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Klaus Lankheit


(b ?April 9, 1691; d Mannheim, Jan 11, 1752).

German sculptor, stuccoist, draughtsman and illustrator. He was the most important sculptor active in Franconia and the Palatinate in the first half of the 18th century; nevertheless, although his very individual late Baroque sculpture, mostly carved in wood, was highly regarded by his contemporaries, he was quickly forgotten after his death. His rich oeuvre was severely depleted, particularly as a result of World War II. It was only after that date that his importance was reassessed. Egell probably served an apprenticeship with the Würzburg sculptor Balthasar Esterbauer (1672–1722) and collaborated on the interior decoration of the Banz monastery. His first documented work is an expressive Crucifix made in 1716 for St Michael’s Monastery in Bamberg (now in St Otto, Bamberg). His stylistic development was affected by his work between 1716–17 and 1719 as one of the team directed by Balthasar Permoser, which made all the sculptural decorations at the Zwinger in Dresden for ...


Maria Ida Catalano

(b Rovetta, Bergamo, Aug 26, 1659; d Rovetta, July 25, 1734).

Italian sculptor, architect and furniture-maker. He was the eldest son of the sculptor and carver Grazioso Fantoni (1630–93) and trained in his father’s flourishing workshop, which played a leading part in the supply of church furnishings in Bergamo, Parma and the surrounding provinces. In 1674 documents record Andrea in Parma, but in 1675 he was at Edolo, where he is recorded as an apprentice in the workshop of Pietro Ramus (?1639–82), a sculptor active in Valcamonica. It is thought that around 1678 he went to Venice to work in the workshop of the Genoese sculptor Filippo Parodi, a pupil of Bernini and a friend of Pierre Puget. Certainly Fantoni’s work gives stylistic evidence of contacts with Genoese and Venetian circles. In 1679 he returned to Rovetta, taking part from the early 1680s in a process of extensive stylistic modernization in the family workshop. This change can be seen in the contrast between Grazioso’s carved and inlaid wooden decorations and furnishings in the first sacristy (...


Bernd Wolfgang Lindemann

(b Tritschengreith [now Trischenreuth], Bavaria, March 3, 1720; d Bruchsal, July 2, 1789).

German sculptor and stuccoist. He may have trained with his uncle, the sculptor Ignaz Langelacher, in Moravia; the quality of his work suggests that he had some academic training, possibly in Munich, perhaps in the studio of Johann Baptist Straub. He worked in stone and in wood, as well as in stucco. In 1749–50 he produced statues of the Twelve Apostles for the church of Horgauergreuth, near Augsburg. In 1752 he carried out his first work at the Residenzschloss in Bruchsal for Franz Christoph von Hutten, Bishop of Speyer (1706–70); in 1755 the Bishop granted him protection. Apart from a short period spent working in Vienna, where he was summoned in 1773 to produce the group Ceres and Bacchus for the gardens at Schönbrunn, Günther continued to live in Bruchsal, working chiefly in the residences of the Bishops of Speyer in Bruchsal and Kislau; he also received commissions for churches of the region. Much of his work has been destroyed; what survives is difficult to characterize because of its uneven quality. Thus he is now thought to have contributed to the sandstone statues of the ...


Fausta Franchini Guelfi

(b Genoa, Sept 18, 1664; d Genoa, March 7, 1739).

Italian sculptor and wood-carver. In 1680 he entered the workshop of his uncle, the sculptor Giovanni Battista Agnesi, as an apprentice, but he also attended the workshop of the furniture-maker Pietro Andrea Torre (d 1668). By 1688 he already had his own workshop in partnership with Giovanni Battista Pedevilla. The success of his work soon enabled him to open an independent workshop, where he was assisted by pupils, among them his own son, Giovanni Battista Maragliano (d after 1762). His early works include St Michael and Lucifer (1694; Celle Ligure, oratory of S Michele) and St Sebastian (1700; Rapallo, oratory of the Bianchi), both processional casse: groups of polychrome wooden statues made to be carried in procession by the religious confraternities on feast days. The larger part of Maragliano’s production consists of such monumental groups, in which the scenes from a saint’s life (ecstasy, martyrdom etc) are represented in a theatrical manner, expressing devotional wonder and intense emotional involvement. The lively colouring of the sculptures was done by specialist polychrome painters, at times under the supervision of Maragliano himself. Among the most famous of these ...


Alison Luchs

(b Florence, c. 1644; d Florence, June 22, 1713).

Italian sculptor, stuccoist and architect. After training in Florence as a goldsmith, he studied with the painter Felice Ficherelli. In 1671 he went to Rome, having been chosen for the Tuscan Accademia Granducale. He studied sculpture under Ercole Ferrata and Ciro Ferri, showing a predilection for modelling rather than the marble carving expected by his patron, Cosimo III de’ Medici, Grand Duke of Tuscany. In 1672 he won first prize at the Accademia di S Luca for a terracotta relief of Decaulion and Pirra. He modelled the angels (1673–4) for the ciborium at the Chiesa Nuova (S Maria in Vallicella), which was designed by Ferri and cast by Stefano Benamati, and a terracotta relief of the Fall of the Giants (1674), pendant to a Niobid relief by Giovanni Battista Foggini (both Florence, Mus. Opificio Pietre Dure). When recalled to Florence in 1676, he was working on a more than life-size marble bust of ...



(b Konstanz, 1653; d Prague, May 2, 1720).

Bohemian wood-carver and cabinetmaker of German origin. He was probably the son of Georg Nonnenmacher, a cabinetmaker, and first worked in Konstanz; he is recorded in Prague from 1677. He supplied altars for churches in Prague and nearby villages; he acted as a contractor, himself paying the sculptors, wood-carvers and painters, which in 1696 caused disaffection among the sculptors. In 1678 Nonnenmacher supplied a rich Baroque frame for the altarpiece of the high altar in Velvary. Between 1681 and 1691 he worked for the Týn church in Prague, and in 1685 he supplied a pulpit for St Mary the Victorious, Prague. In collaboration with the sculptors Hieronymus Kohl and František Preiss, and the painters Christian Dittmann (fl c. 1667–c. 1700; d 1702) and Johann Schumer (fl 1678–1701), he made in 1700–08 for the church in Louny a high altar and two side altars (models, Prague, N.G., Convent of St George). Between ...


Donatella Germanó Siracusa

(fl c. 1694–1716).

Italian sculptor, stuccoist and medallist. He worked in southern central Italy, where he is documented as both Pietro Papaleo and Francesco Papaleo, and then in Rome, where his presence is well documented from 1694, when he was elected a member of the Accademia di S Luca, until 1716. His marble work is influenced by Lorenzo Ottoni, who was an accomplished portrait artist in the manner of Bernini. He is presumed to have worked in Naples, where his Victory of St Paul (1688) is in the chapel of S Gennaro in the cathedral. In 1696, with Camillo Rusconi, he was commissioned to make four angels for the chapel of S Ignazio in the church of Il Gesù, Rome, but was replaced by Ottoni and Francesco Moratti because of conflicting contractual obligations (to Cardinal Pietro Ottoboni). His work as a stuccoist included collaborating with Ottoni to make five putti to accompany an ...


Peter Fidler

(b Stanz, Tyrol, bapt July 6, 1660; d St Pölten, Lower Austria, Sept 16, 1726).

Austrian architect, sculptor and stuccoist. He was an important architect of the Austrian Baroque, which he combined with a craftsman’s understanding of local traditions and building techniques. He was apprenticed as a mason to Hans Georg Asam at Schnan, Tyrol, from 1677 to 1680. His journeyman years may have been spent in southern Germany. In 1689 he settled in St Pölten, where he described himself as a sculptor: by 1692 he was known as a master mason. His early architectural works were probably produced in collaboration with the Oedtl family of master builders from the Tyrol. In 1694–1700 he built the rectory at Haitzendorf—a simple courtyard design with balanced proportions that is well integrated into the surrounding countryside.

Prandtauer was in Vienna c. 1700, and there he worked on the construction of the Palais Questenberg and other projects. In 1702 he was commissioned by Abbot Berthold Dietmayr to undertake the reconstruction of Melk Abbey, where he worked for the rest of his life, both on the ...


Gordon Campbell