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Obraz czy figura? Uwagi o ołtarzu św. Stanisława Kostki w rzymskim kościele Sant’ Andrea al. Quirinale

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Dzik J.
TECHNE. Seria Nowa
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2018
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issue 2
45-60
EN
The Roman memorial altar devoted to Stanislaus Kostka (1550–1568), a Polish saint of international importance, was an exceptional example of how a modern reredos was constructed in the era of the counterreformation. Located in the Jesuit novitiate, the Church of Sant’Andrea al Quirinale is part of an unusual facility for the veneration of Kostka, which focuses on two separate entities – the chapel of the novitiate church and the monastic cell. The paper attempts to determine the role of the altar (which has undergone modifications and exhibits Kostka’s effigy) as the most significant object of worship and liturgy. Three phases can be distinguished: 1) the first reredos, resembling an altar over the saint’s grave, was constructed in about 1605 within the novitiate church of Sant’Andrea in Monte Cavallo, and rebuilt by the Jesuit Giovanni Tristano as a setting for Kostka’s image, 2) a monumental altar in the oval space of the new novitiate church, designed by Gian Lorenzo Bernini (1658–1661), who wished to have a new and suitable altar painting, as evidenced by Ciro Ferri’s design and several variants prepared by Carlo Maratta, 3) the modification of the altar related to the planned canonization – and following the rejection of the 1713 conception by the sculptor Legros – involved placing a figure of the dying Kostka and providing it with the backdrop of an altar painting. As we learn from archival sources, a prerequisite for an artwork to be accepted and exhibited was that it should inspire piety and eschew ‘devotionally ineffective’ elements. This was because a painting was believed to play an important mediatory role, since it was more effective than a sculpture in arousing religious emotions. Kostka’s charismatic piousness and his mystical sensations, regularly emphasised in the iconography, were a perfect example of deep emotional experience. According to Federico Borromeo, ‘by nature and instinct’, people can precisely sense the emotions of those they observe and can tune into their feelings. It was the Jesuits’ intention for the altar to fulfil its medial devotional efficiency, through its artistic power.
2
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Obrazy o treściach mariologicznych w kaplicy Grobu Matki Boskiej w zespole Kalwarii Zebrzydowskiej. Z badań nad recepcją grafiki w malarstwie polskim XVII w.

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Dzik J.
Folia Historica Cracoviensia
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2008
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vol. 14
EN
The Chapel of Our Lady's Tomb in Brody, complete with valuable interior furnishing, in terms of history and territory belongs to the architectural landscape concept of the Marian- and Passion-themed compound in Kalwaria Zebrzydowska. In the fields of the late-Renaissance choir parapet and the galleries of the chapel there are a series of paintings showing hitherto unspecified Marian themes. The items have never been referred to in literature on Kalwaria or mentioned in guidebooks or maintenance records. The article analyses, in a broad context, the symbolism of 37 Marian scenes presenting Mary and symbolic objects (e.g. a heart, a building, a garden).
PL
Kaplica Grobu Matki Boskiej w Brodach z cennym wyposażeniem wnętrzanależy historycznie i terytorialnie do założenia architektoniczno-krajobrazowego zespołu pasyjno-maryjnego Kalwarii Zebrzydowskiej. W kwaterach późnorenesansowego parapetu chóru muzycznego i ganków przyściennych tej kaplicy znajduje się cykl obrazów o dotychczas bliżej nieokreślonej tematyce maryjnej. Obiekty te nie były nigdy wymieniane w literaturze związanej z Kalwarią ani wzmiankowane w publikacjach przewodnikowych czy ewidencji konserwatorskiej. Artykuł w szerokim kontekście analizuje symbolikę 37 scen maryjnych, eksponujących postać Maryi oraz przedmioty o znaczeniu symbolicznym (serce, budowla, ogród).
3

The Reception of the Engravings of Gottfried Bernhard Göz’s Marian Series in the Monumental Painting of the Lviv Circle in the 18th Century

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Dzik 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
7-32
EN
The Polish version of the article was published in Roczniki Humanistyczne vol. 63, issue 4 (2015). The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708–1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made with the stipple engraving technique presents 12 signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, Mary’s Birth, the Presentation of Mary, Mary and Joseph’s Matrimony, the Annunciation, the Visitation, the Purification, the images of Our Lady of Sorrows, and the Assumption. Other scenes are connected with Mary’s patronage – as the Queen of the Rosary—and her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737–1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican nuns’ St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercian monastery in Birnau (1748–1750). These motifs were also found in Bavarian Marian shrines, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in a church in Niederaschau and Kleinmariazell (1763–1765). References to the series may also be found in the area of Slovenia, i.e. on the vault of Grajska Kapela in Novo Celje (1758–1763). The prints were known to the circle of Lviv artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lviv painter Stanisław Stroiński (1719–1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756–1759 (now Chervonohrad in Ukraine), and in the decoration of St Anne’s Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in St Lawrence Parish Church in the village of Żółkiewka and on the vault of the post-Pauline St Louis Church in Włodawa. The engravings are a significant model for Polish painting because of their style, technique and original approach to the conventional religious theme.
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Nieznane dwa wizerunki maryjne oraz widok Lwowa z biblioteki klasztoru reformatów przy kościele św. Antoniego Padewskiego w Przemyślu

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Dzik J.
Hereditas Monasteriorium
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2013
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vol. 3
219-230
EN
Research carried out at the Reformed Franciscan monastery in Przemyśl has revealed information about three interesting historical objects recently discovered in the monastery library. Although their provenance is unknown, they may come from dissolved monasteries. They are: two images of the Madonna and Child as well as a view of Lviv. The painting depicting the Madonna with Child which comes from the turn of the 18th century (?) and which is by an unknown author was modelled on a miraculous painting from Marijampolé, dated late 16th century. It was initially owned by Stanisław Jan Jabłonowski (1634-1702), Castellan of Cracow and Grand Crown Hetman, who would take it with him on his military expeditions, which is why it was referred to as the Hetman Madonna, Knightly Madonna or Victorious Madonna. The painting was donated by his son, Jan Stanisław (1669-1731), to the Holy Trinity Church in Marijampolé, a town founded by Stanisław Jan Jabłonowski as votive offering after the victory at Vienna, and placed in the main altar. The origins of the copy kept at the Przemyśl monastery are unknown. It may have been made in connection with an intensification of the cult of its original in the 1730s. The copy of Raphael’s Madonna from S. Maria del Popolo (Madonna di Loreto, Madonna del velo) comes from the 18th century; we know neither its author nor its provenance. It faithfully follows the compositional pattern of Raphael’s painting, with the Madonna covering the Child with a thin veil and St. Joseph in the background leaning on a cane. It has been established that the painting from the Przemyśl monastery is a copy of the painting kept at Musée Condé in Chantilly. It is one of the many copies of Raphael’s picture of the Madonna from S. Maria del Popolo, which were made between the 16th and 20th centuries. Several of the copies are kept in Poland. The view of Lviv, made on parchment around 1640 by an unknown author, was reused as a cover for Simone Maioli’s work, Dies caniculares hoc est colloqvia tria... In the drawing we can see a fragment of a notarial formula ending with a date and place of its entry: “Leopoli, 164(?)”, and a signature of Józef Bartłomiej Zimorowic (1597-1677), town clerk, mayor of Lviv and its chronicler. It is a fragment of a document with a decorative border on the left, which was probably the left edge of the document. Most of the parchment is covered by a gouache-painted (?) view of Lviv from the first half of the 17th century, which is indicated by buildings that can be recognised when the parchment is compared with a copperplate print published in Civitates orbis terrarum (1618). The buildings include the Latin cathedral with its still Gothic cupola, the city hall and what is probably a fragment of the market square. There is also a distinct fragment of city walls. The work is probably the oldest known drawing of the city, made probably in Lviv itself around 1640.
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Recepcja grafik z cyklu maryjnego Gottfrieda Bernharda Göza w malarstwie monumentalnym kręgu lwowskiego w XVIII wieku

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Dzik J.
Roczniki Humanistyczne
|
2015
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vol. 63
|
issue 4: Historia Sztuki
85-110
PL
Inspirującą rolę dla malarstwa monumentalnego okresu rokoka w Rzeczypospolitej czasów saskich odegrał cykl graficzny dedykowany Matce Boskiej, określony jako Sub tuum praesidium confugimus, autorstwa Gottfrieda Bernharda Goza (1708-1774). Cykl grafik o charakterze dewocyj- nym wykonanych techniką punktową przedstawia dwanaście sygnowanych scen maryjnych: Niepokalane Poczęcie NMP, Narodziny Marii, Wstąpienie Marii do świątyni, Zaślubiny Marii i Józefa, Zwiastowanie NMP, Nawiedzenie Marii, Oczyszczenie Marii, a następnie wizerunków Matki Boskiej Bolesnej, Wniebowzięcie Marii. Kolejne sceny związane są z patronatem Marii - jako Królowej Różańca i Matki Boskiej Szkaplerznej, a wreszcie Jej orędownictwa. Ryciny, jak przyjmują badacze twórczości Goza, są świadectwem jego dojrzałego stylu, kształtującego się w latach 1737-1740, kiedy utworzył on „kompanię” wydawniczą wraz z braćmi Josephem Sebastianem i Johannem Baptistem Klauberami. Motywy występujące w serii wielokrotnie wykorzystywał w kompozycjach freskowych, np. na sklepieniu nawy kościoła dominikanek St. Stefan w Habsthal (1748; Górna Szwabia), w szkicu i malowidle Goza dla sanktuarium cystersów w Birnau (1748-1750). Motywy te znajdowały się również w w bawarskich sanktuariach maryjnych, jak np. Frauenchiemsee, Maria Mitleid Kapelle oraz Mater Dolorosa Kapelle, z malowidłami Balthasara Furtnera (1761), oraz w kościele w Niederaschau i w Klein Mariazell (1763-1765). Nawiązania do wspomnianej serii odnaleźć można też na terenie Słowenii - na sklepieniu Grajska kapela w Novo Celje (1758-1763). Grafiki te znane były w kręgu artystów lwowskich czynnych w XVIII wieku i posłużyły w charakterze wzoru dla licznych kompozycji figuralnych. Posługiwał się nimi przede wszystkim malarz lwowski Stanisław Stroiński (1719-1802) dla dekoracji m.in. wnętrza sanktuarium maryjnego Bernardynów w Leżajsku, w kościele Bernardynów pw. Ducha Świętego w Krystynopolu (1756-1759; obecnie Czerwonohrad, Ukraina) oraz w dekoracji kaplicy św. Anny kościoła Benedyktynek Trójcy Świętej w Przemyślu. Z cyklu rycin korzystał również malarz Gabriel Sławińskiego w dekoracji prezbiterium kościoła parafialnego pw. św. Wawrzyńca w Żółkiewce oraz na sklepieniu kościoła Paulinów pw. św. Ludwika we Włodawie. Ryciny są znaczącymi dla polskiego malarstwa wzorami ze względu na styl, technikę i oryginalne ujęcie konwencjonalnego religijnego tematu.
EN
The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708-1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made by the stipple engraving technique presents twelve signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, the Birth of the Blessed Virgin Mary, the Presentation of Mary, the Marriage of Mary and Joseph, the Annunciation, the Visitation, the Purification, and then images of Our Lady of Sorrows, Assumption of Mary. The next scenes are connected with Mary’s patronage - as the Queen of the Rosary and with her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737-1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican sisters St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercians Monastery in Birnau (1748-1750). These motifs were also found in Bavarian Marian sanctuaries, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in the church in Niederaschau and in Klein Mariazell (1763-1765). References to the series may also be found in the area of Slovenia - on the vault of Grajska kapela in Novo Celje (1758-1763). The prints were known to the circle of Lvov artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lvov painter Stanisław Stroiński (1719-1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756-1759 (now it is Chervonohrad in the Ukraine), and in the decoration of the St Anna Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in the St Lawrence Parish Church in Żółkiewka and on the vault of the Pauline St Louis Church in Włodawa. The engravings are a significant model for Polish painting because of their style, technique and an original approach to a conventional religious subject.
6
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Historyczny wystrój i wyposażenie kościoła parafialnego pw. Ducha Świętego w Żabnie

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Dzik J.
Ochrona Zabytków
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2012
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issue 3-4
151-160
EN
It happened around 1970, when as part of the action of renovating the interiors of the Holy Spirit parish church in Żabno and adapting its chancel to the requirements of the liturgy reformed after the Second Vatican Council, the Neo-Baroque uniform design and fittings of interiors were removed and irretrievably destroyed. Now it is known only from the photographic documentation made by an unknown author in the 1940s. On that basis and of the parish chronicles, the appearance of the interior of the single-nave church may be recreated, and an assessment of its historical and architectural values attempted. The interiors of the church (built in 1663-1685 by Rafał Kazimierz Makowiecki, the castellan of Kamieniec Podolski [now Kamianets-Podilskyi in Ukraine] and starost of Trembowla [now Terebovl in Ukraine]) were destroyed by fire in 1888. Repairs were undertaken by the newly appointed parish priest, Antoni Łętkowski (1852-1912), former senator of the cathedral curates of Tarnów. On his initiative a new main altar was then erected by Romuald Łapczyński, with images of Christ crucified and the Descent of the Holy Spirit by Piotr Niziński, a graduate of the Art School in Kraków. The side altars, created by a local artist Józef Sowiński, were consecrated in 1892. Also, the painting was brought to the church depicting the Virgin Mary, painted by the Tarnów artist Zygmunt Grüner (Griner), as well as the picture of St. Anthony of Padua, created by Rev. Bernard Preibisz from Tarnów. The image of the patroness of the church, St. Anne, placed in the side altar, was made by the canon and priest of the Tarnów cathedral parish, Rev. Franciszek Leśniak. A painter-woodcarver-conservationist of interiors from Lwów - Julian Kruczkowski provided the polychrome. Almost all those artists had studied in Vienna or Munich; that is probably the reason why the image of crucified Christ modelled on Van Dyck’s depiction (kept in the imperial collection in Vienna) was placed in the main altar of the church in Żabno. The patronage and interest in arts, as well as painting activity within the Tarnów diocese, is an interesting historical and cultural phenomenon. The article calls attention upon the problem of the provincial artistic community of the former West Galicia region in context of the patronage of the Church, and the issue of renovating the church along the Neo-Baroque model, in conformity with the spirit of the time and the individual features of the architectural shape of the church. For many years that art failed to receive the proper understanding of church managers, parish communities, and sometimes even the authorities of conservationist services (both those representing the church and the state).
7

Dekoracja okazjonalna (1715) w kościele Jezuitów w Lublinie. Ze studiów nad ikonografią św. Stanisława Kostki

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Dzik J.
Roczniki Humanistyczne
|
2019
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vol. 67
|
issue 4: Historia sztuki
45-60
PL
Lublin, miasto będące siedzibą Trybunału Koronnego, stanowiło jedno z centrów szczególnej czci św. Stanisława Kostki w Rzeczypospolitej. Ośrodkiem kultu był przede wszystkim dawny kościół Jezuitów pw. św. Jana Chrzciciela i św. Jana Ewangelisty (obecna katedra), gdzie przechowywany był cudowny wizerunek młodzieńca. Odnaleziona zapiska w rękopiśmiennej kronice Archiwum Romanum Societatis Jesu przypomina o nieznanej dotychczas okazjonalnej dekoracji kościoła Jezuitów podczas uroczystości związanych z ogłoszeniem kanonizacji Stanisława Kostki w 1715 roku. Rozbudowana wielowątkowa dekoracja obrazowo-słowna koncentrowała się przede wszystkim w fasadzie, ołtarzu głównym i kaplicy świętego spajając aspekt narodowy (król polski), papieski (Klemens XI) oraz znak profetyczny, za jaki uznany został herb rodziny Albanich, z której wywodził się papież. Polski szlachcic -jezuita kreowany był od początku kultu na jednego z głównych wspomożycieli tryumfów Rzeczypospolitej. Kanonizacja Kostki stawała się więc symboliczną rękojmią oczekiwanego pokoju i stabilizacji kraju. Dlatego też dekoracja ujawniała wielkie przesłania historycznego i objawienie tajemnicy danej Polakom poprzez młodego jezuitę, podnoszącej znaczenie Rzeczypospolitej w powiązaniu z papiestwem i wiarą katolicką.
EN
Lublin, a city that is the seat of the Crown Tribunal, was one of the centers where St. Stanislaus Kostka was especially venerated. The main center of worship was the former Jesuit church of the St. John the Baptist and St. John the Evangelist (the present cathedral), where the miraculous image of the young man was kept. The discovery of the note in the hand-written chronicle of the Romanum Societatis Jesu Archives reminds us of the occasional decoration of the Jesuit church during ceremonies connected with the announcement of the canonization of Stanislaus Kostka in 1715. The expanded multifaceted picture-verbal decoration focused primarily on the facade, main altar and chapel, bringing together the national aspect (Polish king), the papal aspect (Pope Clement XI) and the prophetic sign, for which the coat of arms of the Albani family from which the Pope came. The Polish nobleman-priest was created from the beginning of the cult to become one of the main supporters of the triumphs of the Polish State. The canonization of Stanislaus became a symbolic guarantee of the expected peace and stability of the country. That is why the decoration revealed a great historical message and a mystery given to the Poles through the young Jesuit, raising the importance of Poland in connection with the papacy and Catholic faith.
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