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1

A LATE-ROMANESQUE CENSER FROM JAMIELNIK (Kadzielnica z Jamielnika)

100%
Kierczuk-Macieszko M.
Kwartalnik Historii Kultury Materialnej
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2008
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vol. 56
|
issue 2
187-195
EN
In the Regional Museum in Nowe Miasto Lubawskie there is a bronze censer (thurible), which was found in a bog near the village of Jamielnik. Its body consists of two half-globes decorated with eight plaques showing lion's heads. The lid is topped with an octagonal tower, covered with a dome formed of eight leaves and crowned with a wide-armed cross (fig. 1-3). Mediaeval censers of this shape are very rare. Images of similar censers can be found on the cup of the chalice from St. Marien-Andreas church in Rathenow (central Germany) of the second quarter of the 13th c. (fig. 4) and on Prince Konrad of Mazovia paten from Plock, of the mid 13th c. (fig. 5). Also the motif of lion's head is an unusual ornament. The lions on the Jamielnik censer are reminiscent of Romanesque door-knockers. It remains to be investigated who, when and where made this artefact. The village where it was found used to belong to Chelmno County, which Prince Konrad of Mazovia leased to the Teutonic Order in 1226. Therefore, the vessel might have been commissioned by a Teutonic Order knight. Stylistic analogies to the art of Lower Saxony suggest that the censer was made by an artisan from Germany. He cast the vessel following the models that he knew in his homeland, but he probably made it in Poland. A technological analysis indicates that the censer was cast in a poorly equipped workshop and its form suggests that the workshop was far from large casting centres, which in the 13th c. mostly produced thuribles modelled after architectural forms. The Jamielnik censer is in the transition style: it shape and decoration clearly derive from the Romanesque tradition while the proportions and openwork design are Gothic. Comparative, stylistic and technological analyses allow us to date it to the second half of the 13th c. or the turn of the 14th c. at the latest. Hence, it may be the oldest preserved thurible that has been cast within the present territory of Poland.
2
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Architektura i sztuka gotycka w Poznaniu w aspekcie turystyki kulturowej

100%
Wyszowska I., Steckiewicz K.
Turystyka Kulturowa
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2009
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issue 8
4-30
EN
Poznań preserved rich and interesting legacy of Gothic art and architecture. To a large extent, this legacy has become a part of the Royal-Imperial Route, though it seems to disappear among other historical-artistic themes. The aim of the article is to present Poznań Gothic heritage and to suggest a theme route focusing on this particular style. This route can become an independent tourist product promoting the city not only in the country but it also could, if it were included into the already existing European Route of Brick Gothic, expand the circle of foreign tourists interested in the issue. In Greater Poland (Wielkopolska Region) Gothic architecture, unlike the Romanesque one, still does not have a separate real or virtual route. Even though Gothic architecture of Greater Poland does not match the impressive Gothic architecture of western Europe, its regional specificity and uniqueness, and at the same time artistic links with other regions of Poland through the activity of building workshops from Silesia, Pomerania and Lesser Poland, create connections with the regions’ architecture, so it fully deserves a wide recognition and exposure for the need of domestic and inbound cultural tourism.
3

Viduslaiku miniatūra ‘Krustā sistais ar Mariju un Jāni’ no ‘Missale Rigense’

75%
Grosmane E.
Makslas Vesture un Teorija
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2017
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vol. 20
6-15
EN
The unique ancient Livonian cultural and religious testimony ‘Missale Rigense’ is held by the Department of Manuscripts and Rare Books of the Academic Library of the University of Latvia. In line with the common medieval practice, ‘Missale Rigense’ has an oak cover binding with brown leather finish and two clasps (damaged). The manuscript consists of 192 spread pages (36 x 27 x 10 cm) and two parts: a calendar and missale with one canonical illustration ‘Crucifixion with Mary and St. John’. The central foreground image is of Christ crucified on a large cross with three massive iron nails. The heavy head falling sideways and closed eyes with swollen eyelids indicate that Christ is already dead; so the expression of suffering is somewhat subdued, but the link with Crucifixus dolorosus common in European Gothic art has not been lost completely. The Saviour’s touched up wounds continue to bleed; the grey-toned body suspended by thin arms also conforms to the message. However, dramatic exaggerations are not accentuated. The Saviour’s sad foreground image is contemplated from the back by Mary and the Apostle John standing a little way off. Both have soft and handsome features, but the well-considered costume gatherings reveal typical late Gothic repeated V-shaped rhythms, the so-called cornet and hairpin-style folding elements. The three-figure composition set against green grassland, low horizon line and blue sky do not strive for emotional overstatement. The artist’s rejection of Gothic expression is deliberate and most likely anticipates the new Renaissance epoch. Considering all research aspects related to the ‘Missale Rigense’ miniature, dating it to the 1460s–1490s looks most plausible. As the number of digitalised manuscripts grows, there will possibly be a chance to specify the origin of this sheet in subsequent years.
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