Kevin E. Kandt GdaÓsk Berlin

Transkript

1 Kevin E. Kandt GdaÓsk Berlin A Recently Discovered Archival Source for the Epitaph of Sambor II and Mestwin II at Pelplin Cathedral and Some Unknown Biographical Notes on Andreas Schlüter the Elder In the Cathedral at Pelplin, in northern Poland, hanging on a wall in the north transept is the painted, commemorative Epitaph of Sambor II and Mestwin II. Two imaginary portraits show the Pomeranian dukes who were responsible for founding the Cistercian monastery in the 13th century. 1 It is an interesting example of a tradition for historicizing depictions of legendary personalities occurring throughout Europe and Pomerania in particular during the period. 2 Of course, beyond the historical and cultural associations represented by this work are also significant aspects regarding its commission, production, and its creators. The Epitaph of Sambor II and Mestwin II dates from the year 1676 and comprises the two paintings and its finely carved, wooden frame. For this article, the primary focus will not be on the epitaph s paintings, which have already received greater attention in the local literature, 3 but rather on its ornamental frame. The frame is an elaborately carved, wooden one of architectonic elements with three Corinthian columns, architrave, consoles, military panolpy, and four cartusches done in an early Baroque style showing traces of late-mannerism in the design and execution. As early as 1875, the work was published giving the names of the painter Stech and the frame s creator a certain 1 For the Pelplin Cistercian monastery s history, founding, artistic monuments (with a comprehensive bibliography), and biographies on the dukes, see: Janusz Stanisław Pasierb, Pelplin i jego zabytki, Warsaw and Pelplin 1993; and Roman Ciecholewski, Skarby Pelplina, Pelplin 1997; and Słownik biograficzny pomorza nadwiślańskiego, Stanisław Gierszewski, (ed.), vol. 3 and vol. 4, Gdańsk 1997, pp and respectively. 2 See: Zygmunt Kruszelnicki, Chapter 4, Oliwa, Pelplin i Ratusz Gdański. Kulminacja kultu przeszłości, in Historyzm i kult przeszłości w sztuce pomorskiej XVI XVIII wieku, Warsaw 1984, pp , and especially Compare: Teresa Grzybkowska, Andrzej Stech ( ), exhibition catalogue, Słupsk 1973, p. 16; also her Andrzej Stech malarz gdański, Warsaw 1979, pp ; and Kruszelnicki, Historyczm i kult przeszłości, pp

2 Schlueter. 4 Somewhat later, in the mid-1880 s, an inventory of the church and its artworks was published giving a brief description and, again, the name of its creator:... Die Umrahmung der Fundatorenbilder mit korinthischen Säulen und verkröpftem Gebälk von einem Bildhauer Schlüter angefertigt ist, eine Arbeit ohne besonderen Werth... 5 By 1905, a subsequent publication provided more detail. The text quoted is taken directly from the abby-church chronicles Chronica Monasterii Pelplinensis Sacri Ordinis Cisterciensum for the year 1676, and established precisely the name of the frame s creator: Eodem mense (November) erectum est epitaphium fundatorum in templo ad transversam partem meridionalem. Historiam accepit conventus ex annalibus monasterii, ut sui posteri provocarentur ad conscribenda ea, quae in tempore aguntur. Sculptor Andreas Schlitter accepit pro labore fl.... et Stech pro pictura 350 fl. 6 After publication of this source, it was accepted by local researchers that the frame was indeed executed by a certain sculptor named Andreas Schlitter or Schlüter who had trained in the Danzig Maurer, Stein- und Bildhauer guild but had never became a master in the town. 7 The two idealized paintings of the Dukes Sambor II and Mestwin II were included, and remain until today, in the oeuvre of Danzig painter Andreas Stech, 8 while the fame has received little or 4 These facts, undoubtedly taken from the monastery chronicles (see note 6 below) in addition to the price paid for the paintings 350 z and the fact the frame s cost was omitted in the source, were first published by: Stanisław Kujot, Opactwo Pelplińskie, Pelplin 1875, pp An objective stylistic analysis of the work, within the context of contemporary 17th century Danzig stone sculpture and woodcarving and its implications, will be dealt with in my future publication on this subject. For this particular reference to Schlüter, see: Johan Heise, Die Bau- und Kunstdenkmäler der Provinz Westpreußen. Pomerellen Kreis Pr. Stargard, vol. 1, Danzig , p The citation was taken from Chronica Monasterii Pelplinensis..., Tomus II, Pars II ( ), p. 332 and published by: Romuald Frydrychowicz, Geschichte der Cistercienserabtei Pelplin und Ihre Bau- und Kunstdenkmäler, Düsseldorf 1905, p The document, which still exists today, is found in the Archiwum Diecezjalne w Pelplinie (ADP Ms. 422). 7 Ernst Blech, Schlüter und Ranisch. Zur Danziger Kunstgeschichte, Mitteilungen des Westpreußischen Geschichtsvereins, 3 (1 April 1904), nr. 2, pp ; Georg Cuny, Danziger Kunst im 17. Jahrhunderts und Andreas Schlüter, and Ernst Blech, Andreas Schlüter aus Danzig, both in Mitteilungen des Westpreußischen Geschichtsvereins, 8 (1 April 1909), nr. 2, pp. 29 and 34 respectively; Georg Cuny, Danzigs Kunst und Kultur im 16. und 17. Jahrhunderts, Frankfurt am Main 1910, pp , 111, 112, 119, 129 (note 153); Alfred Muttray, Der Danziger Bildhauer Andreas Schlüter, Mitteilungen des Westpreußischen Geschichtsvereins, 11 (1 July 1912), nr. 3, p ; Erich Keyser, Die Danziger Herkunft des Berliner Hofbildhauers Andreas Schlüter, Mitteilungen des Westpreußischen Geschichtsvereins, 24 (1 October 1925), nr. 4, pp Kujot, Opactwo Pelplińskie, p. 100; Heise, Die Bau-und Kunstdenkmäler, p. 229; Frydrychowicz, Przewodnik ilustrowany po Pelplinie i jego kościołach, Toruń 1895, p. 91; Frydrychowicz, Geschichte der Cicstercienserabtei Pelplin, p. 423; Willi Drost, Danziger Malerei vom Mittelalter bis zum Ende des Barocks. Ein Beitrag zur Begründung der Strukturfor- 48 Kewin E. Kandt

3 no attention in recent literature. 9 Both the professional association and personal relationship of these two artists sculptor and painter during this same period is known as well since Stech acted as godfather at the baptism for a child of the Bilthauer Andreas Schlüter and his wife Catherina on 4 May 1668 at St. Mary s church in Danzig. 10 Now, new information regarding the artist Schlitter or Schlüter, known as the Elder, 11 and his activity at Pelplin Cathedral, in addition to knowledge about the commission for the carved wooden frame (pre-dating the contract itself by as much as one year), is known from a heretofore unpublished archival source. In the Archiwum Pa stwowe w Gda sku (State Archive in Gda sk), is an entry in the 17th century official records from Danzig s Vice Praesidirenden Burgermeisterlichen Ambt, 12 quoted here as follows: schung in der Kunstgeschichte, Berlin and Lepzig 1938, p. 144; J. Ciemnołoński and Janusz Stanisław Pasierb, Pelplin (Pomorze w zabytkach sztuki), Wrocław, etc., 1978, p. 161; Grzybkowska, Andrzej Stech, Warsaw 1979, pp. 44, 129; and Kruszelnicki, Historyzm i kult przeszłości, p Among more recent publications, some do not always include reference to the epitaph s frame or any reference to Schlüter s authorship: Jerzy Łoziński, Pomniki sztuki w Polsce, vol. 2, part 1, Warsaw 1992, p. 449; Pasierb, Pelplin, p. 78; Ciecholewski, Skarby Pelplina, pp The frame and its creator are, however, mentioned in: Dehio-Handbuch der Kunstdenkmäler West- und Ostpreußen: Die ehemaligen Provinzen West- und Ostpreußen (Deutschordensland Preußen) mit Bütower und Lauenburger Land, Michael Antoni (ed.), Munich and Berlin 1993, p The child s name was inadvertently omitted in the original record and remains unknown. See: Muttray, Der Danziger Bildhauer Andreas Schlüter, pp The church document still exists today in the Archiwum Państwowe w Gdańsku (State Archive in Gdańsk), hereafter (APG 354/318), p This designation, first proposed by Georg Cuny, helped to distinguish between two likenamed individuals. Establishing the precise relationship between Andreas Schlüter the Elder (the artist who executed the Pelplin work) and Andreas Schlüter the Younger (the sculptor/ architect active at the Berlin court c. 1700) remains unsolved as no document has yet been discovered which directly links the two personalities. Until then, what can be accepted is that there was an artist who, for convenience, we can call the Elder and was active at Pelplin Cathedral. Compare: Cuny, Danziger Kunst im 17. Jahrhundert und Andreas Schlüter, pp ; and his Danzigs Kunst und Kultur, p. 108; Blech, Andreas Schlüter aus Danzig, p. 35; Muttray, Der Danziger Bildhauer Andreas Schlüter, pp ; and Keyser, Die Danziger Herkunft Andreas Schlüter, pp Compare also note 45 below. 12 This office had jurisdiction over the Main Town of Danzig, the suburbs, and Langen Garten. Its authority also extended from the Vistula River to the so-called Polnische Hacker as well as to the Motlau River, and to the port, the Neuen Garten, and the area around the Sandgrube and the area on the Radaune canal known as Am Sande (presently ul. Rogaczewskiego and na Piaskach). It dealt with cases concerning contractual agreements between local Danzig merchants or resident non-citizens with nobles, matters of legal age for minors and guardianship, in addition to matters of building construction for homes and warehouses among others. See: Syndicus der Stadt Danzig Gottfried Lengnich. Ius Publicum Civitatis Gedanensis..., Otto Günter (ed.), Danzig 1900, p. 184; and Albrecht Maye, Das Strafrecht der Stadt Danzig von der Carolina bis zur Vereinigung Danzigs mit der preußischen Monar- 49

4 Actum die: 7: Septembr: Ao: Zu inständigkeit Friedrich Kunsten, welcher im Nahman Sr. Hochwürdigen Gnaden des Herren Apts von Peplin erschienen, und den Andres Schlitter ad Satisfaciendum Contractui vorlauten laßen; hat sich ietzt gemeldter Andres Schlitter erkleret undt angelobet, daß er daß vorm Jahr verdungene Große Altar auf Künfftige We(y)nachten, die Zwe(y) Epitaphia aber auf Künfftige Fastnacht unfehlbahr verfertigen und liefern wolle, be(y) des Amptes Wilkührlicher Strafe, doch mit diesen Bescheide, daß er auch den Uberrest alß den, wen die arbeitt verfertiget sein wirdt alhie bekommen möge. Worauff sich gedachter Freidrich Kunst im Nahmen Sr. Gnaden erkleret, daß solcher Rest der Gelder für die Arbeit Zuvor ehe die Arbeit von hier wird abgenommen, in diesem Ampte abgeleget soll werden, dieses wolle Er Sr. Gnd. salvo jure reserviren; Welches der Herr Burgermeister Sr. Gestr. Herrl. auf anhalten der Parten Zuverschreiben nachgegeben. Actum ut supra. 13 The abbot in question was Alexander Ludwig Wolff von Lüdinghausen (c. 1639/42 17 XII 1678), 14 whose noble family had come from Livonia to Poland. 15 Elected abbot at Pelplin in 1673, he later commissioned, among others, the two works: The Foundation of the Cistercian Monastery at Pogódki by Duke Sambor II in 1258 of 1675, 16 and the Epitaph of Sambor II and Mestwin II being studied here. 17 chie ( ), Quellen und Darstellungen zur Geschichte Westpreußens, vol. 18, Danzig 1935, p The index for this volume lists the entry: Friedrich Kunst contra Andres Schlitter fol: 447. (APG 300,5/114), p Two funeral eulogies were published at the time of his death, compare: Oratio In Consecrationis die Infulati Praesulis Perillustris Ac Reverendissimi Domini Domini Ludovici Alexandri De Krszyvvo os Divinâ vocatione Abbatis Coenobii de Populo Arbore Pelplinensis, Solemni Ritu Celebrata, Oliva 1679; and Elias Ludowich, A.O. Oratio Parentalis In Exequiis Illustrissimi ac Reverendissimi Domino d. Piae Memoriae Alexandri Ludovici de Ludinghaus Wolff. Nominati Episcopi Livoniae & Piltinensis Abbatis Monasterii Pelplinenisi, Praepositi Samobr, Zulkevienz..., Gedani (1680). Bibliotheka Gdańska Polska Akademia Nauk (BGPAN. MA o, Adl. 45 and Adl. 57). 15 The abbots family s had a coat of arms bearing a lion with a blue field and three white horizontal stripes. Recent corrections to his biography include the facts that: he was not a Pomeranian bishop, but rather nearly Bishop of Kurland and the son of Georg Wolff and Catharina von Mengden. Johann Wolff, whose residence was at Alt-Jahn (Stary Jan) in the Marienburg (Kwidzin) District, was his uncle. The starostwie piaseckim noted in connection with Abbot Wolff by Kujot is an error and should refer not to Piaseczno (Pehsken) but to Piaseczno pod Warszawa. See: Kasper Niesiecki, Herbarz polski, vol 9, Leipzig 1842, pp. 395ff. especially ; Kujot, Opactwo Pelplińskie, pp ; Frydrychowicz, Geschichte der Cistercienserabtei Pelplin, pp ; and new information from Andrzej Niewiadomski of Berlin provided by ks. dr. Anastazy Nadolny of the Pelplin Seminary archive who, along with Ms. Joanna Andrzejewska and other kind staff members at the Pelplin Seminary library, gave their very kind assistance to the author while researching Alexander Ludwig s biography. 16 B. Mankowski, Der Danziger Maler Andreas Stech, Zeitschrift des Westpreußischen Geschichtsvereins, 52 (1910), p Cuny, Danzigs Kunst und Kultur im 16. und 17. Jahrhundert, pp. 111 and 129 (note 153). 50 Kewin E. Kandt

5 Incidentally, it is interesting to speculate whether Alexander Ludwig may have also had some influence on the choice of the sculptor(s) commissioned to do funerary monuments erected at the Frauenburg (Frombork) Cathedral in Ermland (Warmia). Georg Casimir Wolff von Lüdinghausen (c. 1630? 31 XII 1705) was a deacon and canon at Frauenburg, 18 and he came from the same noble family as the Pelplin abbot Alexander Ludwig. 19 At Frauenburg, for example, the Epitaph of Joachim Pastorius (c. 1682) and the Epitaph of Adam Konarski (c ) are two works done not so many years later than the Pelplin Epitaph. They are believed to have been carved by Andreas Schlüter the socalled Younger, 20 although this attribution has recently been questioned and another local sculptor Andreas Silber, from Elbing (Elbl g), has been tentatively proposed as their creator. 21 Mention was made of the participation by Georg Casimir (Alexander Ludwig s relative) in executing Joachim Pastorius testament, 22 and it included financial details regarding the erection of Pastorius carved stone epitaph in the Frauenburg Cathedral. 23 Pelplin abbot Alexander Ludwig 18 For the biography, compare: Anton Eichhorn, Die Prälaten des ermländischen Domcapitels, Zeitschrift für die Geschichte und Alterthumskunde Ermlands, 3( ), nr. 7 9, pp ; and ks. Andrzej Kopiczko, Wolf von Lüdinghausen (Wolf von Ludingshausen) Jerzy Kazimierz, in Słownik biograficzny kapituły warmińskiej, Teresa Borawska (ed.), Olsztyn 1996, pp ; and Andrzej Kopiczko, Duchowieństwo katolickie Diecezji Warmińskiej w latach , part 2, Olsztyn 2000, pp Compare: Niesiecki, Herbarz polski, vol 9, pp. 395ff. especially , 399; Polska encyklopedja szlachecka, vol. 12, S. J. Staryko-Kasprzycki and ks. Micha Dmowski (eds.), Warsaw 1938, pp ; and Jan Karol Dachnowski, Hebarz szlachty Prus Królewskich z XVII wieku, Zdzisław Pentek (ed.), Kórnik 1995, p Mariusz Karpowicz, Andrzej Schlüter w Polsce. Dzieła i inspriacja, in Rokoko. Studia nad sztuką 1 połowy XVIII w., Warsaw 1970, pp , 197; also his Sztuka Warszawy drugiej połowy XVII w., Warsaw 1975, p ; Margarete Kühn, Schlüter als Bildhauer, in Barockplastick in Norddeutschland, Jörg Rasmussen, (ed.), exhibition catalogue, Mainz 1977, pp ; and Goerd Peschken, Beobachtungen zu Schlüter, Jahrbuch der Hamburger Kunstsammlungen, 23(1978), pp New research into the history of Elbing (Elbląg) has revealed new documentation on the activity of sculptor Andreas Silber, who will be mentioned later on in this paper. Although still lacking archival sources, Silber has been thought a likely candidate responsible for the Pastorius and Konarski funerary monuments. See chapter 4 written by: Wiesława Rynkiewicz-Domino, Sztuka, literature, muzyka, teatr. 1. Budownictwo i architektura, rzeźba, malarstwo i rzemioslo artystyczne, in Historia Elbląga ( ), Andrzej Groth (ed.), vol. 2, part 2, Gda sk 1997, pp Testamenti hujus (in quo tamen, si Deus me diutius vivere voluerit, mutandi, addendi, demendique potestatem mihi reservo) tabulas commitendas duco tribus perillustribus D. Canonicis Vermiensis, nempe perillustri D. custodi, perillustri D. Buzinio, perillustri D. Wolffio, quos summopere rogo atque oro, ut hanc piam ac amicam operam mihi non denegent et quicquid in bonum liberorum meorum ceder posse viderint, id pro viribus suis praestare et exequi digentur... Quoted by: Andrzej Skrobacki, Testament sekretarza królewskiego, historiografa, lekarza i kanonika warmińskiego Joachima Pastoriusa, Komunikaty Mazursko- Warmińskie, 22(1973), nr. 1 2, p. 81 and note Skrobacki, Testament Joachima Pastoriusza, pp , 82 83,

6 Wolff von Lüdinghausen was himself a considerable influence, as a patron of the arts, on the building construction and ornamental decoration at Pelplin s Cathedral. 24 Given this prediliction for artistic patronage, it certainly seems appropriate when we learn that Alexander Ludwing also commissioned the Tomb of Archbishop Andrzej Olszowski (d. 29 VIII 1677), 25 at Gniezno Cathedral a work that has been associated with Andreas Schlüter the Younger. 26 However, we must now change this attribution. New information taken from a recently discovered document in the Danzig Vice Praesidirenden Bürgermeisterlichen Amt, gives clear proof of still another commission by the Pelplin Abbot and finally identifies the artist who was actually responsible for this funerary monument. 27 Once again a Danzig sculptor was chosen by Alexander Ludwig to execute an ecclesiastical commission and this time it was Johann Michael Gockheller. 28 Returning to the Pelplin Cathedral decorations, another attribution claiming Andreas Schlüter (the Elder s) authorship for the wooden frame on the painting hanging on the same wall immediately below the founders Epitaph which depicts The Foundation of the Cistercian Monastery at Pogódki by Duke Sambor II in 1258 done by Andreas Stech (dated 1675), has come to predominate over the 24 Kujot, Opactwo Pelplińskie, pp ; and Frydrychowicz, Geschichte der Cisterciensenabtei, p The most recent biographical information and compilation of the previous literature on Olszowski is by: Krzysztof Rafał Prokop, Arcybiskupi Gnieźnieńscy w Tysiąclecia, Kraków 2000, pp The tomb was seen as a work possibly related to those by Andreas Schlüter the Younger, a hypothesis intially forwarded by G. Chmarzyński and then published by Lech Krzyżanowski in: Katedra Gnieźnieńska, Zygmunt Świechowski and Jan Zachwatowicz (eds.), vol. 1, Poznań Warsaw Lublin 1970, pp. 204, ; and also Karpowicz, Andrzej Schlüter, p Actum die 18 July. Anno Vor dem Vice-Praesidirenden Burgermeisterlichen Ambte ist persönlich erschienen der Hochwürdige Hl. Casper Chudinskj S.S. Theologiae Doctor, Canonicus Ecclesiae Metropolitane Gnesnensio, Praepositus Kijnensis ex ordinarius ad Ecclesiam praememoratam Concionator, und hatt wieder den E. Emmanuel Fritz klagende beygebracht was maßen deßen Vorfahr den E. Johan Michael Küchler mit Ihr Gnaden den Herrn Alexandro Wolff nominato Episcopi Livoniae & Abbate Pelplinensis vermöge eine gewiße Contract sich geeiniget, ein Epitaphium Zu ihren dem Hochgebohrnen Fürsten Gottseeliger Gedachtnus Herrn Andreas Olßowskj Ertz Bischoffs Zu Gniesen zuverfertigen, welches gedachter Küchler durch den Todt hin weggenommen Zu seiner Vollkommenheit nicht bringen können... (APG 300,5/122a), p I will publish a full and detailed account of this document in my forthcoming article on the funerary monument. 28 The variation in spelling for the family name is typical for the period and commonly found in archival documents recording the presence and activity of this prominent family of Danzig sculptors in the second half of the 17th century. Johann Michael Gockheller was the son of Hans Casper Gockheller who was himself active c For a biographical overview of the family with a summary of the literature, see: Zbigniew Massowa, Hans Caspar Gockheller... (and) Hans Michael Gockheller... in Słownik biograficzny Pomorza nadwiślańskiego, vol. 2, Stanisław Gierszewski (ed.), Gdańsk 1994, pp Kewin E. Kandt

7 documented attribution for the epitaph s frame in more recent publications. 29 This idea is certainly an important consideration but cannot, unfortunately, be discussed here owing to this paper s present aim and limited scope. 30 The previously cited reference in the Gda sk archival source to work on the high altar at Pelplin Cathedral can only refer to the monumental, carved-wood and gilded, Renaissance work that still towers above the central nave to this day. It includes paintings of The Coronation of the Virgin and The Vision of St. Bernard by Herman Hahn ( ) executed during the first phase of work done on the altar which began in August 1623 but was, owing to the Swedish wars, only completed in August 1639; and finally consecrated on 10 September Knowledge that the Danzig artist Andreas Schlüter the Elder was engaged in what must have been some kind of restoration work on the Cathderal s high altar as early as 1674, together with his own completion of the epitaph s double-frame for the painting of the abbey s founders Sambor II and Mestwin II, clearly indicates an artist capable of, or perhaps even specialized in the art of, wood carving. Although no other works by this Schlüter are known to exist, his association with works done in this medium may possibly be confirmed by later documents that appear to associate him with another younger artist, a certain Ernst Schlüter, who was described as a Pildtschnietzer in Berlin documents and who died there on 3 January The connection here, though not entirely obvious at first glance, becomes clear when we understand that Ernst Schlüter was apparently closely associated with the circle of Andreas Schlüter, the so-called Younger, who was the Danzig sculptor and architect active on the renovation project ( ) for Prus- 29 No mention of Schlüter s work on the Epitaph s frame, but rather on The Foundation painting s frame, is given in: Cecholewski, Skarby Pelplina, pp Reference to both frames is published in: Pasierb, Pelplin, p This attribution, the validity of which is necessary to examine in any study of Schlüter the Elder s work, was presumably based not on any concrete documentation; but rather upon the idea that both the Epitaph and The Foundation works were commissioned by Alexander Ludwig Wolff von Lüdinghausen and presumably executed at about the same time. However convenient the idea may be, it was not, for some reason, mentioned again by the author who originated the hypothesis in her subsequent monograph on Stech. Yet it was repeated again in the newest publication on Pelplin and its art treasures. More research and study is required and a future publication will allow this author an opportunity to discuss this question further. See: Teresa Grzybkowska, Andrzej Stech ( ), exhibition catalogue, Słupsk 1973., pp ; as well as her Andrzej Stech malarz gdański, pp , 128; Pasierb, Pelplin, p. 78; and Ciecholewski, Skarby Pelplina, pp Work on the altar was interrupted by the Swedish Wars and only completed 16 years later, being consecrated on the 15th Sunday after Pfingsten. Frydrychowicz, Geschichte der Cisterciensterabtei Pelplin, pp He was buried in the cemetery of St. Dorothea s in Berlin. Heinz Ladendorf, Der Bildhauer und Baumeister Andreas Schlüter. Beiträge zu seiner Biographie und zur Berliner Kunstgeschichte seiner Zeit, Berlin 1935, pp. 4 5 and 112 (note 23). 53

8 sian King Friedrich I s Berlin residence the Stadtschloß. 33 Moreover, it now seems that Ernst was among those artists who Schlüter had invited from his hometown on the Baltic Sea to assist him in this monumental task. 34 Indeed, documents from civic records kept in the Gda sk archive indicate that an Ernst Schlüter was definitely the son of a Danziger named Andreas Schlüter. From the Rechtstädtischen Schöffengericht records, 35 we learn: Ernst Schlüter, ein Sohn des Se(e)l Andres Schlüters ist gestanden vor G.D. und ist auf gezeugnüß derer Ehrenveste Peter Lambrechts seines bestetigen vormunder und gutten Freundes Daniel Teßmers, daß er in dem 24 jahr seines altes sich bißhero woll verhalten, und vermuhtlich dem Steiniger selber werde wißen vorzustehen, mündig erkant, daß ist getheilet, Er mag sich seines guttes selber unterwünden, ob ihme solches jemand kehren oder wehren wolte, der Herr Richter Zuverhelffen befohlen worden. Deßen ist Ernst Schluter ferner gestanden für G.D. und hat verlautbahret, nachdem die Ehrenvest Andres Silber und Peter Lambrecht seine Vormündere gewesen, und daß ihme competirende Vater= und Muttergutt in verwaltung gehabt, alß bekennet er deßwegen numehro richtigen bescheidt, rechnung und reliqua, wie auch Anweisung empfangen und erhalten Zuhaben, damit Er woll Zufrieden und sich der getragenen Vormundschaft und völliger entrichtung fr(ei)l(ich) bedancket. Lößet demnach obgedachte Vormündere hiermit und Krafft Dieses in der besten und bündigsten form Rechtens queit fre(y), ledig u. lohs, Gelobende nicht ferner darauff Zusachen, noch Sache Zulaßen Geistl. noch weltlichen Gerichtes, innen noch außen landes in allen Zukom(m)enden Zeiten. Actum feriâ sextâ 11 April The information given here is not, in itself, conclusive evidence of a relationship to Andreas Schlüter the Elder or Younger nor to a training or occupation as wood-carver as such. However, later entries reveal some noteworthy details that better explain his identity. The case of Ernst Schlüter was brought before the court again on 21 and 28 April as well as 7 May 1687 and dealt with the sale of property owned by this same young man. 37 A vital link in the story lies in 33 According to the marriage records, Ernst Schlüter s widow Maria Rosina Grosswaltin, remarried shortly after his death (26 August 1700) with Friedrich Gottfried Herfert a prominent sculptor working on the Berlin Stadtschloß project. She was often listed in many church records notably in close association to Andreas Schlüter s intimate circle of friends and colleagues. Ladendorf, Andreas Schlüter, p. 112 (note 23). More precise biographical information on Schlüter and his colleagues who worked on the Berlin Palace is the subject of my forthcoming article to be published by the University of Gdańsk. 34 Ladendorf, Andreas Schlüter, pp. 5 and 112 (notes 29 31) 35 This office was responsibe for a variety of functions within the town and its areas of jurisdiction primarily of a civil nature including among them: obtaining official citizenship status, the purchase and transfer of property, as well as testaments. See: Otto Günter, Der Syndicus der Stadt Danzig Gottfried Lengnich. Ius Publicum Civitatis Gedanensis..., Danzig 1900, pp ; Albrecht Meye, Das Strafrecht der Stadt Danzig von der Carolina bis zur Vereinigung Danzigs mit der preußischen Monarche ( ). Quellen und Darstellungen zur Geschichte Westpreußens, vol. 18, Danzig 1935, pp (APG 300,43/88), pp. 16v 17r. 37 (APG 300,43/88), pp. 28v, 36r v, 44v 46v. 54 Kewin E. Kandt

9 reference from the 28 April 1687 record to certain properties in which Ernst was a partial, legal owner: Der Erbahre Ernst Schlüter...als Comparent den 11. diese Monats Aprilis im 24 jahre seines Alters mündig getheilet worden, Tages darauff be(y) Johan=Leonhard Schleichert auf weinn genöhtiget, mit trincken auff ihn wacker Zugestürmet, und câ occasione ihme sein Väterliches Erbtheil bestehende in einem Vierdte part Erbes in der Bütler Gaße undt in 1/4 Part Erbes aufm Rambau gelegen, umb 70 Reichthlr : und Zwahr unter der condition, daß comparent vorgeben solte, er hätte 400 fl. davor empfangen: abgeredet und abgegangen These properties were without a doubt exactly the same ones contested in an earlier dispute recorded in a now-lost supplication, 39 dated 17 May 1686, submitted to the Danzig Town Council. Fortunately, it was published before World War II and an extract is cited here: Barbara Schlüterin, Seel. Herrn Georgii Tezkei Wittib, ferner Andreas Silber und Peter Lamprecht, Vormünder zu Seel. Andreas Schlüters unmündigen Kindern und Andreas Schlüter vor mich,... der Seelige Andreas Schlüter ein gewesener Bürger und Schloßer allhier zwei Kinder, nehmlich Barbara, die nachgehends an den Seel. Herrn Georgium Tetzkeum, weiland Prediger in Löblau verheirathet und Andream, welcher seiner Profession ein Bildhauer gewesen, zu Leibeserben hinterlaßen hat. Diese beiden Erben habe ihres seeligen Vaters Verlassenschaft dergestalt unter sich getheilet, daß drey liegende Erben, eines in der Ankerschmiede=Gaße, das andere in der Bütler=Gaße, das dritte aufm Rammbau hinterblieben; davon endlich ein jeder die Helffte auf seinen Namen sich zuschreiben laßen;... aus diesen Erben hat der Seelige Hr. Tetzkeus hat aus dem Hause in der Ankerschmiedegaßen den ganzen Zins empfangen... Andreas Schlüter gegentheils hat den Zins aus dem Hause in der Bütler=Gaße und aufm Rammbau bekommen. Nachdem aber sowohl der Seelige Herr Tetzkäus mit Hinterlassung seiner Wittiben und 7 Kinder, alß der Seel. Andreas Schlüter und seine Hausfrau mit Hinterlassung 4 Kinder diese Zeitlichkeit gesegnet hat, ist es geschehen, daß des Seeligen Andreas Schlüter Kinder oder dero Vormünder auf des seel. Hrn. Tetzkei Wittibe einige Prätension auf 1000 Gulden und darüber gehabt... und hätten daher diese beiden Partheien leichtlich in einen weit aussehenen Prozeß gerathen dörffen, wann nicht jedes Part sein unvermögender Zustand davon abgehalten Summarizing the rest of the document, it was decided that these properties were to be appraised for their financial value and this was done by the Maurer Andreas Fleischer and the Hauszimmerer Georg Samson:... der Ankerschmiedegaße auf 1350 Gulden, in der Bütler=Gaße auf 1550 Gulden und auf dem Hack- 38 (APG 300,43/88), p. 36v. 39 The record group 300,34 supplications to the Danzig Town Council was never recovered after the last War. Czesław Biernat, Archiwum Państwowe w Gdańsku. Przewodnik po zasobie do 1945 roku, Warsaw and Łódź 1992, p. 456; and the German edition: Staatsarchiv Danzig. Wegweiser durch die Bestände bis zum Jahr Schriften des Bundesinstitut für ostdeutsche Kultur und Geschichte, Stephan Niedermeier (trans.), Munich 2000, p Quoted and published before World War II from now-lost documents by: Alfred Muttray, Der Danziger Bildhauer Andreas Schlüter, Mitteilungen des Westpreußischen Geschichtsvereins, 11(1912), nr. 3, p

10 elwerk auf 550 Gulden The distribution of those properties was ordered by the court to resolve a long-standing conflict: Frau Tetzkein mit ihren Kindern das Haus in der Ankerschmiedegasse behält und die Schlüterschen Erben das Haus in der Bütler=Gasse und das alte Erbe aufm Rammbau frei an sich bekommen. 42 The final decision on 2 October 1686 held that:...da dieser Vergleich und Umbschrift der Häuser ohne verhergehende Ratifikation und Confirmation eines wohledlen... Raths als Ober=Vormünder nicht geschehen kann,... (this)... auflangjährigen Zwist... zu ratihabieren usw., worauf denn nach Prüfung der Abschätzung der Grundstücke durch die aus der Mitte des Rates hierzubestellten Bauherren Daniel Schlieff und Barthel Veddersen und nach der Feststellung, daß den unmündigen nicht zu kurz geschehen sei Therefore, we may now conclude from these newest archival discoveries and the documents published before the last war, that Ernst Schlüter was very likely the son of a Danzig sculptor named Andreas Schlüter most probably the one who executed the wooden frame for the Epitaph of Sambor II and Mestwin II at Pelplin Cathedral. And this fact is even more self-evident since one of Ernst s guardians was Andreas Silber quite likely the prominent local sculptor from nearby Elbing mentioned above, 44 while those two properties described were definitely connected to a Bildhauer named Andreas Schlüter (presumably the so-called Elder) who was, himself, thought to have been the father of none other than the Andreas Schlüter (the so-called Younger) himself. 45 Further archival research in the Gda sk archive as well as various Polish church archives, together with the publication of this author s forthcoming articles on 17th century Danzig sculptors that focuses particularly on their relation- 41 Ibid., p Ibid., p Ibid. 44 A reference to Silber s presence in Danzig comes from the town s Masons, stonecutters, and sculptors guild records. Documentation for some of his work stems primarily from that done for the Cathedral in Frauenburg (Frombork). See: Janusz Pałubicki, Marmurowa rzeźba architektoniczna Prus Królewskich w XVII wieku, unpublished master s thesis, Department of Art History Adam Mickiewicz University, Poznań 1973, pp For more recent information, see: Andrzej Groth, Kryzys i regres handlu, and Wiesława Rynkiewicz-Domino, Sztuka, literatura, muzyka, teatr, and Edmund Kizik, Życie codzienne, all in: Historia Elbląga, pp. 97, 188 (note 57), , and 256 respectively. (See note 18 above). 45 Recall this now-common usage (also mentioned above) for these two artists first begung by: Cuny, Danziger Kunst im 17. Jahrhundert und Andreas Schlüter, pp ; and his Danzigs Kunst und Kultur, pp. 93ff. The final word on the question of Schlüter s family and origins, at least according to the findings of a local Danzig scholar, was published before Ladendorf s ground-breaking monograph on Schlüter s Berlin years was written. See: Erich Keyser, Andreas Schlüter und Danzig, Mitteilungen des Westpreußischen Geschichtsvereins, 30(1 April 1931), nr. 2, pp. 39ff. especially p. 41; and his Die Herkunft von Andreas Schlüter, Zeitschrift für bildenden Kunst, 65( ), nr. 7/8, pp Compare also note 11 above. 56 Kewin E. Kandt

11 ship to Andreas Schlüter, will hopefully help complete the still-missing pieces to this biographical puzzle. Ultimately, success in this task will reveal more information on the patrons, commissions, artistic activity, and final productions like that of Alexander Ludwig Wolff von Lüdinghausen for the Pelplin Epitaph and Gniezno Olszowski Tomb. Hopefully, the knowledge gained will also more fully explain and clarify the true relationship of Andreas Schlüter the Elder and Ernst Schlüter with that highly gifted northern European baroque sculptor Andreas Schlüter. NIEZNANE ARCHIWALIA DOTYCZĄCE EPITAFIUM SAMBORA II I ME- STWINA II W KATEDRZE PELPIŃSKIEJ ORAZ BIOGRAFII GDAŃ- SKIEGO ARTYSTY ANDRZEJA SCHLÜTERA STARSZEGO Arlykuł prezentuje nieznane informacje archiwalne dotyczące epitafium Sambora I i Mestwina II w katedrze pelplińskiej, biografii gdańskiego artysty Andrzęja Schlütera Starszego, oraz nagrobka arcybiskupa Andrzeja Olszowskiego (zm. 1677) w katedrze gnieźnieńskiej. Z kronik klasztornych wiadomo, że epitafium pelplińskie zostało umieszczone w kościele w 1676 r. Dokumenty dowodzą, że gdański artysta Andrzej Stech malował podwójne portrety a Andrzej Schlitter 1ub Schlüter (zwany Starszym ) wykonał polichromowaną bogato rzeźbioną drewnianą ramę. Autor artykułu ostatnio odkrył dokument w Archiwum Państwowym w Gdańsku datowany na wrzesień 1675 r. Dowodzi on, że epitafium zostało zamówione przez pelplinskiego opata Aleksandra Ludwika Wo1fa von Lüdighausena (1639/ ) oraz, że Sch1üter nie tylko był twórcą ramy a1e wcześniej pracował przy ołtarzu głównym zapewne wykonując naprawy. Ponadto zanotowano, że artysta jeszcze nie ukończył pracy przy epitafium, a1e zapewnił o jego skończeniu. W związku z artystycznym patronatem von Lüdighausena w tym samym dokumencie został stwierdzony kolejny ważny i bardzo interesujący fakt. Dotyczy on zamówienia nagrobka arcybiskupa Olszowskiego w Gnieźnie dokonanego przez von Lüdighausena. Wykonawcą dzieła był Johan Michael Gockheller gdański rzeźbiarz, członek cechu i syn Hansa Kaspara Gockhellera. Dokument bezsprzecznie wskazuje autora dzieła, za którego uważano dotąd Andreasa Schlütera Młodszego, uważanego za syna Andreasa Schlütera Starszego. Ponadto w artykule zaprezentowano inne źródło archiwalne datowane na 1687 r., odkryte w związku z Andrzejem Schlüterem Starszym. Dokumenty ukazują osobę Ernesta Schlütera, który wymieniany jest jako syn Andrzeja Schlütera Starszego. Fakt ten oparty jest na informacjach dotyczących rodzinnej własności pewnych nieruchomości w Gdańsku. Dokumentują to źródła archiwalne zaginione w czasie drugiej wojny światowej, lecz szczęśliwie wcześniej opubikowane. Zawarte tam informacje odpowiadają nowo odkrytym dokumentom. Ponadto Ernest Schlüter wymieniony w tych dokumentach musiał na pewno znać Andreasa Schlütera Młodszego. Pewien Pildschnitzer o nazwisku Ernst Schlüter, zmarły w Berlinie w 1700 r. był bisko związany ze Schlüterem Młodszym i jego rodziną podczas ich wczesnych lat w tym mieście, o czym informują miejscowe archiwalia kościelne. Tłumaczenie: Tomasz Korzeniowski 57