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DOI Artikel:Miziołek, Jerzy: The story of Lucretia on an Early-Renaissance "Cassone" at the National Museum in Warsaw
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18943#0049
14. The story of Lucretia, cassone, San Simeon, California, The Hearst Collection (Photo after
The Ho!ford Collection, op. cit.)
21. This „Maestro" was originally known as the Master of Cracow cassoniand later as the Master of the Siege
of Tarent See: M. Boskovits, „Maestro di Incisa Scapaccino e alcuni probierni di pittura tardogotica in
Italia", Paragone, 501,1991, pp. 35-53, esp. p. 37 and notes 13 and 14. In this paper Boskovits introduced
the present name of this painter. The latter notę includes a list (compiled by Boskovits and Everett Fahy) of
works by this anonymous artist. Cf. also C. Lloyd, A Catalogue of the Earlier Paintings in the Ashmolean
Museum, Oxford, 1977, pp. 132-3; J. Miziołek, „Europa and the Winged Mercury on two Cassone Panels
from the Czartoryski Collection", Journal of the Warburg and the Courtauld Institutes, 56, 1993, pp.
63-74, esp. notes 6 and 7.
22. A certain similarity to the works of the Master of Ladislas of Durazzo gives away another, unfortunateiy
very badly damaged, cassonepresently preserved in the Collezione Cini in Venice; its reproduction is to be
found in: Pittura dal Duecento al primo Cinquecento nelle fotografie di Girolamo Bombelli, Mila no, 1991,
no. 47, where it is described as the work of an anonymous Florentine painter from the fifth decade of the
1 5th century cf. also M. Tinti, II mobilio fiorentino, Milano-Roma, 1929, pl. XCL, where it is dated to the
first quarter of the 1 5th century.
23. Schubring, op. cit., vol. I, p. 223; vol. II, tab. III no 21. Boskovits, Maestro..., op. cit., p. 47. The clothing
(tight-fitting tunics and pointed shoes), rigid poses, gold-leaf plastering, subdivision into three separate
scenes permit the Identification of this cassone together with two deschi da parto, as being the earliest
works of the Master of Ladislas of Durazzo. Both of the deschi da parto are reproduced by P.F. Watson, The
Garden of Love in Tuscan Art of the Early Renaissance, Philadelphia, 1 979, Figs. 51 and 67; one of them is
depicting The Garden of Love (Douai, Musee de la Chartreuse), the otherThe Paradise of Venus (Louvre).
24. For this cassone which appears to be heavily repainted see Schubring, op. cit., vol. I, p. 226; vol. II, pl. XIV,
no 97; J. Białostocki and M. Walicki, Europaische Malerei in Polnischen Sammlungen 1300-1800,
Warschau, 1956, p. 466, Figs. 12-14; A. Różycka-Bryzek, „Historii Lukrecji rzymskiej część pierwsza na
cassone w zbiorach Czartoryskich", in: Materiały Muzeum Wnętrz Zamkowych w Pszczynie, vol. VII,
Księga pamiątkowa Prof. dr hab. Zdzisława Żygulskiego Jr., Pszczyna, 1 992, p. 263-279, Her paper is the
first to approach the subject on the cassone's front. See also Boskovits, Maestro..., pp. 46.
25. Pittura dal Duecento al primo Cinquecento... op. cit., no. 46. There are some doubts whether that cassone
is not a modern copy, produced in the second half of the XIXth century. Cf. notę 30.
26. G. Freuler, Manifestatori delle cose miracolose. Arte italiana del '300 e '400 da Collezioni in Svizzera e net
Lichtenstein, Milano, 1990, Appendix no. 8, p. 284 where it is attributed to Bicci di Lorenzo (1 373-1452).
Cf. Boskovits, Maestro., op. cit., p. 47.
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The Ho!ford Collection, op. cit.)
21. This „Maestro" was originally known as the Master of Cracow cassoniand later as the Master of the Siege
of Tarent See: M. Boskovits, „Maestro di Incisa Scapaccino e alcuni probierni di pittura tardogotica in
Italia", Paragone, 501,1991, pp. 35-53, esp. p. 37 and notes 13 and 14. In this paper Boskovits introduced
the present name of this painter. The latter notę includes a list (compiled by Boskovits and Everett Fahy) of
works by this anonymous artist. Cf. also C. Lloyd, A Catalogue of the Earlier Paintings in the Ashmolean
Museum, Oxford, 1977, pp. 132-3; J. Miziołek, „Europa and the Winged Mercury on two Cassone Panels
from the Czartoryski Collection", Journal of the Warburg and the Courtauld Institutes, 56, 1993, pp.
63-74, esp. notes 6 and 7.
22. A certain similarity to the works of the Master of Ladislas of Durazzo gives away another, unfortunateiy
very badly damaged, cassonepresently preserved in the Collezione Cini in Venice; its reproduction is to be
found in: Pittura dal Duecento al primo Cinquecento nelle fotografie di Girolamo Bombelli, Mila no, 1991,
no. 47, where it is described as the work of an anonymous Florentine painter from the fifth decade of the
1 5th century cf. also M. Tinti, II mobilio fiorentino, Milano-Roma, 1929, pl. XCL, where it is dated to the
first quarter of the 1 5th century.
23. Schubring, op. cit., vol. I, p. 223; vol. II, tab. III no 21. Boskovits, Maestro..., op. cit., p. 47. The clothing
(tight-fitting tunics and pointed shoes), rigid poses, gold-leaf plastering, subdivision into three separate
scenes permit the Identification of this cassone together with two deschi da parto, as being the earliest
works of the Master of Ladislas of Durazzo. Both of the deschi da parto are reproduced by P.F. Watson, The
Garden of Love in Tuscan Art of the Early Renaissance, Philadelphia, 1 979, Figs. 51 and 67; one of them is
depicting The Garden of Love (Douai, Musee de la Chartreuse), the otherThe Paradise of Venus (Louvre).
24. For this cassone which appears to be heavily repainted see Schubring, op. cit., vol. I, p. 226; vol. II, pl. XIV,
no 97; J. Białostocki and M. Walicki, Europaische Malerei in Polnischen Sammlungen 1300-1800,
Warschau, 1956, p. 466, Figs. 12-14; A. Różycka-Bryzek, „Historii Lukrecji rzymskiej część pierwsza na
cassone w zbiorach Czartoryskich", in: Materiały Muzeum Wnętrz Zamkowych w Pszczynie, vol. VII,
Księga pamiątkowa Prof. dr hab. Zdzisława Żygulskiego Jr., Pszczyna, 1 992, p. 263-279, Her paper is the
first to approach the subject on the cassone's front. See also Boskovits, Maestro..., pp. 46.
25. Pittura dal Duecento al primo Cinquecento... op. cit., no. 46. There are some doubts whether that cassone
is not a modern copy, produced in the second half of the XIXth century. Cf. notę 30.
26. G. Freuler, Manifestatori delle cose miracolose. Arte italiana del '300 e '400 da Collezioni in Svizzera e net
Lichtenstein, Milano, 1990, Appendix no. 8, p. 284 where it is attributed to Bicci di Lorenzo (1 373-1452).
Cf. Boskovits, Maestro., op. cit., p. 47.
43