Analysis of information sources in references of the Wikipedia article "Matthias Rauchmiller" in English language version.
{{cite book}}: |work= ignored (help)In 1679 R. was awarded the contract for the Trinity Column donated by King Leopold I to the Graben in Vienna (completed in 1694) according to plans by JB Fischer von Erlach and L. Burnacini). The basic idea of replacing the hitherto usual pillar with a triangular-shaped pyramid has been preserved, as have three life-size, reading and musical angels of androgynous corporeality. English translation of German original)
Matthias Rauchmiller was born on 11 January 1645 in Radolfzell on Lake Constance as the youngest child of the inhabitant and butcher, of the "honestus Mathias Rauchmüller" and his wife, the "virtuosa Agatha Rauchmüllerin."
{{cite book}}: |work= ignored (help)The painter, sculptor and ivory carver Matthias Rauchmiller (also known as Rauchmüller) was born on 11 January 1645 in Radolfzell and died in Vienna on 5 February 1686. In 1675 he settled in Vienna. As a leading artist of his time, Rauchmiller made the transition from early to high Baroque. The chief works of Rauchmiller include impressive tombs (marble grave of Bishop Karl von Metternich in the Liebfrauenkirche, Trier, built around 1675). He also contributed to the construction of the Vienna Plague Column. The murals in the Dominican church in Vienna (1675) and the terracotta model of Saint John Nepomuk on the Charles Bridge in Prague (1681) are also by him. His most noted work is an ivory carving depicting a tankard with bacchic scenes (1676). (English translation of German original)
This rarely preserved bozzetto was the precursor to the representation of the bearded priest-canon with a biretta on his head, dressed in a cassock, surplice and almuce over his shoulders. The Viennese sculptor slightly emphasized the contrapposto of the small figure with narrow shoulders, crowned by the martyr's head inclined to one side, with the saint's left hand embracing the crucifix as if in a gesture protecting the dead Saviour. In this small statuette of a foreign origin, and its enlarged form on Charles Bridge, the main type of St John of Nepomuk's figure was constituted, subsequently repeated in a number of others, deep into the 19th century.