DOI Artikel:
Miodońska, Barbara: Motywy Mistrza Kart do Gry i jego kopisty w krakowskich rękopisach iluminowanych około połowy XV wieku
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.48235#0039
MOTYWY MISTRZA KART DO GRY
II. 14. Dzicy ludzie polujący. Antyfonarz wrocławski, dawniej w Archiwum Diecezjalnym we Wrocławiu,
nr 47, k. 106 v, fragment, wg E. Klossa
model sheets which reached various distant European cen-
tres of art almost at the same time.
In the sets of manuscripts collected by van Buren and
Edmunds there are no examples of borrowings fr om the Master
of the Playing Cards in Eastern Europę, for the simple reason
that the authors did not look for any there. Without attemp-
ting any systematic search, a few indubitable copies noticed
incidentally during research on illumination in Cracow may
be pointed out. These may be found in liturgical MSS executed
in Cracow and destined for Wawel Cathedral.
Missal no. 2 (KP) in the Wawel Chapter Archives.
The assignment of the manuscript to the fifth decade
of the fifteenth century follows from stylistic criteria. The
donor is unknown. Among the plant decoration in the borders
of the pages there are motifs of animals, birds, and fighting
wild men, linked by their symbolical content with the subjects
of the historiated initials. The illuminator has taken five of
these motifs from engravings by the Master of the Playing
Cards or copies of these madę by the Master of the Power
of Women.
Leaf XVII r. (Fig. 1 and 4)
A. The Wiki Man shooting with a bow is a reversed copy
of a similar motif in an engraving by the Master of the Playing
Cards, the five of Wild Mon (L. 53; Geisberg, Das alteste
gestochene deutsche Kartenspiel von Meister der Spiełkarten,
„Studien zur deutschen Kunstgeschichte” 66, Strassburg 1905,
A. 2; Fig. 5). The engraved copy of this motif executed by the
Master of the Power of Women, although facing in the same
direction as the painted copy in Missal no. 2, differs both
from it and from the original model in the morę slender and
delicate bodily structure of the Wild Man (L. 21 and 27;
Geisberg. Das Kupferstich-Kartenspieł der k. und k. Hof-
bibliothek zu Wien aus der Mitte des XV. Jahrhunderts, „Stu-
dien zur deutschen Kunstgeschichte” 205, Strassburg 1918,
I. 2 and I. 8).
B. The Wild Man attacking with a club and shielding himself
with a buckler (Fig. 4) is a reversed copy of one of the lost
motifs of the Master of the Playing Cards. The copy by the
Master of the Power of Women (the smali figurę in the bottom
righthand corner of the engraving Of the eight of Wild Men;
L. 27; Geisberg (1918) I. 8; Fig. 7) gives some idea of it,
but an even better idea is given by the painted copy in the
margin of leaf 208 r. of the illuminated Gutenberg Bibie in
the collection of William H. Scheide (Fig. 9). The Cracow
illuminator has turned his Wild Man round and given him
a shield.
Leaf CLXXIII r. (Fig. 2, 3 and 10).
A. The Swan (Fig. 10) was certainly copied from the engra-
ving of the six of Birds by the Master of the Playing Cards
(L. 65; Geisberg (1905) D. 76; Fig. 11).
B and C. Two Wild Men fighting (Fig. 3) were repeated
from lost engraving of the Master of the Playing Cards,
or from copies of these madę by the Master of the Power of
Women (the eight of Wild Men, L. 27; Geisberg (1918) I. 8;
Fig. 7) and the seven of Wild Men (L. 26; Geisberg (1918)
I. 7; Fig. 6). In spite of the reversed position of the twe
figures in relation to the original model, the strong stockjr
build of their bodies shows a distinct resemblance to motifs
from the engravings of the Master of the Playing Cards.
Missal no. 7 (KP) in the Wawel Chapter Archives.
From the same workshop as Missal no. 2 (KP), after the
middle of the fifteenth century.
The rosę in the margin of leaf 107 r. (fig. 13) is similar to
that in the bottom corner of the engraving of the seven of
Flowers by the Master of the Power of Women (L. 78; Geisberg
(1918) IV.7; Fig. 12).
The Antiphonary of Adam of Będków, Part I, no. 48
(KP) and Part II, no. 49 (KP) in the Wawel Chapter Archives.
This is a beąuest from a canon of Cracow, Adam of Będków,
from a family bearing the crest of Prus II (Wilczekosy),
29
II. 14. Dzicy ludzie polujący. Antyfonarz wrocławski, dawniej w Archiwum Diecezjalnym we Wrocławiu,
nr 47, k. 106 v, fragment, wg E. Klossa
model sheets which reached various distant European cen-
tres of art almost at the same time.
In the sets of manuscripts collected by van Buren and
Edmunds there are no examples of borrowings fr om the Master
of the Playing Cards in Eastern Europę, for the simple reason
that the authors did not look for any there. Without attemp-
ting any systematic search, a few indubitable copies noticed
incidentally during research on illumination in Cracow may
be pointed out. These may be found in liturgical MSS executed
in Cracow and destined for Wawel Cathedral.
Missal no. 2 (KP) in the Wawel Chapter Archives.
The assignment of the manuscript to the fifth decade
of the fifteenth century follows from stylistic criteria. The
donor is unknown. Among the plant decoration in the borders
of the pages there are motifs of animals, birds, and fighting
wild men, linked by their symbolical content with the subjects
of the historiated initials. The illuminator has taken five of
these motifs from engravings by the Master of the Playing
Cards or copies of these madę by the Master of the Power
of Women.
Leaf XVII r. (Fig. 1 and 4)
A. The Wiki Man shooting with a bow is a reversed copy
of a similar motif in an engraving by the Master of the Playing
Cards, the five of Wild Mon (L. 53; Geisberg, Das alteste
gestochene deutsche Kartenspiel von Meister der Spiełkarten,
„Studien zur deutschen Kunstgeschichte” 66, Strassburg 1905,
A. 2; Fig. 5). The engraved copy of this motif executed by the
Master of the Power of Women, although facing in the same
direction as the painted copy in Missal no. 2, differs both
from it and from the original model in the morę slender and
delicate bodily structure of the Wild Man (L. 21 and 27;
Geisberg. Das Kupferstich-Kartenspieł der k. und k. Hof-
bibliothek zu Wien aus der Mitte des XV. Jahrhunderts, „Stu-
dien zur deutschen Kunstgeschichte” 205, Strassburg 1918,
I. 2 and I. 8).
B. The Wild Man attacking with a club and shielding himself
with a buckler (Fig. 4) is a reversed copy of one of the lost
motifs of the Master of the Playing Cards. The copy by the
Master of the Power of Women (the smali figurę in the bottom
righthand corner of the engraving Of the eight of Wild Men;
L. 27; Geisberg (1918) I. 8; Fig. 7) gives some idea of it,
but an even better idea is given by the painted copy in the
margin of leaf 208 r. of the illuminated Gutenberg Bibie in
the collection of William H. Scheide (Fig. 9). The Cracow
illuminator has turned his Wild Man round and given him
a shield.
Leaf CLXXIII r. (Fig. 2, 3 and 10).
A. The Swan (Fig. 10) was certainly copied from the engra-
ving of the six of Birds by the Master of the Playing Cards
(L. 65; Geisberg (1905) D. 76; Fig. 11).
B and C. Two Wild Men fighting (Fig. 3) were repeated
from lost engraving of the Master of the Playing Cards,
or from copies of these madę by the Master of the Power of
Women (the eight of Wild Men, L. 27; Geisberg (1918) I. 8;
Fig. 7) and the seven of Wild Men (L. 26; Geisberg (1918)
I. 7; Fig. 6). In spite of the reversed position of the twe
figures in relation to the original model, the strong stockjr
build of their bodies shows a distinct resemblance to motifs
from the engravings of the Master of the Playing Cards.
Missal no. 7 (KP) in the Wawel Chapter Archives.
From the same workshop as Missal no. 2 (KP), after the
middle of the fifteenth century.
The rosę in the margin of leaf 107 r. (fig. 13) is similar to
that in the bottom corner of the engraving of the seven of
Flowers by the Master of the Power of Women (L. 78; Geisberg
(1918) IV.7; Fig. 12).
The Antiphonary of Adam of Będków, Part I, no. 48
(KP) and Part II, no. 49 (KP) in the Wawel Chapter Archives.
This is a beąuest from a canon of Cracow, Adam of Będków,
from a family bearing the crest of Prus II (Wilczekosy),
29