DOI article:
Chodyński, Antoni Romuald: Symbolika dekoracji ram i rzeźby św. Rajnolda Mistrza Adriana Karffycza w gdańskim Dworze Artusa
DOI Page / Citation link: https://doi.org/10.11588/diglit.43645#0070
Antoni
Romuald
Chodyński
Bartel and Hans Sebald, Heinrich Aldegrever, Georg Pencz, Jacob Binek, the Beham
brothers from Nuremberg, and numerous anonymous monogrammists.
The content of the sculpted frames was adapted by the artist to match some paint-
ings, this best testified by two large rondele (paintings) above the Malbork Bench with
the Siege of the Malbork Castle and Holoferness Camp. Military connotations were
reflected in the deep bas-relief of the frame, as well as in the aU’antica and alka romana
armours, cuirasses and helmets, shields, arches, daggers, and halberds. The historical
and ballistic implication of the representative art and Gdańsk’s bonds with Poland,
emphasized by the figurę of King Casimir Jagiellon placed as a kind of a connector
between the two paintings, were elear to the contemporary.
In 1533, Karffycz executed a sculpture in the round of St Reinold wearing an
alkantica armour. Previously, four tournament armours, lent to the participants of the
races in Długi Targ (in front of the Artus Manor), had been hung above that Bench. It
can thus be seen how many Manor s decor elements fitted in with the mythological,
Arthurian, and knightly traditions, demonstrating the patrician ambitions and aspira-
tions of wealthy burghers of the affluent Hanseatic town to spend their leisure in an
aristocratic manner.
Romuald
Chodyński
Bartel and Hans Sebald, Heinrich Aldegrever, Georg Pencz, Jacob Binek, the Beham
brothers from Nuremberg, and numerous anonymous monogrammists.
The content of the sculpted frames was adapted by the artist to match some paint-
ings, this best testified by two large rondele (paintings) above the Malbork Bench with
the Siege of the Malbork Castle and Holoferness Camp. Military connotations were
reflected in the deep bas-relief of the frame, as well as in the aU’antica and alka romana
armours, cuirasses and helmets, shields, arches, daggers, and halberds. The historical
and ballistic implication of the representative art and Gdańsk’s bonds with Poland,
emphasized by the figurę of King Casimir Jagiellon placed as a kind of a connector
between the two paintings, were elear to the contemporary.
In 1533, Karffycz executed a sculpture in the round of St Reinold wearing an
alkantica armour. Previously, four tournament armours, lent to the participants of the
races in Długi Targ (in front of the Artus Manor), had been hung above that Bench. It
can thus be seen how many Manor s decor elements fitted in with the mythological,
Arthurian, and knightly traditions, demonstrating the patrician ambitions and aspira-
tions of wealthy burghers of the affluent Hanseatic town to spend their leisure in an
aristocratic manner.