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

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1 cm


23. Andréas Schlüter. Krasinski Palace, 24. Andréas Schlüter. Krasinski Palace,

detail from the court-façade relief. Head of detail from the court-façade relief. Head of

a Dignitary a Dignitary

cizing adaptation from popular graphie sources.111 Christianized baroque
pathos based upon Laocoôn types were created since the ancient master-
piece was considered a suitable model for representing Christian martyrs
during the Counter-Reformation.112 Schlüter’s later Berlin colleague,

111 It has been recently determined that the crucifix may hâve originated from north-
eastern Poland. An examination of the sculpture shows it to be a work of high quality
(though damaged) and certainly of some signifïcance. The author’s attribution of this
crucifix to Schlüter’s Warsaw period was initially put forward in a paper given at the 4th
International Emblem Conférence - Catholic University - Leuven, Belgium (August 1996)
and at the Plattenburg Seminar "Andréas Schlüter und das Schloss zu Berlin” - Schloss
Plattenburg, Germany (November 1996). Many thanks to Dr. Jakub Sito of the Katalog
Zabytkow - Polska Akademia Nauk - Instytut Sztuki, Warsaw for bringing the existence
of this sculpture to my attention and photographing the work.

112 P. P. Bober and R. Rubenstein, Renaissance Artists and Antique Sculpture:
A Handbook of Sources, Oxford 1986, p. 153. See also S. Schlutz, “Antikes Vorbild in
barocken Pathos: Beminis Daniel in der Lôwengrube,” in Antikenrezeption imHochbarock.
H. Beck and S. Schlutz (eds.), Berlin 1989, pp. 173-191, cf. pp. 180-181 (note 21). Acrouch-
ing Atlante or Turkish Slave (?) figure, probably from a catafalque, in the Archdiocese
Muséum, Warsaw, though not exceptionally masterful, exhibits a twisting pose and fea-
tures conceivably within Schlüter’s circle and additional evidence of classical influences in
Warsaw art of the period.
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