DOI Artikel:
Moisan Jablonski, Christine: Malowidło Charles Le Bruna z Pawilonu Jutrzenki w Sceaux inspiracją dla wilanowskich plafonów Pór roku Jerzego Eleutera Siemiginowskiego
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.49518#0064
58
Krystyna Moisan-Jabłońska
is held above the head of one of the winds to signify
the downfall of winter storms). This same vessel of
untypical form was also borrowed from the compo-
sition at Sceaux. The sun Chariot is accompanied by
four figures representing the Hours of the Day, one
of which holds above its head an analogical fiat bas-
ket filled with flowers that is intended to symbolise
ambrosia. A successive personification painted at
the cupola’s base carries in both hands an identical
basket placed at the height of its waist.
The hairstyles of the Wilanów Hyades together
with the poses of some of these mythological figures
resembles those of Le Brun’s Hours of the Night.
The Hyade holding the jug shown from behind re-
calls one of the Hours of the Night who in her turn is
holding poppies in her left hand. In repeating the
exact pose, Siemiginowski altered only the left hand,
unraised. It is worth noting that both figures cary
their hair in a bun. The figurę in the Polish composi-
tion carrying the fiat vessel is a mirror image of a
successive Hour of Time, and analogically dressed
in drapery.
It is necessary to underline the fact that the
Wilanów mural possessed one additional, hidden
symbol. In accordance with the system created in the
2nd century AD by Antiochos of Athens, the sea-
sons in Siemiginowski’s ceiling compositions were
intended to correlate with specific elements. Winter
was connected with water, as symbolised by the sea,
painted to the right, as well as a scallop lying at the
feet of the awakening winds. In the remaining ceil-
ings the elements are barely noticeable, being hid-
den beneath conventional motifs alluding to the four
seasons. Spring swallows signify Wind, two lighted
torches in the hands of Phosphorus were supposed
to connect Summer with the element of Fire, while
the Autumn fruits lying on the ground are a symbol
of Earth.
Siemiginowski used for his own creative ends the
elements of the monumental composition by Le
Brun, applying them to compositions that were new
and different. It is worth at this stage emphasising
the knowledge, masterly skill and independence of
this artist as witnessed not only in the Solutions
adopted to compositional difficulties but also ap-
pearing in the creating of the original iconography
of the Wilanów four seasons. Apart from the already
known programme described by Karpowicz should
be added the figures of Phosphorus and Sleep de-
picted pulling back the curtain of night in the com-
position titled Summer, as well as the Hyades of
Autumn. The concept of expressing the symbolism
of the dual star of Lucipher-Vesper through the an-
gelic figurę lighting one torch from the other is as-
tonishing in its originality, as is the camouflaging of
the four elements, imperceptibly accompanying each
season of the year.
Translated by Peter Martyn
1. Seaux, Aurora Payilion
2. Charles Le Brun, Aurora’s Appearance on the
horizon
3. Louis Simonneau Younger after Charles Le Brun.
Aurora’s Appearance on the horizon
4. Naturę, detail ofill. 2
5. Jerzy Siemiginowski, Summer, ca. 1686, Wilanów
Pcdace
6. Demetez; detail ofill. 5
7. Pollux, detail ofill. 2
8. Apollo’s Chariot, detail ofill. 5
9. Lucifer (Morning Star) with torches and Sleep with
a putto pulling aside the curtains of Night, detail of
Ul. 5
10. Lucipher, detal ofill. 2
11. Jerzy Siemiginowski, Autumn, ca. 1686, Wilanów
Pałace
12. Castor, detail ofill. 2
13. Hours of the Day, detail ofill. 2
14. Jerzy Siemiginowski, Winter, ca. 1686, Wilanów
Pałace
15. Hyades, detail ofill. 11
16. Hours of the Day, detail ofill. 2
17. Zephir and Flora, detail ofill. 2
18. Charles Le Brun, Aurora, sketch in oils, ca. 1672,
Paris
19. Hours of Night, detail ofill. 2
20. Night, detail ofill. 2
21. Jerzy Siemiginowski, Spring, detail, ca. 1686,
Wilanów Pcdace
Acknowledgements:
W. Holnicki: 11, 14, 15,21
Le Pavillon de l Aurorę. Les dessins de Le Brun et la
coupole restauree, Paris-Sceaux, 2000: 1-4, 8, 10,
12, 13, 16-20
T. Żółtowska: 5-7, 9
Krystyna Moisan-Jabłońska
is held above the head of one of the winds to signify
the downfall of winter storms). This same vessel of
untypical form was also borrowed from the compo-
sition at Sceaux. The sun Chariot is accompanied by
four figures representing the Hours of the Day, one
of which holds above its head an analogical fiat bas-
ket filled with flowers that is intended to symbolise
ambrosia. A successive personification painted at
the cupola’s base carries in both hands an identical
basket placed at the height of its waist.
The hairstyles of the Wilanów Hyades together
with the poses of some of these mythological figures
resembles those of Le Brun’s Hours of the Night.
The Hyade holding the jug shown from behind re-
calls one of the Hours of the Night who in her turn is
holding poppies in her left hand. In repeating the
exact pose, Siemiginowski altered only the left hand,
unraised. It is worth noting that both figures cary
their hair in a bun. The figurę in the Polish composi-
tion carrying the fiat vessel is a mirror image of a
successive Hour of Time, and analogically dressed
in drapery.
It is necessary to underline the fact that the
Wilanów mural possessed one additional, hidden
symbol. In accordance with the system created in the
2nd century AD by Antiochos of Athens, the sea-
sons in Siemiginowski’s ceiling compositions were
intended to correlate with specific elements. Winter
was connected with water, as symbolised by the sea,
painted to the right, as well as a scallop lying at the
feet of the awakening winds. In the remaining ceil-
ings the elements are barely noticeable, being hid-
den beneath conventional motifs alluding to the four
seasons. Spring swallows signify Wind, two lighted
torches in the hands of Phosphorus were supposed
to connect Summer with the element of Fire, while
the Autumn fruits lying on the ground are a symbol
of Earth.
Siemiginowski used for his own creative ends the
elements of the monumental composition by Le
Brun, applying them to compositions that were new
and different. It is worth at this stage emphasising
the knowledge, masterly skill and independence of
this artist as witnessed not only in the Solutions
adopted to compositional difficulties but also ap-
pearing in the creating of the original iconography
of the Wilanów four seasons. Apart from the already
known programme described by Karpowicz should
be added the figures of Phosphorus and Sleep de-
picted pulling back the curtain of night in the com-
position titled Summer, as well as the Hyades of
Autumn. The concept of expressing the symbolism
of the dual star of Lucipher-Vesper through the an-
gelic figurę lighting one torch from the other is as-
tonishing in its originality, as is the camouflaging of
the four elements, imperceptibly accompanying each
season of the year.
Translated by Peter Martyn
1. Seaux, Aurora Payilion
2. Charles Le Brun, Aurora’s Appearance on the
horizon
3. Louis Simonneau Younger after Charles Le Brun.
Aurora’s Appearance on the horizon
4. Naturę, detail ofill. 2
5. Jerzy Siemiginowski, Summer, ca. 1686, Wilanów
Pcdace
6. Demetez; detail ofill. 5
7. Pollux, detail ofill. 2
8. Apollo’s Chariot, detail ofill. 5
9. Lucifer (Morning Star) with torches and Sleep with
a putto pulling aside the curtains of Night, detail of
Ul. 5
10. Lucipher, detal ofill. 2
11. Jerzy Siemiginowski, Autumn, ca. 1686, Wilanów
Pałace
12. Castor, detail ofill. 2
13. Hours of the Day, detail ofill. 2
14. Jerzy Siemiginowski, Winter, ca. 1686, Wilanów
Pałace
15. Hyades, detail ofill. 11
16. Hours of the Day, detail ofill. 2
17. Zephir and Flora, detail ofill. 2
18. Charles Le Brun, Aurora, sketch in oils, ca. 1672,
Paris
19. Hours of Night, detail ofill. 2
20. Night, detail ofill. 2
21. Jerzy Siemiginowski, Spring, detail, ca. 1686,
Wilanów Pcdace
Acknowledgements:
W. Holnicki: 11, 14, 15,21
Le Pavillon de l Aurorę. Les dessins de Le Brun et la
coupole restauree, Paris-Sceaux, 2000: 1-4, 8, 10,
12, 13, 16-20
T. Żółtowska: 5-7, 9