DOI Heft:
Nr. 3
DOI Artikel:Białostocki, Jan: A Madonna and Child from Felipe Vigarni Workshop
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18819#0063
work wlien seen iii original", it falls obviously below the higli standard of tlie two other works.
Now, the relief acquired by the Warsaw Museum (fig.l) belongs to the same group. Far,
however, from originating directly from Diego de Siloe's London work, it goes baek either to
one of the two alabaster works, connected with Vigarni workshop, or to an unknown prototype
of all of them. Iconographically its connection with the New York — Burgos type is extremely
close. It represents nevertheless several individual features, the most important being a considera-
ble erdargement of the Child, whose body contour cuts now across the oval field of the sculpture
as an oblique dividing line. The left hand of the Madonna forms another obliąue accent crossing
the leg of the Child at right angle. 'Whcreas in the New York relief there are several accentuated
horizontal shapes (the belt on the Virgin's robe, the hand, the angePs head and his wings) as
well as vertical forms (the Child) and the only obviously diagonal feature is the inclined head
of Mary, in Warsaw there are almost no verticals and horizontals: everything is obliqus and
therefore a much more dynamie impression is created. The winged angel head, which supports
the composition — an outspoken horizontal motif in New York — is inclined to the left in
Warsaw in accordance with the obliąue axis of the Child's body, which it seems to continue.
If we bring into comparison the third work, that in Burgos, it seems to place itself in between:
still close to the New York form, but announcing the Warsaw diagonals and unrest. The shape
of the Virgin's decolletee, round in New York, is in Burgos, as in Warsaw in the form of a heart.
One can conclude that the Warsaw version is a later one, depending on the two ones discussed
by Wethey.
If we compare the execution and finish of the Warsaw work, it appears that its quality is
considerably lower in this respect.3 It lacks completely the extremely fine, delicate lines modelling
the New York relief. The hands of the Virgin, with long, elegant, nervous fingers in New York,
in Warsaw are somewhat plump, a little schematic. Every thing has gained power, volume and
dynamism, loosing refinement and subtlety.
The profiles of the Child and of the Virgin manifest slightly concave lines of the nose and
chin, as opposed to fine fuli forms in the London, New York and Burgos reliefs. Some similarities
can perhaps be discovered in the works of Felipe's son, Gregorio Vigarni (1517—1552), whose
alabaster relief of 1543 in the Toledo Cathedral may serve as comparison.4 It is however not
possible, as it was also for Wethey in respect to the other works of this group, to go further
than to say, the Warsaw Madonna and Child, echoing as it does, from some distance, an important
prototype Diego de Siloe's, originated in the Burgos studio around Felipe Vigarni, or in a workshop
continuing and developping his style.
The appearance of this Spanish work in Warsaw — a rare case in Polish collections — brings
a new evidence of the large popularity of that composition and poses the question why it was
so exceptioually popular.
3. Traces of gilding remain cspecially well prcservctl on the liair of the Virgm, on the fringe of her mantle and on the wings
of the angel.
4. It is reproduccd by Wethey, op. cit., fig. 7.
53
Now, the relief acquired by the Warsaw Museum (fig.l) belongs to the same group. Far,
however, from originating directly from Diego de Siloe's London work, it goes baek either to
one of the two alabaster works, connected with Vigarni workshop, or to an unknown prototype
of all of them. Iconographically its connection with the New York — Burgos type is extremely
close. It represents nevertheless several individual features, the most important being a considera-
ble erdargement of the Child, whose body contour cuts now across the oval field of the sculpture
as an oblique dividing line. The left hand of the Madonna forms another obliąue accent crossing
the leg of the Child at right angle. 'Whcreas in the New York relief there are several accentuated
horizontal shapes (the belt on the Virgin's robe, the hand, the angePs head and his wings) as
well as vertical forms (the Child) and the only obviously diagonal feature is the inclined head
of Mary, in Warsaw there are almost no verticals and horizontals: everything is obliqus and
therefore a much more dynamie impression is created. The winged angel head, which supports
the composition — an outspoken horizontal motif in New York — is inclined to the left in
Warsaw in accordance with the obliąue axis of the Child's body, which it seems to continue.
If we bring into comparison the third work, that in Burgos, it seems to place itself in between:
still close to the New York form, but announcing the Warsaw diagonals and unrest. The shape
of the Virgin's decolletee, round in New York, is in Burgos, as in Warsaw in the form of a heart.
One can conclude that the Warsaw version is a later one, depending on the two ones discussed
by Wethey.
If we compare the execution and finish of the Warsaw work, it appears that its quality is
considerably lower in this respect.3 It lacks completely the extremely fine, delicate lines modelling
the New York relief. The hands of the Virgin, with long, elegant, nervous fingers in New York,
in Warsaw are somewhat plump, a little schematic. Every thing has gained power, volume and
dynamism, loosing refinement and subtlety.
The profiles of the Child and of the Virgin manifest slightly concave lines of the nose and
chin, as opposed to fine fuli forms in the London, New York and Burgos reliefs. Some similarities
can perhaps be discovered in the works of Felipe's son, Gregorio Vigarni (1517—1552), whose
alabaster relief of 1543 in the Toledo Cathedral may serve as comparison.4 It is however not
possible, as it was also for Wethey in respect to the other works of this group, to go further
than to say, the Warsaw Madonna and Child, echoing as it does, from some distance, an important
prototype Diego de Siloe's, originated in the Burgos studio around Felipe Vigarni, or in a workshop
continuing and developping his style.
The appearance of this Spanish work in Warsaw — a rare case in Polish collections — brings
a new evidence of the large popularity of that composition and poses the question why it was
so exceptioually popular.
3. Traces of gilding remain cspecially well prcservctl on the liair of the Virgm, on the fringe of her mantle and on the wings
of the angel.
4. It is reproduccd by Wethey, op. cit., fig. 7.
53