DOI Artikel:
Kriegseisen, Anna: Konstrukcja i techniki montażu oraz wykończenia ołtarzy i epitafiów powstałych w gdańskich warsztatach kamieniarskich w XVII w.
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43437#0075
Structure, Assembly Technique, and Finishing of Altars and Epitaphs created
in Gdańsk Stonemason Workshops in the 17th Century
Materials engineering has been taking more and more prominence in the research
into stone sculpture. In the recent years many published papers, also those related
to Gdańsk, have tackled both the types of applied stones, and the sources of their pro-
curement as well as import trails.
Repeatable schemes of applying materials and putting together respective ele-
ments, as well as their finishing can be described with respect to a group of stone-
mason workshop output, among them not only epitaphs and altars, but also fire-
places or portals, both interior ones and those placed in elevations. When describing
a 17th-century Gdańsk epitaph or altar, one should bear in mind a rich composi-
tion in which many materials were used applying various execution techniques. They
are generally compositions of an architectural detail and sculptural decoration made
with various types of stone, as well as metal elements (attributes of allegorical figures,
angels’ wings, ribbons and streamers featuring inscriptions, portrait backgrounds as
well as painterly framing made on the plaster around the piece or on the tapestry on
the wall or leather.
A stone composition from the first half of the 17th century followed the same col-
our scheme regardless of the type of artefact. It had been worked out before 1550 and
was imported from the Netherlands thanks to the artists who were of Netherlandish
descent, e.g., Wilhelm van den Blocke of Mechelen. The scheme consisted in arranging
three stone hues: black, red, and white. Black stone was applied in horizontal archi-
tectural elements, such as plinths, cornices, as well as frames, inscription plaque
(as slabs or convex ovals), less frequently column shafts. Red slabs were placed
as architectural backgrounds of larger surfaces, e.g., doorpost facings in portals,
background and niches behind columns, entablatures, arcades, fireplace baldachins,
column bases. Cases are known of cornices made of red limestone, however painted,
black. White stone was applied to create sculptural decoration: figures, ornaments,
column bases and capitals, coats of arms, friezes, ornamental and fine decorative
“encrustation” elements, such as varied bevelled plaques resembling diamond-shaped
ornaments and cabochons.
Konstrukcja
i techniki
montażu oraz
wykończenia...
in Gdańsk Stonemason Workshops in the 17th Century
Materials engineering has been taking more and more prominence in the research
into stone sculpture. In the recent years many published papers, also those related
to Gdańsk, have tackled both the types of applied stones, and the sources of their pro-
curement as well as import trails.
Repeatable schemes of applying materials and putting together respective ele-
ments, as well as their finishing can be described with respect to a group of stone-
mason workshop output, among them not only epitaphs and altars, but also fire-
places or portals, both interior ones and those placed in elevations. When describing
a 17th-century Gdańsk epitaph or altar, one should bear in mind a rich composi-
tion in which many materials were used applying various execution techniques. They
are generally compositions of an architectural detail and sculptural decoration made
with various types of stone, as well as metal elements (attributes of allegorical figures,
angels’ wings, ribbons and streamers featuring inscriptions, portrait backgrounds as
well as painterly framing made on the plaster around the piece or on the tapestry on
the wall or leather.
A stone composition from the first half of the 17th century followed the same col-
our scheme regardless of the type of artefact. It had been worked out before 1550 and
was imported from the Netherlands thanks to the artists who were of Netherlandish
descent, e.g., Wilhelm van den Blocke of Mechelen. The scheme consisted in arranging
three stone hues: black, red, and white. Black stone was applied in horizontal archi-
tectural elements, such as plinths, cornices, as well as frames, inscription plaque
(as slabs or convex ovals), less frequently column shafts. Red slabs were placed
as architectural backgrounds of larger surfaces, e.g., doorpost facings in portals,
background and niches behind columns, entablatures, arcades, fireplace baldachins,
column bases. Cases are known of cornices made of red limestone, however painted,
black. White stone was applied to create sculptural decoration: figures, ornaments,
column bases and capitals, coats of arms, friezes, ornamental and fine decorative
“encrustation” elements, such as varied bevelled plaques resembling diamond-shaped
ornaments and cabochons.
Konstrukcja
i techniki
montażu oraz
wykończenia...