DOI Heft:
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DOI Artikel:Benesz, Hanna: Daniel and King Cyrus in front of Baal: a late Rudolfine and late Humanist painting by Bartholomäus Strobel from the collection of the National Museum in Warsaw
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18940#0084
8. Bartholomaus Strobel, Daniel and King Cyrus in front of Baal, detail, Warsaw, Muzeum
Narodowe
sion to content. Also the use of pictorial equivalents of rhetorical and poetic ornaments such
as antithesis, anaphora, chiasmus and irony was a frequent phenomenon both in allegories and
in the so called „poesies", i.e. mythological subjects so often painted by Spranger. It is possible
to identify them all in tlie Daniel and Baal painting, too. Antithesis is to be observed in the
opposing elevated but overshadowed figurę of Baal to the young Daniel, symbolizing the inrier
and outer light. The same is releva.nt with Baal and the feminine symbolic figurę. Anaphora,
meaning a repetition of certain motifs, is present in gestures of Daniel's and ,,Truth's" hands
and in the rythmic seąuence of women stepping down the stairs. Chiasmus is strcssed in crossing
compositional diagonals while irony has been concentrated in their very intersection in the
equally overshadowed figurę of the BaaFs first priest, who gazes at his divinity with a decply
sceptical łook. The inclusion of the allegorical element of the figurę of „Truth" characterizes
the painting by another rhetorical notion —■ that of amplificatio, often encountered in many
69
Narodowe
sion to content. Also the use of pictorial equivalents of rhetorical and poetic ornaments such
as antithesis, anaphora, chiasmus and irony was a frequent phenomenon both in allegories and
in the so called „poesies", i.e. mythological subjects so often painted by Spranger. It is possible
to identify them all in tlie Daniel and Baal painting, too. Antithesis is to be observed in the
opposing elevated but overshadowed figurę of Baal to the young Daniel, symbolizing the inrier
and outer light. The same is releva.nt with Baal and the feminine symbolic figurę. Anaphora,
meaning a repetition of certain motifs, is present in gestures of Daniel's and ,,Truth's" hands
and in the rythmic seąuence of women stepping down the stairs. Chiasmus is strcssed in crossing
compositional diagonals while irony has been concentrated in their very intersection in the
equally overshadowed figurę of the BaaFs first priest, who gazes at his divinity with a decply
sceptical łook. The inclusion of the allegorical element of the figurę of „Truth" characterizes
the painting by another rhetorical notion —■ that of amplificatio, often encountered in many
69