Marmorgalleriets ikonografi
Frederiksborg Slot står som et prægtigt mindesmærke over Christian IV’s ønske om at blive set som en europæisk fyrste 다운로드. Et af de væsentligste elementer i denne bestræbelse er Marmorgalleriet, som endnu pryder slottets hovedfløj. Marmorgalleriet blev udsmykket med skulpturer og relieffer med temaer fra antikken hccutils.dll download. Disse udgjorde tilsammen en ikonografisk fremstilling, som kongen kunne spejle sig i. Dette marmorgalleri blev delvist skabt af Amsterdams berømte billedhugger Hendrick de Keyser og er som den eneste skandinaviske konstruktion afbilledet i det berømte værk Architectura Moderna nas 활용 다운로드. Tilsammen udgør alt dette en unik indgang til forståelsen af det kulturhistoriske møde mellem oldtidsfascination og „moderne“ arkitektoniske strømninger på grænsen mellem renæssancen og barokken 다운로드. Men for at forstå netop dette er der et centralt spørgsmål som først må besvares, og som vækker stor uenighed i forskningen: Hvordan så Marmorgalleriet oprindeligt ud, og hvordan relaterer det sig til beskrivelsen i Architectura Moderna 유튜브 프리 다운로드? Denne artikel vil behandle netop denne problemstilling.
English summary
This article is based upon an ongoing research project at the Museum of National History situated at Frederiksborg Castle. The aim of this project is the study of the Marble Gallery (build 1619-1621), which is a part of the castle’s inner courtyard, and mainly to identify the original appearance of it.
The focus of this article is the statues and relief, which are a part of the gal- lery’s decor, and was made to look like elements from ancient Rome. There are 12 smaller statues placed in two rows of niches, which are – based upon my own and earlier research – structured as follows
Mercury - Mars - Venus - Apollo - Diana - Ceres - Hercules - Pluto - Proserpina - Neptune - Amphitrite - Omphale
On top of the seven arches of the gallery were seven gods, which according to the famous Architectura Moderna (1631) where supposed to be the planetary gods. This article has, however shown firstly the problematic origin of this book and furthermore by the study of the Danish source material it seems evident that no such iconography was implemented.
The empirical studies suggest that at least seven of the six statues can be iden- tified, as follows
Minerva - Jupiter - Juno - Bacchus - Saturn - Ops - ?
The last statue is only mentioned as an unknown heathen god in the written ma- terial, and on almost every painting it is in a blind spot. Based upon other collec- tions of ancient gods from the late northern European renaissance the god Vulcan might be a possibility, but there is no evidence to either support or deny this.
