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„Zamek piękny na wzgórzu” i gwiaździste niebo nad Salą Poselską Zamku Wawelskiego

100%

Śnieżyńska-Stolot E.

tom R. 58, nr 1

7--71

The article relates to the relationship between horoscopic astrology and the decoration of the Renaissance buildings, especially that of the Wawel Royal Castle. Such studies were conducted in Italy, where the most famous example of the Renaissance decoration based on the founder’s horoscope is the fresco by Balthazar Peruzzi in the Roman villa Farnesina, showing the arrangement of the planets at the time of birth of Agostino Chigi, as of November 29th, 1466 at 9.30 pm. Mary Quinlan-McGrath tried to reconstruct the horoscope before the actual start of construction of the villa, whose ascendant was to coincide with the horoscope’s ascendant of Agostino Chigias of 20 degrees Leo. Jolan Balogh believed that the birth horoscope of Matthias Corvinus and horoscope made on the day of his coronation as the King of Bohemia were illustrated in the vestibule of the library of the castle of Buda. The degrees of the zodiac signs became the basis for the ceiling decoration of the Hall dei Venti, in Palazzo del Tè in Mantua, a work by Giulio Romano made in the years 1525-1535 for Prince Frederick Gonzaga. There are also known Italian horoscopes related to the foundation of cities and various buildings, including the horoscope of the reconstruction of St. Peter’s Basilicain Rome made by Pope Julius II, as casting horoscopes before the start of any construction was in Italy a tradition dating back to the times of antiquity, to which Alberti (III, 13) appealed. Practicing horoscopic astrology at the Krakow Royal Court isconfirmed since the end of the 14th century, and the oldest surviving horoscope associated with the location of the corner stone (Jagiellonian Library, Ms. 3225, p. 230) comes from the year 1510 and refers to the parish school of St. Anne in Krakow. We do not know the horoscope prior to the rebuilding of the Wawel Royal Castle by King Sigismund I the Old, but according to Ptolemy (Tetrabiblios II 3 and 5), it is possible to recreate it by knowing the founder’s horoscope, by assuming the degree of the sign zodiac which is located in the 10th house of this horoscope. In the Jagiellonian Library, there are preserved the natal horoscopes of Sigismund I the Old, who was born on January 1st, 1467 in 17 degrees and 30 minutes of Libra. According to the principle of Ptolemy, the rebuilding of the Wawel Royal Castle should take place at 23 degrees of Cancer, which appears in the 10th house of the horoscope. It is known that there existed paintings of astrological nature at the Wawel Royal Castle, a fact proved by the name of one of the chambers: At Melusine (Mankib al-ğawzā - a star on the shoulders of the zodiac Gemini, presently known as Orion’s Betelgeuse α). Along the same lines, one can read the contents of the overhead ceiling decoration in the Hall of Deputies of the Wawel Royal Castle. Originally, there were 193 heads, and among the surviving 30, it was possible to identify 6 planets (Saturn illus. 15, Jupiter 18, Mars 20, Sun 23, Venus 25, Mercury 27), 6 zodiac signs (Aries illus. 29, Gemini 30, 31, Leo 35, Virgo 32, Sagittarius 33, Aquarius 34) and 13 constellations (Corona Borealis illus. 37, Corona Australis 38, Bootes 39, 40, Cassiopeia 41, Cepheus. 44, 47, Perseus 45, Orion 48, Hydrus 49, the Pleiades 50-52, Centaur 54, Auriga 55, Ophiuchus 57, Eridanus 58. Lhe alleged author of the Wawel Royal Castle horoscope may be considered Maciej Karpiga, called Miechowita, who was associated with the royal court. He probably was the main author of the castle’s dispositio, but certainly the deciding vote was that of king Sigismund I the Old, whose participation in the program of the castle and of the Sigismund Chapel were celebrated by contemporary Krzycki, Gamrat and Decjusz.

Obraz Św. Hieronim w pracowni z kolekcji Lanckorońskich na Wawelu – iluzja i realizm na styku malarstwa włoskiego i niderlandzkiego przełomu XV i XVI w.

84%

Tracz S.

nr (1)22

19-35

“St. Jerome in his study” – the painting by an anonymous painter that dates back to the turn of the 15th and 16th centuries from the Lanckoroński collection and is currently in the collection of the Wawel Royal Castle (inventory number 7958), is associated with the schools of Bologne and Ferrara. As a part of the predella of an altarpiece which no longer exists, it seems to be a mature work of art, created as a combination of artistic experiences of northern Italy. The painting includes stylistic and formal solutions of two intersecting trends emerging from Italian and Dutch paintings of the turn of the 15th and 16th centuries, with a particular emphasis on the development of the real space, as well as the space based on illusion. In accordance with a prevailing at that time Alberti’s idea of the frame of the painting as an open window, the composition of the panel was based on the principle of a closed box – a coffer without a wall – the recto of the painting, so that a viewer could gain an inside perspective. Hence, by using principles of descriptive perspective, the painter created a real interior of a humanist studiolo, with deceptive depth of space, which is widened by the niches of the illusionistically painted cupboard shelves and objects placed on them. The most compelling and surprising element of the painting is a massive wall located on its left side, along with the illusionistically painted niches, piled one above the other. Only at this point may one have an impression that the recto of the painting is disturbed by delicate tassels strung on a string of a cardinal’s hat that seem to be “spilling” outside the niche. The semi-circular niche becomes a place for an extraordinary exhibition of still life – the cardinal’s hat, which, along with the lion is the most obvious attribute of St. Jerome. This trompe – l’oeil, surprising in its modest form, but at the same time very original, becomes a meaningful link connecting the South with the North – reality with illusion. At the same time, both niches are a distant reflection of the Hellenistic paintings of Herculaneum and Pompeii, which presented a still life (Xenion) arranged on two shelves, placed one above the other. The painter does not limit himself only to the niches. He also reflects the desire for reality that is constantly intriguing him in the way he creates the objects filling up the stone shelves of St. Jerome’s studiolo.