Enfilade

The eighteenth-century in the latest issue of Word & Image:

Word & Image: A Journal of Verbal / Visual Enquiry 39.2 (2023)

• Kristoffer Neville, “Fischer von Erlach and the Habsburg Imperial Historians,” pp. 111–33.

The Entwurff einer historischen Architectur (Outline of an Historical Architecture, 1721), by Johann Bernhard Fischer von Erlach, architect to the Austrian imperial court, is often seen as a milestone in the literature of architecture, and as the first comparative and universal history of architecture. In part because it has been studied primarily as a work of architectural history, rather than imperial history, it has become relatively unmoored from a large body of earlier and contemporary histories of the Habsburgs and the imperial house. These works cumulatively established a distinct historiographical tradition that informs the content and narrative of Fischer’s book and aligns it closely with a deeply ideological narrative in which a historical line leads directly from the Old Testament patriarchs through Greco-Roman rulers to the Holy Roman Emperors, and from Jerusalem and Rome to modern Vienna. To a substantial degree, this historiography, rather than a nascent architectural canon, determined the contents and presentation of the Entwurff.

• Emma Barker, “Woman in a Turban: Domenichino’s Sibyl, Staël’s Corinne, and the Image of Female Genius,” pp. 235–59.

Angelica Kauffmann, after Domenichino, Sibyl, ca. 1763, oil on canvas, 98 × 75 cm (Washington, DC: National Museum of Women in the Arts).

The heroine of Germaine de Staël’s Corinne, or Italy (1807) makes her first appearance in the novel “dressed like Domenichino’s Sibyl,” wearing an Indian shawl wound into a turban. The aim of this essay is to highlight the contribution that the tradition of Sibylline iconography made to the characterization of the heroine of Corinne by locating Staël in a long line of artists, writers, and patrons, particularly female ones, who adapted and appropriated this iconography for their own purposes over the previous two centuries. A crucial breakthrough was made in the early seventeenth century by Domenichino, who provided the prototype for later generations of artists by painting a freestanding picture of a generic (not, as often said, the Cumaean) Sibyl wearing a turban. Domenichino’s composition nevertheless remained exceptional in its insistence on the primacy of Sibylline inspiration, which helps to account for its role in Corinne as well as for its appeal to other early nineteenth-century writers. Staël’s direct predecessors included the artists Angelica Kauffman and Élisabeth-Louise Vigée Le Brun, both of whom portrayed female sitters in more or less Sibylline guise, but the most important was Emma Hamilton, from whose famous Attitudes Staël almost certainly derived the motif of the turban fashioned out of an Indian shawl. Staël herself adopted the turban as her characteristic headdress, as did other literary and artistic women after her; its great advantage lay in the way it enabled them to lay claim to Sibylline authority whilst also disavowing any such intent.