DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18897#0043
mould aro presently known26 (fig- 5). Confrontation of the Hannewaldt memoriał with the
relief reveals analogies in the arrangement of the figurcs of Christ, with tbcir hands crossed
in front and protruding aside. In hoth works the column stands in the niche of the three-axial
aedicula in the background. The details almost identical in the relief and in the memoriał are
the pedestals on which Christ stands — semicircular, drawn out from the narrow mould which
eonstitutes a base for the whole sccnc. Moreover, there is a similar angel head set under each
pedestal in the same fashion (fig. 6).
It is very plausible that the delia Porta's relief may have served as a model for the Christ
at the Column from the Hannewaldt memoriał. Even though there is a group of the tormcntors,
and another of the spectators shown in the relief, it still does not contradict my previous propo-
sition about the original format of the Hannewaldt memoriał. Rcduction of the multi-figural
representation to one figurę can be explained by the different size and techniąue of cxccut.;on
of both pieces.
Considering the ąuestion of the origin of the format of the Christ statuę from Żórawina one
recalls another sculpture which, although usually atributed to Jaeopo Sansovino, has been
recently recognized by Middeldorf as a work of delia Porta27. It is Christ Bearing the Cross from
the Estense Gallery in Modena (fig. 6). Both statues are characterized by a similar type of figurę
and twist of the body. The Estense statuę can be easily considered as a missing link between
the Michelangelo's Resurrccted Christ and the Żórawina statuę.
One ąuestion remains to be answered now: how did it come that the particular typc of the
Christ at the Column, represented on the Hannewaldt memoriał was chosen? I bclicve that
it was the donor, who for devotional reason has chosen the format of the single figurę in reference
to the earlier 16th. century representations of the Flagellation, which was similar to the
Ecce Homo images as well28.
The design for the arrangement of the statuę on the memoriał could have been drawn after
delia Porta's relief by the executor of the whole monument, Gerhard Heinrick. Heinrick, though
himself a provincial artist, was a nephew of the famous Hubert Gerhard of Augsburg. In his
youth, in the years 1585—1587 he travelled throughout Europę, and during his stay in Yenice
and Rome had been strongly influenced by Italian art29. Nonetheless, I am inclined to think,
that it was not Heinrick but Adrian de Vries, who designed the arrangement of the central
part of the monument to suit, the statuę which he had cast. He undoubtedly knew Italian
art better than Heinrick, and had more opportunity to follow Guglielmo delia Porta.
The execution of the de Vries's design was left to Heinrick, who made the architectural struc-
ture and the stone sculptures of the monument as well. Heinrick was ąuite an inventivc artist
as can be judged from his other works, for example the great monument of Melchior von
Redern at Frydlant in Bohemia. It was he, for sure, who gave the finał touch to the Han-
newaldt memoriał, and whose contribution was crucial for its artistic ąuality and its place
in the Silesian art of the period.
26. U. Middeldorf, „In the Wakc of Guglielmo delia Portu", The Connoisscur, CXCIV, 1977, p. 81—82. Della Porta's sketches
of the relief are known as well, see: W. Gramherg, ,,Die Hamburger Bronzebiiste Paul III Farnese von Guglielmo
delia Porta", Festschriftfiir Erich Meyer, Hamburg, 1961, p. 162—173; idem, Die Dusseldorfer Skizzeribiiclier des Guglielmo
delia Porta, Berlin, 1964, p. 55, n.: 109, 115.
27. L. Planiscig, Die Estensische Kunslsammlung, Wien, 1919, n. 191; Italian Bronze Statuettcs, Exhibition, London — Paris —
Amsterdam, 1961—1962, n. 138; U. Middeldorf, op. cii., p. 82.
28. In connection with the forinal relationships of the Christ statuę from Żórawina see notes 23 and 26 of tllis article. Tlie
analogies can be scen also between the Żórawina statuę and such Ecce Homo representations as the statuę from the Nos-
seni monument from the St. Sophie church at Dresden executed by Sebastian Walther in the year 1616, and Georg PetePs
work from Augsburg cathedra! from 1632.
29. F. Landsberger, op. cii., p. 104.
relief reveals analogies in the arrangement of the figurcs of Christ, with tbcir hands crossed
in front and protruding aside. In hoth works the column stands in the niche of the three-axial
aedicula in the background. The details almost identical in the relief and in the memoriał are
the pedestals on which Christ stands — semicircular, drawn out from the narrow mould which
eonstitutes a base for the whole sccnc. Moreover, there is a similar angel head set under each
pedestal in the same fashion (fig. 6).
It is very plausible that the delia Porta's relief may have served as a model for the Christ
at the Column from the Hannewaldt memoriał. Even though there is a group of the tormcntors,
and another of the spectators shown in the relief, it still does not contradict my previous propo-
sition about the original format of the Hannewaldt memoriał. Rcduction of the multi-figural
representation to one figurę can be explained by the different size and techniąue of cxccut.;on
of both pieces.
Considering the ąuestion of the origin of the format of the Christ statuę from Żórawina one
recalls another sculpture which, although usually atributed to Jaeopo Sansovino, has been
recently recognized by Middeldorf as a work of delia Porta27. It is Christ Bearing the Cross from
the Estense Gallery in Modena (fig. 6). Both statues are characterized by a similar type of figurę
and twist of the body. The Estense statuę can be easily considered as a missing link between
the Michelangelo's Resurrccted Christ and the Żórawina statuę.
One ąuestion remains to be answered now: how did it come that the particular typc of the
Christ at the Column, represented on the Hannewaldt memoriał was chosen? I bclicve that
it was the donor, who for devotional reason has chosen the format of the single figurę in reference
to the earlier 16th. century representations of the Flagellation, which was similar to the
Ecce Homo images as well28.
The design for the arrangement of the statuę on the memoriał could have been drawn after
delia Porta's relief by the executor of the whole monument, Gerhard Heinrick. Heinrick, though
himself a provincial artist, was a nephew of the famous Hubert Gerhard of Augsburg. In his
youth, in the years 1585—1587 he travelled throughout Europę, and during his stay in Yenice
and Rome had been strongly influenced by Italian art29. Nonetheless, I am inclined to think,
that it was not Heinrick but Adrian de Vries, who designed the arrangement of the central
part of the monument to suit, the statuę which he had cast. He undoubtedly knew Italian
art better than Heinrick, and had more opportunity to follow Guglielmo delia Porta.
The execution of the de Vries's design was left to Heinrick, who made the architectural struc-
ture and the stone sculptures of the monument as well. Heinrick was ąuite an inventivc artist
as can be judged from his other works, for example the great monument of Melchior von
Redern at Frydlant in Bohemia. It was he, for sure, who gave the finał touch to the Han-
newaldt memoriał, and whose contribution was crucial for its artistic ąuality and its place
in the Silesian art of the period.
26. U. Middeldorf, „In the Wakc of Guglielmo delia Portu", The Connoisscur, CXCIV, 1977, p. 81—82. Della Porta's sketches
of the relief are known as well, see: W. Gramherg, ,,Die Hamburger Bronzebiiste Paul III Farnese von Guglielmo
delia Porta", Festschriftfiir Erich Meyer, Hamburg, 1961, p. 162—173; idem, Die Dusseldorfer Skizzeribiiclier des Guglielmo
delia Porta, Berlin, 1964, p. 55, n.: 109, 115.
27. L. Planiscig, Die Estensische Kunslsammlung, Wien, 1919, n. 191; Italian Bronze Statuettcs, Exhibition, London — Paris —
Amsterdam, 1961—1962, n. 138; U. Middeldorf, op. cii., p. 82.
28. In connection with the forinal relationships of the Christ statuę from Żórawina see notes 23 and 26 of tllis article. Tlie
analogies can be scen also between the Żórawina statuę and such Ecce Homo representations as the statuę from the Nos-
seni monument from the St. Sophie church at Dresden executed by Sebastian Walther in the year 1616, and Georg PetePs
work from Augsburg cathedra! from 1632.
29. F. Landsberger, op. cii., p. 104.