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 ART FROM THE RENASCENCE border of the roof, which is effectually concealed by it. This attic, moulded by pilasters and arcades, and set between two cornices, is typical of Cracow architecture. An example of this is "Drapers' Hall" (illustration 29), built, as mentioned before, by Padovano.

The columns supporting either arches or wooden architraves with projecting roofs over them, have Ionic capitals, e.g., those in the palace galleries on the Wawel, or in the cloisters of private houses. A remarkable feature is formed by stone blocks of a peculiar basket-like structure, superimposed on the capitals, and establishing the communication between these and the ceiling. Sigismund Augustus, on ascending the throne, found Renascence art fully developed; it had already struck deep roots in native architecture. The first generation of Italians was dying out; before 1550, Guglielmo da Firenze died; he was followed to the grave by Filippo da Fiesole, then by Bernardo de Gianotis of Rome (in 1541), by Antonio da Fiesole (in 1542), and by Nicolò Castiglione in 1545. There remained only Gian de Senis, who was active as both sculptor and architect, from 1532 to 1565. But the ablest of them all is Gian Maria Padovano, who during his long stay in Poland, produced a great number of masterpieces in architecture and sculpture. Among the Polish architects, the first rank is due to Gabriel Slonski, a disciple of Antonio da Fiesole. The excellent portal, of 1550, in Canons' Street, or the interior of a corner house in St. Anne Street (1562) are among the preserved specimens of his workmanship. Of the numerous buildings mentioned in the town records as executed by him, special notice is due to the episcopal palace, which was begun by Master Padovano, and finished by Slonski at the order of Bishop Padniewski (1567).

Slonski died in 1598. The most eminent of his pupils was John Michalowicz of Urzedów, the builder of Bishop Padniewski's chapel of the Three Magi in the Cathedral. A general tendency arose, in this period of the later Renascence, to add new chapels to extant churches; of course the Sigismund chapel served as model and pattern of imitation for all; thus