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1

Badania językoznawcze nad Psałterzem floriańskim - przeszlość i perspektywy

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Cybulski M.
Rocznik Biblioteki Narodowej
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2011
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vol. 42
38-56
EN
Firstly, this article briefly presents the results of earlier studies of philologists and linguists who were interested mainly in the issue of the territorial origins and affiliations of the Polish part of this relic (W. Nehring, A. Brückner, W. Taszycki, S. Rospond, V. Kyas), and monographs on its language and style arising out of the Lodz environment. Some recent work on the Psalter vocabulary was also described (B. Grzeszczuk, S. Koziara), concerning its Latin (M. Kuzmicki) and German parts (H. Tiefenbach and R. Hanamann). Then the linguistic issues were noted, worthy of a more accurate description, and possibly a new interpretation that could lead to a revision of the existing findings. Some parts of monographic works could lose their value concerning chromatography and especially phonetics, if they are not based on an analysis of the manuscript. The issue of dialecticism requires reconsideration. Although the current studies of vocabulary retain some value, there are large gaps - in particular, the lexical compounds of Part A with the Czech Psalters did not receive a new interpretation. Also, in terms of stylistics there is still much to explore. Even now a systematic description of word formation is missing; the syntax of part A and the syntax of a whole complex sentence is not elaborated, and therefore a dictionary of synsemantic words has not yet been created. At the end there is an example shown of the description and interpretation of one of the attested linguistic phenomena in the Psalter, which is the tendency to equalize the number of syllables in the inflectional paradigm, seen here in the declension of possessive pronouns.
2

Psałterz Floriański z punktu widzenia historyka sztuki

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Śnieżynska-Stolot E.
Rocznik Biblioteki Narodowej
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2011
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vol. 42
87-92
EN
This article describes the first part of the Sankt Florian Psalter, dated in the history of art at the end of the fourteenth century. The floral borders and colouring of the manuscript make a distant reference to the Czech and Silesian illuminations from the end of the fourteenth century. The artistic level, both in terms of the style and technique of the illuminator, is amateurish and differs from the manuscripts illuminated at that area, as well as from the few examples of illuminations in Krakow. However, because of the picture, which are astrological images that were widespread in Europe, the Psalter is a unique work in Poland. The coat of arms of the Hungarian Anjou (fol. 50v, 53v), the letters mm, and the crest on the fol. 53v (the Polish eagle with a horseshoe in its beak) clearly link this manuscript with queen Jadwiga, wife of Wladyslaw Jagiello. Work on the Psalter was abruptly halted due to the unexpected death of the young queen on July 17, 1399, and was completed for another owner. The principal maker of the Psalter, who transcribed the text, authored the large and small initials, picture and figural fillings between the lines, was probably Bartlomiej from Jaslo, who also copied liturgical books for the queen. Another maker working for the queen was a miniaturist named Peter, who painted the figures of angels holding the coats of arms, the coats of arms alone, and the letters mm. The Sankt Florian Psalter is one of the many pious undertakings of queen Jadwiga, whose personality was shaped by the devotio moderna trend, based on combining vita activa et contemplativa. The letters mm, which occur on the monuments of queen Jadwiga's foundation, served a mnemonic and apotropaic function - as did the letters of different alphabets in the Middle Ages. They encoded the queen's life motto (2 Timothy 2,16 and 3,12, John 15,20, Phil 3,20), and could also serve as a talisman, necessitated by the infertility of the queen.
3

Krakowskie środowisko umysłowe na przełomie XIV i XV wieku a problem powstania Psałterza florianskiego

100%
Ożóg K.
Rocznik Biblioteki Narodowej
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2011
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vol. 42
93-114
EN
In the fourteenth century, Krakow became the most important center in the revival of the Polish Kingdom. Here in fact was situated the headquarters of the ruler and the royal court, the capital of the bishopric and the cathedral chapter. In the metropolitan area, consisting of Krakow, Kazimierz and Kleparz there was a large and varied environment of the diocesan and monastic clergy. In addition to the numerous clergy at the Wawel Cathedral (chapter, colleges, vicars, mansionaries and psalmists) there were in operation 12 parishes (4 of which were run by monastic clergy), 4 collegiates and 11 monasteries. The most numerous were the mendicant orders, with 4 monasteries (the Franciscans, the Dominicans, the Augustinians and the Carmelites), the canons regular, with 4 monasteries (the Order of the Holy Ghost, the Marks, the Order of the Holy Sepulchre, The Canons Regular of the Lateran), the Slavic Benedictines, and two orders of nuns: the Poor Clares and the Norbertines. Near Krakow, in Tyniec, there was a Benedictine abbey, and a Cistercian abbey situated in Mogila. A group of several dozen people with university educations received in Paris, Bologna, Padua and Prague gathered at the royal court and within the diocesan and monastic clergy circles. Thanks to them the foundation of the university in Krakow in 1364 was possible; nevertheless, it functioned only a few years, followed by attempts to renew it in 1390-1392, and finally leading to the second foundation in 1400. At the turn of the fourteenth and fifteenth century the Krakow intellectual environment was creative at many levels, including literary and liturgical. A detailed analysis of the biography of Bartlomiej from Jaslo resulted in questions regarding Ewa Sniezynska-Stolot's theory that he was the creator of the first part of the Sankt Florian Psalter in 1399 in Krakow: According to reliable sources, Bartlomiej was staying in Prague from 1398 to 1400. Furthermore, the same researcher's opinions on the astrological determinants of Jadwiga of Anjou's spirituality were undermined.
4

70 lat badań nad Psałterzem floriańskim

100%
Mejor M.
Rocznik Biblioteki Narodowej
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2011
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vol. 42
5-8
EN
The most significant relic of medieval literary Polish language is the Sankt Florian Psalter, a work which, despite appearances, is still little known. During the last public presentation of the manuscript in the National Library in Warsaw in 2006, the exhibition organizers emphasized that we are still doomed to hypotheses and conjectures on the issues that are most important: the place of origin of the Psalter, its functions and sources, and where the Polish translation was taken from. Also the national conference '70 years of research on the Sankt Florian Psalter', which took place in autumn 2009 at the Institute of Literary Studies of the Polish Academy of Science, confirmed only that - despite noticeable progress in recent decades in research on the trilingual Psalter - it still remains undiscovered.
5

Tajemnice staropolskiego manuskryptu BN Ms.III 8002. Małe litery inicjalne

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Kuźmicki M.
Rocznik Biblioteki Narodowej
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2011
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vol. 42
57-86
EN
The main problems treated in this paper can be summarized in four main issues: the first, of a general nature, concerns the methods of working on this manuscript, where the author advocates changing the way of viewing the material, taking not the card, but the fold and the particular sheets as a starting point for further analysis; the second concerns the number of people who worked on the Sankt Florian Psalter manuscript, especially in the early part; the third raises the problem of the order of the stages of work of copyist, rubricator, and illuminator and the lack of a unified method in elaborating the particular folds; the fourth, an extensive problem, is related to the mistakes that appear in the initial letters. Adopting the perspective for viewing the material postulated by the author allows, for example, seeing the stylistic distinctions of the 27th and 28th folds. By contrast, the last three preserved folds of the manuscript have initials with filigrees and line fillers characteristic of the beginning folds of the manuscript. This means that a chronology based on paleographic criteria does not apply to the decorative parts of the Psalter. The analysis of errors that appear in the initial letters indicates that the content of the verse was not included by the rubricator/illuminator during the painting of the initials. The conclusions to be drawn on the basis of the disparity of errors correspond to the particular linguistic parts as follows: the authors of the initials cope with the Polish language version of the Sankt Florian Psalter the worst, eo ipso perhaps they did not know the language or they knew it poorly; it is difficult to assume that one and the same person could copy the text, place the representatives in appropriate locations and apply the initials on them, while interpreting them wrongly. In other words, the role of copyist, rubricator and illuminator cannot be attributed to one person.
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