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Dwa niezrealizowane chóry katedry krakowskiej w pierwszym dwudziestoleciu XIV wieku

100%

Pajor P.

Biuletyn Historii Sztuki

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2015

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vol. 77

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issue 2

197-221

EN

During the archaeological research conducted by Zbigniew Pianowski and Janusz Firlet in the 1980s and 1990s, under the eastern section of the Cracow Cathedral remains of foundation walls were discovered: they were newer than the Romanesque cathedral, yet older than the existing Gothic church. The remains form the shape of two chancels, undoubtedly abandoned at an early construction stage. At the older stage, plans were made to construct of a small polygonally enclosed chancel surrounded by a three-sided ambulatory featuring chapels; such a layout had by then been applied only in the Uppsala, Halberstadt, and possibly Poznań cathedrals, so a model for the Wawel one may be found among the three. However, in the course of the second stage, the design was altered for a more extensive, single-nave chancel closed with a straight wall, perceived as of a non-cathedral type (though applied in Olomouc, Paderborn, or Chełmża), yet widely popular in Central Europe. Its Cracow precedence can be found in the monumental chancel of the Dominican Church. The sources testify to the fact that the Romanesque Cathedral survived until 1306 when it was devoured by a fire. The construction of the current church was launched in 1320. Thus both abovementioned projects must be dated to the short period between the two events. Additionally, Bishop Muskata was in exile during most of that period, while a lot of political turmoil was witnessed in relation to the consolidation of the reign of Władysław I the Short both in Cracow and throughout Poland. It seems, however, that it was the Cracow Duke who initiated the construction of the ambulatory chancel, the project initiated possibly after the suppression of the Cracow burghers’ revolt in 1312. Moreover, it may have been supported by Archbishop Jakub Świnka. The reasons for abandoning the projects remain unknown. The second one was most likely started several years later, possibly only upon the return of Bishop Muskata to Cracow in 1317. The foundations laid at that stage were almost entirely reused during the construction of the chancel preserved in the Cathedral up to this very day.

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Myśliwy i pan natury. Jeszcze raz o przedstawieniach zwierząt na nagrobku króla Władysława II Jagiełły

63%

Walczak M.

Biuletyn Historii Sztuki

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2022

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vol. 84

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issue 3

435-472

EN

This article is an attempt to take a new look at the depictions of animals on the tomb-chest of the King of Poland and the Grand Duke of Lithuania Władysław II Jagiełło, which was executed before 1431 by a workshop of undetermined provenance. On the basis of written sources and comparative material, it is argued that the uniform iconographic programme, which consists of depictions of a dragon under the king's feet, two lions under the monarch's head, and hounds and falcons on the tomb-chest, refers to the politically important concept of the ruler's dominion over the natural world.

PL

Artykuł stanowi próbę nowego spojrzenia na przestawienia zwierząt na nagrobku Władysława II Jagiełły, króla Polski i Wielkiego Księcia Litwy, powstałym przed 1431 r. w warsztacie o nieustalonej proweniencji. Na podstawie źródeł pisanych i materiału porównawczego autor dowodzi, że w jednostkowym programie ideowym, na który składają się przedstawienia smoka pod stopami, dwóch lwów pod głową władcy oraz psów gończych i sokołów na cokole tumby, odwołano się do ważnej z politycznego punktu widzenia koncepcji panowania władcy nad światem natury.

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Srebrne wyposażenie średniowiecznego ołtarza św. Stanisława w katedrze krakowskiej

63%

Czyżewski K.

Folia Historica Cracoviensia

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2003

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vol. 9

EN

The article looks at these elements of St. Stanislaus’ tomb in the Gothic Cathedral on the Wawel Hill which were made of silver. Except for one (a reliquary diptych) all were destroyed and are known only from written records. The basic issue is to establish the date and the founder of a wooden coffin covered with gilded silver plates, in which the relics of the Martyr were placed. The literature on the subject attributed the foundation of the reliquary to St. Kunegunda (1234-1292), Elizabeth of Poland (1305-1380), St. Jadwiga, Hedvig of Anjou (1374-1399) and Ladislaus the Short (1260 or 1261-1333). Thanks to the records written in 1631 by a priest Jan Wielewicki which mention the renovation of the medieval coffin, we know that it had an inscription which unequivocally pointed to the person of Elizabeth of Poland, wife of a Hungarian king Charles I Robert and mother of a king of Hungary and Poland Louis d’Anjou, as the founder. A detailed description included in the records of an inspection of the Cracow Cathedral in 1670 allows an approximate reconstruction of this work of art, which was a box-reliquary of approximate measurements: 175, 8x87, 9x43, 95 cm, closed with a ridge roof cover of unknown height. It had cast decoration. The longer sides were each interspersed with 6 and the shorter with 2 pictures with the scenes from St. Stanislaus’s life. Likenesses of 18 bishops adorned both patches of the corners and axes of the shorter sides were accentuated with buttresses. Top rims of the cover were decorated with an open-work comb (tracery). Iconographic programme cannot be reconstructed on the basis of the existing sources. After a new coffin for the remains of the Saint was funded by Sigismund III, the old one was used as a reliquary for the hand and placed in St. Peter and Paul’s chapel, which - according to tradition - originally housed the tomb. After the cathedral was looted by the Swedes in 1657, the medieval reliquary was put back in the middle of the church. Then, in the years 1669 -1671, when a new silver coffin was funded by bishop Piotr Gembicki, it was re-cast. An important element of St. Stanislaus’ altar decoration before 1512 (when Sigismund I had an imposing silver retable made) were paintings which were kept in the treasury and placed on the mensa during the liturgy. Inventories list 12 ‘plates’ in all, some of which were made of silver, some covered with silver sheet metal (frames, dresses) and some only decorated with such applique. The most imposing was a triptych with the Holy Trinity engraved on sheet metal and richly set with jewels (in the type of Throne of Mercy) and the figures of Mary with the Child and St. John the Evangelist. Among the rest the most prominent were the depictions of the Salvator and the Virgin Mary with the Child. Some were accompanied by markings indicating their Byzantine or Ruthenian origins. A painting of Mary holding little Jesus in her arms, covered with a silver plate with lilies in the background, set with jewels and pearls, in a frame decorated with Polish and Hungarian coats of arms deserves special attention. It can undoubtedly be considered as a twin work to the three paintings stored in the treasury in Aachen and one in Mariazell, funded by Louis d’Anjou. The only painting of those which used to adorn the altar of St. Stanislaus which has survived to the present is the reliquary diptych with silver appliques, set with precious stones, depicting the Virgin Mary with the Child and Vemicle. It was painted in Cracow around 1440-1450 and was funded by the cathedral curate Maciej of Grodziec.

PL

Badania nad ołtarzem św. Stanisława w katedrze krakowskiej zainaugurowane już w 2. połowie XIX w. przez księży Ludwika Łętowskiego i Ignacego Polkowskiego, kontynuowane były w kolejnym stuleciu, a ich uwieńczeniem stało się monograficzne opracowanie autorstwa Michała Rożka, opublikowane w 1979 r. przy okazji obchodów 900. rocznicy męczeńskiej śmierci Patrona Polski. Mimo licznych opracowań dotyczących architektury barokowej konfesji oraz kolejnych trumien-relikwiarzy, wiele kwestii historycznych oraz historyczno-artystycznych nie zostało dotąd rozwiązanych. Na nowe ujęcie zasługuje katedra romańska oraz niedawno wysunięte przez Mariusza Karpowicza propozycje atrybucyjne względem kaplicy wzniesionej przez bp. Marcina Szyszkowskiego w drugim dziesięcioleciu w. XVII. Na uboczu badań pozostały dekorujące ją rzeźby i malowidła. Brakuje systematycznego zestawienia ruchomego wyposażenia ołtarza (naczynia, tkaniny liturgiczne itp.) oraz składanych przy nim wotów. Poważnym zadaniem stojącym przed historykami jest pełne opracowanie kultu św. Stanisława, oczywiście z uwzględnieniem liturgii sprawowanej przy jego relikwiach w katedrze. Niniejszy tekst ma zapełnić jedynie kilka luk w wiedzy na temat Stanisławowego grobu. Poświęcony został tylko tym elementom jego wyposażenia powstałym w okresie średniowiecza, które wykonano ze srebra. Znamy je tylko z przekazów archiwalnych - ich ranga artystyczna i historyczna skłania jednak do ich przypomnienia oraz, o ile na to pozwalają źródła, szerszego omówienia.

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Kalendarz z Kodeksu Gertrudy jako świadectwo dewocji monarszej. Wokół kultu świętych na styku chrześcijaństwa łacińskiego i wschodniego w XI wieku

45%

Pac G.

Roczniki Historyczne

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2018

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vol. 84

EN

Artykuł dotyczy kalendarza z Kodeksu Gertrudy i składa się z dwóch części. W pierwszej autor odnosi się do dotychczasowej dyskusji dotyczącej czasu i miejsca powstania oraz wzorów kalendarza, w drugiej zaś stawia tezę o wpływie samej Gertrudy lub jej kręgu na kształt kalendarza, w szczególności zaś na dobór wspomnień świętych w nim zawarty. The paper deals with the calendar from Gertruda’s Codex and consists of two parts. In the first, the author discusses earlier proposals concerning the time and place of the calendar’s creation and its patterns, and in the second, a thesis is presented on the influence of Gertruda herself or her circle on the form of the calendar, especially the selection of the remembrances of saints it includes.

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2 Biuletyn Historii Sztuki

1 Folia Historica Cracoviensia

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1 Czyżewski K.

1 Pac G.

1 Pajor P.

1 Walczak M.

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Dwa niezrealizowane chóry katedry krakowskiej w pierwszym dwudziestoleciu XIV wieku

Myśliwy i pan natury. Jeszcze raz o przedstawieniach zwierząt na nagrobku króla Władysława II Jagiełły

Srebrne wyposażenie średniowiecznego ołtarza św. Stanisława w katedrze krakowskiej

Kalendarz z Kodeksu Gertrudy jako świadectwo dewocji monarszej. Wokół kultu świętych na styku chrześcijaństwa łacińskiego i wschodniego w XI wieku