Sarcophagi of Helena. Horses on it. Well not on it. In it. She is in it. In the Sarcophagi. Engraved in stone. The horses. A battle scene, horses.

A victory? We who won? Well, good!

And so there is a new connection – reception of arts.  Artistic creation = "positive" historical event. And so art teaches us about what is good, and what we should be proud about and were is glory.

Maybe like a heart or "a like" – it means, cool. Right?
It seems natural, to need to have a positive input, to feel appreciated.

Because why should we mention a defeat?

Let's change perspective. With a kind of stereotypical, exaggerated image:

He was there to see the Sarcophagi made of stone. He came back home and say – well yeah, nice – Sarcophagi with horses on it. Engraved. On it, the horses. On the Sarcophagi? Yeah, on the Sarcophagi. On the side. Or something. A sculpture or a relief?
Horses! On the Sarcophagi! On the, on this – on the square...
On the plinth!

So maybe it is like Józef Poniatowski, in front of the Presidential palace?
On the horse, on the plinth, Józef Poniatowski, in front of the palace. Engraved.

Nevermind. Why I write this text?

First of all, I would like to extend the idea of the sound, which I wrote about in the previous text, and the idea of disruptions. 

Second of all, I think I am interested in a critical idea of introducing the italian renaissance into the enviroment of the Polish king in the beginning of the XVI century in Cracov.

You will hear about the tomb by Francisco Florention along the figure of Bartomelo Berrecci – inspired by the tomb of Leonard Bruni, curved by Bernardo Rosselini.

The italian tomb, coposed with the geometrical shapes is harmonious and coherent – it seems proper for the cult, memory and the praise of the dead. To me it seems well balanced and curved with taste. With taste, let's remember that.

In 1501 dies a Polish king, Jan Olbracht. Francisco Florentino, commissioned by the new King – Sigmund the Elder, creates the tomb, inspired by the italians. The ornaments and curved frame is refering to the italian quattrocento and the laying figure of the King is curved by Berrecci.

The laying King is curved in the hungarian stone and is laid in a niche of the Wawel Cathedral. It is imporant to underline that the previous tombs were rather freestanding.

You can watch the 3D model here– wirtualnakatedra.pl.

As visible on further art fundations – it was agreed to move on into the area of the Italian influance – and it was undoubtly connected to the Queen Bona of the Sforzas.

Apparently it was not that easy – as the Gothic style, and the German influance were already deeply rooted.

I think they did a little raise up to see how the tomb looks like. And later on, the type of figure was called the "Sansovine Pose", and although it sounds a lot more like nihil novi – it comes from a name of italian artist Andree Sansovi.

I must admit it fits the perspective of vine – where "sans" means a lack of something. So if there is no more, one must get up.
Obviously, not all the figures were presented in this pose.
(And you have to admit, that the Jan Olbracht tomb looks like a vine carafe.)

The figures are laying down, in this weird uplifting. A little bit as if they were not sure – if the lay down or they are dead? Do they get up? Do they rest? Do they remain in the readiness to fight or maybe they can finally enjoy a well deserved rest and a little bit of peace?

Somehow it is like the figure of a yew, who was banished for the ethernal exile for laughting at Jesus, caring a cross to Golgota mountain – called Ahaswerus. He was depicted by Samuel Hirszenberg and Maurycy Gottlieb, among others.

Please have a look at the tomb of Stefan Batory by Santi Gucci – who also was Italian.

Well. I am sorry but it seems like a frog that was run-over.

I somehow feel that they were deprived of the respect and dignity they deserved and no, I do not mean the barberians of the Sarcophagi of Helen.

Perhaps it is worth realising that the italian artists didn't know the local language and so they used latin or perhaps Italian. Polska, not Polonia. 

My argument would be that you shall look at the artist as medium – who is revealing the doubts and emotions of the Kingdom. As for it is like this – the artists doesn't see, what the viewer captures in a glimpse. Because art is made with emotions, with focus on details, in a frenzy. With poor light and sore back. Oh and it is due date. Unfortunately, sometimes, the artist remains blind as for he is required to be justice – he is a poet, and the forms are his rhymes. I mean, he rhymes with forms. I mean – the means, the tools he uses.

And so that is why the judgement of artwork is always very complicated and multidimensional – and our attention, when without a warrant or a requirement is quite rapid – it wishes to just go on. In a nano-second we know, if we like it or no. And further on, the stage is given to experience and knowledge that allows for an analysis.

Some of them are in the full armors, waiting for the military action. The sleep just like the Knights of Queen Jadwiga.

Perhaps one must ask – if it is worthy, to apply the trends, and how to justify them in the local surrounding. Or if we, as the viewers, know what is up with Jan Olbracht – and so, what's next? As we must remember, that back in the days the spread of information was not so rapid. In required horsemen.

Because hell if I know, but they might seemed like the Italians propose us tights and flowers – and the image of Polish nobel man is somewhat different, then the "Boys from the warm Italy", with their lutes. I do not know.

It is no more than a half of the century later, that there are new visual directions. And so, the ideas of tombs and art in general are now looking at Baroque.

If you ask me – they seem very much organic – food like. With their upper elements being round, and they seem just like a fresh portion of the Kings' dish – the steam runs to the sides. On the dish – a freshly baked boar. And so, later on, after a feast only cartilages remain.

If I knew it was like this, I would say that the Queen Bona, raised on the Italian land was disapointed by the behaviours and manners of the Polish Nobel man, who presented no interests in arts and culture and only wish to "release their belts". And the boar or the other wild animal that was freshly hunted, must be made with decent amount of fats. What–do–you–say–meatless–dish?

And oh man – this type of ornament is called cartilages. But that's later on.

And so among Slavic tribes – the art was for cult, for rituals. 
Perhaps 5 centuries of formulating a cultural-national identity in those times was not enough.
And so, everything here is still fresh. Uncertain. And then, all of the sudden – the Knights of the Cross!
And the crosses! And this, and that.

All of the sudden it is 500 hundred years later, and this Gothic thing seems to be quite alright. Not that bad. We do not live in the mud huts anymore. And the christian folk is alright too – as the stronghold got better and safer. And they take care of this and that. And most importantly – there's no more beating.

And so, we must be forgiving.

The historian of Art shall remain objective. The text about is obviously very much simplified and exaggerated and it lacks the necessary analysis of historical content – yet, it might be relevant to wonder – where do the trends lead us, as we do not understand the value of them – and we sometimes just replicate those without any kind of basis. From the perspective of a student of History of Art – that's a poor job done, full of disruptions and over-simplifications.

On a horse, the sarcophagi. I mean the horses, on the Sarcophagi. The Roman Horseman. On a Sarcophagi. Made of Stone, On it's side.

And so, I was so much into looking at the images of the tombs imagining the steamy dishes that I couldn't manage to learn for the exam.

And so, after a meal – some vine, please! Let's digest.

Onward.

Listening: The Art of War / Sabaton – 40:1

“Always remember, fathers and sons at war
Always remember, a fallen soldier
Always remember, buried in history

No vermin may enter that land
That is protected by Polish hand”