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The Wall Paintings by Stanisław Stroiński in the Church of the Observant Franciscan Nuns (Poor Clares) in Lvov as an Example of the Reception of Prints in Polish Eighteenth-Cenrury Monumental Painting

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Dzik J.
Modus. Prace z historii sztuki
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2011
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vol. 10-11
81-96
EN
Aprint depicting the Assumption of the Virgin, discovered in the Print Room of the Scientific Library of PAU [Polish Academy of Arts and Sciences] and PAN [Polish Academy of Sciences] in Cracow, was produced in the workshop of Joseph Wagner (1706-1780), German painter and engraver, around 1736. The graphic composition repeats in simplified forms a painting by a Venetian painter Giambattista Piazetta (1682-1754) executed for the Deutschordens-Kirche (S. Maria in Sachsenhausen) in Frankfurt am Main, now in the collection of the Louvre. The print has iconographic affinities with the type of the assumptio created by Titian in the sixteenth century: Mary was shown soaring up in ecstasy into heavens, hovering between clouds and sun, above a group of apostles gathered around her empty tomb visible in the lower part of the composition. The reactions of the apostles correspond with the miraculous vision: some of them look in bewilderment into heavens, while others gaze at the open sarcophagus with a shroud inside. The print had been used as a model for a painting on the ceiling of the Observant Franciscan nuns (Poor Clares) church in Lvov. The mural paintings, which cover almost all surfaces of the church's interior, are dated to the 1760s and count among the most important works of a Lvov painter Stanisław Stroiński (1719-1802). Yet, sińce the church had for a long time served as a storage space, they are in a poor state of repair. The Assumption, painted on the chancel ceiling in iconographic relation to other scenes carefully arranged along the main axis of the church, had been set in an entirely new context. The main picture of the ensemble, located within the space of an illusionistic dome achieved by means of ąuadratura painting, represents the Apocalyptic Lamb reposing on a book with Seven Seals surrounded by clouds and angels' heads, symbolizing the act of shedding the Saviour's blood that delivers the Earth from the bonds of sin. The painting is flanked by two scenes: the Adoration of the Lamb by the Elders of the Apocalypse who take down their crowns, and a group of virgin martyrs featuring the representatives of female religious orders from the medieval and modern times, arranged in the shape of the letter "S" at the beginning of the inscription reading, Sequimtur Agnum, set within a cartouche. The central scenę with the Lamb and the holy virgin martyrs was inspired by prints from the workshop of two Augsburg engravers, Joseph Sebastian (c. 1700-1768) and Johann Baptist (1712-1787) Klauber, depicting the wife of the Lamb and the mission of St. John of Matha, the founder of the Trinitarians. Of importance for the overall idea of the church's interior decoration is an image of the Venerable Mary of Agreda (Maria de Jesus de Agreda; 1602-1665) rendered as a quasi-easel painting on the chancel wali. The Spanish mystic and Franciscan nun was shown while evangelising Indians in California, exercising her ability for bilocation. The image of Mary of Agreda, very rare in Polish art, was based on a print by a Roman artist Piętro Bombelli (1737-1809), of 1761, which in turn repeated a painting by Joan Barnaba Palomino. The nun authored a book entitled "Mystical City of God, or the Life of the Mother of God" (Mistica Ciudad de Dios, historia divinay vida de la Virgen Mądre de Dios), and it may have influenced the programme of the murałs which highlight the glory of saints in Heavenly Jerusalem and the communion of saints {communio sanctorum) with the mystical brides of the Lamb. Emphasised already by St. Clare, the bridal theme played an important part in the spirituality of the order. Such a formulation of a precise iconographic programme, encompassing the mission of evangelisation fulfilled by the Franciscan Order as well as the nuptial aspect of glorification, constituted a confirmation of the order's individual character and its prestigious position, in response to the growing reformatory activities of female orders (e.g. the Carmelites or Benedictines) and the emergence of new religious communities (e.g. the Vłsitation Sisters). It was also a proof of the order's high position within the Catholic Church in a multicultural and multidenominational city. The print, used as a model for mural paintings, helped to create an impressive work of art which, nonetheless, from a stylistic point of view was unsophisticated, a result of a compilation. The above-mentioned prints propagated the rococo style in its Augsburg version characterized by refmed, decorative forms. They were favourably received in the local artistic milieu and influenced the local style of mural painting. The murals, though original as far as their programme is concerned, formally are an example of eclectic, contemporary European illusionistic painting on a cosmopolitan level.
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Obrazy wizji św. Bonawentury i św. Franciszka z Asyżu (1. poł. XVIII w.) z klasztoru Franciszkanów reformatów w Przemyślu. Nowe rozpoznanie ikonograficzne

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Dzik J.
Ochrona Zabytków
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2015
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issue 1
153-166
EN
The conservation of two, late Baroque, semi-circularly closed images of nearly identical size, located in the Reformed Franciscan monastery of St. Anthony in Przemyśl, which were thought to present the Communion of Saint Francis and the Veneration of the Cross by Saint Francis, brought about interesting outcomes. It turned out that the images were previously interpreted mistakenly, as they actually present the Communion of Saint Bonaventure and the vision of Saint Francis in Vicalvi (Vision of an angel with an ampoule), typical of the Franciscan post- Trent iconography. The pattern for the image Communion of Saint Bonaventure in the Przemyśl monastery was an engraved reproduction of a painting by A. van Dyck, which was to be created by Pieter Bailliu, an engraver from Antwerp (Balliu; around 1613- after 1660). The creation referred to the Last Communion of Saint Francis by Rubens. According to Carl Justi, the main idea of the presentation was a feeling of humility and a particular dignity of Saint Bonaventure towards the Blessed Sacrament. As a young monk, he attended a mass, but felt too unworthy to receive Holy Communion every day. During the mass, an angel appeared who, after taking a particle of a Host from the hands of a priest celebrating the mass, put it into Bonaventura’s mouth, so that “he knew that it was better to receive the Eucharist with love than to refrain from it for fear”. That pattern was common in Reformed Franciscan churches. The Communion of Saint Bonaventure was created to decorate the sacristy of the church in Pińczów (signature A. N. W. and the date 1717) and as a modello stored in the monastery in Kraków for an uncreated altar picture or sacristy decoration. That scene is also presented in the sacristy of the former Bernardine (now Dominican) church in Św. Anna near Przyrów. The second picture, Vision of an angel with an ampoule, was a reproduction of an engravery by Giovanni Francesco Barbieri called Guercino, presenting the vision of Saint Francis of Vicalvi, referred to as Vision of priestly dignity. The composition, popularized by, among others, the engraveries by Giovanni Battista Pasqualini (1630), was a pattern for painted decorations in the sacristies of Reformed churches in Pińczów, Wieliczka, Kęty and Biecz. According to Raffaell Colace in the article San Francesco e l’angelo con l’ampolla, the image of the saint by Guercino can be interpreted in two ways. On the one hand, in the context of underlining the humility of the saint who considered himself unworthy of being a priest and, on the other hand – the “spotlessness” of priesthood, the value particularly emphasized by the Catholic doctrine after the Council of Trent. The discussed pictures are a typical element of equipment of the sacristies of Reformed churches in the former Lesser Poland province. They were probably connected with the function of that place, in which the liturgical celebration was prepared. It can be presumed that, in the past, the pictures could have been the equipment of the sacristy of the Przemyśl church. It seems to be confirmed by the archival files kept at Reformed Franciscan Province Archives from the 19th century, reporting “great images over the mensa in the sacristy”. The images, created by a local guild artist or an artist from the Order do not manifest significant artistic values. However, they are interesting from the point of view of iconographic values, as a reproduction – through graphic patterns – of renowned works of Guercino and van Dyck, who are among the greatest European painters. Presenting both legendary events from the life of the patriarch of the Order and the main theorist of Franciscan thought was supposed to emphasize the new, post-Trent form of devotion – veneration of Eucharistic Christ and an exceptional dignity of celebrating the Holy Mass. Perhaps the humble attitude of the monks had a moralizing significance in a form of an example for the priesthood in the Reformed Franciscan order. Thus, the presentations are of high historical and cultural importance for the research on the history of the order.
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Monstrancja i kielich z dawnego kościoła klasztornego reformatów w Kryłowie, obecnie w zakrystii klasztoru reformatów w Przemyślu

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Dzik J.
Hereditas Monasteriorium
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2014
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vol. 5
295-302
EN
The Reformati Monastery in Kryłów near Hrubieszów was founded in the 1750s. After the dissolution of the monastery in 1808 by the Austrian authorities the monastery church was sold and dismantled and its furnishings were dispersed. The Reformati Monastery Church of St. Anthony in Przemyśl houses a valuable rococo radial monstrance made around the mid-18th century, which can be regarded as an eminent example of Polish goldsmithing. Its value is enhanced by full figures of God the Father and Apocalyptic Lamb as well as symbols of Old Testament sacrifices. The foot of the monstrance bears the inscription CONV. KRYLOVIENSIS PP. REFORM, unequivocally pointing to the place for which it was made. This may be the monstrance mentioned in the chronicle of the Kryłów monastery, which speaks of a large and beautiful monstrance made in 1760 for the local monastery church after a drawing by Fr. Stanisław Dominik Kleczewski (1714–1776). Kleczewski served as definitor, custodian and provincial of his order; he also represented the Polish Province at general chapters in Rome. In addition, he was an amateur draughtsman. The Reformati Monastery Church of St. Casimir in Cracow boasts a rococo chalice dating to the late 18th century. The inscription on the foot indicates the place for which the chalice was made: “Conventus Krylovi[ensis]”; the inscription is accompanied by letters PP RE TŁ RM. The chalice and the monstrance mentioned in the monastery chronicle may have been a set. The topic of goldsmithing of high artistic value and precise workmanship from Reformati churches in the eastern part of Poland requires further studies (other such objects include a rococo monstrance from 1770–1780 from the Reformati Monastery in Rawa Ruska, currently kept in the monastery in Biecz, and a classicist radial monstrance of unknown provenance made at the turn of the 19th century kept in the monastery of the Przemyśl Reformati). It is all the more interesting given the fact that in this religious order, particularly valuing poverty, monstrances for liturgical purposes were usually made of wood, with only the lunette holding the host being made of silver.
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Graficzne tezy z wizerunkami św. Ignacego Loyoli i św. Franciszka Ksawerego w Muzeum Archidiecezji Przemyskiej

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Dzik J.
Hereditas Monasteriorium
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2015
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vol. 6
317-324
EN
The Archdiocesan Museum in Przemyśl holds two large-format thesis posters commemorating public viva voce examinations of 18th-century doctoral dissertations of Antoni Bielecki of the Jelita coat of arms (no. V/354) and Michał Łoś of the Dąbrowa coat of arms (no. V/355). Nearly identical in size (176 × 102 cm) and bearing appropriate dedications, the two posters are mezzotints on paper pasted in three parts on canvas. Their condition is poor. They come from the parish church in Nizhankovice (formerly Krasnopol, near Staryi Sambir in Ukraine), as evidenced by the entry in the inventory register of the museum. Interpretation of the various elements of the compositions with its complex symbolism is hampered by the poor condition of the posters. The allegorical-symbolic compositions represent a hitherto unknown iconography of the apotheosis of the Jesuit patriarchs – St. Ignatius of Loyola and St. Francis Xavier. In the first of them St. Ignatius of Loyola, surrounded by four allegorical figures, holding a lance plunged into a dragon’s head and wearing a chasuble with the Jesuit monogram IHS, is depicted as a victor over evil (vanquisher of heresy). The second poster features the baptism of the exotic queen Neachile (a personification of Asia?) by St. Francis Xavier surrounded by allegorical figures (e.g. a personification of baptism (?) and Eve the first mother embodying the original sin). The two works were published by Józef Sandurski and Michał Piotrowski, chancellors of the Jesuit Accademia Mariana in Lviv (one of them bears the date of 24 May 1745), to commemorate a public viva voce examination of two dissertations in theology. The posters, not recorded in the literature, were made, as is suggested by their call number, in the Augsburg workshop of Johann Andreas Pfeffel (1674–1748). They testify to the existence of lively contacts between Poles from the Easter Borderlands, especially from the prestigious Jesuit College in Lviv, and German printing workshops, which thrived in the 18th century. They are unique, because very few such printed pieces have been preserved in Poland. Worthy of note are also similar contemporary theses associated with Polish saints – John of Dukla and Stanislaus Kostka. The first, by an unknown author, depicts the Vision of St. John of Dukla (print collection of the National Museum in Cracow) and is dedicated to the Deputy Cup-Bearer and Standard-Bearer of Lithuania, Prince of the Holy Roman Empire of the German Nation, Hieronim Radziwiłł (1715–1760). Another thesis poster depicting this Bernardine father was made by Johann Wolfgang Baumgartner and Georg Christoph Kilian. Of interest is also a thesis poster dedicated to the Polish Jesuit St. Stanislaus Kostka (Auditus from a series illustrating the five senses) made after a design by Johann Wolfgang Baumgartner in the Klauber brothers’ workshops (National Museum in Cracow, Museum of the Czartoryski Princes). Thesis posters with hagiographic themes are an interesting example of contacts between monasteries and German printing houses. They have not been thoroughly examined so far in Poland and, therefore, require further study.
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Idea gloryfikacji Marii w polichromii sklepienia kościoła bernardynów w Leżajsku

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Dzik J.
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2009
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vol. 71
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issue 3
281-317
EN
The paper discusses the iconography of the 18th century monumental painting adoring the church of the Franciscan Observantists (referred to as the Bernardines) at Leżajsk has been based on examples of the vaulting paintings forming part of the temple’s homogeneous Baroque interiors. The work was carried out by group a group of painters originating from the artists’ milieu of Lwów. While the painters Wojtanowski and Kłosowski worked on the vaulting , presbytery and nave in the years 1750-51, the decorative programme was to be completed by Stanisław Stroiński collaborating with Mateusz and Maciej Miller in 1757-58. Each of these artists would most probably have been associated with the religious order painter, Benedykt Mazurkiewicz, who represented the vernacular Lwów school of illusionists painting influenced by Bologne. The theme of the murals in large part resulted from the pragmatic politics conducted by the Observantist Franciscans whose desire it was engaged in missionary work in the eastern territories of pre-Parton Poland.
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