DOI Artikel:
Marcinkowski, Wojciech: Późnogotyckie "Narodziny Chrystusa" w zbiorach Zamku Królewskiego na Wawelu: Uwagi o szwabsko-bawarskim stylu reliefu
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19896#0050
and with the Pregarten relief at the Cathedral Museum in Salzburg (figs
7-9). The very specific motif of the naked Child, lying on the mantle
and attended by angels arranged in a „pyramidal” group, can be found
in the relief of the high altar retable dated as 1480 in the pilgrimage
church at Maria Laach on Jauerling Hill in Wachau (figs 10 and 11).
This is perhaps yet another creation of the Kriechbaum workshop,
intended for the abbey at Gottweig. Also the motif of two shepherds
has its Swabian-Bavarian parallel - a very similar pair can be indica-
ted in the already-mentioned Pregarten relief (figs 12 and 13). Archi-
tectural elements in the background on the left side ofthe Nativity at
Pieskowa Skała are encountered in the relief from the Chapel of the
Holy Trinity in Linz, kept at the Municipal Museum in that town (figs
14 and 15). The wattle enclosure, in tum, over which can be seen the
heads of an ox and an ass, appears in the retable of the church of the
Assumption of the Virgin Mary at Jenkofen (dated 1500; fig. 16).
As a conseąuence of the above considerations we may put
forward the hypothesis that the relief at Pieskowa Skała was exe-
cuted by a Swabian-Bavarian woodcarver. At the same time, the spe-
cific pose of Mary, her hands hanging down as well as the kerchief
passing under her arms bring to mind the rendition of the Mother
of God by Veit Stoss in the Last Prayer scene of the Cracow Al-
tarpiece. In conclusion, the Pieskowa Skała relief should be dated
after 1489. It would be extremely tempting to attribute the work
to Jdrg Huber of Passau, who collaborated with Stoss on the tomb
of Casimir Jagiellończyk in the Wawel Cathedral and who in 1496
accepted citizenship in Cracow. This would indeed perfectly explain
both the borrowing for the discussed work of Stoss’s iconographic
motif (Mary’s attitude) and stylistic relations with Passau (Kefer-
markter Stil) in generał. If we venture to associate the artists only
mentioned in historical sources with the extant anonymous works,
this particular example stands out for the unforced naturalness of
such an association. In any case, the relief at Pieskowa Skala is
a most significant proof of the Swabian-Bavarian influence on Late
Gothic art in Little Poland.
7-9). The very specific motif of the naked Child, lying on the mantle
and attended by angels arranged in a „pyramidal” group, can be found
in the relief of the high altar retable dated as 1480 in the pilgrimage
church at Maria Laach on Jauerling Hill in Wachau (figs 10 and 11).
This is perhaps yet another creation of the Kriechbaum workshop,
intended for the abbey at Gottweig. Also the motif of two shepherds
has its Swabian-Bavarian parallel - a very similar pair can be indica-
ted in the already-mentioned Pregarten relief (figs 12 and 13). Archi-
tectural elements in the background on the left side ofthe Nativity at
Pieskowa Skała are encountered in the relief from the Chapel of the
Holy Trinity in Linz, kept at the Municipal Museum in that town (figs
14 and 15). The wattle enclosure, in tum, over which can be seen the
heads of an ox and an ass, appears in the retable of the church of the
Assumption of the Virgin Mary at Jenkofen (dated 1500; fig. 16).
As a conseąuence of the above considerations we may put
forward the hypothesis that the relief at Pieskowa Skała was exe-
cuted by a Swabian-Bavarian woodcarver. At the same time, the spe-
cific pose of Mary, her hands hanging down as well as the kerchief
passing under her arms bring to mind the rendition of the Mother
of God by Veit Stoss in the Last Prayer scene of the Cracow Al-
tarpiece. In conclusion, the Pieskowa Skała relief should be dated
after 1489. It would be extremely tempting to attribute the work
to Jdrg Huber of Passau, who collaborated with Stoss on the tomb
of Casimir Jagiellończyk in the Wawel Cathedral and who in 1496
accepted citizenship in Cracow. This would indeed perfectly explain
both the borrowing for the discussed work of Stoss’s iconographic
motif (Mary’s attitude) and stylistic relations with Passau (Kefer-
markter Stil) in generał. If we venture to associate the artists only
mentioned in historical sources with the extant anonymous works,
this particular example stands out for the unforced naturalness of
such an association. In any case, the relief at Pieskowa Skala is
a most significant proof of the Swabian-Bavarian influence on Late
Gothic art in Little Poland.