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Od substancji szlachetnej do ciała imitacyjnego. Obraz i znaczenie figur woskowych w geście wotywnym

100%

Jaga J.

Roczniki Humanistyczne

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2014

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vol. 62

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issue 4: Historia Sztuki

089-110

EN

In a rich arsenal of votive gifts wax ones undoubtedly deserve a special attention. They were common as soon as early Middle Ages and they were used until the 20th century. There was a variety of such votes, starting with candles, through lumps of wax, and ending with full-scale wax figures that started being used as a votive gesture at the break of the 13th and 14th centuries in the north of Europe. In the 15th and 16th centuries this custom became popular among the wealthy German, Austrian and Italian noblemen. Making wax votive figures took a lot of skill so they were made by specially qualified artists (in Italy wax figures called “Boti” were produced by sculptors called “Cerajuoli” or “Fallimagini”). Religious orders collaborated with the artists-artisans, undertaking to supply wax, whereas the artisans prepared wooden frames, natural hair, glass eyes, paints, textiles and brocade. In the next centuries the production of wax votes developed ever more dynamically, especially in the north of Europe, with less skilled wax modelers, artisans and gingerbread bakers often being their producers. The latter ones mainly made smaller wax figures, cast or squeezed from two-part concave models (this type of votes in its form and type reminded of figures made of gingerbread). Wax votive figures (especially of children aged three to twelve) founded at the area of Upper and Lower Franconia (the Bamberg and Würzburg Dioceses) from the middle of the 19th to the middle of the 20th century are a separate and rather unusual phenomenon. Popularity of this votive gesture became stable about 1880, in the years 1900-1910 it reached its climax; and in the 1950s it came to an end. Franconian votes were always constructed in a similar way: they had wax faces and hands (more rarely feet), and the other members were made of wood, metal and some other padding materials. Dolls were a dominating model for the production of these votes, and that is why, like dolls, they had wigs made of natural hair on their heads, glass eyes and open mouths. A very important role was played by clothing, in which figures were willingly dressed; they were children’s natural, real clothes (girls were often dressed in the First Communion dresses); moreover, the votes had complete clothing, which means they had genuine underwear, tights, leather shoes. The figures were supplied with rosaries and bouquets held in their hands, and on the heads of girls there were garlands. The figures were put in cabinets and glass cases, sometimes with wallpaper on the back wall, and they had a longer text on the front glass with the name of the child, or possibly of its parents, and the time when the figure was offered. Despite the many features making the Franconian votes different from votive figures from other regions, all these object are joined by a timeless and universal idea, in which – quoting H. Belting – “an artificial body has assumed the religious representation of a living body (…)”.

PL

W bogatym zbiorze darów wotywnych na niewątpliwą uwagę zasługują wota woskowe powszechne już od wczesnego średniowiecza i wykorzystywane po wiek XX. Wota te miały dużą różnorodność, począwszy od świec po bryły wosku, aż wreszcie woskowe figury często naturalnych rozmiarów, które zaczęły być wykorzystywane w geście wotywnym na przełomie XIII i XIV wieku na północy Europy. W XV i XVI wieku zwyczaj ten upowszechnił się wśród majętnej szlachty niemieckiej, austriackiej i włoskiej. Wykonanie woskowych figur wotywnych wymagało znacznej wprawy, dlatego wytwarzali je specjalnie wykwalifikowani artyści (we Włoszech figury woskowe zwane Boti wytwarzali twórcy określani mianem Cerajuoli albo Fallimagini), klasztory współpracowały z artystami - rzemieślnikami zobowiązując się dostarczać wosk, natomiast rzemieślnicy przygotowywali materiał, czyli drewniane stelaże, naturalne włosy, szklane oczy, farby, tekstylia i brokat. W kolejnych stuleciach produkcja wotów woskowych rozwijała się coraz prężniej, szczególnie na północy Europy, przy czym wytwórcami powyższych obiektów stawali się często mniej zdolni modelatorzy woskowi, rzemieślnicy i piernikarze. Ci ostatni wykonywali głównie figury woskowe o mniejszych rozmiarach, odlewane bądź wyciskane z dwuczęściowych wklęsłych modeli (ten typ wotów przypominał w swojej formie i ujęciu figury z pierników). Odrębne i dość niezwykłe zjawisko stanowią wotywne figury woskowe (szczególnie dzieci w wieku od trzech do dwunastu lat) fundowane na obszarze Górnej i Dolnej Frankonii (diecezje Bamberg i Wiirzburg) od połowy XIX stulecia do połowy wieku XX. Aktywizacja popularności tego gestu wotywnego okrzepła mniej więcej około 1880 roku, punkt kulminacyjny osiągnął on w latach 1900-1910 i skończył się w latach pięćdziesiątych XX stulecia. Frankońskie wota konstruowano zawsze w podobny sposób: miały one woskowe twarze i dłonie (rzadziej stopy), pozostałe zaś członki wykonywano z drewna, metalu i różnych materiałów wyściełających. Dominującym wzorem dla produkcji owych wotów były lalki, dlatego tak jak lalki miały one na głowach peruki z naturalnych włosów, szklane oczy i otwarte usta. Niezwykle ważną rolę pełniły ubrania, w które odziewano figury, będące naturalnymi, prawdziwymi strojami dzieci (dziewczynki chętnie ubierano w sukienki z pierwszej komunii); co więcej wota te posiadały strój kompletny, a więc ubierano je w autentyczną bieliznę, pończochy, skórzane buciki. Figury ozdabiano różańcami i bukietami kwiatków trzymanych w dłoniach, oraz wiankami na głowach wotów dziewczęcych. Figury ustawiano w szklanych gablotach, witrynach i kasetach wyklejanych niekiedy z tyłu tapetą i podpisywanych na przedniej szybie dłuższym tekstem, który wyjaśniał dane wotantów (imię i nazwisko dziecka, ewentualnie jego rodziców) i czas ofiarowania figury. Mimo wielu cech różniących frankońskie wota od wotywnych figur z innych regionów, wszystkie te obiekty łączy ponadczasowa i ponadterytorialna idea, w której cytując H. Beltinga „sztuczne ciało przejęło religijną reprezentację żywego ciała [...]”. Słowa kluczowe: wosk, figura woskowa, wota, ikonografia, symbolika.

2

Ioannis Motsianos and Karen S. Garnett (Eds), "Glass, wax and metal: lighting technologies in late antique, byzantine and medieval times", Oxford: Archaeopress, 2019 – book review

100%

Chrzanovski L.

Polish Archaeology in the Mediterranean

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2019

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vol. 28(1)

671-673

EN

Symposium proceedings

3

From a Noble Substance to an Imitative Body. The Image and Meaning of Wax Figures in a Votive Offering

100%

Jagla J.

Roczniki Humanistyczne

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2019

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vol. 67

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issue 4: Historia sztuki - Selected Papers in English

59-79

EN

The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 4 (2014). In a wealth of votive gifts, the wax ones undoubtedly deserve special attention. They were common as early as in the Middle Ages, and they were used until the 20th century. There was a variety of such votive offerings, starting with candles, through lumps of wax, and ending with full-scale wax figures that started being used as a votive gesture at the break of the 13th and 14th centuries in the north of Europe. In the 15th and 16th centuries this custom became popular among the wealthy German, Austrian and Italian noblemen. Making wax votive figures took a lot of skill so they were made by specially qualified artists (in Italy wax figures called Boti were produced by sculptors called Cerajuoli or Fallimagini). Religious orders collaborated with the artists-artisans, undertaking to supply wax, whereas the artisans prepared wooden frames, natural hair, glass eyes, paints, textiles and brocade. In the following centuries, the production of wax figures developed ever more dynamically, especially in the north of Europe, with less skilled wax modellers, artisans and gingerbread makers often being their producers. The latter ones mainly made smaller wax figures, cast or squeezed from two-part concave models (this type of items in their form and type reminded of figures made of gingerbread). Wax votive figures (especially of children aged three to 12) funded in the area of Upper and Lower Franconia (the Bamberg and Würzburg dioceses) from the mid-19th to the mid-20th century are a separate and rather unusual phenomenon. Popularity of this votive offering became stable about 1880, in the years 1900–1910 it reached its climax; and in the 1950s it came to an end. Franconian offerings were always constructed in a similar way: they had wax faces and hands (more rarely feet), and the other members were made of wood, metal and some other padding materials. Dolls were a dominating model for the production of these votes, and that is why, like dolls, they had wigs made of natural hair on their heads, glass eyes and open mouths. A very important role was played by clothing, in which figures were willingly dressed; they were children’s natural, real clothes (girls were often dressed in the First Communion dresses); moreover, the effigies had complete clothing, which means they had genuine underwear, tights, leather shoes. The figures were supplied with rosaries and bouquets held in their hands, and on the heads of girls there were garlands. The figures were put in cabinets and glass cases, sometimes with wallpaper on the back wall, and they had a longer text on the front glass with the name of the child, or possibly of its parents, and the time when the figure was offered. Despite the many features making the Franconian offering deposits different from votive figures from other regions, all these items are joined by a timeless and universal idea, in which—to quote H. Belting—“an artificial body has assumed the religious representation of a living body…”

4

Madonna del Velo z przedstawieniem kardynała Paola Emilia Sfondratiego ze zbiorów wilanowskich w świetle ostatnich prac badawczych i konserwatorskich

44%

Gutowska-Dudek K., Modzelewska E., Strombek J., Kozakiewicz P.

Studia Wilanowskie

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2019

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vol. XXVI

119-152

EN

A valuable work associated with the output of Raphael is extant in the collection of the Museum of King Jan III's Palace at Wilanów. It constitutes a repetition of The Holy Family, a work by the Urbino master which used to be located in the church of Santa Maria del Popolo in Rome and which has been considered lost. The painting, also known as the Madonna del Velo, is now believed to be one and the same as The Holy Family or, as an alternative name, La Madone de Lorette, currently in Musée Condé in Chantilly. The history of Raphael's original is complex and often mysterious. Over a hundred of its copies and variants are known. Enchanted with the beauty of this work, Cardinal Paolo Emilio Sfondrati (1560-1618), a presbyter of the church of Santa Cecilia in Trastevere, purchased it in 1591 and allegedly commissioned two copies of it for his brothers. The author added the figure of an angel and a portrait of the cardinal to Raphael's original composition. The links known to have existed between Cardinal Sfondrati and the outstanding Baroque painter Guido Reni (1575-1642), as well as extant drawings and prints, have promoted the conjecture that he might be the author of this exceptional work. However, an exhaustive study of Guido Reni's output and a careful investigation of archive materials in Poland and in Italy are required to determine its authorship. The painting arrived in Wilanów around the middle of the 19th century, when the palace was owned by Count and Countess August Potocki. Four articles pertain to one of the most interesting, and most valuable, paintings in the Wilanów collection, the Madonna del Velo, discussing various issues linked with its history, its study and its conservation. The Wilanów version is particularly interesting because of its high artistic quality and the fact that it shares some stylistic features with works by Raphael considered to be its prototypes. The technological structure of the Wilanów painting and the materials used in its making were investigated in the course of a research project and with the involvement of many scholars representing various areas of expertise. Analyses were conducted which made it possible to describe the board used as the painting surface, the pigments and the binding agents of the painting's layers, which is of considerable importance in further research on the workshop that produced the work. An account of the recent conservation interventions involving this painting is appended to the material.

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2 Roczniki Humanistyczne

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1 Chrzanovski L.

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1 Kozakiewicz P.

1 Modzelewska E.

1 Strombek J.

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Od substancji szlachetnej do ciała imitacyjnego. Obraz i znaczenie figur woskowych w geście wotywnym

Ioannis Motsianos and Karen S. Garnett (Eds), "Glass, wax and metal: lighting technologies in late antique, byzantine and medieval times", Oxford: Archaeopress, 2019 – book review

From a Noble Substance to an Imitative Body. The Image and Meaning of Wax Figures in a Votive Offering

Madonna del Velo z przedstawieniem kardynała Paola Emilia Sfondratiego ze zbiorów wilanowskich w świetle ostatnich prac badawczych i konserwatorskich