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18. gadsimta rīdzinieku modes tērpi Johana Kristofa Broces zīmējumos

100%

Parute E.

Makslas Vesture un Teorija

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2016

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vol. 19

6-21

EN

The legacy of the student of Baltic local history Johann Christoph Brotze (1742–1823) has always attracted researchers of 18th century Latvia’s culture and art. His collection in ten volumes, ‘Sammlung verschiedener Liefländischer Monumente, Prospecte, Wapen, etc.’ (below Monumente) in the Academic Library of the University of Latvia contains visual documentation and descriptions of townspeople’s everyday life, customs, entertainment and social transformations. While examining the visual specificities of clothes worn in late 18th century Riga, the author of this article discovered many locally peculiar and interesting evidences of city dwellers’ wish to follow the latest fashions of the time. The first volume (Riga Views, People and Buildings, 1992) of the academic publication of Brotze’s legacy ‘Zīmējumi un apraksti’ (Drawings and Descriptions), with materials from the 3rd volume of ‘Monumente’, gave a deeper insight into the clothing habits in Riga, revealing the meaning of the visual message of attire in the cultural-historical scene created by late 18th century Rigans and city visitors. The transition from Rococo to Classicism became the leading factor in the fashion trends of Vidzeme at the time, bringing corresponding motifs to art and fashion. The ethnic and social composition of the population in the second half of the 18th century significantly influenced Riga’s visual image – as seen from Brotze’s drawings, a rather motley and peculiar scene emerged here, manifesting both topical European phenomena and a mix between various ethnic elements and the fashion of the day. Drawings of city dwellers’ clothing in Brotze’s collection testify to the diversity of Riga in the 1770s–1790s. This scene displays the originality of townspeople’s clothes, testifying to uneven changes in the fashion field. In some cases there are just some modern details but other Brotze’s drawings show a Rigan whose costume represents the current fashion tendencies in Western Europe.

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The Role of Pictures in the Late Baltic Enlightenment

88%

Polli K.

Makslas Vesture un Teorija

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2015

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vol. 18

18-33

EN

Johann Wilhelm Krause's drawings and Johann Christoph Brotze's collection can be seen as storehouses of Baltic pictorial memory, which has been abundantly reproduced in 19th century Baltic German visualia, as well as in the national cultures of Latvia and Estonia – albeit from new and modified positions. What features of the Estonian and Livonian landscapes were chosen to be depicted, or what was considered to be worth depicting and therefore remembering was in turn determined by the broader conventions of the written and pictorial culture, accessible to the local intellectuals and art-amateurs thanks to the reading and pictorial revolution of the 18th century. Indirectly it can be said that, with his collection 'Sammlung ...', Brotze did the same thing that the Enlightenment-era picturesque painters (artists of the pittoresque voyage genre), who mapped the peripheral areas of Europe or faraway civilisations, and who, with their classical pictorial compositions, provided the Europeans with a discernible face. The drawings of Brotze, as well as those of his co-authors Krause and Grass, depicted Livonia and Estonia through the eyes of enlightened Europeans. They placed value on the picturesque castle ruins, introduced the coats of arms and family trees of the local German nobility; they presented the history and buildings of the Lutheran Church, the architecture of the cities and nature of the landscape, and the ethnic and social composition of the population.

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THE IMMURED UPRIGHT MAN FOUND IN ST. JAMES' CHURCH IN 1774: VERSIONS AND ADDITIONS TO BROTZE'S COMMENTARIES (Rigas Sv. Jekaba baznica 1774. gada atrastais stavus iemuretais cilveks: versijas un papildinajumi Johana Kristofa Broces komentariem)

75%

Taimina A.

Makslas Vesture un Teorija

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2009

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vol. 12

58-70

EN

In mid-1774 reconstruction works were carried out in the interior of Riga's St. James' Church. Because of public health concerns, part of the Church interior related to memorial culture was deliberately destroyed - memorial plaques, epitaphs to Riga citizens buried there since the late 13th century as well as family tombs. Without exception, all nobility with family tombs in Riga churches had to wall them up immediately. Ancient memorial signs were doomed to perish. However, Johann Christoph Brotze (1742-1823), teacher at the Imperial Lyceum close to the church, had started to copy the ancient tombstones, epitaphs and inscriptions found in churches. In September 1774 the above ground part of the von Meck family tomb was pulled down along with a small pillar located in the tomb corner by the church window. A man's upright body in a silk garment without a coffin was found immured in it. His clothes had been quite well preserved. A description of the discovery was included in Brotze's manuscript Sammlung vershiedner livländischen Monumente. Based on the information provided by Brotze, the immured man was also described by local history researcher August Wilhelm Hupel (1737-1819) and Johann Andreas Oesen (1762-1804). The most important and intriguing materials on the immured man are to be found in the Estonian Museum of Literature in the dispatches sent by Brotze to local history researcher Eduard Philip Koerber (1770-1850). Brotze had made a mistake (as did Hupel after him) in dating the immured man's garments from the 1580s instead of the 2nd third or middle of the 17th century. This seemingly minor mistake led to a chain of much more important errors. Some hypotheses of the man's identity are also explored in the article.

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18. gadsimta rīdzinieku modes tērpi Johana Kristofa Broces zīmējumos

The Role of Pictures in the Late Baltic Enlightenment

THE IMMURED UPRIGHT MAN FOUND IN ST. JAMES' CHURCH IN 1774: VERSIONS AND ADDITIONS TO BROTZE'S COMMENTARIES (Rigas Sv. Jekaba baznica 1774. gada atrastais stavus iemuretais cilveks: versijas un papildinajumi Johana Kristofa Broces komentariem)