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Wystrój malarski kaplic kościoła Kamedułów na Bielanach i jego znaczenie dla sztuki Krakowa 1. połowy XVII w. (kaplice Królewska i Delpacowska)

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Żmudziński J.

Folia Historica Cracoviensia

2011

vol. 17

The enormous significance of the Bielany hermitage in the history of Polish art of the transition period between Mannerism and Baroque has long been rightly acknowledged. However, such appreciation concerns primarily architecture and decorations (stuccoes), and to a lesser extent paintings. Studies on the Polish art of the 1st half of the 17th century have repeatedly mentioned the paintings in the Bielany chapels, albeit they were mostly limited to the statement that some decorations are the work of Venetian painter Tommaso Dolabella and his followers (paintings in the Royal and St Romuald's Chapels) and illustrate, as it were, the artist's 'decline', who, having arrived in Poland in the late 17th century, in time abandoned the glorious tradition of the grand Venetian school of the Mannerism epoch, lowered the standard of his artistic output and in a way became "Sarmatised", catering to the taste and expectations of the locals. The authorship of the paintings in the two most prominent chapels of the Bielany church was attributed to Dolabella, his students and followers. The thesis of "Sarmatisation" and the lowering of standards in his work has recently been critically analysed, as the artist's authenticated works from the Royal Chapel have been referred to and "vindicated".

L’articolo contiene un’analisi delle investigazioni riguardanti l’arredamento pittorico della chiesa dei monaci camaldolesi a Bielany nei dintorni di Cracovia nei secoli XVII e XVIII. Nell’analisi vennero ordinate le informazioni finora conosciute e furono presi pure in considerazione risultati delle indagini dell’autore riguardanti le due cappelle più importanti della chiesa di Bielany che sono collocate vicino al presbitero: da parte settentrionale – la Cappella di San Benedetto (dedicata prima ai Santi Ladislao e Bonifacio) chiamata anche la Cappella Regia (perchè la fondò il re polacco Ladislo IV Vasa), e da parte meridionale – la Cappella di San Romualdo fondata prima del 1643 da un mercante italiano Rafaello del Pace. All’inizio l’articolo ricorda alcune informazioni sulla chiesa di Bielany che venne costruita negli anni 1609 – 1630 a spese di Mikołaj Wolski secondo un progetto fatto in Italia. Nel secondo periodo dei lavori (dopo 1617) la costruzione si svolse sotto cura dell’architetto lombardo Andrea Spezza. In seguito viene analizzato lo stato dell’indagine delle opere della pittura murale dell’arredamento della chiesa che sono relativamente ben conservate, si trovano in maggior parte nei loro posti e parzialmente sono pure conosciuti i nomi dei loro autori. Vanno ricordati prima di tutto i nomi dei due artisti: Venanzio di Subiaco (1579 c – 1659) e Tommaso Dolabella (1570 c – 1650). A Dolabelli e ai suoi discepoli è attribuita la buona parte del’arredamento della chiesa di Bielany che proviene dalla prima metà del Settecento. L’autore del articolo sostiene però che solo una parte dell’arredamento della Cappella Regia sia l’opera di Tommaso Dolabella, cioè quella proveniente dagli anni 1635–1636 (il ciclo che rappresenta san Ladislao). Le altre immagini di questa cappella e della cappella di San Romulado sono probabilmente un’opera di tre o anche quattro altri studi pittorici di Cracovia della prima metà del Settecento. Gli artisti di quegli studi rimanevano sotto influsso del Dolabella, però erano anche parzialmente indipendenti. Con questa tesi l’autore conclude il suo articolo, però sicuramente vanno condotte ulteriori ricerche.

Ogromne znaczenie eremu bielańskiego dla dziejów sztuki polskiej czasów przełomu manieryzmu i baroku jest od dawna należycie docenione. Dotyczy to jednak w pierwszym rzędzie architektury i jej wystroju (stiuków), a w znacznie mniejszym stopniu malarstwa. Wielokrotnie przywoływano w opracowaniach sztuki polskiej 1. połowy XVII w. malarski wystrój kaplic bielańskich, najczęściej jednak ograniczano się do stwierdzenia, że część tej dekoracji jest dziełem weneckiego malarza Tomasza Dolabelli i jego warsztatu(wystrój malarski kaplic Królewskiej i Delpacowskiej) i ilustruje proces niejako „degradacji” tego artysty, który przybywszy do Polski w ostatnich latach XVI w. z czasem zagubił osiągnięcia wielkiej szkoły weneckiej doby manieryzmu, zaniżył standardy wykonywanych dzieł i uległ swoistej „sarmatyzacji”, dostosowując się do gustów i oczekiwań miejscowych odbiorców. W malowidłach dwóch najważniejszych kaplic bielańskiego kościoła widziano dzieła jegosamego, jego uczniów i naśladowców. Teza o „sarmatyzacji” i obniżeniu się poziomu twórczości Dolabelli niedawno poddana została krytycznej analizie, przy okazji której przywołano i w pewien sposób „zrehabilitowano” źródłowo potwierdzone dzieła tego artysty z kaplicy Królewskiej.

Fundacje artystyczne księżniczki bawarskiej Marii Klary Wittelsbach, w zakonie siostry Teresy Marii od św. Józefa (1608-1652), karmelitanki bosej w krakowskim klasztorze św. Marcina

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Żmudziński J.

Folia Historica Cracoviensia

2004

vol. 10

Maria Klara Wittelsbach (1608-1652) was a daughter of Ferdinand (brother of Wilhelm V, who ruled in Munich) and Mary. Through her sister she was closely related to the Hapsburgs and Vasas, who ruled in Poland. Beginning with 1618 Maria Clara was brought up at the king’s court in Warsaw. In 1634 she joined the Carmelite order at St. Martin’s church in Cracow and took a name Teresa Maria od sw. Jozefa. In 1649 she was chosen prioress of the convent and in 1652 she died in a plague. On joining the convent the Bavarian princess devoted considerable sums to have a new church built and procure a silver altar set (six altar candlesticks, two chalices, a crucifix, a lamp, a censer), which she ordered in Augsburg, as well as a wooden tabernacle, adorned with silver (the decoration may have been made in Augsburg, too). The altar set was looted by the Swedes during the war 1655-1657. The tabernacle stood on the main altar of St. Martin’s church until 1787, and after the dissolution of the convent it was moved to another church of the same congregation in Cracow (in Kopemika Street). In 1793 the silver decorations from the tabernacle were sold and replaced by a new, much simpler decoration. The tabernacle has been preserved to our times and in its design one can easily trace imitation of a design by an Italian architect Giovanni Battista Montano (1534-1621), released in 1628. No details are known about the silver altar set. There are grounds to infer that the procurement from Augsburg ca 1635 of a sumptuous silver set for religious purposes and its shipment to Cracow helped develop contacts between Cracow’s and Augsburg’s goldsmiths.

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Wystrój malarski kaplic kościoła Kamedułów na Bielanach i jego znaczenie dla sztuki Krakowa 1. połowy XVII w. (kaplice Królewska i Delpacowska)

Fundacje artystyczne księżniczki bawarskiej Marii Klary Wittelsbach, w zakonie siostry Teresy Marii od św. Józefa (1608-1652), karmelitanki bosej w krakowskim klasztorze św. Marcina