Forlorad fasadutsmyckning på Ulriksdal och Venngarn
Titel:
Forlorad fasadutsmyckning på Ulriksdal och Venngarn
Auteur:
Rosell, Ingrid
Verschenen in:
Konsthistorisk tidskrift
Paginering:
Jaargang 58 (1989) nr. 4 pagina's 151-156
Jaar:
1989
Inhoud:
The 17th century facade decorations on the palaces of Ulriksdal (Jakobsdal) and Venngarn, reproduced in Svecia Antiqua et Hodierna have mainly perished (figs. 1 & 2). The extensive use of sculptures, decoration in stone and wood, and painted facades gave both palaces a festive and vivacious appearance. The facade on the entrance side of the Jakobsdal palace was painted in sections with colossal Corinthian pilasters and window framework. On each wing sixty roundels with emblematic devices can be counted. Between the stairwell and wings at Venngarn there were arcades and wooden balustrades adorned with sculptures. The whitewashed facades had painted window framework and corner masonry in imitation stone. The facade painting of the 1660's had its roots in the painted architectural decoration of the Renaissance, which also included figurative imagery (fig. 3). Some engravings in Svecia Antiqua et Hodiema show large painted figures on the facades (figs. 4 & 5). The plans for the rebuilding by the Chancellor Gabriel De la Gardie of the palaces of Jakobsdal and Venngarn were drawn up, as Sten Karling has shown, by the architect Jean De la Vallee. The decoration of the facades shows, however, a freedom in its details which allows us to suspect influence from a different quarter. Yet another architect and masterbuilder was active at Jakobsdal at the same time—Matthias Holl from Augsburg. Holl is assumed to have been involved mainly with the fountains at Jakobsdal. The elaborate facade decoration of the main building of the palace and the wings on the entrance side, hardly characteristic of De la Vallee, suggest that Holl also influenced the decoration of the building. Comparison with the external decoration of Venngarn supports the assumption that there too Holl played an active role. At the same time the elaborate facade decorations at Jakobsdal and Venngarn recall De la Gardie's own bent for decorative detail which was picturesque and vivacious. In De la Gardie's buildings the new Classicist style incorporate earlier references to the rich stock of Renaissance forms.
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