DOI Artikel:
Lenczowska, Stanisława: Meble "drugiego renesansu" francuskiego w zbiorach wawelskich: Wzory graficzne płaskorzeźbionych "panneaux"
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19891#0084
po bokach w kanelowane pilastry, ponad którą profilo-
wane listwy tworzą wolutowe zwieńczenie. Niestety, na
skutek przeróbek i wstawek zatracono prawidłowe roz-
mieszczenie poprzeczek. Tak więc wawelski caąueto-
ire jest jedynie skromnym przykładem nietypowej, XVI-
wiecznej formy krzeseł.
Dzięki różnorodności francuskich mebli z 2. połowy
XVI wieku zgromadzonych na Wawelu można zoriento-
wać się w tendencjach, które dominowały wówczas w me-
blarstwie tego kraju. Za jego najbardziej charakterystycz-
ną cechę należy uznać związek z malarstwem, rzeźbą, ry-
ciną i rysunkiem - dziełami powstałymi we Włoszech,
w kręgu szkoły Fontainebleau czy na północy Europy w
Niderlandach. Niewątpliwie najwdzięczniejszym polem do
zaprezentowania umiejętności warsztatowych artystów
stały się szafki kredensowe. W ich płycinach drzwiowych
i obramieniach, na licach szuflad i w zwieńczeniach moż-
na było zaprezentować zarówno ciekawe rozwiązania or-
namentacyjne, jak i sceny z obrazów, rzeźb, a także grafik
mistrzów tego okresu. Podkreślić należy przede wszyst-
kim twórczą inwencję skrzyniarzy, która w połączeniu
z umiejętnością korzystania z wzorników przynosiła świet-
ne wyniki. Ludzie łaknęli piękna, a dzieła sztuki miały im
dostarczać przyjemności, kształtując równocześnie wraż-
liwość estetyczną zgodną z wzorcami epoki. Tak więc
i w przypadku mebli bardziej niż walor użytkowy liczyła
się uroda ich formy, dekoracyjność i anegdota, którą wy-
rażały zapełniające powierzchnie postacie.
FURNITURE OF THE FRENCH „SECOND REN AIS SAN CE" IN WAWEL COLLECTIONS
Summary
A radical change in French furniture production occurred after
1550, affecting both the construction and decoration of furniture. A
departure from fashionable portable pieces and from the forms and
ornamentation Consolidated in the Gothic period, resulted in the
appearance of new pieces of furniture in which particularly remarka-
ble is their excellent decoration, towards the close of the century
freąuently dominating the form. A cabinet-maker availed himself of
the achievements of sculptors, architects, graphic artists. and art
theorists, trying to translate them into a different materiał - wood -
and to create an object that m addition to its use value would have
aesthetic assets as well. Inspiration was sought in the works of Italian
artists associated with the School of Fontainebleau and in French
masters who, having become acąuainted with the art of antiąuity and
Italian Renaissance, transferred it onto their native ground.
While discussing the furniture of the so-called second Renais-
sance in France and its ornamentation, one cannot omit one of the
main art theorists, and an architect and graphic artist as well - Jacąues
Androuet du Cerceau - along with the sculptor Jean Goujon, and
the architect, sculptor, and furniture-designer Hugues Sambin, be-
sides a number of other artists - painters and graphic artists of the
Netherlands, whose works, widespread throughout the contempo-
rary Europę, became „pattern books" for other branches of art.
The French furniture assembled in the Wawel Royal Castle
presents a numerous and on Polish scalę rare collection. The group.
consisting of six two-part pieces. most characteristic of French
furniture. representing the armoire a dewc corps type, as well as a
two-tiercupboard-abuffet-sometables, andachaircalledcaąuetoire,
permits a researcher to study in detail the development of forms and
decoration. In several cases we succeeded in referring the
ornamentation and figural representations to their graphic or sculpted
prototypes and in adding precision to their dating and region of origin.
Among the figures adorning the door panels of the Wawel cupboards
can be distinguished the personifications of the four seasons and of
the elements, repeating with smali modifications the images familiar
from Hendnck Goltzius's cycles or from those of Jacob Matham,
who imitated Goltzius, or images referring to engravings by other
artists, if only to mention Philippe Galie, so popular among furniture-
designers. We can also find here relief images of river nymphs, for
which the Fountain of the Innocents in Paris, the work of the leading
sculptor of the French Renaissance, Jean Goujon, served as a model.
His oeuvre has likewise left an impress on the figures in other
cupboards, which - similarly as the influences of Netherlandish or
Italian artists centred around the court at Fontainebleau, discernible
in their poses and modelling - testifies to an ample borrowing by the
French huchiers from the works representing various branches of art.
This is borne out by the influences of Raphael and Bronzino. Rosso,
Fantuzzi, and Primaticcio, visible in the decoration and figures.
Most furniture of this kind was produced in the vicinity of the
capital of the country - the Ile-de-France region - though in the
second half of the 16th century there also existed other dynamically
developing centres of cabinet-making. Among these the Burgundian
region deserves particular attention, owing to the artist active there
- Hugues Sambin, architect, graphic artist, and theorist, who de-
signed, among others, the furniture whose decoration and form re-
lied, similarly as in the Wawel buffet, on the designs and pattern
books of the already-mentioned Jacąues Du Cerceau.
The designs and pattern books derived from the same sources
were used by makers of other kinds of furniture - tables or chairs.
However. their assembly is much more modest, as they were more
prone to damage, and conseąuently, were more often repaired and
remade; hence their smali number in museum collections, including
the one at Wawel.
wane listwy tworzą wolutowe zwieńczenie. Niestety, na
skutek przeróbek i wstawek zatracono prawidłowe roz-
mieszczenie poprzeczek. Tak więc wawelski caąueto-
ire jest jedynie skromnym przykładem nietypowej, XVI-
wiecznej formy krzeseł.
Dzięki różnorodności francuskich mebli z 2. połowy
XVI wieku zgromadzonych na Wawelu można zoriento-
wać się w tendencjach, które dominowały wówczas w me-
blarstwie tego kraju. Za jego najbardziej charakterystycz-
ną cechę należy uznać związek z malarstwem, rzeźbą, ry-
ciną i rysunkiem - dziełami powstałymi we Włoszech,
w kręgu szkoły Fontainebleau czy na północy Europy w
Niderlandach. Niewątpliwie najwdzięczniejszym polem do
zaprezentowania umiejętności warsztatowych artystów
stały się szafki kredensowe. W ich płycinach drzwiowych
i obramieniach, na licach szuflad i w zwieńczeniach moż-
na było zaprezentować zarówno ciekawe rozwiązania or-
namentacyjne, jak i sceny z obrazów, rzeźb, a także grafik
mistrzów tego okresu. Podkreślić należy przede wszyst-
kim twórczą inwencję skrzyniarzy, która w połączeniu
z umiejętnością korzystania z wzorników przynosiła świet-
ne wyniki. Ludzie łaknęli piękna, a dzieła sztuki miały im
dostarczać przyjemności, kształtując równocześnie wraż-
liwość estetyczną zgodną z wzorcami epoki. Tak więc
i w przypadku mebli bardziej niż walor użytkowy liczyła
się uroda ich formy, dekoracyjność i anegdota, którą wy-
rażały zapełniające powierzchnie postacie.
FURNITURE OF THE FRENCH „SECOND REN AIS SAN CE" IN WAWEL COLLECTIONS
Summary
A radical change in French furniture production occurred after
1550, affecting both the construction and decoration of furniture. A
departure from fashionable portable pieces and from the forms and
ornamentation Consolidated in the Gothic period, resulted in the
appearance of new pieces of furniture in which particularly remarka-
ble is their excellent decoration, towards the close of the century
freąuently dominating the form. A cabinet-maker availed himself of
the achievements of sculptors, architects, graphic artists. and art
theorists, trying to translate them into a different materiał - wood -
and to create an object that m addition to its use value would have
aesthetic assets as well. Inspiration was sought in the works of Italian
artists associated with the School of Fontainebleau and in French
masters who, having become acąuainted with the art of antiąuity and
Italian Renaissance, transferred it onto their native ground.
While discussing the furniture of the so-called second Renais-
sance in France and its ornamentation, one cannot omit one of the
main art theorists, and an architect and graphic artist as well - Jacąues
Androuet du Cerceau - along with the sculptor Jean Goujon, and
the architect, sculptor, and furniture-designer Hugues Sambin, be-
sides a number of other artists - painters and graphic artists of the
Netherlands, whose works, widespread throughout the contempo-
rary Europę, became „pattern books" for other branches of art.
The French furniture assembled in the Wawel Royal Castle
presents a numerous and on Polish scalę rare collection. The group.
consisting of six two-part pieces. most characteristic of French
furniture. representing the armoire a dewc corps type, as well as a
two-tiercupboard-abuffet-sometables, andachaircalledcaąuetoire,
permits a researcher to study in detail the development of forms and
decoration. In several cases we succeeded in referring the
ornamentation and figural representations to their graphic or sculpted
prototypes and in adding precision to their dating and region of origin.
Among the figures adorning the door panels of the Wawel cupboards
can be distinguished the personifications of the four seasons and of
the elements, repeating with smali modifications the images familiar
from Hendnck Goltzius's cycles or from those of Jacob Matham,
who imitated Goltzius, or images referring to engravings by other
artists, if only to mention Philippe Galie, so popular among furniture-
designers. We can also find here relief images of river nymphs, for
which the Fountain of the Innocents in Paris, the work of the leading
sculptor of the French Renaissance, Jean Goujon, served as a model.
His oeuvre has likewise left an impress on the figures in other
cupboards, which - similarly as the influences of Netherlandish or
Italian artists centred around the court at Fontainebleau, discernible
in their poses and modelling - testifies to an ample borrowing by the
French huchiers from the works representing various branches of art.
This is borne out by the influences of Raphael and Bronzino. Rosso,
Fantuzzi, and Primaticcio, visible in the decoration and figures.
Most furniture of this kind was produced in the vicinity of the
capital of the country - the Ile-de-France region - though in the
second half of the 16th century there also existed other dynamically
developing centres of cabinet-making. Among these the Burgundian
region deserves particular attention, owing to the artist active there
- Hugues Sambin, architect, graphic artist, and theorist, who de-
signed, among others, the furniture whose decoration and form re-
lied, similarly as in the Wawel buffet, on the designs and pattern
books of the already-mentioned Jacąues Du Cerceau.
The designs and pattern books derived from the same sources
were used by makers of other kinds of furniture - tables or chairs.
However. their assembly is much more modest, as they were more
prone to damage, and conseąuently, were more often repaired and
remade; hence their smali number in museum collections, including
the one at Wawel.