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The Parish Church of St Margaret of Antioch at Zborov in Sans. A Contribution to a Discussion on the Phenomenon of the Post-Gothic Mode in Central Europe

100%
Kurzej M.
Modus. Prace z historii sztuki
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2004
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vol. 5
5-21
EN
Vaclaw Mencl, the first researcher to take an interest in the church at Zborov (Hung. Zboro), accepted its origin as about 1330. This dating is also repeated by other scholars. According to Jan Svec-Babov, initially, nearby Smilno was the seat of the parish (probably from as early as the end of the 13th century) and a description of the Makovica estates, written in 1355 for the Eger Chapter, does not mention a church but only a chapel at Zborov. The oldest church at Zborov was wooden. The masonry church at Zborov was consecrated and dedicated to SS. Margaret of Antioch and Ladislaus on 5 December, 1655. At that time its nave was covered with a wooden ceiling. By then there already existed side chapels forming a quasi-transept, but it is not known what the eastern part looked like. ln 1662 Laszlo Rákóczy vaulted the nave and added a masonry tower and vestry. In the following year Elizabeth Rákóczy de Felszö-Várdas commissioned stucco decorations for the southern chapel, intending to make it a family mausoleum. Except for small alterations, the church has survived in this form to our times and its detailed description is given. It seems that the example of Zborov may be of great significance to an explanation of the problem of a return to the Gothic style in modern times. It is possible to indicate here a marked stylistic difference between the structures commissioned by closely related founders and erected almost simultaneously, but intended for different denominations. In all likelihood, the Post-Gothic Catholic church built after on a specific, extremely original pattern for which there exist no known analogies. An answer to the question concerning the donors' motives behind the choice of this church form seems all the more interesting as it may shed new light on the intentions of the founders of similar structures. Another element that sets the Zborov church apart from other Post-Gothic structures is its extraordinary spatial disposition. Its closest analogy can be found in the relics of the chancel part of the church of the Order of St John of Jerusalem at Piest'any, dated to about 1350. The appearance of the nave of the Piest'any church remains unidentified.
2
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The iconographic programme of the Poor Clares’ church in Cracow

100%
Kurzej M.
Folia Historica Cracoviensia
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2016
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vol. 22
189-210
EN
The main transformation of St. Andrew’s church interior took place in 1701–1702 during the rule of Abbess Anna Eliżbieta Tyrawska, according to a concept developed by her together with priest Sebastian Piskorski. Stucco decoration was made by Baldassare Fontana, while the wall paintings are most likely by Innocenzo Monti. Its contents were arranged in two interwoven programmes, addressed respectively to the nuns assembled in the choir in the gallery and the faithful in the main space of the church. Their common element is the rood, which seen from the galleries is part of a series of representations of the Passion on the walls of the choir, accompanied by images of Franciscan worshippers of Christ – St. Francis, St. Anthony and the Blessed Salomea as well as St. Mary Magdalene. On the other hand, the crucifix viewed from below presents itself as a symbol of the triumph of the Saviour, accompanied by a depiction of the glory of the crucified Apostles Peter and Andrew. On the vault of the chancel is a depiction of the glory of nuns: St. Clare, St. Kinga and the Blessed Salomea. They are juxtaposed with the coronation of the Virgin by the Holy Trinity in a manner inspired by the vision of Marina de Escobar. The figure of the Blessed Salomea, foundress of the monastery which houses some of her relics, connects both programmes. Episodes of her Vita, showing her Christological piety, were painted on the arcades of the galleries. In this way, the interior decoration of the Cracow church encouraged the faithful to visit the pilgrimage destination in Grodzisko, designed to promote the cult of Salomea.
PL
Zasadnicze przekształcenie wnętrza kościoła św. Andrzeja miało miejsce w latach 1701–1702 za rządów Anny Elżbiety Tyrawskiej, według koncepcji opracowanej przez nią wspólnie z ks. Sebastianem Piskorskim. Dekorację sztukatorską wykonał Baltazar Fontana, a malarską najprawdopodobniej Innocenty Monti. Jej treść ułożono w dwa przeplatające się ze sobą programy, adresowane odpowiednio do zgromadzonych na chórze zakonnic i wiernych znajdujących się w korpusie kościoła. Ich wspólnym elementem jest krucyfiks na łuku tęczowym, który widziany z empory wpisuje się w cykl przedstawień pasyjnych na ścianach chóru. Towarzyszą im wizerunki franciszkańskich czcicieli Chrystusa – śś. Franciszka i Antoniego oraz bł. Salomei, a także św. Marii Magdaleny. Natomiast krucyfiks oglądany z dołu prezentuje się jako symbol triumfu Zbawiciela, towarzyszą mu przedstawienia chwały ukrzyżowanych apostołów Piotra i Andrzeja, a w prezbiterium – chwała ss. Klary, Salomei i Kingi, zestawiona z koronacją Marii przez św. Trójcę w sposób inspirowany wizją Mariny de Escobar. Oba programy łączy też postać założycielki klasztoru – bł. Salomei, której żywot, z zaakcentowaniem pobożności chrystologicznej, namalowano na arkadach empor, przypominając, że w klasztorze znajdują się jej relikwie. W ten sposób wystrój krakowskiego kościoła zachęcał też wiernych do odwiedzenia założenia pielgrzymkowego w Grodzisku, które służyło popularyzacji kultu Salomei.
3
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Twórczość muratora Wojciecha Lenartowicza

100%
Kurzej M.
Krakowskie Pismo Kresowe
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2015
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issue 7
15-22
EN
The guild mason was the creator of a group of about ten similar to each other churches built in the area between the Vistula and the Bug River. This paper provides an overview of the state of research on his work and its analysis and a polemic with earlier view, regarding him as an executor of architectural projects by Jan Michał Link. Churches bulit by Lenartowicz are characteristic due to a simple composition of floor plan, decorative composition of shapes and unusual elaboration of the architectural decoration, implemented entirely in brick and plaster.
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