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Fundacje XV-wiecznych ołtarzy w kościele Mariackim w Krakowie i ich uposażenie do roku 1529

100%

Piwowarczyk E.

Folia Historica Cracoviensia

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2004

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vol. 10

EN

The altars described in the article were the last - according to the preserved records – to be funded in the 15th century inside St. Mary’s Church. Procuring a new main altar for the church in Cracow testified, as it were, to the standing that this church gained at the end of the century. There is no doubt whatsoever that Cracow burghers treated the basilica with exceptional care manifested through their generosity when it came to funding altars and providing for ministers at the altars. Unquestionably, the most magnificent of all 15th century altars - and one that was at the same time an expression o f care of all burghers for the interior decoration of the church - was the main altar of the Assumption of the Virgin Mary (1477-1489), made by Wit Stwosz. At the end of the 15th century Cracow burghers were able to participate in services held at the main altar or any of the 32 side altars (11 of which were funded in the 14th and 21 in the 15thcentury) or in services in chapels. The altars were religious or votive offerings by Cracowburghers, who provided for the old and made new provisions in their legacies as well asmaintained the existing ones and made provisions for new ministers.

PL

Kościół Wniebowzięcia Najświętszej Panny Marii w Krakowie (Mariacki), usytuowany w północno-wschodnim narożniku Rynku, od dawna ceniony był jako jeden z najznakomitszych przykładów budowli sakralnych w stylu gotyckim w Polsce. Doczekał się też szeregu opracowań czy to w dziełach ogólnie omawiających dzieje Krakowa i jego sztukę, czy też tematycznych artykułach prezentujących zarówno architekturę kościoła, jak i zachowane w jego wnętrzu zabytki sztuki. Pomimo sporej ilości publikacji w niewielu z nich uwzględniono wyposażenie wnętrza kościoła Panny Marii w ołtarze w okresie średniowiecza.

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„Nie może mi Wielebny Monaster zadać, aby robota niebyła doskonała”. Kilka uwag na temat sporu Macieja Polejowskiego z bazylianami poczajowskimi

100%

Dworzak A.

Biuletyn Historii Sztuki

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2013

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vol. 75

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issue 1

101-114

EN

So-far unpublished archival records related to the dispute the sculptor Maciej Polejowski had with the Basilians from Poczajów are analysed. The controversy took place in 1783 and was related to 6 brick altars Polejowski was to execute for the Poczajów Lavra, commissioned by Mikołaj Potocki, Bełz Voivode and the convent’s founder.

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Wileńska odmiana architektury XVIII wieku

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Karpowicz M.

Biuletyn Historii Sztuki

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2011

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vol. 73

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issue 3-4

371-414

EN

The Wilno variety is characterized by very simple church layouts, usually just rectangular, with only optionally a chancel apse and a transept. The very beauty and the very complexity, as well as the genuine quality of this character consists in a special elaboration of generally two-towered façades, in the use of undulating openings in windows, portals, tower spans, and in placing extremely elaborate altars inside the churches. According to the author there are two major creators of this particular variety - their works served as models for the whole array of followers and local architects: Guido Antonio Longhi (1691-1751) and Antonio Paracca (1722-ca.1790).

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Uwagi na temat siedemnastowiecznych fundacji ołtarzowych w kościele pw. św. Jana Chrzciciela i św. Jana Ewangelisty w Toruniu

72%

Łyczak B.

Zapiski Historyczne

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2012

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vol. 77

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issue 1

66-78

EN

In 1596 the Church of SS. John the Baptist and John the Evangelist in Torun, regained from the hands of Protestants, was passed over to Jesuits to spread Catholicism in the city. Jesuits used all possible methods to do it; one of them was to influence people through art. Torun’s Jesuits started the process of changing the interior of the church, involving all social groups in the task. Members of Societatis Jesu, both closely connected with Torun and not related to the city, gave substantial sums of money to finance the altars. New fittings were founded by diocese priests connected with the parish Church of SS. Johns, e.g. the main altar, presented in 1633, was created thanks to Walenty Szczawinski – holding the function of the parish priest, who convinced his brother, the castellan of Brest and Kuyavia, to contribute. The next group of founders were representatives of the nobility from Royal Prussia, such as Ludmiła Niemojewska nee Lubieńska and Fabian Plemięcki, who financed the construction of the whole altars and provided regular material support to Torun’s Jesuits, the parish Church of SS. John the Baptist and John the Evangelist, and other churches from the area. A significant contribution of burghers to the process of fitting churches was typical of Royal Prussia. Protestant churches were full of epitaphs of patricians’ families, whereas Catholic burghers, although less a fluent, devoted large sums of money to liturgical equipment – e.g. the altar of the Descent from the Cross, which was founded by a haberdasher Maciej Gęza and his wife Katarzyna. Compared with all those different foundations, the contribution of Kulm (Chełmno) bishops was insignificant, although they had good relationships with the Jesuits. They might have concentrated on financing the college thinking that Torun’s Jesuits managed to obtain resources to equip churches from various social groups.

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Kościół pw. św. Wawrzyńca w Luzinie – sakralna perełka na terenie Kaszub

51%

Darznik K.

Studia Gdańskie

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2014

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issue 35

225-230

PL

Kościół pod wezwaniem św. Wawrzyńca można śmiało uznać za sakralną perełkę na terenie Kaszub. W 2013 roku kościół i wierni świętowali 770 rocznicę założenia. Obecny kościół, drugi z kolei, powstał na miejscu drewnianego, w XVIII wieku. Był on wielokrotnie przebudowywany i dekorowany. Posiada bogate wyposażenie – szczególną uwagę należy zwrócić na dwa krucyfiksy, świecznik z XVII wieku i ołtarze, główny i dwa boczne. Ołtarz główny pochodzi z XVIII wieku. W środku jest wnęka, która mieści w sobie rzeźbę Madonny gotycko stylizowaną. Boczne barokowe ołtarze są ozdobione obrazami z wizerunkami św. Wawrzyńca, Matki Boskiej Nieustającej Pomocy, św. Józefa oraz św. Jana. Na łuku tęczowym znajduje się płaskorzeźba upamiętniająca ewakuację więźniów z obozu Stutthof, którą wykonał Edmund Sztyfter w 1971 roku z okazji beatyfikacji ojca Kolbego. Niestety, w wyniku zmian, które następowały na przestrzeni istnienia kościoła, zostały utracone (usunięte) cenne malowidła naścienne – w środku budynku – oraz zdobnictwo ścian zewnętrznych, jak i wiele innych pięknych elementów.

EN

It is safe to say that St. Lawrence’s Church in Luzino is a real gem of the Kashubian region. In 2013, the believers celebrated the 770th anniversary of its foundation. The present church was built in the place of previous one made of wood, from the 18th century. It has been frequently rebuilt and decorated. It still owns a rich equipment, due to this fact, the particular attention should be paid to the candlestick from the 18th century, two crucifixes and the altars, the main and two side. The main altar dates back to the 18th century. In the interior of the church, there is a bay where is situated the Gothic-like sculpture of the Madonna. The baroque, side altars were decorated with the pictures of saints depicting Our Lady of Perpetual Help, St. Lawrence, St. Joseph and St. John. On the arch, there is a bas-relief commemorating the evacuation of prisoners from the Stutthof concentration camp, which was made by Edmund Sztyfter in 1971 on the occasion of the beatification of Maximilian Kolbe. Unfortunately, as a result of changes that have followed over a span of church existance the precious wall paintings inside the building and the ornamantation of exterior walls disappered, as well as many other precious elements.

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Ikonografia ołtarzy i malowideł ściennych kościoła św. Józefa przy klasztorze Karmelitów Bosych w Wadowicach

44%

Żmuda M.

Wadoviana. Przegląd historyczno-kulturalny

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2022

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issue 25

172-207

EN

This article concerns the iconography of the interior of the church located at the Monastery of Discalced Carmelites in Wadowice. It discusses individual images found on the altars and on the wall paintings in this temple. It presents a wealth of iconographic and biographical content hidden behind the representations of saints, blesseds and servants of God related to the history and spirituality of Carmel.

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