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Kaplice kolegiaty św. Anny w Krakowie – indywidualne fundacje pod zbiorczym nadzorem

100%

Kurzej M.

TECHNE. Seria Nowa

2020

issue 5

117-131

The artistic history of the university collegiate church in Cracow, has been the subject of numerous studies. Focusing on its chapels, however, imposes a slightly different perspective, related to the issues of patronage over individual oratories and the way in which their decoration was included in the ideological and artistic program of the entire church. After adopting such perspective, the Church of St. Anna appears as an interesting contribution to the reflection on the phenomenon of collective patronage, perfectly confirming the view of Peter Hirschfeld and Michael Baxandall, according to which the term basically refers to the activities of an individual hidden behind the collective. One of the goals set by the creators of the magnificent modern church with a rich liturgical and architectural program was to achieve the greatest possible coherence of the decor, both in terms of ideology and art. The obstaclesin its achievement were often complicated ownership relations, resulting from the diversified patronage over the chapels. Cracow Church of St. Anne, erected in the years 1693–1703 under the supervision of prof. Sebastian Piskorski, is one of the rare examples where the chapels have been given a coherent content and artistic program, despite the fact that their interiors were decorated thanks to money providedby separate founders. To achieve this harmony, the inclusion of the chapels in the content program of the interior was of the utmost importance, especially due to the transept chapels. It was in one of them that the altar of the tomb of St. John Cantius had to be placed, and such a location allowed direct light to be shone on it on the anniversary of saints’ birthday. Special setting had to be provided also for the opposite chapel of St. Cross, which reminded of the saints’ passionate devotion and presented the Cross as a source of wisdom. Much attention was paid to smaller nave oratorios. There are three pairs of them, the middle of which has been distinguished by a higher dome with a lantern. The choice of patrons of the nave chapels is allegorical – the middle chapel on the Epistle side was dedicated to the Virgin Mary, and the neighboring ones – to her spouse, St. Joseph and relative, St. John the Baptist. Moreover, the John Baptist’s Oratory is adjacent to the mausoleum of John Cantius, who was born on the Midsummer Day, inheriting his name. On the other hand, the chapels on the Gospel side were dedicated to figures representing the Church of times of the New Covenant. Its first superior – St. Peter, following Christ in martyrdom, was commemorated next to the Chapel of St. Cross. The middle oratory, opposite the St.Mary’s Chapel, is dedicated to St. Catherine the virgin, and the last – St. Sebastian, the patron of Piskorski, but also a popular apostle of those suffering infectious diseases. What is very characteristic, the contribution of the benefactors of individual chapels was commemorated only in a literary way – in publications issued on the occasion of the completion of the construction of the church. There are no inscriptions relating to their benefactors or space for their epitaphs in the chapels, or at least some of them have no funeral function at all.

Krakowska kolegiata św. Anny jest przykładem rzadkiej sytuacji, w której odrębne finansowanie poszczególnych kaplic udało się pogodzić ze ścisłym zintegrowaniem ich wystroju z całością wnętrza, ale też bardzo specyficznej komemoracji ich dobrodziejów. Upamiętniono ich w książce wydanej z okazji konsekracji, co stanowiło specyficzny wyraz kultury akademickiej, skoncentrowanej na słowie pisanym, a także odwołującej się często do księgi jako uniwersalnego symbolu mądrości. W kościele św. Anny jest to główny motyw wnętrza, powtarzający się jako atrybut patronki, spis ziemskich przodków jej wnuka, dowód świętości Jana Kantego, znak wiedzy antycznych prorokiń oraz godności Baranka Apokaliptycznego jako Najwyższej Mądrości Bożej.

Maria Ludwika Gonzaga w pracach Wiktora Czermaka

100%

Hoszowska M.

Studia Polonijne

2019

vol. 40

79-100

Autorka artykułu analizuje twórczość krakowskiego historyka Wiktora Czermaka (1863-1913) pod kątem opinii i ocen, jakie były formułowane przez tego badacza XVII stulecia o małżonce Władysława IV i Jana Kazimierza – Ludwice Marii Gonzadze. Czermak wysoko ocenił polityczny zmysł i inicjatywę tej władczyni w pracy doktorskiej przygotowywanej we Lwowie pod kierunkiem Ksawerego Liskego, i obronionej w 1887 r. w Krakowie. Dwaj ostatni władcy z dynastii Wazów na polskim tronie, oraz ich małżonka, przez długie lata zajmowali uwagę krakowskiego uczonego. W artykule mowa o ewolucji zapatrywań na przybyłą z Francji energiczną władczynię. Wiele wskazuje, że historyk przeszedł od fascynacji „męską” osobowością małżonki Jana Kazimierza w połowie lat osiemdziesiątych XIX wieku, do bardziej krytycznego spojrzenia na poczynania Francuzki w Polsce w schyłku kolejnej dekady. Wynikało to ze zmiany zainteresowań i rozszerzania bazy źródłowej, lepiej oświetlającej osobę królowej, w której dojrzalszy badacz dostrzegał wady, jakich nie zauważał w studenckich latach.

The author of the article analyzes the creative work of the Cracow historian Wiktor Czermak (1863-1913) in terms of opinions and assessments that were formulated by this researcher of the 17th century. It concerned the wife of Władysław IV and Jan Kazimierz, who was Ludwika Maria Gonzaga. Czermak highly valued the political ideas and initiative of this ruler in his doctoral dissertation prepared in Lviv under the direction of Ksawery Liske, defended in 1887 in Krakow. The last two rulers of the Vasa dynasty on the Polish throne, and their spouse, were the object of the Krakow scholar’s interest for many years. The article talks about the evolution of the views of an energetic ruler from France. There are many indications that the historian passed from his fascination with the “male” personality of the wife of Jan Kazimierz in the mid-1880s, to a more critical look at the French woman’s actions in Poland at the end of the next decade. This resulted from a change in interests and expanding his source of information, which better illuminating the person of the queen. Thus, the researcher gave a more mature picture of the flaws that he did not notice in his student years.

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1 Studia Polonijne

1 TECHNE. Seria Nowa

1 Hoszowska M.

1 Kurzej M.

1 2020

1 2019

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Kaplice kolegiaty św. Anny w Krakowie – indywidualne fundacje pod zbiorczym nadzorem

Maria Ludwika Gonzaga w pracach Wiktora Czermaka