Bulletin du Musée National de Varsovie — 10.1969

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0.5
1 cm
facsimile
une inscription sur un espace de plus de 0,60 m. de hauteur. De telles plaąues de marbre etaient
trop lourdes pour le transport, c'est pourąuoi Layard dćcida de decouper celles destinees a etre
emportees. II envoya en Angleterre les portions contenant des scenes figurales. Comme 1'inscrip-
tion lui parut stereotypee, il la laissa.

La plupart de ces bas-reliefs assyriens se trouve maintenant au British Museum; entre autres
certains representant la scenę en question. Un grand fragment de ce genre fut publie par Wallis
Budge,3 Henry Frankfort en fait mention en ajoutant la pliotograpliie du relief (fig. 2).4 En exa-
minant cette sculpture on peut constater que notre fragment lui ressemble en presque tous les
details. La composition de 1'inscription est un peu differente, ce quine doitpas ćtonner si on prend
en consideration qu'une telle scenę n'etait point une representation isolee. Un long rang de
genies de ce genre parcourait les murs de la chambre ,,F" et ils etaient nombreux aussi dans
d'autres salles. Entre ces etres etranges le plus souvent est sculpte un dattier fort stylise, mais
parfois entre le genie et le dattier le roi en personne se tient debout. Quelquefois au-dessus de
1'arbre est sculpte le disque solaire ailć, symbole du dieu national Assur, ou aussi une deesse
tend vers lui les symboles de fertilite.

Traduil par Zsolt Kiss

3. W. Budge, Assyrian sculptures in the British Museum, 1914, pl. 44.

4. H. Frankfort, Art and Architeclure of Ancient Orient, London, 1954, pl. 90.

Bożena Steinborn

THE TRIUMPH OF DAVID IN THE SILESIAN MUSEUM
ANOTHER COPY OF LUCAS VAN LEYDEN'S WORK

The Silesian Museum has in its collection a picture representing the Triumph of David, acqui-
red in 1965 (fig. 1). The picture painted on a panel 54x38 cm in oils and tempera technique
possesses all the features characteristic of an authentic 16-th century picture.1 Cranach's signa-
ture is visible in the center at the bottom of the picture.

In the present paper the following problems are dealt with: verification of the signature;
the theme and its presentation; the problem of the prototype and its replicas; the Wrocław copy.

The Wrocław picture, which repeats Lucas van Leyden's composition known from replicas
and copies deserves attention because of the possibility of assigning it to Cranach's workshop,
as the signature — a winged snake with a ring in its mouth — is located in the paint layer itself.
The signature is placed on a rectangular cartellino, bent slightly on the right hand side; the
creeping snake has a bird's wing composed of six elements (fig. 2). After 1535—1537 the bird's
wing (that of an eagle) depicted in various ways, replaced a bat in the signatures of Lucas
Granach the Elder. According to Gieseckc,2 the new version is the sign of Lucas Cranach the

1. Special thanks are due Daniela Stankiewicz, M.A., for her investigations carricd out in conservation laboratory in Muzeum
śląskie, Wrocław. Daniela Stankiewicz States, among other, that the picture has heen painted on fir wood; the glue contai-
ning ground is coloured rouge and applied in a very thin layer performs the function of the underpainting.

2. A. Giesecke, ,,Wappen, Siegcl und Signet Lucas Cranachs undseiner Siihne und ihre Bedeutung fvir die Cranach-Forschung",
Zeitschrift fiir Kunstwissenschaft, IX, 1955, pp. 181 — 192.

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