DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23631#0021
Lithuania, kept growing in power and prosperity, especially after defeating their common enemy, the Teu-
tonic Order. Political evolution was accompanied by social and economic changes. This was a multinational
state with, alongside the Polish and Lithuanian populations, numerous Ruthenians, Jews, Germans,
Armenians and Italians. With the accession of each successive king, the magnates .won for themselves
new privileges, which, in accordance with Polish law, extended to the entire knighthood. Gradually, the
gentry gained supremacy over the other estates, enjoying freedoms unknown in other countries, and at
regional diets and Seym (parliament) sessions resolving the most important affairs of state, taxes in parti-
cular. The Jagiellon period saw rapid development of science and learning, art and artistic culture. Cracow
remained the principal centre of art, science and learning in which the leading role was played by the
University, restored in 1400 with funds provided by Queen Jadwiga. Art, science and learning also
flourished in Poznah, Vilna, Lvov and Gdansk. For the guilds, this was truly a golden age; next to articles
of daily use, they produced artistic objects which in large measure satisfied domestic demand for paintings,
sculptures, wood carvings, objects in gold and silver, bronze, copper and iron, pottery, embroidery, etc.
In addition, there were 'patchers' or craftsmen operating illegally outside the guild system, as well as
artists with full rights employed in the service of the court, called servitores regis. Of all the vast artistic
production which continued throughout the 15th and 16th centuries, only relatively few examples have
been preserved, mostly in churches. Some objects were recovered during archaeological excavations, others
were found in sepulchres of kings and great nobles. Works of artistic craftsmanship continued to flow
into the country from neighbouring centres, from Gdansk which always had close ties with Poland, K6-
nigsberg (Krolewiec) and other Baltic cities, from Silesia and South German cities, Nuremberg in the first
place, from Hungary and from the East, from lands ruled by the Byzantine Empire and subsequently
by the Ottoman Empire, from the Crimea and Persia, from the Grand Duchy of Muscovy, Novogrod
and Pskov. Vilna and Lvov became busy centres engaged in trade with the East. Their merchants conduct-
ed business on a truly great scale and their craftsmen and artists followed oriental fashions in their work,
though with traces of Polish, Lithuanian and Ruthenian influence.
Many documents dating from the 1 5 th and 16th centuries mention contemporary artists and craftsmen
but they do so mostly in connection with property, wills and lawsuits, as a rule hardly ever referring to
their work. Thus again though we know a number of names, both Polish and foreign, it is possible to link
up only a few works with any of them. On the other hand, we possess abundant iconographic material
providing a fairly comprehensive illustration of the Jagiellon period, of the people who helped develop
its extraordinarily prolific and vivid artistic culture. One of the most extraordinary developments of this
period was the Cracow school of painting. Though influenced by Bohemian, Austrian and South German
painting, it was sufficiently original in style to be recognized as a school of painting in its own right.
Like Gothic art in general, it developed in two stages: the earlier 'beautiful' phase, and the later phase
dating back to the mid-i 5th century, which has been called in Poland bourgeois realism. In conformity
with the custom prevailing at the time, biblical themes and scenes from the lives of saints were depicted in
contemporary Gothic surroundings, including attire and objects of daily use. It cannot be denied that
during their travels as journeymen Polish painters diligently collected books of patterns which originated
in more advanced centres of art, like Italy or Flanders, and that in their work they often reached to these
foreign models. But naturally enough they remained predominantly under the influence and charm of their
own environment, of works of art which they encountered daily. Therefore it may be assumed that the
various objects shown in altar triptychs and polyptychs so fashionable at the time, constitute a faithful
illustration of contemporary craftsmanship. An excellent example is provided by one of the panels of the
Triptych of the Sorrowing Madonna in Wawel Cathedral, dating from between 1470 and 1480, which
shows the Homage of the Three Magi. It is alleged that the king doffing his crown in homage, represents
King Ladislaus Jagiello. In his right hand, the king holds a cylindrical reliquary, depicted in great detail.
Two Gothic chalices are shown at the feet of the second king who is kneeling in adoration; the third
king is holding in his left hand a reliquary of pinnacled design. The three kings are wearing Flemish-style
robes, popular at the court of King Ladislaus and his son Casimir. Their turbaned caps give them an oriental
ambiance, though it should be noted that turban-type head-dress was in that period common not only in
Poland but also in Western Europe. A typical court scene is depicted in a painting dating from between
1490 and 1500, which is preserved in the National Museum in Cracow and is attributed to the Master of
the D^bno Triptych. This picture represents King Herod's Feast with pages carrying dishes, pitchers and
goblets, all of gilded silver.
tonic Order. Political evolution was accompanied by social and economic changes. This was a multinational
state with, alongside the Polish and Lithuanian populations, numerous Ruthenians, Jews, Germans,
Armenians and Italians. With the accession of each successive king, the magnates .won for themselves
new privileges, which, in accordance with Polish law, extended to the entire knighthood. Gradually, the
gentry gained supremacy over the other estates, enjoying freedoms unknown in other countries, and at
regional diets and Seym (parliament) sessions resolving the most important affairs of state, taxes in parti-
cular. The Jagiellon period saw rapid development of science and learning, art and artistic culture. Cracow
remained the principal centre of art, science and learning in which the leading role was played by the
University, restored in 1400 with funds provided by Queen Jadwiga. Art, science and learning also
flourished in Poznah, Vilna, Lvov and Gdansk. For the guilds, this was truly a golden age; next to articles
of daily use, they produced artistic objects which in large measure satisfied domestic demand for paintings,
sculptures, wood carvings, objects in gold and silver, bronze, copper and iron, pottery, embroidery, etc.
In addition, there were 'patchers' or craftsmen operating illegally outside the guild system, as well as
artists with full rights employed in the service of the court, called servitores regis. Of all the vast artistic
production which continued throughout the 15th and 16th centuries, only relatively few examples have
been preserved, mostly in churches. Some objects were recovered during archaeological excavations, others
were found in sepulchres of kings and great nobles. Works of artistic craftsmanship continued to flow
into the country from neighbouring centres, from Gdansk which always had close ties with Poland, K6-
nigsberg (Krolewiec) and other Baltic cities, from Silesia and South German cities, Nuremberg in the first
place, from Hungary and from the East, from lands ruled by the Byzantine Empire and subsequently
by the Ottoman Empire, from the Crimea and Persia, from the Grand Duchy of Muscovy, Novogrod
and Pskov. Vilna and Lvov became busy centres engaged in trade with the East. Their merchants conduct-
ed business on a truly great scale and their craftsmen and artists followed oriental fashions in their work,
though with traces of Polish, Lithuanian and Ruthenian influence.
Many documents dating from the 1 5 th and 16th centuries mention contemporary artists and craftsmen
but they do so mostly in connection with property, wills and lawsuits, as a rule hardly ever referring to
their work. Thus again though we know a number of names, both Polish and foreign, it is possible to link
up only a few works with any of them. On the other hand, we possess abundant iconographic material
providing a fairly comprehensive illustration of the Jagiellon period, of the people who helped develop
its extraordinarily prolific and vivid artistic culture. One of the most extraordinary developments of this
period was the Cracow school of painting. Though influenced by Bohemian, Austrian and South German
painting, it was sufficiently original in style to be recognized as a school of painting in its own right.
Like Gothic art in general, it developed in two stages: the earlier 'beautiful' phase, and the later phase
dating back to the mid-i 5th century, which has been called in Poland bourgeois realism. In conformity
with the custom prevailing at the time, biblical themes and scenes from the lives of saints were depicted in
contemporary Gothic surroundings, including attire and objects of daily use. It cannot be denied that
during their travels as journeymen Polish painters diligently collected books of patterns which originated
in more advanced centres of art, like Italy or Flanders, and that in their work they often reached to these
foreign models. But naturally enough they remained predominantly under the influence and charm of their
own environment, of works of art which they encountered daily. Therefore it may be assumed that the
various objects shown in altar triptychs and polyptychs so fashionable at the time, constitute a faithful
illustration of contemporary craftsmanship. An excellent example is provided by one of the panels of the
Triptych of the Sorrowing Madonna in Wawel Cathedral, dating from between 1470 and 1480, which
shows the Homage of the Three Magi. It is alleged that the king doffing his crown in homage, represents
King Ladislaus Jagiello. In his right hand, the king holds a cylindrical reliquary, depicted in great detail.
Two Gothic chalices are shown at the feet of the second king who is kneeling in adoration; the third
king is holding in his left hand a reliquary of pinnacled design. The three kings are wearing Flemish-style
robes, popular at the court of King Ladislaus and his son Casimir. Their turbaned caps give them an oriental
ambiance, though it should be noted that turban-type head-dress was in that period common not only in
Poland but also in Western Europe. A typical court scene is depicted in a painting dating from between
1490 and 1500, which is preserved in the National Museum in Cracow and is attributed to the Master of
the D^bno Triptych. This picture represents King Herod's Feast with pages carrying dishes, pitchers and
goblets, all of gilded silver.