702 - J. THAETER (*1804) after SCHNORR VON CAROLSFELD (*1794), Barbarossa’s entry into Milan, 1842, Steel

J. THAETER (*1804) after SCHNORR VON CAROLSFELD (*1794), Barbarossa’s entry into Milan, 1842, Steel Julius Cäsar Thaeter (1804 Dresden - 1870 Munich) after Julius Schnorr von Carolsfeld (1794 Leipzig - 1872 Dresden): Frederick Barbarossa's entry into Milan, 1842, Steel engraving Technique: Steel engraving on Paper Stamp: At the bottom Blank stamp, Kunstverein in München. Inscription: At the lower part inscribed in the printing plate: "Erfunden von Julius Schnorr, im Saal=Bau zu München als enkaustisches Gemälde ausgeführt und nach dem Carton von Julius Thaeter gestochen / Friedrich Barbarossa's Einzug in Mailand / der Kunstverein in München seinen Mitgliedern für das Jahr 1842. / Gedruckt von Wendelin Wick München". Date: 1842 Description: After Emperor Frederick I "Barbarossa" had been mystified in the Kyffhäuser Saga, he was stylised in 1817 by Friedrich Rückert's famous Barbarossa Saga poem as the identification figure of a national German unity, which also found expression in the visual arts. In 1835, Julius Schnorr von Carolsfeld was commissioned by King Ludwig I of Bavaria to paint the banqueting hall of the Munich Residenz with monumental history paintings and to design one of the antechambers to Ludwig's throne room with a pictorial programme on Barbarossa's reign. In a prominent position next to the door leading to the throne room was the depiction of Barbarossa's entry into Milan, which Schnorr himself described in a letter as "[...] one of the best compositions I have made for this historical cycle[...]". In the chaotic-looking scene, the triumphant Barbarossa rides into Milan, conquered in 1162 after long battles, with the victorious emperor clearly set off by the heroic pose in the centre of the depiction. In the foreground, as on the triumphal arch in the background, the subjugated Milanese are already having to single-handedly demolish the defences and reminders of past victories. In this depiction, however, one looks in vain for the glorified national hero of the Kyffhäuser saga. Rather, in this scene Barbarossa radiates the authority and power of the imperial ruler who unites his empire and subdues rebellious individuals. Carolsfeld based the design of his scenes on the work Geschichte der Hohenstaufen und ihrer Zeit (History of the Hohenstaufens and their Times) by the historian Friedrich von Raumer, published in 1823, but also studied old engravings and views in order to imitate the medieval buildings of the settings as authentically as possible. As a scenic representation, the mural stands out as an ideal image of the Nazarene conception of art, as ecclesiastical and secular rulers appear side by side in harmony, yet religion is superior to the secular princes. This also creates an impressive tension with the depiction of the triumphal entry into Milan. Keywords: Emperor Frederick I; "Barbarossa"; Kyffhäuser Saga; Friedrich Rückert; Barbarossa Saga poem; national German unity; fine arts; Julius Schnorr von Carolsfeld; King Ludwig I; of Bavaria; Munich Residence; history paintings; throne room; Milan; heroic pose; authority; power; imperial ruler; Hohenstaufen; Frederick von Raumer; Nazarene conception of art; ecclesiastical rule; secular rule; arc of tension, 19th century, Romanticism, Military, Italy, Size: Paper: 68,2 cm x 74,3 cm (26,9 x 29,3 in), Plate: 63,6 cm x 63,2 cm (25 x 24,9 in), Depiction: 55,4 cm x 59,0 cm (21,8 x 23,2 in) Condition: Very good condition. At upper margin slight creases (strengthened) outside the image.