DOI issue:
Nr. 4
DOI article:Monkiewicz, Maciej: A drawing of Elsheimer in the collection of the National Museum in Warsaw
DOI Page / Citation link: https://doi.org/10.11588/diglit.18904#0111
3. Hendrick Goudt after Elshcimer, Jupiter and Mercury in the House of Philemoii and Baucis
1612, engraying (Photo after Andrews 1977)
of Mercury's, occurs in the rendering of Ceres in the representation in Kurt Meissner's
collection in Zurich (Fig. 11), and, in a somewhat rnodified form, in the old woman and the
boy-Stellio in the Hamburg drawing (Fig. 10). The latter gouache shows the most similarities
with the Warsaw drawing. The most important is the variation of the texture according to
whaf is depicted: the figures take on soft, naturally organie shapes, and the architectural details
of significance from the viewpoint of structure (the faęade of the house in the Hamburg repre-
sentation, a section of the back wali, and the entablature of the ceiling in the Warsaw repre-
sentation) are drawn with precise, economical lines marking out the perspective referentce system
for the whole composition. Analogies also oceur in the drawing of the hand (especially the hands
of Stellio and Ceres in eomparison with Jupiter's and Baucis') and the method of painting the
flame of the torch in the Hamburg drawing and of the olive lamp in the Warsaw drawing. If
we comparc the Philcmon and Baucis with the Mocking of Ceres and other works, e.g. the scenę
now in Zurich (Fig. 11), we recognise in the former the same interplay of light round the human
figures, which is characteristic of Elsheim3r's nocturues.
We como. across the same types of faces as lhose oceurring in the Warsaw drawing in EIs-
heimer's pen sketchcs: there is a parallel between Mercury's youthful face and the face of King
Bala in Copenhagen (1589)13, between Philemon's face and the face of Neptune in a drawing
13. Andrews 1977 (p. 156, Fig. Tnble 8) mul 1983 (pp. 192/193, Fig. Tubie M), cat. n°. 29.
r
97
1612, engraying (Photo after Andrews 1977)
of Mercury's, occurs in the rendering of Ceres in the representation in Kurt Meissner's
collection in Zurich (Fig. 11), and, in a somewhat rnodified form, in the old woman and the
boy-Stellio in the Hamburg drawing (Fig. 10). The latter gouache shows the most similarities
with the Warsaw drawing. The most important is the variation of the texture according to
whaf is depicted: the figures take on soft, naturally organie shapes, and the architectural details
of significance from the viewpoint of structure (the faęade of the house in the Hamburg repre-
sentation, a section of the back wali, and the entablature of the ceiling in the Warsaw repre-
sentation) are drawn with precise, economical lines marking out the perspective referentce system
for the whole composition. Analogies also oceur in the drawing of the hand (especially the hands
of Stellio and Ceres in eomparison with Jupiter's and Baucis') and the method of painting the
flame of the torch in the Hamburg drawing and of the olive lamp in the Warsaw drawing. If
we comparc the Philcmon and Baucis with the Mocking of Ceres and other works, e.g. the scenę
now in Zurich (Fig. 11), we recognise in the former the same interplay of light round the human
figures, which is characteristic of Elsheim3r's nocturues.
We como. across the same types of faces as lhose oceurring in the Warsaw drawing in EIs-
heimer's pen sketchcs: there is a parallel between Mercury's youthful face and the face of King
Bala in Copenhagen (1589)13, between Philemon's face and the face of Neptune in a drawing
13. Andrews 1977 (p. 156, Fig. Tnble 8) mul 1983 (pp. 192/193, Fig. Tubie M), cat. n°. 29.
r
97