DOI Artikel:
Kuczman, Kazimierz: The Lanckoroński collection in the Wawel Royal Castle
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20544#0145
Assisi). Distinguished in its artistic ąuality is the
Angel, linked by Berenson with Lippo Memmi
(however, we will perhaps have to return to Max
Dvorak’s earlier attribution of the painting to
Simone Martini27). Three pictures clearly betray
the brushwork of Sano di Piętro (two Madonnas and
The Head of Christ — ill. 7), while two others
(St Catherine of Siena and A Dominican Saint) that
of his circle.
The first in the group of Venetian paintings is
a Madonna and Child representing the International
Gothic style, ascribed by Berenson to Jacobello del
Fiore28. A predella with Stjerome and two Madon-
nas associated with Vittorio Crivelli follow at the
end of the Venetian Quattrocento. Among works of
a later datę especially noteworthy are The Holy
Family with St John the Baptist (ill. 8) by Bonifazio
Veronese (de’Pitati) with a sweeping landscape in
the background, and two paintings — Aristotle and
Phyllis and Virgil in the Basket — ascribed to
Giovanni Buonconsiglio (il Marescalco).
In the group of North Italian paintings, beside
the Venetian school that of Ferrara comes into
prominence, among examples of which is the picture
Olympus, linked by Berenson with Benvenuto Tisi
(Garofalo). Furthermore, among North Italian pic-
tures worthy of special notę are St Sebastian from
the circle of the Early Renaissance artists of Ferrara,
Orpheus — fuli of poetic expression — which is
linked with Giovanni Francesco Caroto, an impo-
sing Madonna attributed to Cristoforo Scacco, and
a handful of pictures from the side panels of chests
(e. g. The Judgement of Solomon and The Legend of
the Dead King).
In the group of Spanish paintings particularly
interesting are a fragment of a 14th century altar-
piece with St John the Evangelist, but above all the
Imago Pietatis dated (1470) and signed by Miguel
Ximenez, thus painted at the very beginning of the
career of that well-known artist from Saragossa.
The tent as wełl as the drawings and paintings
by Jacek Malczewski were stored after the war in
London. The tent, once belonging to the Rzewuski
farnily, whose decoration betrays Turkish features,
is traditionally believed to have been captured at the
battle of Vienna in 1683. In the Wawel castle, it
adds to one of the most valuable collections of
Oriental tents in the world.
27 Dvorak, op. cit., p. 55, pl. XIV; see also M i z i o ł e k,
op. cit., notę 69.
28 In Mauro Lucca’s opinion the painting was executed by
the “Maestro del dossale Correr”. See M. Lu cc a. La pittura
nel Veneto. II Quattrocento, Milano 1990.
3. Bernardo Daddi, Madonna and Child. Wawel Royal Castle
(phot. S. Michta)
Although a group of drawings, watercolours,
and oil paintings by Malczewski, along with nearly
70 letters written by the artist to Karol Lanckoroń-
ski, is of no particular importance on an inter-
141
Angel, linked by Berenson with Lippo Memmi
(however, we will perhaps have to return to Max
Dvorak’s earlier attribution of the painting to
Simone Martini27). Three pictures clearly betray
the brushwork of Sano di Piętro (two Madonnas and
The Head of Christ — ill. 7), while two others
(St Catherine of Siena and A Dominican Saint) that
of his circle.
The first in the group of Venetian paintings is
a Madonna and Child representing the International
Gothic style, ascribed by Berenson to Jacobello del
Fiore28. A predella with Stjerome and two Madon-
nas associated with Vittorio Crivelli follow at the
end of the Venetian Quattrocento. Among works of
a later datę especially noteworthy are The Holy
Family with St John the Baptist (ill. 8) by Bonifazio
Veronese (de’Pitati) with a sweeping landscape in
the background, and two paintings — Aristotle and
Phyllis and Virgil in the Basket — ascribed to
Giovanni Buonconsiglio (il Marescalco).
In the group of North Italian paintings, beside
the Venetian school that of Ferrara comes into
prominence, among examples of which is the picture
Olympus, linked by Berenson with Benvenuto Tisi
(Garofalo). Furthermore, among North Italian pic-
tures worthy of special notę are St Sebastian from
the circle of the Early Renaissance artists of Ferrara,
Orpheus — fuli of poetic expression — which is
linked with Giovanni Francesco Caroto, an impo-
sing Madonna attributed to Cristoforo Scacco, and
a handful of pictures from the side panels of chests
(e. g. The Judgement of Solomon and The Legend of
the Dead King).
In the group of Spanish paintings particularly
interesting are a fragment of a 14th century altar-
piece with St John the Evangelist, but above all the
Imago Pietatis dated (1470) and signed by Miguel
Ximenez, thus painted at the very beginning of the
career of that well-known artist from Saragossa.
The tent as wełl as the drawings and paintings
by Jacek Malczewski were stored after the war in
London. The tent, once belonging to the Rzewuski
farnily, whose decoration betrays Turkish features,
is traditionally believed to have been captured at the
battle of Vienna in 1683. In the Wawel castle, it
adds to one of the most valuable collections of
Oriental tents in the world.
27 Dvorak, op. cit., p. 55, pl. XIV; see also M i z i o ł e k,
op. cit., notę 69.
28 In Mauro Lucca’s opinion the painting was executed by
the “Maestro del dossale Correr”. See M. Lu cc a. La pittura
nel Veneto. II Quattrocento, Milano 1990.
3. Bernardo Daddi, Madonna and Child. Wawel Royal Castle
(phot. S. Michta)
Although a group of drawings, watercolours,
and oil paintings by Malczewski, along with nearly
70 letters written by the artist to Karol Lanckoroń-
ski, is of no particular importance on an inter-
141