DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23630#0166
As early as the 1520s Warsaw became the only location in the Crown, besides Poznań, to have
possessed via the Capital City of Cracow the latest early-Renaissance red-marble figurative
gravestones by Bernardino Zanobi de Gianotis of the circle of the royal studio of Bartholomeo
Berrecci da Pontassieve. The growing importance of the new province of the Jagiellonian mo-
narchy and Warsaws nse to the role of the Republics Sejm city in 1569 brought about a rapid
growth of political significance of the members of the wealthy local Nobility in central offices
as well as of the new group of courtiers of the queens Bona Sforza (1548-56) and Anna
Jagiellonka (1564-96), both of whom resided here. The unpreserved sepulchral monuments
of the Nobility in the St John the Baptist Archcollegiate Church in the Old-Town and the St Anne
Bernardine Church in the Krakowskie Przedmieście district represented the latest achievements
of the Cracow and Pińczów sculpture led by the Italians Giovanni Mana Mosca called II Padovano
and Girolamo Canavesi as well as the Pole Jan Michałowicz from Urzędów. Warsaws group
of 16th c, sepulchral works, mainly known from arcfwal sources, has parallels in the Płock.Ca-
thedral and the two local collegiate churches: the Primates Collegiate Church in Łowicz and
the Bishops Collegiate Church in Pułtusk (works by Padovano, Michałowicz, Canavesi and San-
ti Gucci Fiorentino) as well as several mausoleums of the most important Mazovian families
of the day in Sobota, Kobylniki, Krasne, Łomża, Drobin and Grodzisk.
The imports of Renaissance sculpture from Cracow in Warsaw were carved in all of the then known
vanetes of red 'marbles', which were the basie medium of figurative sculpture in entire Central
Europę: the Hungarian limestone from Tardos near Esztergom, the Salzburg limestone from Adnet,
the Spis limestone from Podsadek near Stara L'ubovńa as well as the Upper-Hunganan or Transyl-
vanian 'marble', whose origin remains undetermined at the present stage of research, The symbolic
end of the citys and the whole regions dependence on the Capital City of Cracow is marked by
the gravestone of Anna Ossolińska, nee Kosińska (1607-8, designed and executed by the workshop
of Giovanni de Simon alias de Simonis) in the recently built Dominican church in Freta Street in the
Nowe Miasto district, where, except for the parish church and the cathedral in Płock, for the fourth
time in Mazovia the gravestone features burnished slabs made from the newly-discovered orna-
mental types of 'marble' compact limestone from Chęciny near Kielce in the central part of the Lesser
Poland: Chęciny-Góro Zamkowa/'Bolechowice, Różanka Zelejowska as well as the black one from Łagów.
The key change in the choice of masonry matenals to have oceurred between 1607 and 1608
and seen in the Dominican gravestones of Katarzyna Ossolińska and Anna Tarnowska from
Dobrzyków (design and execution attnbuted to the Tyrolian Bartholomeo Venosta from Chęciny)
fully deserves to be called a breakthrough. In Warsaw the tradition of importing Renaissance and
Mannerist sculpture from Cracow and Pińczów was discontinued. It was replaced by the works
of local masons and court sculptors made from Chęciny 'marbles' or the works of the leading Chęciny
workshops run by Venosta and Oleksy/Januszowie families and Augustin van Oyen of the Flanders.
164
possessed via the Capital City of Cracow the latest early-Renaissance red-marble figurative
gravestones by Bernardino Zanobi de Gianotis of the circle of the royal studio of Bartholomeo
Berrecci da Pontassieve. The growing importance of the new province of the Jagiellonian mo-
narchy and Warsaws nse to the role of the Republics Sejm city in 1569 brought about a rapid
growth of political significance of the members of the wealthy local Nobility in central offices
as well as of the new group of courtiers of the queens Bona Sforza (1548-56) and Anna
Jagiellonka (1564-96), both of whom resided here. The unpreserved sepulchral monuments
of the Nobility in the St John the Baptist Archcollegiate Church in the Old-Town and the St Anne
Bernardine Church in the Krakowskie Przedmieście district represented the latest achievements
of the Cracow and Pińczów sculpture led by the Italians Giovanni Mana Mosca called II Padovano
and Girolamo Canavesi as well as the Pole Jan Michałowicz from Urzędów. Warsaws group
of 16th c, sepulchral works, mainly known from arcfwal sources, has parallels in the Płock.Ca-
thedral and the two local collegiate churches: the Primates Collegiate Church in Łowicz and
the Bishops Collegiate Church in Pułtusk (works by Padovano, Michałowicz, Canavesi and San-
ti Gucci Fiorentino) as well as several mausoleums of the most important Mazovian families
of the day in Sobota, Kobylniki, Krasne, Łomża, Drobin and Grodzisk.
The imports of Renaissance sculpture from Cracow in Warsaw were carved in all of the then known
vanetes of red 'marbles', which were the basie medium of figurative sculpture in entire Central
Europę: the Hungarian limestone from Tardos near Esztergom, the Salzburg limestone from Adnet,
the Spis limestone from Podsadek near Stara L'ubovńa as well as the Upper-Hunganan or Transyl-
vanian 'marble', whose origin remains undetermined at the present stage of research, The symbolic
end of the citys and the whole regions dependence on the Capital City of Cracow is marked by
the gravestone of Anna Ossolińska, nee Kosińska (1607-8, designed and executed by the workshop
of Giovanni de Simon alias de Simonis) in the recently built Dominican church in Freta Street in the
Nowe Miasto district, where, except for the parish church and the cathedral in Płock, for the fourth
time in Mazovia the gravestone features burnished slabs made from the newly-discovered orna-
mental types of 'marble' compact limestone from Chęciny near Kielce in the central part of the Lesser
Poland: Chęciny-Góro Zamkowa/'Bolechowice, Różanka Zelejowska as well as the black one from Łagów.
The key change in the choice of masonry matenals to have oceurred between 1607 and 1608
and seen in the Dominican gravestones of Katarzyna Ossolińska and Anna Tarnowska from
Dobrzyków (design and execution attnbuted to the Tyrolian Bartholomeo Venosta from Chęciny)
fully deserves to be called a breakthrough. In Warsaw the tradition of importing Renaissance and
Mannerist sculpture from Cracow and Pińczów was discontinued. It was replaced by the works
of local masons and court sculptors made from Chęciny 'marbles' or the works of the leading Chęciny
workshops run by Venosta and Oleksy/Januszowie families and Augustin van Oyen of the Flanders.
164