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„Perło konchy tych krain, witam was, Bielany!” (o odkrywaniu urody Bielan i tajemnic kamedułów)

100%
Ziejka F.
Folia Historica Cracoviensia
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2011
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vol. 17
EN
The Order of Camaldolese Fathers became a permanent part of the history of Catholic Church in Poland as well as the history of the Polish nation. Prayers, fasting and the vow of silence of St Romuald's disciples for four centuries have been an exceptionally compelling example of serving God, which is confirmed by the presence of the Camaldolese in Krakow's Bielany. The history of an over 400-year-old monastery in Bielany is full of beautiful, horrific and tragic events alike; this article recounts them.
IT
L’articolo è un tentativo di una ricostruzione di un “processo della scoperta” della bellezza di Bielany da parte degli scrittori e dei poeti della prima metà dell’Ottocento. L’autore, dopo aver brevemente descritto la storia del monastero, si concentrò sulle testimonianze poetiche che lo riguardano. Il poeta più dedicato alla bellezza di questo luogo di culto fu Franciszek Wężyk, un poeta di Cracovia, noto a tutti gli abitanti grazie al suo poema “Okolice Krakowa” (“Dintorni di Cracovia”). L’esempio di Wężyk provocò la crescita di un gruppo notevole di altri autori: Paweł Czajkowski, Karol Bołoz-Antoniewicz, Józef Łapsiński, e il più grande di loro, Wincenty Pol. L’opera di questi poeti fu appoggiata anche dai grandi scrittori: Julian Ursyn Niemcewicz, Klementyna in Tański Hoffann e Józef Mączyński. Grazie a loro gli eremiti trovarono un posto stabile sulle pagine della letteratura polacca.
PL
Zakon ojców kamedułów trwale wpisał się w  dzieje Kościoła katolickiego w Polsce, a także narodowej historii. Modlitwy, posty i milczenie pustelników – uczniów św. Romualda od czterech wieków stanowią wyjątkowo piękny przykład służby Bożej w Polsce, o czym świadczy obecność kamedułów na krakowskich Bielanach.  Historia ponad 400 letniego klasztoru na Bielanach obfituje zarówno w wydarzenia piękne, jak i pełne grozy i tragedii opisane w niniejszym artykule.
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Bielany – ulubione miejsce Krakowa. Związki bielańskich kamedułów z Krakowem w okresie staropolskim

100%
Bruździński A.
Folia Historica Cracoviensia
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2011
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vol. 17
EN
In the early 17th century the Krakow scenery was dotted with white monks: the Camaldolese, who arrived in Krakow following a difficult period of reformation and unrest which affected not only religious but also social, intellectual and moral aspects of human life. The Camaldolese came after the Council of Trent had restored order and integrity in the Church. By setting an example of their own mortification and silence, the monks strove to feed agitated Sarmatian heads with calm and composed thinking and acting, much like the serenity and harmony of their monumental monastery towering over the city. Here the simplicity of monastic life and poverty was combined with a Baroque "culture of excess", only to strengthen the Catholic faith and piety, shaming the iconoclastic austerity of the Protestants.
IT
I monaci camaldolesi, fatti venire a Cracovia all’inizo del Settecento dal monastero italiano di Monte Corona dall’iniziativa del maresciallo Mikołaj Wolski, si sono inseriti perfettamente nella vita e nel paesaggio della città. Pur essendo eremiti, i loro rapporti con questa città erano vivi e molteplici. Gli abitanti della città s’interessavano molto del loro sviluppo e, questa fu la causa, che molti cittadini li aiutavano con le loro donazioni. Si possono notare anche fra i monaci molti fili delle famiglie borghesi di Cracovia. Non meraviglia perciò che al monastero localizzato in un posto molto pittoresco venivano gliabitanti della città, innanzitutto in giorni quando ci si poteva entrare. I monaci e la loro attività si sono iscritti notevolmente nella riforma posttridentina della Chiesa in Polonia. Il monastero di Bielany con la sua particolare atmosfera è un luogo eccezionale nella cultura e storia di Cracovia che fiora sveglia nei pellegrini e visitanti  il fascino della tranquillità della vita soprannaturale.
PL
Na początku XVII wieku pojawili się pejzażu krakowskim biali mnisi, kameduli, którzy przyszli do Krakowa po trudnym okresie reformacji i  niepokojów, jakie dotknęły wszystkie dziedziny ludzkiego życia, przede wszystkim religijnego, ale także społecznego, umysłowego i obyczajowego. Kameduli przyszli po  zaprowadzeniu ładu i porządku w Kościele poprzez postanowienia Tridentinum. Przyszli, aby poprzez przykład własnego umartwienia i milczenia wlać w rozgorączkowane sarmackie głowy spokój myślenia i postępowania – tak jak spokój bieli i harmonii ich monumentalnego klasztoru górującego nad miastem. Ich zakonna prostota i ubóstwo połączyła się tutaj z barokową „tendencją  zmagającego się nadmiaru”, a wszystko po to, aby umocnić wiarę i pobożność katolików, a zawstydzić protestanckie obrazoburcze ubóstwo.
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Społeczny wymiar funkcjonowania krakowskiego konwentu kamedułów

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Szczurowski R.
Folia Historica Cracoviensia
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2011
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vol. 17
EN
The charming location and the magnitude of the monastery were conducive to the large number of guests, who came for religious reasons as well as for entertainment, and generally to observe the monastic life, the form of which was quite mysterious. Had it not been for the decisions of the founder of the hermitage at the Silver Mountain, Grand Crown Marshal Mikołaj Wolski, the Camaldolese he brought from Italy back in 1604 would have had greater opportunities for realizing their monastic ideals. Mikołaj Wolski, a thoroughly educated man, an art expert and enthusiast, an apt diplomat and a Polish lobbyist for the House of Habsburg, trusted by Sigismund III Vasa, came to the conclusion that the magnificence of the temple he had built did not go against the hermits' asceticism, thereby breaking the Camaldolese rules. Not only have the monks from the Silver Mountain (to this day) contributed to shaping the spiritual heritage of the place in which they settled, but also they played a part in its social history. The story of the hermitage in Bielany seconds the view that only skilful reconciliation of monastic ideals with the requirements of the world outside, abandoned to achieve a fuller unity with God, supports the good condition of the order. 
IT
"La storia dei monaci camaldolesi che vivono nel loro convento a Bielany nei dintorni di Cracovia venne formata da una parte dal carattere specifio della vita anacoretica e dall’altra dal loro intensivo inflsso sociale. La loro vita piena di austerità e di misteriosità infimmava l’animo dei fedeli. La loro popolarità fu causata anche dal grande tempio fondato all’inizio del Settecento dal maresciallo Mikołaj Wolski, che è aperta al pubblico solo alcune volte all’anno. Nonostante la seprazione dal mondo, il convento era immerso negli evventi politici e sociali. Così divenne quando Polonia alla fie del Settecento perse l’indipendenza, poi quando nella prima metà dell’Ottocento il convent ebbe una crisi profonda. Così avvenne pure sia durante l’occupazione tedesca, quando i monaci erano toccati dalle gravi repressioni, sia dopo la guerra quando le autorità comuniste conficarono i loro beni materiali e vietarono ai monaci di contattarci con superiori generali in Italia. A partire dal 1933 i fedeli ricevettero un accesso più facile alla chiesa del convento, quando per raggioni pastorali potevano parteciparci tutte le domeniche e feste alla messa. Tale situazione durò fio al 1984 quando fu fondata la parrocchia. L’attività sociale dei monaci fu dovuta anche al fatto che il benefiiale sistema ecclesiale gli dava un’abbondanza dei beni materiali. L’amministrazione e la gestione dell’economia conventuale esigeva molti contatti. Durante le  spartizioni della Polonia i monaci camaldolesi come proprietari dei beni materiali si impegnavano nei lavori della scuola a Bielany. Per mezzo della loro attività sociale cresceva sempre di più anche la loro importanza spirituale.
PL
Urokliwe położenie, jak i  okazałość klasztoru sprzyjały religijno-rekreacyjnemu natłokowi gości i  w ogóle pragnieniom zobaczenia mniszej rzeczywistości, której forma była wielce misteryjna. Być może, gdyby nie decyzje fundatora eremu i kościoła na Srebrnej Górze, marszałka wielkiego koronnego Mikołaja Wolskiego, sprowadzeni przez niego w 1604 r. z Włoch kameduli mieliby pełniejszą sposobność do realizacji ideałów zakonnych. Marszałek Wolski, człowiek gruntownie wykształcony, znawca i miłośnik sztuki, sprawny dyplomata, lobbujący w kraju na rzecz Habsburgów, a zarazem zaufany Zygmunta III Wazy, uznał, łamiąc kamedulskie przepisy, iż asceza pustelników nie stała w sprzeczności z okazałością świątyni, którą im wystawił. Mnisi – pustelnicy ze Srebrnej Góry nie tylko współkształtowali (i nadal to czynią) dziedzictwo duchowe miejsca, na którym osiedli, ale także wpisali się lub byli wpisywani w jego dzieje społeczne. Dzieje eremu w podkrakowskich Bielanach potwierdzają, że jedynie umiejętne godzenie zakonnych ideałów z wymogami świata, opuszczanego dla pełniejszego zjednoczenia z Bogiem, wpływa na dobrą kondycję klasztoru.
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Fundacje ks. Jana Schindlera na Bielanach

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Urban J.
Folia Historica Cracoviensia
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2011
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vol. 17
EN
President of the Senate of the Free City of Krakow Rev. Jan Schindler, developed a liking for  monastery in Bielany. After the Krakow Uprising had been put down, Rev. Schindler withdrew from public life. The foresteria and St John the Baptist's Chapel in the monastic church were the main focus of Schindler's patronage of the Bielany hermitage. In addition to the above, Florkowskis' work on the Camaldolese also mentions the third foundation of Rev. Schindler, namely the restoration of the monastic well.
IT
Il reverendo Jan Schindler fu l’ultimo preside del governo della Città Libera di Cracovia fondata durante le spartizioni della Polonia dal Congresso di Vienna nel 1815. Dopo l’insurrezione del 1846 e, in conseguenza, l’inclusione della Città Libera di Cravovia all’Impero Austriaco, Schindler si  ritirò sia dalla vita politica sia da  quella ecclesiale. In  quel periodo multiplicò molto la sua biblioteca, come uno dei primi si occupava della dagherotipia. Dedicò la  sua vita all’eremo dei monaci camaldolesi di  Bielany. All’inizio si  occupò della ricostruzione dell’edifiio della foresteria bruciata durante l’incendio del 1814. Alle proprie spese l’edifiio venne ricostruito nello stile residenziale. Vicino alla foresteria fondò un grande giardino. Inoltre alle spese della sua fondazione venne restraurato il pozzo del monastero e la cappella di san Giovanni Battista nella chiesa di Bielany. Dopo la sua morte nel 1890 la foresteria divenne proprietà dell’eremo e la salma di Schindler fu sepellita nella cripta sotto la cappella di san Giovanni Battista. Il sua impegno nei lavori di restauro dell’eremo di Bielany può servire come esempio dell’individuale mecenatismo dei chierici dell’Ottocento.
PL
Klasztor na Bielanach upodobał sobie były prezes senatu rządzącego Wolnego Miasta Krakowa ks. Jan Schindler.  Po upadku powstania krakowskiego ks. Schindler usunął się z życia publicznego. Swym mecenatem w bielańskim eremie objął przede wszystkim budynek foresterii oraz kaplicę św. Jana Chrzciciela w kościele zakonnym. Florkowscy w swojej pracy o kamedułach wspominają obok wymienionych także trzecią fundację ks. Schindlera, a mianowicie na restaurację studni zakonnej.
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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

71%
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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Twórczość malarza-kameduły o. Wincentego z Subbiaco w świetle najnowszych badań

71%
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

71%
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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