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Elementy uzbrojenia na kaflach renesansowych z założeń dworskich w Kozłowie

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Zdaniewicz R., mgr Radosław Zdaniewicz - Muzeum w Gliwicach

Acta Universitatis Lodziensis. Folia Archaeologica

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2013

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vol. 29

EN

During archaeological excavations conducted on the site of the relics of manor houses in Kozłów, Silesia province, an impressive set of stove tiles has been discovered. Some of the tiles’ facings were decorated with representations that are interesting iconographic sources for the study of early medieval arms. The first tile was discovered in the remains of the manor from the late 15th and 16th c. Facing of this tile is decorated with a side profile of the rider’s head in a closed helmet with a crest. Visual presentation is not so detailed and not all the details of surface texture are sharp. The portrayed helmet is probably a tournament example called the frog face helm. Its bell is crowned with an extensive crest, which is an oval with short and long feathers modeled in different directions. At the back of the bell there are ribbon like mantlings visible. Due to the lack of large part of the tile it is difficult to determine whether the visible crested helm was a part of a heraldic motif or whether it was connected with representations of knightly culture such as tournament scenes for example. The first possibility seems more likely. The second tile was found in layers associated with the manor which functioned in the 16th century. The presentation on the facing of tile refers to a series of woodcuttings created by the German renaissance painter Georg Pencz, gathered under one title of Twelve Heroes of the Old Testament. These works were inspired by the text of the poem by Hans Sachs from 1531. The author was glorifying the heroic exploits of the twelve heroes from the Old Testament: Joshua, Gideon, Jephthah, Samson, Jonathan, David, Abia, Azah, Josaphat, Amazia, Hezekiah and Judas Maccabeus, portraying them as symbols of the defenders of Christianity. Facing of the tile from Kozłów is ornamented with the image of Juda’s king Amazia. Similar to a Pencz’s graphic, he has been presented in an armour with his head and torso slightly turned to the left. The whole scene was made with high attention to the details, which allows us to make some valuable observations on the components of the armour. The helm is a close helmet with bevor and gorget, depicted with a lifted visor. The torso is protected with a bulging breastplate with fauld attached below. The arm is covered with a massive overlapping breastplate pauldrons and bulging rerebrace. In the lower part, at the height of faulds, there is a visible fragment of a sword hilt, one and a half or two-handed, topped with an oval pommel. A similar suit of armour, often called Maximilian armour, was used in Europe since the 1630s. Armour of this type was popular at that time in Silesia as well, what is indicated by the numerous tombstone representations.

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Przedstawienia rękawic płytowych na Poliptyku Grudziądzkim

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Sokoliński A.

Acta Universitatis Lodziensis. Folia Archaeologica

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2013

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vol. 29

EN

Hand defenses from the early 1420s consisted of plate gauntlets whose elements were riveted to the leather base. First mentions about gauntlets created from small metal plates appeared in the last decade of the 13th c. One of gives a description about gauntlets made by the armourers in Paris in 1296, which were made in the same manner as coat-of-plates. Metal plates were riveted to the textile or leather base or between layers of material. In form they were familiar to the pieces which can often be seen on illuminations or tombstones from first quarter of the 14th c. in Western Europe. They remained in common use until the third quarter of this century. Around the year 1350 demi-gauntlets similar in shape to hourglass appeared. They were usually created from one piece of metal. They protected the wrist and had usually anatomically formed metacarpus. Fingers were protected by small overlapping metal scales riveted to the leather stripes which were attached to the gauntlet’s metacarpus. After the year 1370, demi-gauntlets became the dominant form of hand protection.

3

Moc apotropaionu. Nie tylko o starożytnych reminiscencjach w średniowiecznym uzbrojeniu z terenu ziem polskich

80%

Michalak A.

In Gremium. Studia nad Historią, Kulturą i Polityką

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2020

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vol. 14

19-38

PL

Powierzchnie tarcz dekorowano już od czasów antycznych. Motywem często powtarzanym w ich zdobnictwie były wizerunki złych oczu, potworów, mitycznych zwierząt (signa horribilia) (ryc. 1). Wyobrażenie z tarczy zwiększało apotropeicznie, ochronne właściwości tarczy. Popularnym motywem twarzy pojawiającym się także na tarczach w tym czasie był również emblemat lwiej fizys czy postaci ze stylizowanymi zwierzęcymi uszami, przywołujące skojarzenie z postacią mitologicznego satyra oraz personifikacji ciał niebieskich: Słońca i Księżyca. Na ołtarzach powstałych w pracowniach czeskich na tarczach odnajdujemy również maski liściaste lub okolone motywami roślinnymi, które interpretuje się jako przedstawienie dzikiego męża. Jedyne znane dotychczas przedstawienie tarczy z analogicznym motywem z terenu Polski pochodziło ze sceny Ukrzyżowania Chrystusa wyobrażonej na freskach z kościoła św. Marcina w podżagańskim Wichowie, datowanych na 2. ćwierć XV wieku (ryc. 2:1). Na łamach artykułu omawiamy kolejne ze sceny Ukrzyżowania: zawartej w Brewiarzu z ok. 1420 (ryc. 2:3), z Biblii Sacra Veteri et Novi Testamenti (tzw. Biblia Banków), z około 1427 roku (ryc. 2:4), fresków z kaplicy Świętej Trójcy na zamku w Lublinie (ryc. 2:2) oraz z kwatery figuralnej Zmartwychwstanie ołtarza z Brodnicy (pow. śremski), datowanego tuż na początek XVI w. (ryc. 3). Protekcyjne przedstawienie twarzy jest kolejnym motywem o antycznych korzeniach, który znalazł swoje miejsce w kulturze wieków średnich i dekoracji średniowiecznego uzbrojenia.

EN

Shield surfaces have been decorated since ancient times. Often repeated motifs included images of evil eyes, monsters, or mythical animals (signa horribilia) (Fig. 1). Depictions on shields were apotropaic – they increased its protective properties. Popular face motifs that also appeared on the shields at that time were lion emblems; figures with stylized animal ears, which evoked an association with the figure of a mythological satire; and the personification of celestial bodies: the Sun and the Moon. On altars created in Bohemian workshops we also find deciduous or planted masks with floral motifs on the shields, which are interpreted as a representation of wild man. The only shield with a similar motif from Polish lands known to this day came from the scene of the Crucifixion of Christ depicted on frescoes from the church of St. Marcin in Wichów near Żagań, dated to the second quarter of the 15th century (Fig. 2: 1). In the article we discuss depictions of the scene of Crucifixion in the following: a brewery from around 1420; the Collegiate Library in Głogów, University Library (Fig. 2:3); the Bible Sacra Veteri et Novi Testamenti (the so-called Bible of Banks) from circa 1427 (Fig. 2:4); frescoes from the Holy Trinity chapel at Lublin castle (Fig. 2:2); and the figural lodging of the Resurrection on an altar in Brodnica (Śrem county), dating back to the beginning of the 16th century (Fig. 3). Protective representation of the face is another motif with ancient roots, which found its place in the culture of the Middle Ages and the decoration of medieval arms and armour.

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2 Acta Universitatis Lodziensis. Folia Archaeologica

1 In Gremium. Studia nad Historią, Kulturą i Polityką

1 Michalak A.

1 Sokoliński A.

1 Zdaniewicz R.

1 mgr Radosław Zdaniewicz - Muzeum w Gliwicach

1 2020

2 2013

Elementy uzbrojenia na kaflach renesansowych z założeń dworskich w Kozłowie

Przedstawienia rękawic płytowych na Poliptyku Grudziądzkim

Moc apotropaionu. Nie tylko o starożytnych reminiscencjach w średniowiecznym uzbrojeniu z terenu ziem polskich