Muzeum Narodowe <Breslau> [Hrsg.]; Muzeum Śla̜skie <Breslau> [Hrsg.]
Roczniki Sztuki Śląskiej — 11.1977

Seite: 76
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1 cm
76 Maria Starzewska


11. BLAT MENSY OŁTARZOWEJ, przed 1596 r.
„Abacum Argenteum" przesłany przez kapitułę wrocławską
nuncjuszowi Spinelli w Pradze. Należał do biskupa Jcrina,
musiał więc być wykonany przed jego śmiercią. Syn Pawła
Fabian zawiózł mensę 19 lipca 1600 r„ za co otrzymał specjalne
wynagrodzenie od kapituły.

Bibl.: Acta Capituli 1599-1610. 19.VII 1600, Archiwum Archidiecezjalne
we Wrocławiu, III b 11; K. Moritz-Eichborn, Fabian Nitsch, „Schlcsiens
Yorzcit", N. F. I (1900), s. 107-121.

1608 r.

Srebro grawerowane, odlewane, wys. 7 cm.
Dzwonek z trzonkiem w kształcie figurki św. Jana Chrzciciela.
Na płaszczu grawerunek herbu biskupa Jana von Sitsch i kapi-
tuły. Ofiarowany kapitule po śmierci biskupa Sitscha.

Bibl.: J. Jungnilz, Beitrage zur Gcschichtc der Goldschmiede Paul und Fabian
Nitsch, „Schlcsiens Vorzcit", N. F. III (1904). s. 89-92; Hintze, s. 130,
poz. g.


Paweł Nitsch became master in 1573, a period of a renewed
infiorescence of the goldsmiths' trade in Wrocław. Considerable
inlluence on his activities was exerted by the patronage of
Bishop Andrew Jerin, who gave al! his goldsmith's orders
to Nitsch.

The oldest known works, from the year 1586, are two por-
table altars of Bishop Jerin. They show slill rather primitivcly
expressed endcavours to achieve a new artistic expression pecu-
liar to Mannerism. Working at a chalice, howevcr, (also for the
Bishop in c. 1590) Nitsch clearly recurred to Gothic forms pecu-
liar to the end of the fifteenth century.

The work which made master Nitsch famous among Iris
contemporaries was tlie principal altar at Wrocław Cathedral,
commissioned by Bishop Jerin, conseerated in 1591. The arran-
gement of particular paits of the altar was still Gothic: a pentap-
tych with. the Passion scenę in the central part and figures of
saints on the ąuarter Ieaves. Sevcn figures c. 1 m. high are massive
static silhouettes. As regards altar decorations there appear
motifs from both the early Renaissance and Mannerism. The
entire work is characterized by satisfactory workmanship.
The most interesting pieces from the artistic point of view are
the figurę of Christ and a medallion with the portrait of the

The lavabo commissioned by Canon Corn in 1595 shows
in Wrocław goldsmiths' works for the first time thorough
presuppositions of Mannerism. The jug is patterned on an
cngraving by Virgil Solis. The basin shows Nitsch's mastery
in the technique of repousse and cliiseling, particularly on the
frieze depicting sea fauna and flora and mythological figures.

A smali altar depicting the Passion is the most valuable work
known to be produced by Nitsch, lt was founded by Bishop
Jerin in 1595 for St. Bartholemew's Church at Trzebnica. The
artfulness in the finishing of particular figures indicates the great
mastery of the goldsmith. G. Habich maintained that north
ltalian palterns influeneed the making of that altar.

The only known work by Nitsch not intended for sacrał
purposes is a guild cup made in 1598. Its shapc and ornamenta-

tion — very popular in Wrocław of those times — were pat
terned on an engraving by Georg Wechter.

In the Iast extant work by Nitsch, a pax made in 1600, the
artists relumed partly to traditional Gothic forms, just as in
Bishop Jerin's chalice, but the omamentation is styled on Man-

Medalłions represent a separate branch in Nitsch's creative
work. Among several medalłions so far ascribed to him, two,
though not initialled, are undoubtedly his work; they are:
a stamped medal of Bishop Jerin (the pattern was given to the
engraver by Nitsch) and a moułded medal with the masters auto-
portrait, its wax mould was probably prepared by the gold-
smith himself.

The incompleteness of Nitsch's work known at present does
not allow to advance a thorough characteristic of his creative
output. The comparative materiał of otlier goldsmiths of those
times is also insufficient. Ncvertheless, the extant materiał suffices
to recognize severał typical characteristics distinguishing Nitsch.
His works indicate a certain conservatism in the application
of Gothic forms and traditional omamentation and as well by
introducing ełements of Mannerism — a new trend in the arti-
stic craft in those times. This style may be seen above alł in works
produced by the repousse method. It is Nitsch who deserves
credit for introducing this techniąue on a wider scalę into
Wrocław goldsmiths' works. He, himself, produced his most
skiłful works using this method.

Though greatly tallented Nitsch was not quite independent.
His Iinks with the Nuremberg goldsmiths are most obvious,
he cannot, however, be connected directly with any of those

His son Fabian, who Iater took over the workshop, was
the most outstanding among his apprentices.

translated by Jan Rudzki



Paul Nitsch war 1573 zum Meister ernannt worden, also in Bischofs Andreas Jerins, der alle seinen Bestełlungen Nitsch
der nciien Bliitczcit der Goldschmicdekunst in Wrocław. Einc auftrug.

grofle Bcdcutung flir seine Tiitigkeit hatte das Mazenat des Die iiltesten bekannten Arbeiten sind zwei kleine Tragaltiire
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