DOI article:
Kaleciński, Marcin: Włoskie inspiracje domu Speymanna w Gdańsku i jego domniemana rola jako muzeum
DOI Page / Citation link:https://doi.org/10.11588/diglit.72800#0115
Marcin
Kaleciński
Kaleciński Marcin, Mity Gdańska. Antyk w sztuce protestanckiej res publiki, Gdańsk 2011.
Koortbojian Michael, Renaissance spolia and renaissance antiquity (one neighborhood, three
cases) [w:] Reuse value. Spolia and Appropriation in Art and Architecture from Constan-
tine to Sherrie Levine, eds. Richard Brilliant, Dale Kinney, Farnham 2011, s. 149-165.
Lapraik Guest Clare, Rethinking ornament in classical architecture. Spolia and architecture
as institutio [w:] The Routledge handbook on the reception of classical architecture,
eds. Nicholas Temple, Andrzej Piotrowski, Juan Μ. Heredia, New York - London
2020, s. 54-68.
Lapraik Guest Clare, Spolia and Ornamental Design [w:] eadem, The Understanding of
Ornament in the Italian Renaissance, Leiden-Boston 2015, s. 470.
Mari Michele, Un museo degli orrori [wstęp do:] Paolo Giovio, Elogi degli uomini illustri,
ed. Franco Minonzio, trad. Andrea Guasparri, Torino 2006.
Pszczółkowska Lidia, [hasło] Speymann Jan [w:] Słownik biograficzny Pomorza Nad-
wiślańskiego, red. Stanisław Gierszewski, t. 4: R-Ż, red. Zbigniew Nowak, Gdańsk
1997, s. 247-248.
Schopenhauer Johanna, Gdańskie wspomnienia młodości, przeł. Tadeusz Kruszyński,
Wrocław 1957.
Sulewska Renata, Motywy antyczne w twórczości Willema i Abrahama van den Blocków
[w:] Mit Odysa w Gdańsku, red. Teresa Grzybkowska, Gdańsk 2000, s. 91-92.
Syson Luke, Thorton Dora, Objects of virtue. Art in Renaissance Italy, Los Angeles
2001, s. 23-33.
Torbus Tomasz, Politische Inhalte des Dekors an den Danziger Bürgerhäusern, „Porta
Aurea" 2021, nr 21, s. 103-145.
Italian Inspirations in Speymann's House and Its Alleged Role as a Museum
While choosing the theme of reliefs which were to decorate his house, Johann Speymann,
the mayor of Gdańsk, educated in Italy, drew inspiration from such works as De veri
precetti della pittura by Giovanni Battista Armenini (1587) and Trattato dell'arte della
pittura by Gian Paolo Lomazzo (1584). Speymannhaus, also known as Steffenshaus, was
built in the years 1609-1618 and designed by Abraham van den Blocke and Hans Voigt.
In the faęade Speymann presented a gallery of Roman consuls and other viri illustres
whose lives abounded in Republican exempla virtutis. As the first patron in the history
of art in Poland, he made a virtue of his foundation, magnificence, which directly evokes
the image of Lorenzo the Magnificent and makes the house of a Protestant patrician
bear a resemblance to an Italian palazzo.
The faęade was treated as an ideal museum (facciata come museo ideale) and deco-
rated in antique style with pseudo-spolia (paraphrase of reliefs on Roman sarcophagi
and imagines clipeatae ) which related in an iconographic manner to the general outline
of Gdańsk as the New Rome.
In accordance with the will of Johann Speymann dated January 27th 1625, his home
at Długi Targ ceased to serve its primary function and was transformed into a com-
munally accessible collectors' cabinet and library. Along with the owners wish, it
became a public building having the function of a pioneer protomuseum. Moreover,
an Italian-trained curator was to show visitors around the premises.
114
Kaleciński
Kaleciński Marcin, Mity Gdańska. Antyk w sztuce protestanckiej res publiki, Gdańsk 2011.
Koortbojian Michael, Renaissance spolia and renaissance antiquity (one neighborhood, three
cases) [w:] Reuse value. Spolia and Appropriation in Art and Architecture from Constan-
tine to Sherrie Levine, eds. Richard Brilliant, Dale Kinney, Farnham 2011, s. 149-165.
Lapraik Guest Clare, Rethinking ornament in classical architecture. Spolia and architecture
as institutio [w:] The Routledge handbook on the reception of classical architecture,
eds. Nicholas Temple, Andrzej Piotrowski, Juan Μ. Heredia, New York - London
2020, s. 54-68.
Lapraik Guest Clare, Spolia and Ornamental Design [w:] eadem, The Understanding of
Ornament in the Italian Renaissance, Leiden-Boston 2015, s. 470.
Mari Michele, Un museo degli orrori [wstęp do:] Paolo Giovio, Elogi degli uomini illustri,
ed. Franco Minonzio, trad. Andrea Guasparri, Torino 2006.
Pszczółkowska Lidia, [hasło] Speymann Jan [w:] Słownik biograficzny Pomorza Nad-
wiślańskiego, red. Stanisław Gierszewski, t. 4: R-Ż, red. Zbigniew Nowak, Gdańsk
1997, s. 247-248.
Schopenhauer Johanna, Gdańskie wspomnienia młodości, przeł. Tadeusz Kruszyński,
Wrocław 1957.
Sulewska Renata, Motywy antyczne w twórczości Willema i Abrahama van den Blocków
[w:] Mit Odysa w Gdańsku, red. Teresa Grzybkowska, Gdańsk 2000, s. 91-92.
Syson Luke, Thorton Dora, Objects of virtue. Art in Renaissance Italy, Los Angeles
2001, s. 23-33.
Torbus Tomasz, Politische Inhalte des Dekors an den Danziger Bürgerhäusern, „Porta
Aurea" 2021, nr 21, s. 103-145.
Italian Inspirations in Speymann's House and Its Alleged Role as a Museum
While choosing the theme of reliefs which were to decorate his house, Johann Speymann,
the mayor of Gdańsk, educated in Italy, drew inspiration from such works as De veri
precetti della pittura by Giovanni Battista Armenini (1587) and Trattato dell'arte della
pittura by Gian Paolo Lomazzo (1584). Speymannhaus, also known as Steffenshaus, was
built in the years 1609-1618 and designed by Abraham van den Blocke and Hans Voigt.
In the faęade Speymann presented a gallery of Roman consuls and other viri illustres
whose lives abounded in Republican exempla virtutis. As the first patron in the history
of art in Poland, he made a virtue of his foundation, magnificence, which directly evokes
the image of Lorenzo the Magnificent and makes the house of a Protestant patrician
bear a resemblance to an Italian palazzo.
The faęade was treated as an ideal museum (facciata come museo ideale) and deco-
rated in antique style with pseudo-spolia (paraphrase of reliefs on Roman sarcophagi
and imagines clipeatae ) which related in an iconographic manner to the general outline
of Gdańsk as the New Rome.
In accordance with the will of Johann Speymann dated January 27th 1625, his home
at Długi Targ ceased to serve its primary function and was transformed into a com-
munally accessible collectors' cabinet and library. Along with the owners wish, it
became a public building having the function of a pioneer protomuseum. Moreover,
an Italian-trained curator was to show visitors around the premises.
114