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1

Przedstawienia wotywne z kościoła św. Andrzeja w Małyniu

100%

Jagla J.

Biuletyn Szadkowski

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2005

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issue 05

129-146

2

The Umbrian cave of Grotta Bella. The diachronic evolution of a meeting place

80%

Zapelloni Pavia A., Larocca F.

Studia Hercynia

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2022

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vol. 26

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issue 2

39-54

EN

In the absence of broad Italic ethnicities and clear-cut territorial boundaries, sanctuaries played a vital aggregative role in the life of peoples, oÁen acting as poles around which local communities formed. Sanctuaries in antiquity, especially in the pre-Roman period, were rarely manmade structures. Evidence of early ritual activity can be found in or near watercourses, lakes, mountains, and caves. By virtue of their liminal and otherworldly characteristics (obscurity, humidity, permanency, and silence), able to condition humans’ psycho-emotional sphere, caves stand out from other places within the landscape. ey inspire imagination and trigger the innate human curiosity to explore hidden spaces. Perhaps not coincidentally, Plato used the evocative context of a natural and dimly lit cave to allegorically represent the intelligible nature of human life. Caves are not only geographic features but also cultural constructs that can become highly charged symbols in identity construction and in the development of communal complexity and territoriality. Using new speleological and archaeological data as well as a cross-cuing temporal approach, this paper analyses how the cave of Groa Bella, in Umbria, Central Italy, functioned as a place of human gatherings across time: first as a temporary dwelling, then as a funerary space, and, lastly, as a sacred space. In this last phase, and possibly also due to the long-lasting memory of its previous functions, the cave appears to have had a distinctive connection to the surrounding territory, anchoring the identities of those who participated in the ritual that took place within this underground space.

3

Od heretyckiego mauzoleum do katolickiego sanktuarium. Nowe badania kaplicy Matki Bożej przy kolegiacie kórnickiej

36%

Kowalski J.

TECHNE. Seria Nowa

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2020

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issue 5

133-160

EN

The parish in Kórnik was established in 1437 thanks to the founders and owners of the town, the Górka family. Probably at the same time the parish church, then still under construction, was consecrated and the bishop of Poznań, Uriel Górka, established a college of canons in 1495. In the mid-sixteenth century, the Górkas converted to Protestantism and gave the church to dissenters. As they then lost their right to burial in the ancestral chapel at the Poznań cathedral, the last member of the family, Stanisław Górka, built a mausoleum in the form of a domed chapel at the parish collegiate church, where his brothers Łukasz and Andrzej, and ultimately also Stanisław himself, were buried (+1592). The architectural structure of the mausoleum is still legible, despite the subsequent liquidation of the dome and changes in the shape of the window openings. In 1584, Stanisław made an agreement with Henryk Horst, a Lviv sculptorfrom the Netherlands, to make three tombstones. The differences in the form of the preserved figures do not allow us to determine whether Horst fulfilled his obligation by carrying out these works with the help of his associates, or whether he made only one tombstone, and the other two come from the beginning of the 17th century, when the chapel was completed by his Catholic nephew Jan Czarnkowski – the foundation plaque bares date 1603. The researchers’ opinions as to the authorship of the statues are divided. Czarnkowski gave the church back to his fellow believers. The tombstones have not been preserved in their entirety. The alabaster and marble figures of the dead, the alabaster bas-relief of the Allegoric Crucifixion and the crucifix and several other fragments that are located in various places of the church. Some of them were made of alabaster from a quarry near Lviv, some of alabaster from the Netherlands. The allegorical crucifixion is entirely a Dutch import. A large number of sandstone and alabaster details, probably from the architectural frames of the tombstones, is kept in the basement of the Kórnik Castle (today the Kórnik Library of the Polish Academy of Sciences). After the church was regained by Catholics, they set up the sanctuary of the miraculous image of Mary in the type of Our Lady of the Snow. Initially, the painting was located in the altar next to the pillar adjacent to the entrance to the chapel. In 1677 a rosary brotherhood was established with him. The cult of the miraculous image of the Mother of God is evidenced by the sources and a group of magnificent silver votive offerings and ex-votives from the 17th and 18th centuries, the oldest of which, given by nobility, is dated 1650. The younger votive offerings and ex-votive offerings come from the last quarter of the 17th century and later centuries. The 17th and 18th century votive offerings are signed with the names of several mayors of Kórnik and the neighboring Bnin, as well as local craftsmen and peasants from the neighboring village of Pierzchno, in which there was a branch church. It was possible toidentify a few contractors, who were goldsmiths active in the 18th century in Poznań. In the years 1735–1737, the then owner of the Kórnik estate, Teofila Szołdrska-Potulicka née Działyńska, carried out a major renovation of the church and the chapel, which was now designated as a center of Marian cult. Two of the tombstones were moved to the chancel, and a sail vault was built instead of the dome. In 1739, an altar was installed, which incorporatedthe miraculous painting, accompanied by a seven-teenth-century painting of St. Lawrence in the second storey of the retable. However, the present altar setting with the oil-painted curtain of the main painting, showing the handing over of the Holy Rosary by Mary to Saint Dominik, comes from 1777–1783. It was made by the Poznań sculptor Augustyn Szeps (Schoeps) and the local carpenter Fryderyk Dera, and it was founded by the court tailor Józef Pudelewicz and the writer of the Kórnik estates, Józef Matelski, who belonged to the local burgher families. After Teofila’s death, in the last years of the 18th century, her son commissioned the construction of a new sacristy with a founder’s box. At that time, the entire complex of the chapel, sacristy and lodge was combined into one block with a common facade, which hides its internal heterogeneity. Apart from minor changes made in the nineteenth century, the present shape of the chapel and its furnishings reflect the conditionsin the second half of the eighteenth century. From the end of the 18th century, the chapel became a necropolis for the next owners of Kórnik.

PL

Kaplica Matki Boskiej Różańcowej Kórnickiej powstała pierwotnie jako protestanckie mauzoleum, wzniesione w latach 1584–1603 z fundacji Stanisława Górki (zm. 1592), dokończone przez jego siostrzeńca Jana Czarnkowskiego, który przekazał kościół katolikom. Trzy nagrobki wykonali Henryk Horst oraz jego współpracownicy lub naśladowcy. W latach 1735–1737 dawne mauzoleum przekształcono w kaplicę maryjną, w której umieszczono słynący cudami obraz Matki Boskiej. Zachowane wota, fundowane przez szlachtę, burmistrzów, mieszczan i chłopów, pochodzą z czasów od połowy XVII wieku do lat ostatnich. Ołtarz cudownego obrazu wykonali z fundacji mieszczańskiej w latach 1777–1783 Augustyn Szeps, rzeźbiarz z Poznania i miejscowy stolarz Fryderyk Dera. Kaplica od końca XVIII wieku przyjęła też na powrót funkcję nekropoli właścicieli Kórnika – rodu Działyńskich.

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1 Biuletyn Szadkowski

1 Studia Hercynia

1 TECHNE. Seria Nowa

1 Jagla J.

1 Kowalski J.

1 Larocca F.

1 Zapelloni Pavia A.

1 2022

1 2020

1 2005

Przedstawienia wotywne z kościoła św. Andrzeja w Małyniu

The Umbrian cave of Grotta Bella. The diachronic evolution of a meeting place

Od heretyckiego mauzoleum do katolickiego sanktuarium. Nowe badania kaplicy Matki Bożej przy kolegiacie kórnickiej