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237:. As Schlöth had to endure financial hardships, the chancellor for the realization of the St.Jakob Memorial gave him a private credit for the time the city had to await the result of a fundraising campaign for the realization of the sculpture. But the work made good progress and by 1871, all five statues which comprised the memorial composition arrived in Basel.
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choose a simple monument resembling the former one, to which the Grand
Council agreed on the 9 December 1861 and a new competition began. The election committee favored an architectonic memorial but also asked painters to participate in the competition, after which paintings a sculpture was to be
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in Basel, so the public could inspect it. The surrounding figures mainly gained the approval from the public but again, Schlöth received a list of deficiencies of what did not meet the expectations for the sculpture and he made adaptions to the
Helvetia, which was the most criticized. The demands
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and assured, he would deliver the memorial of one central figure and four surrounding figures for 80'000 Swiss francs. He preferred the
Carrara marble to other stones due to its better workability. At the time, the nature of the Carrara marble was not known well enough used for monuments of such
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which was not to be seen at the raw product. But his opposition was to no avail and the city aimed to inaugurate the
Memorial as soon as possible. The pedestal has the form of a cross on which's four arms the four male figures are erected while on its centerpiece stands Helvetia above the other
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In 1867 Schlöth left for Rome where he had his workshop and waited for the
Carrara marble to be delivered. The smaller blocks arrived in the winter months of 1867-1868, but the main block for Helvetia did still not arrive by 1869 due to which its inauguration had to be delayed. The costs of the
194:. He focused on Helvetia as he noticed that this motive gained wide support from the public. On the 5 July 1864, the electoral commission announced that the contract to build the memorial was given to Ferdinand Schlöth. In February 1866 a model of the sculpture was erected beside the
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and had the coat of arms of the involved cantons depicted on its sides. It was inaugurated in 1824 and people would gather annually on the 26 August in memory of the battle. But the tower was in need of extensive maintaining and the city wanted to replace it with another memorial.
161:. Several local and international artists were allowed to participate in the competition which was announced in February 1860 and closed on the 8 August of the same year. 18 artworks were taken into consideration by the commission of which the models of
299:. After the electoral committee chose the limestone of Solothurn without a discussion with Schlöth, the sculptor reacted rather furiously, as he deemed the stone of much less quality than others as its nature is said to be at times a bit
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of 1444. Due to extensive maintaining costs the government demanded the replacement of the first memorial with one built from a more durable material. In 1872, the current statue, built by the Swiss sculptor
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crafted. In the new competition, sculptor
Ferdinand Schlöth and the painter Arnold Böcklin were the main competitors. Schlöth invested great time into the competition, and worked on different models of
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were exhibited to the public. The election committee chose the model of
Baldinger as the one to be realized but Government of Basel hesitated in its pledge in view of the considerable costs on 100'000
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was planned by the electoral commission for which a budget of 90'000 Swiss francs was provided, but by August 1866 the memorial was to be sculpted in stone. Schlöth insisted that it would be
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on which the sculpture was to be placed began. Initially it was planned that it would replace the former monument for the Battle in the fork on the street in front of the
216:, the city council approved Schlöths demand for the Carrara marble. The aim was to inaugurate the sculpture for the 425. anniversary of the Battle of St. Jakob in 1869.
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117:'s Chapel was built at the place where the current St.Jakob memorial stands, but it was demolished in 1805. The first monument to the Battle of St. Jacob at the
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included that the female figure should be better perceivable through the clothing, specially in the upper body and the right leg. Initially a sculpture in
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dimensions below the open sky. Only after the electoral commission received benevolent informations on the weather resistance of the
Carrara marble from
260:. But now there were several options in place. After several discussions whether the sculpture was to be erected in the right or on the left side of
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320:. Ferdinand Schlöth, still remembering the discussions on the quality of the pedestal, preferred not to attend the inauguration and stayed in
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the government of Basel decided to erect it on the place of the former memorial, which was received with pleasure of the
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architect who planned to combine its erection with the amplification of the road between the
Sommercasino and the
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Der Basler
Bildhauer Ferdinand Schlöth (1818-1891) : klassische Schönheit und vaterländisches Heldentum
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memorial were of a considerable larger amount that expected and surpassed the 100'000
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on a small hill at the fork in the road to St. Jakob and
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In Basel, a discussion about the erection place and the
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Hess, Stefan; Lochmann, Thomas, eds. (2004). pp.52–53
378:"1444: St. Jakob an der Birs - Basler Stadtbuch 1994"
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Former memorial of the Battle of St.Jakob an der Birs
529:. Basel: Verlag Basler Nachrichten. pp. 20–22.
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413:(in German). Skulpturhalle Basel. p. 47.
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133:12 meter high tower sculptured out of red
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525:Wanner, Gustav Adolf (1975).
318:Melchior Josef Martin KnĂĽsel
183:Grand Council of Basel Stadt
600:"St.Jakobsdenkmal in Basel"
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348:"St. Jakobsdenkmal"
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33:St. Jakobs Memorial
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150:and the architect
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655:Categories
625:47°32′52″N
609:2020-11-28
388:2022-01-31
357:2020-11-28
328:References
131:neo-gothic
109:Background
628:7°35′54″E
304:figures.
285:Limestone
214:Stuttgart
135:sandstone
52:1867–1872
266:cantonal
247:pedestal
188:Helvetia
77:Location
71:Helvetia
58:Movement
291:in the
281:Granite
192:plaster
190:out of
67:Subject
62:Classic
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301:porous
210:Berlin
201:bronze
39:Artist
287:from
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262:Rhine
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81:Basel
415:ISBN
322:Rome
316:and
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