Search Results

(b Neuruppin, Mark Brandenburg, March 13, 1781; d Berlin, Oct 9, 1841).

German architect, painter and stage designer. He was the greatest architect in 19th-century Germany, and his most important surviving buildings in Berlin (see Berlin, §I, 3) and Potsdam (see Potsdam, §1) show his sense of German idealism and technical mastery. He became Geheimer Oberlandesbaudirektor of the Prussian state and influenced many architects in Germany and abroad.

Schinkel’s father, a Lutheran pastor, died after attempting to save victims of a fire in 1787 that destroyed most of Neuruppin, a town 27 km north-west of Berlin. Much of Schinkel’s boyhood was spent in a town under reconstruction, a model of royal benevolence and rational planning. In 1794 his mother and her six children moved to Berlin to a home for the widows of Lutheran pastors. At the 1797 Akademie der Künste exhibition in Berlin the 16-year-old Schinkel was so fascinated by a project for a monument to Frederick II of Prussia...

(b Florence, Nov 2, 1727; d Milan, Nov 14, 1812).

Italian painter and engraver. He trained in Florence with Agostino Veracini (1689–1762) and Francesco Conti (1681–1760), and studied architecture and stage design under Antonio Galli-Bibiena. His earliest known painting is a fresco of 1758: Heavenly Father in Glory in the Dominican church in Livorno. He enriched his art by the study of Correggio’s works in Parma, and also those of Bolognese painters, making engravings (1764–7) after paintings by Guido Reni, Agostino Carracci, Annibale Carracci, Guercino and others. These were praised in 1765 by Pierre-Jean Mariette and were later collected in an album entitled Venticinque quadri ai maestri eccellenti incisi da Giuliano Traballesi (Milan, 1796).

In 1764 he won a competition at the Accademia di Belle Arti di Parma with the painting Furius Camillus Liberating Rome from the Gallic Senones, a work that is deeply influenced by the Bolognese tradition and by the Roman classicism of Nicolas Poussin. The success of this painting won Traballesi major commissions in his native Tuscany, where the transition from Rococo to Neo-classicism had been encouraged by the reforms initiated by Leopoldo II Habsburg-Lorraine when he became Grand Duke of Tuscany in ...

(b Regensburg, Feb 7, 1800; d Munich, July 24, 1873).

Bavarian architect and painter. After working with the stage designer Domenico Quaglio II he studied at the Königliche Akademie der bildenden Künste in Munich under the Neo-classical architect Karl von Fischer. Following Fischer’s death, Ziebland completed many of his projects, including the Hof- und Nationaltheater (1811–18) in Munich. An exhibition of Ziebland’s paintings brought him to the attention of Ludwig I, King of Bavaria ( see Wittelsbach, House of family §III, (3) ). In his quest to transform Munich into a museum of architecture, Ludwig sent Ziebland to Italy to study Early Christian basilicas, so that he could design one for Munich. After two years in Italy (1827–9) Ziebland was commissioned to design an Early Christian-style basilica with an adjacent Benedictine monastery. The Bonifaziusbasilika (1835–40), Munich, is the best known of Ziebland’s works. A brick, five-aisled basilica with a sumptuous interior, St Boniface was hailed as one of Ludwig’s greatest building projects. Its monastery is attached to his exhibition building, the ...