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[Four Crowned Martyrs]
No. 2076 LONDON


Schott’s model of Solomon’s Temple.
by Gerhard Schott, (Rylands, W.H.).
T HE following is a translation very kindly made by Bro. Speth, of a letter I received in reply to a request for information about Schott and his Model; and I only regret that it was not possible for it to appear with the other communications on the same subject, recently printed in the volume of Transactions.
The very complete and interesting history so courteously and kindly furnished by Dr. Hagedorn, adds to our knowledge, and decides the question as to the present home of the model.

of the Free Hanse City
Hamburg, 20th October, 1899.
To W. H. RYLANDS: Sec. of the Soc. of Bib. Arch., London.
In reply to your favour of the 7th of this month, I beg to inform you that the Connsellor (Rathsherr) Gerhard Schott was born in Hamburg on the 16th April, 1641, and died in this city on the 25th October, 1702. Short biographies may be found in the "Lexicon der Hamburgischen Schriftsteller," vol. vii., and in the "Allgemeine Deutsche Biographie," vol. xxxii.
A careful examination into the question of the Model of Solomon's Temple executed by Schott, was published by Dr. F. Chrysander in the Middal Edition of the "Hamburgischer Correspondent" of the 4th February, 1890. According to this, the reason why this work of art was constructed is to be found in the Opera "The Destruction of Jerusalem," which appeared in two parts in 1692. Part 1. deals in three acts and a prologue with the taking of the Temple; Part II., in three acts, with the conquest of Mount Zion. The conclusion of the first part includes scenes in and before the burning, Temple. The composer of the libretto of the opera was Christian Heinrich Postel, the foremost poet of the Hamburg, or even of the older German, Musical Drama: the music was by the Kapell-meister F. G. Conradi. A copy of the text is preserved here in the City Library.
Chrysander goes on to state that at first the public were by no means satisfied with the scenery at the conclusion of the first portion. This consideration, combined with a religious bent of mind, with the general admiration, at that period, of the Temple as an architectural masterpiece, with a genial devotion to the scenic decorations of his musical plays, caused in Schott, who was the founder, manager, and proprietor of the opera-house, the determination to reproduce the whole Temple, with all its personnel, sacrifices and eeremonial, in actual model form.
Chrysander follows two separate accounts. First, the English description of the Model, published in London in 1725, which was sold to the visitors to the exhibition of the Model at half-a-crown: and secondly, the account of Zacharias Conrad von Uffenbach, in his "Merkwürdige Reisen durch Niedersachsen, Holland und Engelland," II, UIm 1753, p. 115 et seqq., who, on the occasion of a visit to Hamburg in 1710, examined carefully the model which then stood behind the theatre. Chrysander considered that the copy of the English description which is in our Library was the only one in existence. I presume, however, from, the tenour of your letter that you also have a copy before you.
The period of fifteen years mentioned therein as having been devoted to the construction of the model was declared by Chrysander to be an error, because Sebott died in 1702, scarcely eleven years after the first representation of the opera. Uffenbach, who gives extended accounts of the model itself, its production and cost, speaks only of six years for its preparation. But he expressly mentions that it was prepared for use at the presentation of an opera dealing with the destruction of the Temple,
Reasoning from this account by Chrysander one would come to the conclusion that the model had probably been executed in the years 1693-1698. But as against this is the fact that it is spoken of as a finished work, standing in a special building, as early as March 1694. Our Record Office is in possession of a contract of the 14th March, 1694, hy which Schott leases for five years to Jacob Kremberg his opera-house with all thereto pertaining, And in the inventory atfacbed thereto the Temple and the building in which it stands are explicitly excluded, because these are a thing apart and not pertaining to the theatre. On the other hand it may be taken as certain that the model was executed for the representation of Postel's opera, and that this took place at the earliest in 1692, simultaneousiv with the issue of the printed libretto, which was intended for the use of the audience. The execution of the model for use at the representation of tbe musical drama is also vouched for by Stelzner's "Attempt at a trustworthy account of the ecclesiastical and politic state of the City of Hambarg," III., p. 1122, (1733).
We are therefore constrained to assume either that much less time was consumed in the preparation of the model than is stated by the various accounts, or that the opera of Postel was finished, or at least planned, many years before its first production in 1692, and that the model intended to be used thereat was began a long time beforehand.
At subseqaent, reproductions it does not appear to have been used, and stood probably in 1710, when Uffenbach saw it, in the same, special building behind the theatre which it occupied in 1694. The heirs of Schott wished to sell it, but were long before finding a buyer willing to pay a price corresponding to the heavy cost of its production. Finally the model was bought by an Englishman who carried it to London. The biography of Schott, already alluded to in the "Allgemeine Deutsche Biographie," vol. xxxii., edited by my predecessor in office, Dr. Otto Beneke, says that the sale took place in 1717, but I am at this moment unable to prove upon what authority this statement is based.
The further adventures of the model are not known to me. This much only is certain: that it is now in the collection of the Royal Saxon Antiquaries Association at Dresden, (see " Mittheilungen des Vereins für Hamburgische Geschichte," XIII., p. 125.) These collections were re-opened to the public by decree of 22nd October, 1890. An account of them in the "Dresdener Journal" of the 25th October of that year makes special mention of the model of the Temple of Solomon, and remarks that after many wanderings it had come into possession of the Society of Antiquaries, who now for the first time were in a position to put it together. Respecting these "many wanderings" of the model the Royal Society of Antiquaries (Königlich säcbsischen Alterthums-Verein) would therefore probably be able to give you some information.
Secretary to the Senate, Keeper of the Records,

Reprinted with permission of Ars Quatuor Coronatorum, the Transactions of Quatuor Coronati Lodge No. 2076, UGLE in Volume XIII for the year 1900, pp. 24-5.


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