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1

AD MESTRIS LOCUM. WHERE WAS THE MONASTERY FOUNDED BY ST. ADALBERT LOCATED? (Ad Mestris locum. Gdzie znajdowal sie klasztor zalozony przez sw. Wojciecha?)

100%
Jurek T.
Roczniki Historyczne
|
2009
|
vol. 75
7-24
EN
The article is devoted to identification of the mysterious Mestris where St. Adalbert during his last journey from Saxony to Poland (at the turn of 996 and 997) supposedly founded a monastery. The story is told by the early 11th century Passion of St. Adalbert. In older literature the monastery was localized in Poland (usually in Miedzyrzecz, sometimes, but based on very poor arguments, also in Trzemeszno or Leczyca). For over half a century, however, it has been unanimously accepted that Mestris is identical to the Hungarian abbey of Mons Ferreus (Pécsvárad). That hypothesis is difficult to accept, so a Polish localization must be reconsidered. Mestris is most probably Miedzyrzecz in Western Great Poland.The existence of an abbey there is confirmed by the chronicle of Thietmar of Merseburg under the year 1005. If such identification of Mestris is accepted, it is necessary to undertake once again the search for the hermitage of the Five Brethren Martyrs (so far usually localized in Miedzyrzecz) and to reconsider the views about the journey of St. Adalbert to Poland and across Poland.
2

THE MONK CHRISTIAN AND HIS ATTITUDE TOWARDS ST. ADALBERT

88%
Kuzmiuk-Ciekanowska A.
Studia Źródłoznawcze. Commentationes
|
2005
|
vol. 43
19-26
EN
Christian is the monastic author of 'The Life of St. Wenceslas and St. Ludmila', also known as 'The Legend by Christian', written in Bohemia probably in 992-994. For many years he has been the source of a number of controversies. A thorough analysis of the sources, and especially the oldest lives of St. Adalbert (Wojciech, Voytech) and the 'Legend' itself, makes it possible to ascertain that the author came from the Bohemian Premyslid dynasty and was the brother of Duke Boleslaus II. Certain researchers, incapable of accepting that the son of Boleslaus I could have written about his own father in such derogatory terms, and basing themselves on a mistaken interpretation of Brunon of Querfurt, tried to prove that Christian was the uncle of St. Adalbert and originated from the Slavnik dynasty. The recognition of Christian as a Premyslid, which today no longer gives rise to any doubts, leads to questions about the reason why he had dedicated his work to a member of the Slavnik dynasty as well as the nature of the relations between him and St. Adalbert, which the 'Legend' depicts as extremely close. It also appears that the 'Legend' was the outcome of cooperation involving not only the monk and the bishop, but also Duke Boleslaus II of Bohemia who was interested in propagating a cult of his dynasty's patron saint. This cooperation, probably inspired by Christian, a member of a mission dispatched to Rome in order to escort Adalbert, was rendered possible by the concessions made both by the duke (and expressed in an edict issued in 992) and the bishop, who consented to become the patron of the whole undertaking and to propagate the 'Legend'. Unfortunately, the death of the bishop (997) and subsequently of Boleslaus put a halt to a wider reception of this work.
3

DONÁTORSKÉ SCÉNY V KOSTOLE SV. JURAJA V KOSTOĽANOCH POD TRIBEČOM

75%
Vančo M.
ARS
|
2023
|
vol. 56
|
issue 2
109 - 136
EN
Wall paintings in the Church of St. George in Kostoľany pod Tribečom discovered 60 years ago, belong to the oldest early medieval frescoes preserved on the contemporary territory of Slovakia dated from the middle of 11th until 12th centuries. Just Josef Krása and Ján Bakoš interpreted the lower part of frescoes in the context of Christology iconography primarily devoted to the Nativity of Jesus Christ. Only two registers of frescoes situated next to the triumphal arc of presbytery have not been correctly interpreted yet. This study is devoted to analysing especially those parts of the frescoes which have to be associated with Donor iconography. On the nave‘s south wall is a profane scene with the depicted prince of Poznan family with his two sons. The church founders, accompanied by St. George, offer a model of the church to Jesus Christ. On the north part of the nave, there is a religious scene depicting probably an anonymous abbot of Zobor Monastery accompanied by St. Adalbert praying before sitting Holy Mother with child Jesus on her knees. This scene was created on the occasion of the donation of a church by the Poznan nobleman family to St. Hippolytus Monastery. The author of the study puts the origin of frescoes into the context of historical events nearly linked with activities of Benedictine monks who came from the monastery of St. Boniface and Alexis on Aventine Hill in Rome, arrived in Central Europe together with St. Adalbert in 992. Frescoes could be made after St. Adalbert’s martyr death and before his canonisation in 999.
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