DOI issue:
Rozprawy
DOI article:Kandt, Kevin E.: Andreas Schlüter and Otto van Veen: the source, context, and adaption of a classicizing embelm for the tomb of Jakub Sobieski
DOI Page / Citation link: https://doi.org/10.11588/diglit.28185#0059
ANDREAS SCHLÜTER AND OTTO VAN VEEN: THE SOURCE, CONTEXT, AND ADAPTATION
57
imposing, church hâve been traditionally attributed to the young
Andréas Schlüter though without documentation.56 In any case, motifs
with putti often enveloped in florid acanthus-leaf garlands and foliage came
to the fore,5/ like those in the Main Town Hall’s painted ceiling, carved
wooden portai, and spiral staircase in the Main Staircase Hall (c. 1680-85);
the pulpit at St. Brigittes Church (dated 1696); and the later Masons,
Stonecutters, and Sculptors Guïld Bench in St. John’s Church (c. 1700-10).58
Even the cit/s renown gold and silversmith craftsmen had taken up
similar représentations and perfected them to an outstandingly high
quality on tankards, plates, and beakers. Among them were tankards with
antique coin-like medallion portraits of Jan III Sobieski as a Roman
emperor, acanthus-leaf motifs, “all’antica” relief scenes from classical myth-
ology as well as ancient and biblical history, fashionable il Fiammingo-style
putti, and emblematic designs often derived from printed sources.59
mane studia architektoniczne Tytusa Liwiusza Burattiniego,” in Miçdzy Padwq a Zamos-
ciem. Studia z historii sztuki i kultury nowozytnej ofiarowane profesorowi Jerzemu
Kowalczykowi, M. and W. Boberski, et als (eds.), Warszawa 1993, pp. 211-212.
06 Gurlitt, Andréas Schlüter, p. 15; Cuny, Danzigs Kunst und Kultur, p. 113;
H. Kondziela, “Kaplica Krolewska w Gdansku i jej tworcy,” Studia Pomorskie, 2(1957),
pp. 323ff; W. Drost, Kunstdenkmàler der Stadt Danzig. St. Nikolai, St. Joseph, Kônigliche
Kapelle, Hl. Leichnam, St. Salvator, vol. 3, Stuttgart 1959, p. 185; and Kondziela
and Fijalkowski, “Die Kunstlerische Tàtigkeit Andréas Schlüters,” pp. 271-272.
0/ Palubicki, Marmurowa rzezba architektoniczna, p. 47.
oS The Town Hall’s carved and painted décorations were a good example of this new
trend. The style and execution of the portai (c,1680’s) in the entrance hall were similar to
the kind of classicizing thèmes and maritime motifs at the Amsterdam Town Hall popu-
larized by the engravings found in H. Quellinus’ Van de voornaemste statuen ende ciraten,
vaut konstrijck Stadthuys van Amsteldam, tmeeste in maerrner gemaeckt, door Artus Quel-
linus, heelthouwer der voorseyde stadt, (2 vols.), Amsterdam, 1665-1668. Two carved doors
and a window frame, remnants from the Constantin Ferber house in Langen Gasse,
showed emblematic figurai groups and ornamental motifs like Quellinius’ Netherlandish
baroque classicism. Later ecclesiastical examples show the pervasiveness (and variety in
treatment) of the acanthus motif and its inclusion in local décorative schemes. Vemacular
applications were once used on richly carved stone balustrades (from the Franzius-Hause
Beischlag at Langen Gasse) and the staircase banisters in the house at Langen Markt 20
(after c. 1680). For the Danzig Town Hall, see: Domagala, “Wnqtrza reprezentacyjnego
piq-tra,” pp. 44-45 and more on the Amsterdam Town Hall sculptures, K. Freemantle,
Beelden Kijken: de kunst van Quellien in het paleis op de dam, Amsterdam, 1977. The
church décorations were noted by W. Drost, Kunstdenkmàler der Stadt Danzig: Sankt
Johann in Danzig, vol. 1, Stuttgart 1957, pp. 110-112 and illustrations; and for St. Brigitte’s
see Drost’s, Kunstdenkmàler der Stadt Danzig, vol. 3, Stuttgart 1972, pp. 199-200 and il-
lustration 170. And for other domestic, civic, and church interiors see, Danziger Barock,
Frankfurt/Main 1909, plates 1-4, 7-9, 11, 14, 17, 19, 20 and 30; and Deutsche Wohn- und
Festràume aus Sechs Jahrhunderts, Frankfurt/Main 1912, plates 80, 104, 105.
°9 See, D. Nowacki, “Gdanskie zlotnictwo XVII wieku - prôba charakterystyki,” in
Sztuka XVII wieku w Polsce, pp. 233-248; T. Grzybkowska, “Antykizacja w zlotnictwie
gdanskim,” pp. 249-264; and B. Tuchoika-Wlodarska, Danziger Silber: Die Schàtze des
Nationalmuseums Gdansk, A. Lohr (ed.), Bremen 1991, pp. 56-78.
57
imposing, church hâve been traditionally attributed to the young
Andréas Schlüter though without documentation.56 In any case, motifs
with putti often enveloped in florid acanthus-leaf garlands and foliage came
to the fore,5/ like those in the Main Town Hall’s painted ceiling, carved
wooden portai, and spiral staircase in the Main Staircase Hall (c. 1680-85);
the pulpit at St. Brigittes Church (dated 1696); and the later Masons,
Stonecutters, and Sculptors Guïld Bench in St. John’s Church (c. 1700-10).58
Even the cit/s renown gold and silversmith craftsmen had taken up
similar représentations and perfected them to an outstandingly high
quality on tankards, plates, and beakers. Among them were tankards with
antique coin-like medallion portraits of Jan III Sobieski as a Roman
emperor, acanthus-leaf motifs, “all’antica” relief scenes from classical myth-
ology as well as ancient and biblical history, fashionable il Fiammingo-style
putti, and emblematic designs often derived from printed sources.59
mane studia architektoniczne Tytusa Liwiusza Burattiniego,” in Miçdzy Padwq a Zamos-
ciem. Studia z historii sztuki i kultury nowozytnej ofiarowane profesorowi Jerzemu
Kowalczykowi, M. and W. Boberski, et als (eds.), Warszawa 1993, pp. 211-212.
06 Gurlitt, Andréas Schlüter, p. 15; Cuny, Danzigs Kunst und Kultur, p. 113;
H. Kondziela, “Kaplica Krolewska w Gdansku i jej tworcy,” Studia Pomorskie, 2(1957),
pp. 323ff; W. Drost, Kunstdenkmàler der Stadt Danzig. St. Nikolai, St. Joseph, Kônigliche
Kapelle, Hl. Leichnam, St. Salvator, vol. 3, Stuttgart 1959, p. 185; and Kondziela
and Fijalkowski, “Die Kunstlerische Tàtigkeit Andréas Schlüters,” pp. 271-272.
0/ Palubicki, Marmurowa rzezba architektoniczna, p. 47.
oS The Town Hall’s carved and painted décorations were a good example of this new
trend. The style and execution of the portai (c,1680’s) in the entrance hall were similar to
the kind of classicizing thèmes and maritime motifs at the Amsterdam Town Hall popu-
larized by the engravings found in H. Quellinus’ Van de voornaemste statuen ende ciraten,
vaut konstrijck Stadthuys van Amsteldam, tmeeste in maerrner gemaeckt, door Artus Quel-
linus, heelthouwer der voorseyde stadt, (2 vols.), Amsterdam, 1665-1668. Two carved doors
and a window frame, remnants from the Constantin Ferber house in Langen Gasse,
showed emblematic figurai groups and ornamental motifs like Quellinius’ Netherlandish
baroque classicism. Later ecclesiastical examples show the pervasiveness (and variety in
treatment) of the acanthus motif and its inclusion in local décorative schemes. Vemacular
applications were once used on richly carved stone balustrades (from the Franzius-Hause
Beischlag at Langen Gasse) and the staircase banisters in the house at Langen Markt 20
(after c. 1680). For the Danzig Town Hall, see: Domagala, “Wnqtrza reprezentacyjnego
piq-tra,” pp. 44-45 and more on the Amsterdam Town Hall sculptures, K. Freemantle,
Beelden Kijken: de kunst van Quellien in het paleis op de dam, Amsterdam, 1977. The
church décorations were noted by W. Drost, Kunstdenkmàler der Stadt Danzig: Sankt
Johann in Danzig, vol. 1, Stuttgart 1957, pp. 110-112 and illustrations; and for St. Brigitte’s
see Drost’s, Kunstdenkmàler der Stadt Danzig, vol. 3, Stuttgart 1972, pp. 199-200 and il-
lustration 170. And for other domestic, civic, and church interiors see, Danziger Barock,
Frankfurt/Main 1909, plates 1-4, 7-9, 11, 14, 17, 19, 20 and 30; and Deutsche Wohn- und
Festràume aus Sechs Jahrhunderts, Frankfurt/Main 1912, plates 80, 104, 105.
°9 See, D. Nowacki, “Gdanskie zlotnictwo XVII wieku - prôba charakterystyki,” in
Sztuka XVII wieku w Polsce, pp. 233-248; T. Grzybkowska, “Antykizacja w zlotnictwie
gdanskim,” pp. 249-264; and B. Tuchoika-Wlodarska, Danziger Silber: Die Schàtze des
Nationalmuseums Gdansk, A. Lohr (ed.), Bremen 1991, pp. 56-78.