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DOI Artikel:Ratkowska, Paulina: The remains of an altarpiece with the legend of St. John the Baptist: an unpublished work of the Franco-Gothic Style in the National Museum in Warsaw
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18818#0020
21. Draperies: 1. Detail of a miniaturę, Ms Ital. 115, the XIVtli century, Paris, Bibliotheąue
Nationale (after Meditations); 2. Detail of tke fig. 1.
profusely decorated with miniatures, which, however, as far as their style is concerned, sbould
be dated to Lhe Ist third of tke XIVth ratker tkań the XIIItk century. The miniatures of the
Historia provide some generał analogies to our panels confirmed also by some iconograpkic
affinities. Suffice it to quote here tke scene of the Baptism witk two of tke three Angels resembl-
ing much tke Angel of our representation of the subject; St John the Baptist teaching in tke
desert close in type to the Precursor of our image (fig. 15, 16); the figurę of tlie one of the
Apostles in the scene of the Sermon on the Mountain handling abnost identically to our Herod;
the figurę of tlie executioner in the Flagellation of Christ in the Historia and the executioner
of St John in the Beheading (fig. 19, 20); finally, the head of the one of the Apostles and the
one of the Magi as compared to the head of St Andrew with his characteristic rounded beard
in the scene of the Calling of the First Disciples.
Among the rather scarcely preserved works of Castilian painting of the Ist lialf of the XIVth
century the retable in San Milian de Cogolla deserves our special attention.18 In the Annuncia-
tion of the Death of the Firgin the head of Our Lady in its severity and the manner of yeiling
with the white kerchief resembles the head of Salome in the Feast of the Warsawpanel (fig. 13).
Cook dates the paintings at Cogolla to the period, in which the:r provincial master could
already get acąuainted with the Italo-Gothic art, to say, to the Ist quarter of the XIYth cen-
tury.19 The closest to our representations are undoubtedly the miniatures of the manuscript
18. Post, op. cit., fig. 116.
19. Post. op. cit., fig. 117.
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Nationale (after Meditations); 2. Detail of tke fig. 1.
profusely decorated with miniatures, which, however, as far as their style is concerned, sbould
be dated to Lhe Ist third of tke XIVth ratker tkań the XIIItk century. The miniatures of the
Historia provide some generał analogies to our panels confirmed also by some iconograpkic
affinities. Suffice it to quote here tke scene of the Baptism witk two of tke three Angels resembl-
ing much tke Angel of our representation of the subject; St John the Baptist teaching in tke
desert close in type to the Precursor of our image (fig. 15, 16); the figurę of tlie one of the
Apostles in the scene of the Sermon on the Mountain handling abnost identically to our Herod;
the figurę of tlie executioner in the Flagellation of Christ in the Historia and the executioner
of St John in the Beheading (fig. 19, 20); finally, the head of the one of the Apostles and the
one of the Magi as compared to the head of St Andrew with his characteristic rounded beard
in the scene of the Calling of the First Disciples.
Among the rather scarcely preserved works of Castilian painting of the Ist lialf of the XIVth
century the retable in San Milian de Cogolla deserves our special attention.18 In the Annuncia-
tion of the Death of the Firgin the head of Our Lady in its severity and the manner of yeiling
with the white kerchief resembles the head of Salome in the Feast of the Warsawpanel (fig. 13).
Cook dates the paintings at Cogolla to the period, in which the:r provincial master could
already get acąuainted with the Italo-Gothic art, to say, to the Ist quarter of the XIYth cen-
tury.19 The closest to our representations are undoubtedly the miniatures of the manuscript
18. Post, op. cit., fig. 116.
19. Post. op. cit., fig. 117.
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