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6 Waldemar Deluga 2

Many examples are known of the 16th and 17th cen tury Latin painting in Poland, Silesia, Bohemia and Hungary, that are based on prints by German and Dutch masters.³ The degree of faithfulness of the secondary work to the prototype depends on the artist’s individual ability; but often the similarity is so obvious that there can be no dubt. In the so-called Leopolitan art⁴ from Lvov (L’viv, Lwów, Lemberg) in western Ukrainę, especially in paintings and stonework associated with the Catholic Church, the influences of western graphic art are also ciearly visible. The stone decoration on the western faęade of the Boim Chapel in Lvov, built by Jan Scholtz in 1609-1615, was ciearly inspired by Dutch patterns.⁵ A depiction of the Nailing to the Cross in the upper section of the interior decoration from the second construction phase refers to the Dutch graphic work of Gerard de Jode. Several years later, Martin Kampian, following the testament instructions of his father, undertook the completion of the family chapel in the cathedraPs northem aisle⁶. Jan Pfister, the sculptor responsible for the chapePs stone fittings, following the founder’s recommendations, created a morę elegant form of decoration. Three scenes on the building’s faęade are modelled on the same graphic works by de Jode, after the drawings of Marten de Vos. Interestingly, one of de Jode’s scenes, showing Christ as Gardner, is repeated in the stucco decoration of the great altar in the Mary Magdalenę Church in Lvov.

^ł There are several publications on graphic prototypes in painting and sculpture, of which the following should be noted: Vorbild Diirer. Kupferstiche und Holtzschnitte Albrecht Dureń im Spiegel der Europdischen Druchgraphik des 16. Jahrhunderts, exh. cat. Niirnberg Miinchen, 1978; Diirer Verwandlung in der Skulptur zwischen Renaissance und Barock. exh. cat., Liebieghaus Museum alter Plastik, Frankfurt am Main 1981; Das gestochene Bild. Vor den Zeichnung zum Kupferstich. exh. cat., Herzog Anton Ulrich Museum, Braunschweig 1987. The influence of graphic originals on painting in Catholic Eastem Europę has been discussed by several researchers, but only in the context of individual countries or regions. The most interest-ing studies include: M. Walicki, Zloty widnokrąg, Warszawa 1965; M. Macharska, Związki “Godów w Kanie” Tomsza Dolabelli z grafiką północną, Sprawozdania z posiedzeń Komisji Naukowej oddziału PAN, XIV, Kraków 1970, nr. 1, p. 169-171; Dialoge. Kopie. Variation und Matamorphose alter Kunst in Graphik und Zeichnung vom 15. Jahrhundert bis Gegenwart, exh. cat., Kupferstichkabinett der Staatlichen Kunstssamlungen, Dresden 1975; A. M. Olszewski, Pierwowzory graficzne późno gotycki ej sztuki małopolskiej, Wrocław 1975; L.Vayer, Temak, fórmak, ideak. Valogalotl lanulmanyok o festeszet a szabraszat es a grafika muveszetenak torlebof Budapest 1988; K. Cieślak, Pierwowzory graficzne epitafiów obrazowych w Gdańsku a problemy ich ikonografii, Biuletyn Historii Sztuki, L, Warszawa 1988, nr. 3, p. 203-223; W. Deluga, The influence of Print on Painting in Eastem Europę, Print Qarterly, X, September 1993, nr. 3, p. 219-231. Shadows of the graphic art of Albrecht Diirer reached Slavonia, Serbia and Greece in the mid-16th cen tury. There are several examples in Orthodox churches confirming the use of prints as models for wali paintings. Cf. A. Chigilingirov, Vliianie nemetskoi grafiki na ikonografi povstvizantiiskogo iskusstva, Drevnorusskoie iskusstvo, zarubezhnyie sviazy, Moskva 1975, p. 325-242; J. Renaud, Le cycle de 1'Apocalypsie de Dionisiou. Interpretation Byzantine des gravures occidentales, Paris 1943; A. T. _A. naXiou7m, O ęoypacpoę Ftńpyioc, K\ovC,aę (1540*1608) ^{Kai al} piKpoypaipicu tou kóóikoę auiou, Athens 1977.

⁴ J. Białostocki, At the Crossroad of Classicism and Byzantinism. Leopolitan architectural achievement ca. A. D. 1600, OKEANOS. Essays presentcd to lhor Sevcenko at his Sixtieth Birth-day by his colleagues and students, Harvard Ukrainian Studies, VII, p. 53.

* T. Mańkowski, La chapelle de Boim a Lwów, Bulletin International de 1’Academie Polonaise, Kraków 1945, p. 62-65.

⁶ M. Gębarowicz, op. cit., p. 47-48.