Instytut Historii Sztuki <Posen>   [Hrsg.]
Artium Quaestiones — 10.2000

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ANDREAS SCHLÜTER AND OTTO VAN VEEN: THE SOURCE, CONTEXT, AND ADAPTATION

51

Local churches were embellished with artworks by the aforemen-
tioned artists and other prominent sculptors - Willem and Abraham van
den Block, Wilhelm Richter, Hans Caspar Gockheller, and Caspar
Günter.31 These ecclesicastical interiors, ail with finely ornamented
altars, pulpits, organs, tombs, and epitaphs, bore décorations very often
dépendent not only on international Netherlandish Mannerism,32 but on
the published prints by artists from that very région as well.33 Emble-
matic images, usually derived from printed graphie sources, did prevail
in church interiors from this period,34 35 36 and fulfilled the need for Protes-
tant Lutheran doctrinal instruction through such visual imagery.30

Danzig’s vernacular architecture also displayed such antique and em-
blematic décoration. The proud, gabled façades of numerous patrician
town-houses bore classical orders, motifs, sculpted figures and reliefs -
the finest example being the so-called Golden House (begun 1609, façade
1616-18).36 The interior décorations in private homes also reflected the

31 L. Krzyzanowski, “Plastyka nagrobna Wilhelma van den Blocka,” Biuletyn Hi-
storii Sztuki, 20(1958), nr. 3/4, pp. 270-298; J. Palubicki, Marmurowa rzezba archi-
tektoniczna Prus Krôlewskich w XVII wieku. Oitarze, nagrobki, epitafLa i portale, unpubbshed
Master’s Thesis, Institute of Art History, Adam Mickiewicz University, Poznan 1973 also,
“Richter, Wilhelm,” in Polski Stownik BiografLczny, vol. 32/2, nr. 129, Wroclaw, etc, 1988, pp.
284-285; and “Rzezbiarz gdanski Hans Caspar Gockheller,” Gdanskie Studia Muzealne,
2(1978),pp. 121-140 with illustrations; and T. Bematowicz, “Uwaga o XVII-wiecznych epita-
fiach z obrazami z terenu Gdanska,” Studia Gdanska, 6(1986), pp. 139-177.

32 Cuny, Danzigs Kunst und Kultur, 74-89; K. Cieslak, “Ambona z kosciola sw. Jana
w Gdansku. Przyczynek do tworczosci Izaaka van den Blocka,” in Acta Universitatis Ni-
colai Copernici, Torun, 25(1994) no. 280, pp. 35-44.

33 K. Cieslak, “Pierwowzory graficzne epitafiôw obrazowych w Gdansku a problemy
ich ikonografïi,” Biuletyn Historii Sztuki, 50(1988), pp. 201-224 and Epitafia obrazowe w
Gdansku XV-XVII w., Wroclaw, etc., 1993. For a socio-historical and cultural survey of
Danzig epitaphs, cf. K. Cieslak, Kosciôl- cmentarzem. Sztuka nagrobna w Gdansku (XV-
XVIII w.). Dlugie trwanie epitafium, Gdansk 1992 or the new German édition: Tod und
Gedenken. Danziger Epitaphien vom 15. bis zum 20. Jahrhundert, Lüneburg 1998.

34 K Cieslak, “Über Emblematik in Danziger Kirchen und ihren kirchengeschichtli-
chen Hintergrund,” in Zwei Hanseatische Stàdte - Bremen und Danzig im Laufe der
Jahrunderte, Gdansk 1994, pp. 73-96 and “Emblematyka w XVII-wiecznych wnptrzach
koscielnych Gdanska,” in Sztuka XVII wieku w Polsce, Warszawa 1994, pp. 205-219; also
in English transation Emblematic Programs in Seventeenth-Century Gdansk Churches in
Light of Contemporary Protestantism: An Essay and Documentation, Emblematica: An In-
ter disciplinary Journal for Emblem Studies, 9(1995), nr. 1, pp. 21-44; and “Luteranska
sztuka koscielna w Gdansku (1540-1793),” in Protestantyzm i protestanci na Pomorzu,
J. Iluk and D. Marianska (eds.), Gdansk and Koszalin 1997, pp. 63-77.

35 K. Cieslak, “Wittenberga czy Genewa? Sztuka jako argument w sporach
gdaiiskich luteran z kalwinami na przelomie XVI i XVII w.,” in Sztuka miast i miesz-
czanstwa, pp. 283-301; and “Zycie religijne gdanskie luteran i ich recepcja sztuki kosciel-
nej,” in Mieszczanstwogdanskie, S. Salmonowicz (ed.), Gdansk, 1997, pp. 317-329.

36 Compare: Charakteristische Giebelbauten und Portale in Danzig aus der Zeit vom
14. bis 18. Jh., Westpreuss. Architekten und Ingenieurverein zu Danzig, (ed.), Danzig
1901 and K. Hauke, Das Bürgerhaus in Ost- und Westpreussen, Tübingen 1967, pp. 94-114
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