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Apostołowie milczenia

100%
Kozłowski M.
Folia Historica Cracoviensia
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2005
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vol. 11
EN
The article presents the life of the Camaldolese Order in Bielany, Krakow.
PL
Artykuł przedstawia życie kamedułów w klasztorze na Bielanach w Krakowie.
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Paralelizm wartości ideowych, artystycznych i przestrzennych eremu OO. Kamedułów na Bielanach w Krakowie z pustelnią Karmelitów Bosych w Czernej do końca XVIII wieku

84%
Wanat B. J.
Folia Historica Cracoviensia
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2005
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vol. 11
EN
The author shows the similarity of an ideological, artistic, and principle spectrum of an isolated Camaldolese monastery in Bielany, Krakow with an isolated Discalced Carmelites monastery in Czema in XVII and XVIII centuries. In 2005 passed 400 years from the arrival of the Camaldolites in Bielany in Krakow and also of the Discalced Carmelites on the grounds of Poland. A founder of the isolated Camaldolese monastery in Bielany was Nicholas Wolski (1549-1630), the court-marshal of the king Sigmund III Waza. Pope Clement VIII brought Camaldolese hermits to Krakow and built them a monastery. In 1604, this Pope sent Discalced Carmelite monks with the diplomatic and evangelical mission to Persia who on their way had to stop for a longer time in Krakow. Their stay, in 1605, bore a fruit with a first foundation of the  isolated monastery in Krakow. Agnes from Tęczyński Firlej, voivode of Krakow, was a founder of the isolated Discalced Carmelites  monastery in Czema, near Krzeszowice (1578-1644). She covered monastery construction expenses and all interior decorations. To  support the hermits she gave them three hamlets: Siedlec,  Paczółtowice with Dębnik and Zbik. The founders of these monasteries, in compliance with their will, were buried at the entrance of the church crypts so that entering people could pass over their graves. The lifestyle and religious exercises of the  hermits in both monasteries were similar. Eremites through their constant prayer and atonement were imploring God’s mercy for the whole Motherland.
PL
Przedmiotem tego artykułu jest koicydencja czasowa, historyczna, geograficzna oraz paralelizm wartości ideowych i artystycznych dwóch pustelni, usytuowanych w niedalekiej odległości od siebie, na malowniczym terenie Jury Krakowsko-Częstochowskiej, należących do Zakonu OO. Kamedułów na Bielanach i Karmelitów Bosych w  Czernej.
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Mnisi pustelnicy ze Srebrnej Góry

84%
Szczurowski R.
Folia Historica Cracoviensia
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2005
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vol. 11
EN
The efforts and foundation acts of Mikołaj Wolski, Great Marshal to the Crown, resulted in bringing monks of the Camaldolese Order from Italy in 1605. They settled on a hill known as the Silver Mountain at Bielany, near Cracow. The newly founded monastery appealed to local adherents of hermits’ life, who started to join the Order. In 163 lthe first Polish  Prior, father Matthew (Zygmunt Brynner) was elected and the Poles, who then comprised the majority of monks made an unsuccesful attempt at overthrowing the supervision of the Monte Corona Congregation in favour of the Holy See. However, these were not only ambitions and plans of local monks - controlled nevertheless by strict monastic rule - but political events that shaped the history of the Bielany monastery. The Swedish wars, policy of the annexing powers, the Nazi occupation and activities of the communists left their mark on the life of monks on the Silver Mountain. Problems within the community itself were not  necessarily in short supply either and they were the result of weaknesses and limitations of people who tried to implement Evangelical ideals in a  radical way. An effort to overcome the difficulties was connected with this; and it has always been proof of a fight of St. Romuald’s sons to  realize the charisma of the Order.
PL
Artykuł przedstawia historię klasztoru kamedulskiego na Bielanach w Krakowie.
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Twórczość malarza-kameduły o. Wincentego z Subbiaco w świetle najnowszych badań

84%
Małkiewicz A.
Folia Historica Cracoviensia
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2005
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vol. 11
EN
A Camaldolese painter, Father Venanzio da Subiaco (around 1570-1659), was active in Poland from 1624 to 1632, when he stayed in the  hermitages at Bielany, near Cracow, and at Rytwiany. His name has been familiar to Polish scholars since 1871 (L. Zarewicz), and in 1952 his first brief monograph was written by Witold Urbanowicz, devoted,  however, merely to his achievements in Poland. The monograph was later supplemented and verified by other researchers (J. Z. Łoziński and T. Przypkowski, W Kret., A. Ryszkiewicz, A. Małkiewicz). Venanzio’s work accomplished in Italy remained iong unknown. It was only in 1995 that Lucilia Conigliello organized an exhibition in Poppi featuring 14 paintings by Venanty, which she discovered in a Camaldolese hermitage and coenobium in Camaldoli. In the catalogue she discussed his 34 Italian works. In a catalogue of another exhibition of the Baroque art in Castentino (Poppi 2001), Conigliello included a short monograph of the painter, presenting his art both from the Italian and Polish period. The aim of this paper is to present a critical overview of the present state of research on Venanzio. His art created prior to joining the Order in 1618 remains unknown. As a Camaldolese monk he worked almost entirely for the congregation and sporadically for people connected with it, which limited the iconography of his paintings to religious themes. The artist’s preserved works include three sets of mural painitng (Monte Rua, near Padua, Bielany, Rytwiany) and 50 oil paintings, 10 of which are in Polish monasteries. Their style bears influence of Caravaggio and is characterized by certain conservatism. The artist was also inspired by the paintings of great Renaissance masters, especially Titian, through the mediation of graphics. An important contribution of Venanzio was creating an iconographical canon of the Camaldolese church painting decoration, which was accomplished by the artist during his stay in Poland and transplanted in the churches o f the Order in Italy. He achieved this thanks to the pressure from the rich founders of the Polish monasteries, who demanded - contrary to monastic rules - to give churches a splendid architectural form and rich decoration.
PL
Artykuł przedstawia życie i twórczość malarza-kameduły o. Wincentego z Subbiaco w świetle najnowszych badań.  W ostatnich latach Wenanty z Subiaco został ponownie odkryty - głównie dzięki Lucilli Conigliello - jako malarz o raczej wyrazistym stylu, mieszczący się w nurcie włoskiego caravaggionizmu, jako artysta, który w ramach kontrreformacyjnej ikonografii opracował program dostosowany do celów i potrzeb zakonu pustelniczego.
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​Geneza scen pasyjnych na kolumnie zwanej ​Boża Męka​ przed klasztorem kamedułów na Bielanach, czyli o popu​larności rycin ilustrujących ​Evangelicae Historiae Imagines ​Hieronymusa Natalisa

84%
Frey-Stec B.
Folia Historica Cracoviensia
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2005
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vol. 11
EN
In front of the Camaldolese monastery at Bielany stands a figure placed on a plinth of a pillar, which is crowned with a shrine made of black Dębnik marble. The sides of the plinth and that of the shrine are decorated with scenes showing Christ’s Passion. It is probable that the depictions engraved in marble were made by the Zielascy brothers:  Wojciech and Jacek. They were employed in the second half of the 17th century in workshops which produced items of black marble dug out in quarries at Dębnik, near Krzeszowice, and performed the most difficulttask: engraving in marble. A few scenes engraved on the pillar show great similarities to the scenes on the vault of the chapter-house in the Camaldolese monastery at Bielany, painted by Jan Koym in 1648, and to a few paintings from around 1673 in stalls of the convent of Norbertine Sisters choir. Similarities result from using the same graphic patterns - copperplates illustrating Evangelicae Historiae Imagines by Hieronymus Natalis. The illustrations in this book, which was published in Antwerp in 1593, imitated drawings of an Italian artist Bernardino Passeri, and were made by a few well-known engravers from Antwerp, the Wierix brothers: Anton and Hieronymus among others. From the eight scenes embellishing the pillar only one does not have its prototype in this work of art (the bad condition of two scenes prevents an unequivocal opinion in this matter.) The work of Natalis was very popular not only in Europe, but also in the Far East; artists working in Krakow often used the copperplates that illustrated it. One of such artists was Piotr Brygierski, who decorated St. John the Baptist’s chapel in the Camaldolese church at Bielany in 1655, which may be a proof that a copy of Evangelicae Historiae Imagines was kept in the Camaldolese library and lent to artists who were working for them. Popularity of drawings illustrating Natalis’ art in Krakow can be seen in the number of other paintings based on their example and preserved in the convent of the Sisters of St. Clare, Dominican and Carmelite monasteries and in Corpus Christi church.
PL
Artykuł podejmuje próbę przedstawienia genezy scen pasyjnych na kolumnie zwanej Boża Męka znajdującej się przed klasztorem kamedułów na Bielanach, cw oparciu o  popularności rycin ilustrujących Evangelicae Historiae Imagines Hieronymusa Natalisa.
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