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ON THE CHRONOLOGISING POSSIBILITIES OF A WOODCUT DEPICTING ST. GEORGE IN POLISH 'HORTULUS' BOOKS FROM THE FIRST HALF OF THE 16TH CENTURY (Polish title - below)

100%

Krzak-Weiss K.

Roczniki Biblioteczne

2009

vol. 53

111-128

(title in Polish - 'O chronologizacyjnych mozliwosciach tkwiacych w drzeworycie z wizerunkiem sw. Jerzego w polskich 'Hortulusach' pierwszej polowy XVI wieku'). The present article is an attempt to date the Polish edition of the 'Hortulus animae' prayer book, printed by the Cracow printing house of Maciej Szarfenberg (1527-1546), two fragments of which are now held at the Jagiellonian Library. The studies of this rare publication have led so far to several very different suggestions as to its chronology, with 1527 given as 'terminus post quem' and 1540s given as 'terminus ante quem'. Significantly, previous dating attempts have been based mainly on historical evidence (1537 as the date on which Szarfenberg was granted the royal privilege to print the Polish 'Hortulus' books), typographic evidence (analyses of the typeface used in the prayer book) or on - not very convincing - conservation evidence (traces of woodworm seen in one of the fragments). However, so far scholars have failed to notice and thus use the chronologising possibilities of one woodcut illustration from the surviving fragment. Its analysis, presented in this article, is to indicate and use these possibilities to make the current dating of the Szarfenberg edition of 'Hortulus' more precise.

ANOTHER POLISH PRINTER'S MARK OF EMBLEMATIC CONNECTIONS (OR A FEW REMARKS ON THE SZYMON KEMPINI'S MARK) (Jeszcze jeden polski sygnet o emblematycznych koneksjach, czyli kilka uwag o znaku firmowym Szymona Kempiniego)

100%

Krzak-Weiss K.

Roczniki Biblioteczne

2008

vol. 52

3-13

Ever since the first issue of Andreas Alciatus's 'Emblematum liber' was published, it became one of the richest sources of inspiration for various artists, including printers, who began to use representations of decorating emblems in their marks.The connection between emblems and printers' marks was substantiated by Andreas Alciatus himself, who, when listing the reasons for publishing the 'Emblematum liber', quotes the urge to explain Froben's and Manutius's marks. While their devices preceded the publication of Alciatus's work, the marks of the subsequent printers transformed the relation between them and emblems into a two-way relationship. It is interesting that emblematic motifs were used by distinguished printers representing the Antwerp milieu, which in turn were the inspiration for the masters from lesser printing centres. The proof of this relationship is the mark of a printer from Cracow - Szymon Kempini - including the representation of Triton, the same as in Alciatus's emblem Honour and in the device of a printer from Antwerp - Jan van Waesberghe. The mark of the master from Cracow is also a perfect testimony to the penchant for allegoric and symbolic manner of representing and depicting Polish typography existing from the 16th century.

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2 Roczniki Biblioteczne

2 Krzak-Weiss K.

1 2009

1 2008

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ON THE CHRONOLOGISING POSSIBILITIES OF A WOODCUT DEPICTING ST. GEORGE IN POLISH 'HORTULUS' BOOKS FROM THE FIRST HALF OF THE 16TH CENTURY (Polish title - below)

ANOTHER POLISH PRINTER'S MARK OF EMBLEMATIC CONNECTIONS (OR A FEW REMARKS ON THE SZYMON KEMPINI'S MARK) (Jeszcze jeden polski sygnet o emblematycznych koneksjach, czyli kilka uwag o znaku firmowym Szymona Kempiniego)