DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.25050#0076
nowski, Marcin Blechowski, Andrzej Wenesta and Tukasz Po-
r^bski), extending his impact on religious painting. A separate
place is occupied by the Bernardine monk Franciszek Lekszycki,
who painted large altarpieces, using engraved reproductions of
Rubens’ and van Dyck’s works.
Relatively many are portrait paintings, often characterized by
far-reaching realism. The gallery of Cracow bishops in the Fran-
ciscan monastery cloister was continued, and the best example is
the portrait of Andrzej Trzebicki, attributed to Daniel Schultz.
The weakness of the local painting community is testified by the
fact that artists from outside the city were invited to decorate
St Anne’s: the high altarpiece was done by Jerzy Eleuter Szy-
monowicz-Siemiginowski, court painter to John III, and the
frescoes supplementing Fontana’s stuccowork were by Karl Dan-
quart and the Monti brothers.
The Eighteenth Century. Throughout the century, historical
events deepened the decline of Cracow. The Northern War, and
the successive Swedish occupations of 1702, 1704, 1705 and 1709
laid heavy blows to the city, with their rekindling of tax burdens
and systematic plunder. Nor was Cracow spared the march of
troops during the Polish War of Succession (1733—1735) and the
Seven Year’s War (1756—1763). In 1768 Cracow became a major
centre of an anti-Russian confederation, and paid for it with
a prolonged siege, during which the suburbs were burned down,
and a four-year Russian occupation. The stormy political history
of the eighteenth century left Cracow with fewer and fewer of its
former prerogatives as a capital. The coronation of Stanislaus
Leszczynski took place in Warsaw, and the ancient tradition was
finally abandoned by Stanislaus Augustus Poniatowski. The last
crowning in Cracow was in 1734, when Augustus ID of Saxony
took the throne, along with grandiose burials for two former
25. Tommaso Dolabella, Death of St Dadislam, c. 1632-1635
67
r^bski), extending his impact on religious painting. A separate
place is occupied by the Bernardine monk Franciszek Lekszycki,
who painted large altarpieces, using engraved reproductions of
Rubens’ and van Dyck’s works.
Relatively many are portrait paintings, often characterized by
far-reaching realism. The gallery of Cracow bishops in the Fran-
ciscan monastery cloister was continued, and the best example is
the portrait of Andrzej Trzebicki, attributed to Daniel Schultz.
The weakness of the local painting community is testified by the
fact that artists from outside the city were invited to decorate
St Anne’s: the high altarpiece was done by Jerzy Eleuter Szy-
monowicz-Siemiginowski, court painter to John III, and the
frescoes supplementing Fontana’s stuccowork were by Karl Dan-
quart and the Monti brothers.
The Eighteenth Century. Throughout the century, historical
events deepened the decline of Cracow. The Northern War, and
the successive Swedish occupations of 1702, 1704, 1705 and 1709
laid heavy blows to the city, with their rekindling of tax burdens
and systematic plunder. Nor was Cracow spared the march of
troops during the Polish War of Succession (1733—1735) and the
Seven Year’s War (1756—1763). In 1768 Cracow became a major
centre of an anti-Russian confederation, and paid for it with
a prolonged siege, during which the suburbs were burned down,
and a four-year Russian occupation. The stormy political history
of the eighteenth century left Cracow with fewer and fewer of its
former prerogatives as a capital. The coronation of Stanislaus
Leszczynski took place in Warsaw, and the ancient tradition was
finally abandoned by Stanislaus Augustus Poniatowski. The last
crowning in Cracow was in 1734, when Augustus ID of Saxony
took the throne, along with grandiose burials for two former
25. Tommaso Dolabella, Death of St Dadislam, c. 1632-1635
67