Zeit des Experiments

Abstract

The so-called Galleria maior (1679–1681, destroyed by 1778) in the Cistercian abbey of Zwettl in Lower Austria is a typical example of the experimental phase of 17th century wall painting. The inner decoration of this majestic, 51 metres long festival hall, which was located in the abbey’s monumental courtyard, comprised allegorical sculptures of the cosmic order and biblical heroes, as well as an artificial grotto in the middle of the hall. The ceiling, painted in tempera, showed a series of nine biblical subjects by Sebastian Faber from Nuremberg, as well as a series of genea- logical portraits, representing monarchs from different parts of the world from biblical times to the contemporary Habsburg emperor. The iconological message of the decoration can be summarised as a metaphorical representation of ‘obedience to the divine commandments’ and ‘punishment for disobedience’, on the one hand, and a metaphorical representation of the union of the Church and State, on the other.

Keywords

• zwettl abbey
• altenburg abbey
• baroque painting
• wall painting
• sebastian faber