Ernst Traugott Schiess (1834-1869) stands as a notable, if perhaps not widely internationally acclaimed, figure in the cultural landscape of 19th-century Switzerland. His relatively short life was marked by a fascinating duality: a dedication to the visual arts, particularly landscape painting, and a profound engagement with historical scholarship and the meticulous editing of primary source documents. This combination of talents offers a unique window into the intellectual and artistic currents of his time, a period when national identities were being forged and the past was being re-examined with new scholarly rigor. Schiess's contributions, though concentrated within a brief career, resonate in both the artistic depictions of his native land and the foundational historical texts he helped bring to light.
Early Life and Artistic Inclinations
Born in Richisau, Switzerland, in 1834, Ernst Traugott Schiess grew up in an environment that likely valued intellectual and spiritual pursuits, as his father was a Lutheran pastor. This religious background may have instilled in him a sense of discipline and a respect for tradition, qualities that can be discerned in both his artistic and scholarly endeavors. While details of his earliest artistic training are not extensively documented, it is known that he pursued formal art education, a common path for aspiring artists of his generation who sought to master the technical skills necessary for a professional career.
His artistic journey led him to Rome, then, as now, a vital center for artists from across Europe. In the Eternal City, Schiess studied under Franz Theodor Aerni (1853-1918), a Swiss painter also known for his landscapes. Aerni, though younger than some of the established masters, would have exposed Schiess to the ongoing dialogue between classical traditions and the burgeoning interest in naturalism. Studying in Rome provided invaluable opportunities to see masterworks firsthand, sketch ancient ruins and the surrounding Campagna, and interact with an international community of artists, all of which would have been formative experiences.
Artistic Style: A Dedication to Naturalism
Ernst Traugott Schiess's artistic output primarily focused on landscape painting, a genre that held particular significance in Switzerland, where the dramatic Alpine scenery was a source of national pride and a powerful draw for both native and foreign artists. His style can be characterized as naturalistic, with a keen eye for detail and a commitment to representing the observed world with fidelity. This approach was in keeping with broader European artistic trends of the mid-19th century, which saw a move away from the idealized and often allegorical landscapes of Romanticism towards a more direct and objective engagement with nature.
Schiess worked in various media, demonstrating versatility. His drawings and sketches, often executed in pencil, crayon, and wash, reveal a sensitive hand and an ability to capture the subtle nuances of light and atmosphere. For instance, his Study of a lake in Wallis, Switzerland (1861), created using pencil, crayon, blue pigment, and wash on paper, showcases his skill in rendering the reflective qualities of water and the textures of the surrounding terrain. The use of mixed media suggests an experimental approach to achieving desired effects, combining the precision of pencil with the tonal possibilities of wash and the accentuation of color.
His oil paintings, such as Fallen tree trunk (circa 1860s), further exemplify his commitment to realism. Such a subject, seemingly mundane, allowed for a detailed exploration of texture, decay, and the play of light on natural forms. This focus on the specific and the tangible aligns with the tenets of Realism, which valued truth to nature above idealized beauty. His work often possessed a gentle, somewhat subdued quality, emphasizing careful observation over dramatic effect.
Notable Artworks and Themes
Several works by Schiess provide insight into his artistic preoccupations. The aforementioned Study of a lake in Wallis, Switzerland (1861) is a prime example of his dedication to capturing the specific character of Swiss landscapes. The Wallis (Valais) region, with its stunning alpine vistas and glacial lakes, was a popular subject for artists. Schiess’s interpretation would have focused on the particularities of the scene, likely sketched en plein air (outdoors) to capture the immediate impressions of light and form.
Another significant work, Rastende Wanderer in Gebirgslandschaft (Resting Hikers in a Mountain Landscape), dated 1869, the year of his death, suggests a continued engagement with mountain scenery and the human presence within it. Such scenes were common, reflecting the growing popularity of alpinism and tourism in Switzerland. These paintings often served not just as aesthetic objects but also as visual documents of a changing relationship between people and the formidable Alpine environment.
His 1867 sketch of St. Vincent's Church in Montreux indicates an interest in architectural subjects within their natural settings. Montreux, on the shores of Lake Geneva, was another picturesque location favored by artists. Depicting local landmarks like churches provided a connection to regional identity and history, themes that clearly resonated with Schiess given his parallel career as a historian. His artistic endeavors, therefore, were not divorced from his historical interests but rather complemented them, offering a visual counterpart to his textual explorations of Switzerland's past.
Schiess the Historian: Documenting the Swiss Past
Beyond his artistic pursuits, Ernst Traugott Schiess made significant contributions as a historian and editor of historical documents. This dual focus was not entirely uncommon in the 19th century, an era of burgeoning specialization but also one where individuals with broad intellectual curiosity could still make marks in multiple fields. Schiess's historical work centered on Swiss history, particularly the Reformation period and the origins of the Swiss Confederation.
His involvement in editing the Briefwechsel der Brüder Ambrosius und Thomas Blaurer (1509-1567) (Correspondence of the Brothers Ambrosius and Thomas Blaurer) is a testament to his scholarly dedication. Ambrosius Blaurer (1492-1564) and Thomas Blaurer (1499-1567) were influential figures in the Protestant Reformation in Southern Germany and Switzerland. Their correspondence provides invaluable insights into the theological debates, political maneuvering, and social impact of this transformative period. By meticulously editing and publishing these letters, Schiess helped make crucial primary sources accessible to other scholars, contributing to a deeper understanding of the Reformation's complexities.
Similarly, Schiess edited Bullingers Korrespondenz mit den Graubündern (Bullinger's Correspondence with the Grisons). Heinrich Bullinger (1504-1575), Huldrych Zwingli's successor in Zurich, was a towering figure of the Swiss Reformation, whose extensive network of correspondents spanned Europe. His letters to individuals and communities in Graubünden (the Grisons), a strategically important allied territory of the Old Swiss Confederacy, shed light on the spread of Reformed ideas, church organization, and political relations. Schiess's work on these texts underscored his commitment to primary source-based historical research.
Contributions to Medieval and Early Modern Swiss History
Schiess's historical endeavors extended to the foundational period of Swiss statehood. He was involved in the monumental project Quellenwerk zur Entstehung der Schweizerischen Eidgenossenschaft (Source Collection on the Origin of the Swiss Confederation). This ambitious undertaking aimed to gather and publish all known documents relating to the formation and early development of the Swiss Confederation, from its legendary beginnings to the early 15th century. Such collections were vital for establishing a more scientific and evidence-based understanding of national history, moving beyond myth and legend. His participation in this project placed him at the heart of Swiss historiography in his time.
Furthermore, Schiess, in collaboration with the historian Paul Stähelin (1884-1952) – a correction from some initial mentions of "Paul Stark" – worked on the Urkunden des Klosters St. Gallen (Charters of the Monastery of St. Gall). The Abbey of St. Gall was one of the most important cultural and intellectual centers in Europe during the early and high Middle Ages. Its archives contain a wealth of charters and documents that are fundamental for understanding the history of Switzerland, Southern Germany, and indeed, early medieval Europe. The task of editing these often complex and fragile documents required considerable paleographic skill, linguistic knowledge (primarily Latin), and historical acumen. This project, which Hermann Wartmann had initiated, was a long-term endeavor, and Schiess's contribution, continued by Stähelin, was crucial for its progress.
His research also delved into the specific relationships between Swiss cantons and territories, such as his study on the connections between Graubünden and Zurich. This focus on inter-cantonal relations and the impact of broader European events like the Reformation on Swiss localities demonstrates a nuanced understanding of Swiss history's multifaceted nature.
Artistic Collaborations and Contemporary Landscape
In the mid-19th century, the art world was a network of academies, studios, and informal associations. Schiess was part of this milieu. It is recorded that he met artists like Johann Gottfried Steffan (1815-1905), Gustav Heinrich Ott (1821-1887), and Frederick Waltz (or possibly Friedrich Grimm, as names can sometimes be confused in historical records) around 1856. Steffan, in particular, was a significant Swiss landscape painter, influenced by the Munich School and known for his detailed and atmospheric depictions of Alpine and pre-Alpine scenery. He was a central figure for many younger Swiss artists. Their association, possibly within an "artist colony" setting, suggests a shared commitment to naturalistic painting, likely involving sketching expeditions and mutual critique. Such informal groups were crucial for artistic development, fostering a spirit of camaraderie and shared purpose in the pursuit of capturing nature's truths.
The Swiss art scene of Schiess's time was vibrant. Alexandre Calame (1810-1864) was a dominant figure, internationally renowned for his dramatic Alpine landscapes, often imbued with a Romantic sensibility. Though Calame's style might have been more overtly theatrical than Schiess's, his success undoubtedly raised the profile of Swiss landscape painting. Calame's own teacher, François Diday (1802-1877), was another key proponent of Alpine painting.
Other important contemporaries included Robert Zünd (1827-1909), celebrated for his meticulously detailed and idyllic depictions of the Swiss countryside, particularly scenes with oak forests and pastoral elements. Rudolf Koller (1828-1905), while famous for his animal paintings like the iconic Gotthard Post, was also a skilled landscape artist. Barthélemy Menn (1815-1893), a student of Ingres and a friend of Corot, was an influential teacher in Geneva, advocating for a more lyrical and light-filled approach to landscape, influencing a subsequent generation that included Ferdinand Hodler.
Frank Buchser (1828-1890) was another contemporary known for his realism and extensive travels, including to America. While perhaps more Symbolist in his later work, Arnold Böcklin (1827-1901) was a major Swiss artist of the era whose early work also included landscapes. Even earlier, the groundwork for Swiss Alpine painting had been laid by figures like Caspar Wolf (1735-1783), considered a pioneer in the genre. The influence of major European movements, such as the Barbizon School in France with artists like Jean-Baptiste-Camille Corot (1796-1875) and Théodore Rousseau (1812-1867), who championed en plein air painting and a direct, unembellished approach to nature, was also felt across the continent, including in Switzerland. German landscape traditions, particularly from the Düsseldorf and Munich academies, also played a role, with artists like Andreas Achenbach (1815-1910) being influential. Schiess's work, therefore, developed within this rich and evolving context of landscape painting.
Religious Background and Its Potential Influence
The fact that Ernst Traugott Schiess was himself a Lutheran pastor, following in his father's footsteps, is a significant aspect of his biography. This deep personal and professional connection to the Protestant faith undoubtedly informed his historical research, particularly his focus on the Reformation. His work on the correspondence of the Blaurer brothers and Heinrich Bullinger was not merely an academic exercise but likely stemmed from a profound interest in the theological and historical roots of his own religious tradition.
It is also plausible that his religious worldview subtly influenced his art. A Protestant appreciation for the beauty of God's creation, unmediated by overt religious iconography, could find expression in the faithful and detailed depiction of nature. The landscapes he painted, rendered with care and precision, might be seen as a form of quiet contemplation of the natural world, a common sentiment in various strands of 19th-century thought where nature was often seen as a source of spiritual solace or revelation.
Legacy and Conclusion
Ernst Traugott Schiess died in Heiden, Switzerland, in 1869, at the young age of 35. His early death undoubtedly curtailed a promising career in both art and history. Nevertheless, his achievements in both fields are noteworthy. As an artist, he contributed to the tradition of Swiss landscape painting, capturing the character of his native land with a naturalistic and sensitive approach. His works, though perhaps not as widely known as those of some of his more famous contemporaries, offer valuable examples of mid-19th-century Swiss art.
As a historian and editor, Schiess played a crucial role in preserving and making accessible important primary sources for Swiss history, particularly concerning the Reformation and the origins of the Confederation. His meticulous scholarly work provided foundational material for future generations of historians. The dedication required for such editorial projects—often painstaking and time-consuming—speaks to his commitment to historical truth and the importance of documentary evidence.
Ernst Traugott Schiess exemplifies a particular kind of 19th-century intellectual: one whose curiosity and talents were not confined to a single discipline. His life and work remind us that art and history, while distinct fields, can be complementary ways of engaging with and understanding the world. His landscapes offer a visual record of Switzerland as he saw it, while his historical editions provide textual pathways into its past. Together, they form the legacy of a dedicated Swiss artist and scholar whose contributions continue to hold value. His relatively brief life was one of rich productivity, leaving behind a body of work that merits appreciation for its quiet diligence and its dual devotion to the beauties of nature and the narratives of history.
