![]() ![]() Thus, the name appears on postage stamps, coins and other uses the full name, Confœderatio Helvetica, is abbreviated for uses such as the ISO 3166-1 alpha-2 and vehicle registration code CH, and the ccTLD. The Swiss Confederation continues to use the name in its Latin form when it is inappropriate or inconvenient to use any or all of its four official languages. ![]() Helvetia appears in patriotic and political artwork in the context of the construction of a national history and identity in the early 19th century, after the disintegration of the Napoleonic Helvetic Republic, and she appears on official federal coins and stamps from the foundation of Switzerland as a federal state in 1848.Ī Swiss five-franc coin with the Latin inscription Confoederatio Helvetica. Identification of the Swiss as "Helvetians" ( Hélvetiens) becomes common in the 18th century, particularly in the French language, as in François-Joseph-Nicolas d'Alt de Tieffenthal's very patriotic Histoire des Hélvetiens (1749–53)įollowed by Alexander Ludwig von Wattenwyl's Histoire de la Confédération hélvetique (1754). In the final scene, Christ himself appears to punish the wayward damsel, but the Mother of God and Bruder Klaus intercede and the contrite sinner is pardoned. In the 4th act, the Abnemmende Helvetiae or "Waning Helvetia" is faced with Atheysmus and Politicus while the old virtues leave her. The play is full of allegories illustrating the raise of Helvetia and her decadence after the Reformation. On 14 September 1672, a monumental baroque play by Johann Caspar Weissenbach was performed in Zug, entitled Eydtgnossisch Contrafeth Auff- und Abnemmender Jungfrawen Helvetiae. ![]() These represent vices such as Voluptas and Avaritia, contrasting with the virtues of Helvetia antiqua (not shown in the painting). In 1672, an oil painting by Albrecht Kauw shows a number of figures labelled Helvetia moderna. An oil painting of 1677/78 from Solothurn, known as Libertas Helvetiae, shows a female Libertas allegory standing on a pillar. Over the next half-century, Merian's Abundantia would develop into the figure of Helvetia proper. There are depictions of a Respublica Tigurina Virgo (1607), a Lucerna shown in 1658 with the victor of Villmergen, Christoph Pfyffer, and a Berna of 1682. On the title page of his 1642 Topographia, Matthäus Merian shows two allegorical figures seated below the title panel: one is the figure of an armed Eidgenosse, representing Swiss military prowess or victory, the other is a female Abundantia allegory crowned with a city's ramparts, representing the Swiss territory or its fertility.įemale allegories of individual cantons predate the single Helvetia figure. Rather, a number of allegories were shown, representing both virtues and vices of the confederacy. In the first half of the 17th century, there was not a single allegory identified as Helvetia. This replaces an earlier convention, popular in the 1580s, of representing Switzerland as a bull ( Schweizer Stier). The fashion of depicting the Swiss Confederacy in terms of female allegories arises in the 17th century. ![]()
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