 1748-1752, edited by Sigrid Leijonhufvud, Stockholm, P. A. Norstedt, Limited Edition (1915)

Tessin the younger, Nicodemus. - Traictè dela decoration interieure, Nationalmuseum : The Swedish Museum of Architecture, 2002 - 293 pages

Valeriani, Alessandro – Alcune riflessioni sull’influenza dell’architettura romana del Seicento in Europa centrale, in Rivista dell'istituto nazionale d'archeologia e storia dell'arte (XXX/XXXI, 62/63), 2007/2008, Fabrizio Serra Editore, 2008

Wittkower Rudolf - “Piranesi and Eighteenth Century Egyptomania,” in: Studies in the Italian Baroque, London, Thames and Hudson, 1975, pp. 259-73

Zacharias. Thomas - Joseph Emanuel Fischer von Erlach. Mit einer Einleitung von Hans Sedlmayr. Wien, München, Herold, 1960, p. 267.

ANNEX I List of the Plates in the Entwurff

(from the 1725 edition digitalised by the Heidelber University)

http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0001?sid=6eec80ab307324d1f7f7e52187000120

Book 1 – On some buildings of the old Jews, Egyptians, Syrians, Persians and Greeks

1-2	Salomon’s temple http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0010/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0011/image?sid=6eec80ab307324d1f7f7e52187000120
3	Babylon, its superb buildings and the first world wonder (the tower) http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0015/image?sid=6eec80ab307324d1f7f7e52187000120
4	The second world wonder, the Egyptian pyramids http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0018/image?sid=6eec80ab307324d1f7f7e52187000120
5	The third world wonder, the statue of Olympic Jupiter http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0021/image?sid=6eec80ab307324d1f7f7e52187000120
6	The fourth world wonder, the grab of queen Artemisia in Halicarnassus http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0024/image?sid=6eec80ab307324d1f7f7e52187000120
7	The fifth world wonder, the temple of Diana in Ephesos http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0026/image?sid=6eec80ab307324d1f7f7e52187000120
8	The sixth world wonder, the Colossus of Rhodes http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0031/image?sid=6eec80ab307324d1f7f7e52187000120
9	The seventh world wonder, Ptolomeus’ lighthouse in Alexandria http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0029/image?sid=6eec80ab307324d1f7f7e52187000120
10	The Ninive’s temple http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0033/image?sid=6eec80ab307324d1f7f7e52187000120
11	The two graves of the Egyptian king Moeris and his bride http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0035/image?sid=6eec80ab307324d1f7f7e52187000120
12	The great waterfalls of the Nile http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0037/image?sid=6eec80ab307324d1f7f7e52187000120
13	Pyramid in Thebe http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0039/image?sid=6eec80ab307324d1f7f7e52187000120
14	Pyramid in Heliopolis http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0040/image?sid=6eec80ab307324d1f7f7e52187000120
15	Graves close to Cairo http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0041/image?sid=6eec80ab307324d1f7f7e52187000120
16	Entries of Egyptian rupestrian graves http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0042/image?sid=6eec80ab307324d1f7f7e52187000120
17	Crete’s labyrinth; the temple to Venus in Paphos, Cyprus http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0042/image?sid=6eec80ab307324d1f7f7e52187000120
18	Mount Athos in the form of a giant http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0045/image?sid=6eec80ab307324d1f7f7e52187000120
19	Bacchus’s and Minerva’s temples http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0047/image?sid=6eec80ab307324d1f7f7e52187000120
20	The obelisk of  Marc Aurelius http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0050/image?sid=6eec80ab307324d1f7f7e52187000120

Book 2 – On some Unknown Old Roman buildings

1	Tarragona’s amphitheatre http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0052/image?sid=6eec80ab307324d1f7f7e52187000120
2	The aqueduct of Cartago http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0053/image?sid=6eec80ab307324d1f7f7e52187000120
3	Augustus’ bridge in Rimini http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0054/image?sid=6eec80ab307324d1f7f7e52187000120
4	Nero’s Domus aurea http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0056/image?sid=6eec80ab307324d1f7f7e52187000120
5	Triumph arcs in Orange (Marius), in Germany (Domitian), and in Rome (Drusus and Septimius Severus) http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0058/image?sid=6eec80ab307324d1f7f7e52187000120
6	Domitian’s Naumachia http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0059/image?sid=6eec80ab307324d1f7f7e52187000120
7	Trajan’s Forum http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0061/image?sid=6eec80ab307324d1f7f7e52187000120
8	Adrian’s  mausoleum http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0064/image?sid=6eec80ab307324d1f7f7e52187000120
9	Diocletian’s Terms in Rome http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0066/image?sid=6eec80ab307324d1f7f7e52187000120
10-11	Diocletian’s Palace in Spalato/Split http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0067/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0070/image?sid=6eec80ab307324d1f7f7e52187000120
12	Four Ancient Roman temples: http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0071/image?sid=6eec80ab307324d1f7f7e52187000120
13	Ruins in Palmyra http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0072/image?sid=6eec80ab307324d1f7f7e52187000120
14	Stonehenge http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0074/image?sid=6eec80ab307324d1f7f7e52187000120
15	Borromeo’s Island in Lago Maggiore http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0075/image?sid=6eec80ab307324d1f7f7e52187000120

Book 3 – On some buildings of Arabs, Turks, as well as constructions from new Persia, Indochina, China and Japan  

1	Imperial baths in Buda http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0077/image?sid=6eec80ab307324d1f7f7e52187000120
2	Mosques in Bursa and in Pest http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0078/image?sid=6eec80ab307324d1f7f7e52187000120
3	Achmed ’s grand mosque in Istanbul http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0079/image?sid=6eec80ab307324d1f7f7e52187000120
4	Suleiman’s mosque in Istanbul http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0080/image?sid=6eec80ab307324d1f7f7e52187000120
5	The Cisterna Basilica in Istanbul http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0081/image?sid=6eec80ab307324d1f7f7e52187000120
6	St. Sophia in Istanbul http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0082/image?sid=6eec80ab307324d1f7f7e52187000120
7	Mecca http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0083/image?sid=6eec80ab307324d1f7f7e52187000120
8	Medina http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0083/image?sid=6eec80ab307324d1f7f7e52187000120
9	Isfahan http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0086/image?sid=6eec80ab307324d1f7f7e52187000120
10	The palace of the Siamese king http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0087/image?sid=6eec80ab307324d1f7f7e52187000120
11	Peking’s imperial court http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0088/image?sid=6eec80ab307324d1f7f7e52187000120
12	Nanking’s pagoda        http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0089/image?sid=6eec80ab307324d1f7f7e52187000120
13	The great bridge between Focheu and Nantai http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0090/image?sid=6eec80ab307324d1f7f7e52187000120
14	The bridges of Cientao and Loyang http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0091/image?sid=6eec80ab307324d1f7f7e52187000120
15	Triumph arcs, pagodas and bridges in China           http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0092/image?sid=6eec80ab307324d1f7f7e52187000120

Book 4 – On some buildings of the Author, as well as invented buildings and designs  

1	Triumph arc in Vienna             http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0094/image?sid=6eec80ab307324d1f7f7e52187000120
2-4	Schönbrunn http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0095/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0096/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0097/image?sid=6eec80ab307324d1f7f7e52187000120
5	Prince Eugen’s palace http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0098/image?sid=6eec80ab307324d1f7f7e52187000120
6	Jean Leopold’s palace http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0099/image?sid=6eec80ab307324d1f7f7e52187000120
7	Prince of Trautson’s palace http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0100/image?sid=6eec80ab307324d1f7f7e52187000120
8	Count Venceslav’s Palace in Prague http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0101/image?sid=6eec80ab307324d1f7f7e52187000120
9-11	Liebfrauenkirche in Salzburg http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0102/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0103/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0104/image?sid=6eec80ab307324d1f7f7e52187000120
12-15	Karlskirche in Vienna http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0105/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0106/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0107/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0108/image?sid=6eec80ab307324d1f7f7e52187000120
16	New imperial stables http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0109/image?sid=6eec80ab307324d1f7f7e52187000120
17	House of the Archbishop of Salzburg http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0110/image?sid=6eec80ab307324d1f7f7e52187000120
18	Invented air-based building http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0111/image?sid=6eec80ab307324d1f7f7e52187000120
19	Invented air-based building                                                          http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0112/image?sid=6eec80ab307324d1f7f7e52187000120
20	Invented countryside house with military defence http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0113/image?sid=6eec80ab307324d1f7f7e52187000120
21	Grave of Wratislaz Demitroviz http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0129/thumbs?sid=6eec80ab307324d1f7f7e52187000120#current_page

Different antique vases, Egyptians,  Greeks, Romans, Moderns and some from the Author 

1	Washbowl in Salomon’s temple http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0117/image?sid=6eec80ab307324d1f7f7e52187000120
2-3	Porphyry Egyptian vases http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0118/image?sid=6eec80ab307324d1f7f7e52187000120
4-5	Egyptian vases (including from Roman collections, like Chigi and Bellori) http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0119/image?sid=6eec80ab307324d1f7f7e52187000120 http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0120/image?sid=6eec80ab307324d1f7f7e52187000120
6	Graves of ancient Greeks            http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0121/image?sid=6eec80ab307324d1f7f7e52187000120
7	Sarcophagus from Asia Minor http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0123/image?sid=6eec80ab307324d1f7f7e52187000120
8	Ancient Greek vases                    http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0124/image?sid=6eec80ab307324d1f7f7e52187000120
9	Ancient Roman vases http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0125/image?sid=6eec80ab307324d1f7f7e52187000120
10	Marble ancient Greek vases http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0126/image?sid=6eec80ab307324d1f7f7e52187000120
11	Vases figuring Triton and Galatea         http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0127/image?sid=6eec80ab307324d1f7f7e52187000120
12	Invented vases http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0128/image?sid=6eec80ab307324d1f7f7e52187000120
13	Invented vases http://digi.ub.uni-heidelberg.de/diglit/fischer1725/0129/image?sid=6eec80ab307324d1f7f7e52187000120

ANNEX 2) Some Plates in the Entwurff and their sources according to Albert Ilg 

(from Ilg, pages 536-537)

Salomon’s Temple	R.P. Vilalpandi – Commentary to Prophet Ezechiel (Rome, 1596-1604)
	John Lightfoot, Description of the Temple-Service as it stood in the dayes [sic] of our Saviour, London, 1650
	Doubdan J, Voyage de la Terre-Sainte, fait en 1651, Paris, 1666
The Egyptian Pyramids	N.M. de Thevenot, voyage au Levant, Paris, 1689
	Paul Lucas, voyages du Levant, since 1699
Temple of Diana in Ephesos	Daviler, cours de l’architecture selon les orders de Vignole
	Spon and Wheeler’s Journey Diaries, 1675-1676
Persian Rock Tombs	Gomez Suarez de Figueroa, 1634
	Herbert, Pietro della Valle, Journey to Persia and India, 1614-1626
	Chardin, Cav., Journey to Persia, 1664-1669
Venus Temple in Paphos	Charles Patin, introduction à l’histoire par la connaissance des médailles, 1665
	Jean Tristan, Sieur de Saint-Amante, numismatic, 1656
	Jean Harduin, numismatic, 1646
Bacchus Theatre and Parthenon in Athens	Spon and Wheeler’s Journey Diaries, 1675-1676
Naumachia	Onuphrius Panvini, description urbis Romae
Hadrian’s Mole	Monfaucon, Itiner. Itl.
	Gruter, Inscriptiones
	Pancirollus, de XIV regionibus urbis Romae
Diocletian’s Palace in Spalato/Split	Spon and Wheeler’s Journey Diaries, 1675-1676
Palmyra’s Ruins	Corneille le Bruyn, voyages au Levant, published later in den Haag (1734)
	Lord Halifax, Acted der Englischen Societät, 1695
Stonehenge	Cambden, Britannia, 1586-1600
Siam’s capital	P. Tachard, Siamese Journey Diary