SCHLAUN, Johann Conrad

Between 1736 and 1751, Schlaun was given a large commission by Elector Clemens August, the hunting lodge at Clemenswerth, Hummling near S�gel, north of Osnabr�ck. He chose as his basic inspiration the pagoda castle in the park at Nymphenburg palace, near Munich. He also took elements from Marly-le-Roy and the hunting lodge at Bouchefort near Brussels. The result far surpassed all these models. The graceful architectural lines of the two-storey lodge are constructed in red brick, articulated with light-coloured limestone on a cruciform ground plan. The tones of the structure contrast with the green of the lawn around. Located at the focal point of eight paths, the lodge is sparingly ornamented. At the angles of the paths stand eight pavilions with a small chapel behind and other working buildings.

The picture shows the aerial view of the entire site.

In 1724, Schlaun received possibly the most interesting project of his young career from Elector Clemens August, also archbishop of Cologne. He was asked to rebuild Schloss Br�hl, near Cologne. It was a difficult commission. On the one hand, the Elector wanted his rank as ruler enshrined in a suitable seat, but on the other, he wanted to save on building costs. He therefore ordered that the ruins of an earlier structure, a moated castle, should be thoroughly explored for materials that could be reused. Schlaun had to take over the ground plan of the medieval edifice, but was at the same time keen to introduce modern Roman ideas borrowed from Borromini and Bernini. His solution obviously did not entirely satisfy his client. The latter’s brother, the Elector Charles Frederick of Bavaria, harshly criticized the architecture, and dispatched his own court architect, Fran�ois de Cuvilli�s, from Munich to Cologne bearing new plans. In 1728 Schlaun was dismissed from the project.

Cuvilli�s transformed Schlaun’s traditional castle model with its cramped courtyard and medieval round tower into a modern palace with the character of a summer residence in the French manner. In 1741 Balthasar Neumann came to Br�hl and designed the stairwell, built three years later. Thus, after over forty years the palace was finally completed. It contained stylistic features borrowed from prominent Baroque buildings in Italy, France, and south Germany.

The picture shows the fa�ade of the palace from the east.

Between 1736 and 1751, Schlaun was given a large commission by Elector Clemens August, the hunting lodge at Clemenswerth, Hummling near S�gel, north of Osnabr�ck. He chose as his basic inspiration the pagoda castle in the park at Nymphenburg palace, near Munich. He also took elements from Marly-le-Roy and the hunting lodge at Bouchefort near Brussels. The result far surpassed all these models. The graceful architectural lines of the two-storey lodge are constructed in red brick, articulated with light-coloured limestone on a cruciform ground plan. The tones of the structure contrast with the green of the lawn around. Located at the focal point of eight paths, the lodge is sparingly ornamented. At the angles of the paths stand eight pavilions with a small chapel behind and other working buildings.

The picture shows the fa�ade of the hunting lodge.

Not far to the northwest of M�nster, Schlaun built himself a country lodge, the R�schhaus near Nienberge. In his lodge he succeeded in combining the rustic farmhouse type of the M�nster region with the frivolity of the French ‘maison de plaisance.” A central drive leads to the courtyard fa�ade with its great entrance archway. The garden front is ornamented with delicate windows and door frames and a flight of steps.

The picture shows the garden front of the country lodge.

Not far to the northwest of M�nster, Schlaun built himself a country lodge, the R�schhaus near Nienberge. In his lodge he succeeded in combining the rustic farmhouse type of the M�nster region with the frivolity of the French ‘maison de plaisance.” A central drive leads to the courtyard fa�ade with its great entrance archway. The garden front is ornamented with delicate windows and door frames and a flight of steps.

The picture shows a view from the courtyard.

Schlaun spent the last six years of his life, from 1767 to 1773, on lavish plans and works for the new palace of the prince-bishop in M�nster, intended to be sited at the citadel. The unoccupied ground between the palace and the town was to be transformed into a great park with avenues and squares on the French model. The palace itself was designed around three wings. The narrow sides were given their own fa�ades. The main house therefore gives the effect of very shallow modeling for a Baroque building, perhaps anticipating the Neo-classical manner just coming into fashion. The palace can be seen in many of its details as a transitional building. When Schlaun died in 1773, only the exterior was finished.The interior was executed by Wilhelm Ferdinand Lipper (1733-1800), who completed it in a Neo-classical style in 1782.

Schlaun spent the last six years of his life, from 1767 to 1773, on lavish plans and works for the new palace of the prince-bishop in M�nster, intended to be sited at the citadel. The unoccupied ground between the palace and the town was to be transformed into a great park with avenues and squares on the French model. The palace itself was designed around three wings. The narrow sides were given their own fa�ades. The main house therefore gives the effect of very shallow modeling for a Baroque building, perhaps anticipating the Neo-classical manner just coming into fashion. The palace can be seen in many of its details as a transitional building. When Schlaun died in 1773, only the exterior was finished.The interior was executed by Wilhelm Ferdinand Lipper (1733-1800), who completed it in a Neo-classical style in 1782.

Schlaun spent the last six years of his life, from 1767 to 1773, on lavish plans and works for the new palace of the prince-bishop in M�nster, intended to be sited at the citadel. The unoccupied ground between the palace and the town was to be transformed into a great park with avenues and squares on the French model. The palace itself was designed around three wings. The narrow sides were given their own fa�ades. The main house therefore gives the effect of very shallow modeling for a Baroque building, perhaps anticipating the Neo-classical manner just coming into fashion. The palace can be seen in many of its details as a transitional building. When Schlaun died in 1773, only the exterior was finished.The interior was executed by Wilhelm Ferdinand Lipper (1733-1800), who completed it in a Neo-classical style in 1782.

Between 1736 and 1751, Schlaun was given a large commission by Elector Clemens August, the hunting lodge at Clemenswerth, Hummling near S�gel, north of Osnabr�ck. He chose as his basic inspiration the pagoda castle in the park at Nymphenburg palace, near Munich. He also took elements from Marly-le-Roy and the hunting lodge at Bouchefort near Brussels. The result far surpassed all these models. The graceful architectural lines of the two-storey lodge are constructed in red brick, articulated with light-coloured limestone on a cruciform ground plan. The tones of the structure contrast with the green of the lawn around. Located at the focal point of eight paths, the lodge is sparingly ornamented. At the angles of the paths stand eight pavilions with a small chapel behind and other working buildings.

The picture shows a view towards house and service building.

The picture shows the Nepomuk chapel in Augustusburg. Schlaun’s original plans for the interior of the palace was rearranged and refurbished by Fran�ois de Cuvilli�s between 1728 and 1740. The paintings in the Nepomuk chapel were executed by Carlo Innocenzo Carlone.

The picture shows the dining room in Augustusburg. Schlaun’s original plans for the interior of the palace was rearranged and refurbished by Fran�ois de Cuvilli�s between 1728 and 1740. The paintings in the dining room were executed by Carlo Innocenzo Carlone.

The iconography of the hunting lodge refer’s to the Elector’s hunting exploits, with the Elector himself appearing in four large scenes. Beside the stucco images of hunting expeditions, Diana, the goddess of hunting, features in the great ceiling painting of the stairwell.

The picture shows the ceiling of the stairwell with hunting scenes. The decoration is the work of Gerhard Koppers, a German painter (active c. 1707, d. ca. 1763).

One of the finest and most daring architectural creations of Schlaun is the Erbdrostenhof in M�nster. He was faced with the problem of adapting a corner site in a town. His solution was a barely projecting central block flanked by slightly curving wings running to tapered corners on Salzstrasse and Ringoldsgasse. The elegant and varied fa�ade thus forms a triangular courtyard in front, enclosed by railings. The gate is set at the junction of the streets, and thus also the angle of the courtyard, right on the central axis of the mansion. Over the entrance hall is a two-storey galleried ceremonial hall.

The picture shows the courtyard fa�ade.

One of the finest and most daring architectural creations of Schlaun is the Erbdrostenhof in M�nster. He was faced with the problem of adapting a corner site in a town. His solution was a barely projecting central block flanked by slightly curving wings running to tapered corners on Salzstrasse and Ringoldsgasse. The elegant and varied fa�ade thus forms a triangular courtyard in front, enclosed by railings. The gate is set at the junction of the streets, and thus also the angle of the courtyard, right on the central axis of the mansion. Over the entrance hall is a two-storey galleried ceremonial hall.

The picture shows the great ceremonial hall.