DOI Heft:
No. 2
DOI Artikel:Sztetyłło, Zofia: Heracles with a cornucopia on the seal of a Sinopean amphora
DOI Artikel:Genaille, Robert: Le Retable de Varsovie: la Déploration de Jean Bellegambe
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17138#0047
model among monumental sculptures, as the cases of copying sculpturcs by craftsmen are
often observed, among others iii coins and in the iconography of stamped handles10.
The analysis of the most popular images of Heracles with a cornucopia in Greek art and
in Roman copies, suggests to look for the original model in one of the great schools of sculp-
ture of the IV-tli century, may be that of Lysippus. And this because, in spite of the many
variants, every\viicre there is the same slcnder body so characteristic of Lysippus, what seems
to support our suggestion11. The numerous replicas in smali sculptures and in works of art
industry, the great numbei of Koman copies and even the continuation of this Lysippian
type in Roman works, confirm our hypothesis12.
Reassuming: the iconographic analysis of the details of the Sinopean astynome's seal
suggests that we have here a representation of Heracles who was victorious over Acheloos.
The stylistic analysis of analogies suggests the possibility to look for the original model
for the engraving among the sculptures of the second half of the IV-th century B.C. perhaps
in Lysippus school.
10. J. Lieglc, Der Zeus des Phidius, Berlin, 1952; Franz Studniczka, Kalamis, Lcipzig, 1907: Ch. Blinkenberg, Knidia,
Kopenhagen, 1937; H. Lechat, Phidias et la sculpture grecąue au V siecle, Paris, 1924. For the reproduction of the
IV century B. C. sculptures in smali terracotta figurines ef. S. Reinach, "Les terres cnites de Smyrna et la statuaire
duIVsiecle", Mel. Gruux, 1884. For definite great sculptures and their replicas by craftsmen sec among others .1 ..T.Char-
bonncaux, „Trois portraits d'Alexandre I Ballos", BCH, XXIX, 1955, 2, p. 528-538: H. Maryon, "The colossus of
Rhodes", JHS, LXXVI, 1956, p. 68 — 80. For monumental sculptures and the jconography of stamped handles see
among others M. P. Nilsson, op. cit., p. 168; A. Joubin, "Relief archaique de Thasos", BCH, XVIII, 1891, p. 64 f.
11. Cf. G. Lippold, Die Skulpturen d. Vatiam. Museums, Berlin, 1956, III, p. 29, pl. XVI. Nr 10, pi. 58, nr 30.; O. Wald-
hauer, Die Anliken Skulpturen d. Ennitage, Berlin, 1928, p. 35 — 36, nr 17, pl. XIV, nr 18, tablc XIV; W. Amelung,
Die Skulpturen d. Yalican. Museums, Berlin. 1908, IT. nr 57, pl. 8; Visconti, Museo Pio Clemenlino, II, 5; S. Reinach.
Rep. Siat., Paris, 1930, p. 170, pl. 797; Reinach, II, 1 p. 212. nr 6, p. 211. nr 1. IV, p. 127. nr 5. V, p. 81, nr 3.
12. Whith icgard to Greek reliefs the relief ofThcbcs, cf. G. Koerte "Antike Skulpturen ans Beotien", AM, 1879, 4, p. 275.
In the group of smali hronze statuettes the one of Abruzzo should be noted, cf. Fuehrer durch d. Anliąuarium, p. 40,
nr 6476. For terracotta statuettes see among others Th. Panofka, Terrukotten d. Koenigl. Museum zu Berlin, Berlin,
1842, p. 116, pl. LVI, 2.
As to the continuation in Roman art cf. W. Dconna, Cat. d. bronzes ant. fig., Extr. 1'Indieateur ant. Suisses, Ge-
neve, 1916, p. 15, nr 23.; F. Babelon, Cal. d. bronzes ani. Bib!. Nat., Paris, 1894, p. 245, nr 587 — 588. In the group
of Roman reliefs compare the Antoninę relief, at present at the Vatican Museum, W. Amelung, op. cit. II, pl. 21.
For sarcophagus sec C. Robert, Die antik. Sarkophag Reliefs, Berlin, 1897, pl. XLIII, nr 141, p. 164 — 166.
Robert Genaille
LE RETABLE DE VARSOVIE:
LA DEPLORATION DE JEAN BELLEGAMBE
La presence a Bordeaux1 de la Depłoralion du Christ de Jean Bellegambe (fig. I)2 me fait
un double plaisir, celui de penser que mes travaux ne furent peut-etre pas etrangers au choix
de Mile Martin-Mćry, et je m'en sens tres honorć, celui d'etudier a nouveau un retablc que je
coimais depuis longtemps grace a l'extreme obligeance des conservateurs du Musee de Varsovie.
Les 1935 ils m'envoyaient, avcc toutes sortes de precieuśes references, le releve precis, les cal-
1- G. Martin-Mery, Trćsors d\irl polonais, Chefs d'oeuvre des Musees de Pologne, Exposition au Musee de Bordeaux en 1961,
n° 78. Cet article a deja ete publie, sans Ulustrations, dans les Cahicrs de Bordeaux, VII—VIII, 1960-1961,
PP- 169-177.
-■ Bois, 130x80, 130x40, 130x40; n° inv. 19. Bibliographie fondamentale: R. Genaille, „La Deploration du Christ du
Musće de Varsovie et les debuts de Jean Bellegambe", La Kemie des Arts III, 1953, p. 135-164; J. Białostocki, M. Wa-
licki, Europaische Malerei in polnischen Sammlungen, (s. 1.), 1957, n° 50; J. Białostocki, Malarstwo niderlandzkie te zbio-
raeb polskich I t50 —1550. Muzeum Narodowe w Warszawie (cat. de l'exposition), Warszawa, 1960, n° 1.
37
often observed, among others iii coins and in the iconography of stamped handles10.
The analysis of the most popular images of Heracles with a cornucopia in Greek art and
in Roman copies, suggests to look for the original model in one of the great schools of sculp-
ture of the IV-tli century, may be that of Lysippus. And this because, in spite of the many
variants, every\viicre there is the same slcnder body so characteristic of Lysippus, what seems
to support our suggestion11. The numerous replicas in smali sculptures and in works of art
industry, the great numbei of Koman copies and even the continuation of this Lysippian
type in Roman works, confirm our hypothesis12.
Reassuming: the iconographic analysis of the details of the Sinopean astynome's seal
suggests that we have here a representation of Heracles who was victorious over Acheloos.
The stylistic analysis of analogies suggests the possibility to look for the original model
for the engraving among the sculptures of the second half of the IV-th century B.C. perhaps
in Lysippus school.
10. J. Lieglc, Der Zeus des Phidius, Berlin, 1952; Franz Studniczka, Kalamis, Lcipzig, 1907: Ch. Blinkenberg, Knidia,
Kopenhagen, 1937; H. Lechat, Phidias et la sculpture grecąue au V siecle, Paris, 1924. For the reproduction of the
IV century B. C. sculptures in smali terracotta figurines ef. S. Reinach, "Les terres cnites de Smyrna et la statuaire
duIVsiecle", Mel. Gruux, 1884. For definite great sculptures and their replicas by craftsmen sec among others .1 ..T.Char-
bonncaux, „Trois portraits d'Alexandre I Ballos", BCH, XXIX, 1955, 2, p. 528-538: H. Maryon, "The colossus of
Rhodes", JHS, LXXVI, 1956, p. 68 — 80. For monumental sculptures and the jconography of stamped handles see
among others M. P. Nilsson, op. cit., p. 168; A. Joubin, "Relief archaique de Thasos", BCH, XVIII, 1891, p. 64 f.
11. Cf. G. Lippold, Die Skulpturen d. Vatiam. Museums, Berlin, 1956, III, p. 29, pl. XVI. Nr 10, pi. 58, nr 30.; O. Wald-
hauer, Die Anliken Skulpturen d. Ennitage, Berlin, 1928, p. 35 — 36, nr 17, pl. XIV, nr 18, tablc XIV; W. Amelung,
Die Skulpturen d. Yalican. Museums, Berlin. 1908, IT. nr 57, pl. 8; Visconti, Museo Pio Clemenlino, II, 5; S. Reinach.
Rep. Siat., Paris, 1930, p. 170, pl. 797; Reinach, II, 1 p. 212. nr 6, p. 211. nr 1. IV, p. 127. nr 5. V, p. 81, nr 3.
12. Whith icgard to Greek reliefs the relief ofThcbcs, cf. G. Koerte "Antike Skulpturen ans Beotien", AM, 1879, 4, p. 275.
In the group of smali hronze statuettes the one of Abruzzo should be noted, cf. Fuehrer durch d. Anliąuarium, p. 40,
nr 6476. For terracotta statuettes see among others Th. Panofka, Terrukotten d. Koenigl. Museum zu Berlin, Berlin,
1842, p. 116, pl. LVI, 2.
As to the continuation in Roman art cf. W. Dconna, Cat. d. bronzes ant. fig., Extr. 1'Indieateur ant. Suisses, Ge-
neve, 1916, p. 15, nr 23.; F. Babelon, Cal. d. bronzes ani. Bib!. Nat., Paris, 1894, p. 245, nr 587 — 588. In the group
of Roman reliefs compare the Antoninę relief, at present at the Vatican Museum, W. Amelung, op. cit. II, pl. 21.
For sarcophagus sec C. Robert, Die antik. Sarkophag Reliefs, Berlin, 1897, pl. XLIII, nr 141, p. 164 — 166.
Robert Genaille
LE RETABLE DE VARSOVIE:
LA DEPLORATION DE JEAN BELLEGAMBE
La presence a Bordeaux1 de la Depłoralion du Christ de Jean Bellegambe (fig. I)2 me fait
un double plaisir, celui de penser que mes travaux ne furent peut-etre pas etrangers au choix
de Mile Martin-Mćry, et je m'en sens tres honorć, celui d'etudier a nouveau un retablc que je
coimais depuis longtemps grace a l'extreme obligeance des conservateurs du Musee de Varsovie.
Les 1935 ils m'envoyaient, avcc toutes sortes de precieuśes references, le releve precis, les cal-
1- G. Martin-Mery, Trćsors d\irl polonais, Chefs d'oeuvre des Musees de Pologne, Exposition au Musee de Bordeaux en 1961,
n° 78. Cet article a deja ete publie, sans Ulustrations, dans les Cahicrs de Bordeaux, VII—VIII, 1960-1961,
PP- 169-177.
-■ Bois, 130x80, 130x40, 130x40; n° inv. 19. Bibliographie fondamentale: R. Genaille, „La Deploration du Christ du
Musće de Varsovie et les debuts de Jean Bellegambe", La Kemie des Arts III, 1953, p. 135-164; J. Białostocki, M. Wa-
licki, Europaische Malerei in polnischen Sammlungen, (s. 1.), 1957, n° 50; J. Białostocki, Malarstwo niderlandzkie te zbio-
raeb polskich I t50 —1550. Muzeum Narodowe w Warszawie (cat. de l'exposition), Warszawa, 1960, n° 1.
37