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EN
Composed by Hildegard of Bingen in the Rhine-Hessen region in the middle of the 12th century, the liturgical drama Ordo Virtutum depicts a symbolic internal struggle for the fate of the soul between the virtues and the devil and is originally transposed into the language of low-relief found in the church owned by the Canonesses Nuns conventn in Strzelno, a little town situated on the border of Kujawy and Wielkopolska regions in Poland. The aim of this article is to present how two visions of the same concept complement each other in an intriguing way, although they are expressed by two separate, yet merging languages of music linked with the text and low relief. Most of the musical and literary personifications of both Ordo Virtutum and low reliefs featuring figures in Strzelno are still comprehensible, despite being created eight centuries ago. They introduce the audience to the world of medieval sermons, theological treatises, lectures on ethics and moral theology. Both works show a holistic vision of the world, held by people of the medieval era. In that vision what is spiritual, mystical and elusive for the outward physical senses intertwines and is closely linked with what is tangible, material and directly perceptible. Hildegard’s music praised not only the works of God but also the virtues as deeply human attributes, linked with effort and choices of a free human being, capable of establishing a relationship with God. The column of virtues in Strzelno introduces to the sacred sphere a multitude of figures that become an icon of widely accessible perfection. It seems that both artists aimed at educating their audience as beauty was supposed to ennoble by giving the strength to the truth so that it could lead to good, also the ultimate good — God.
EN
The Jewish population settled in Kuyavia as early as at the beginning of the 15th century, primarily in royal towns, and, later on, in large numers, also in private towns. As for church towns, Jews were usually not allowed to settle there at all. One of such towns was Strzelno, owned by the local Norbertine order. This situation did not change until 1772, when, as a result of the First Partition of Poland, the town came under Prussian control. Despite the initially unfriendly legislation for Jews, who were barely tolerated during the reign of Frederick II, this group of people quite willingly began to settle in towns that had hitherto been closed to them. The first source of information about Jews living in Strzelno dates back to 1779–1780. This proves that they must have settled in the second half of the 1870s, probably in connection with a fire in the Jewish quarter in Inowrocław in 1775. Initially, the percentage of the Jewish population in Strzelno oscillated around 3%, to rise to about 4% in the period of the Duchy of Warsaw. However, shortly after Strzelno came under Prussian rule again, the number of local Jews doubled.
PL
Na Kujawach ludność żydowska zaczęła się osiedlać już w początku XV wieku, najpierw przede wszystkim w miastach królewskich, aby następnie licznie zamieszkać miasta prywatne. W ośrodkach dóbr kościelnych zazwyczaj w ogóle nie dopuszczano do osiedlania się Żydów. Do tej grupy zaliczało się również Strzelno, będące własnością tamtejszego klasztoru norbertanek. Sytuacja ta zmieniła się dopiero po 1772 roku, gdy w wyniku pierwszego rozbioru Polski miasto znalazło się pod zaborem pruskim. Pomimo początkowo nieprzyjaznego dla Żydów ustawodawstwa, za panowania Fryderyka II zaledwie tolerowanych, ta grupa ludności dość chętnie zaczęła napływać do miast, które dotychczas były dla niej zamknięte. Pierwsza informacja źródłowa o Żydach zamieszkujących Strzelno pochodzi z lat 1779–1780. Dowodzi to, że musieli się osiedlić już w drugiej połowie lat 70. XVIII wieku, prawdopodobnie w związku z pożarem dzielnicy żydowskiej w Inowrocławiu w 1775 roku. Początkowo odsetek ludności żydowskiej w Strzelnie oscylował wokół 3%, aby w okresie Księstwa Warszawskiego wzrosnąć do około 4%. Natomiast tuż po ponownym przejściu Strzelna pod władzę Prus liczba tamtejszych Żydów podwoiła się.
EN
The article sums up the reflections on the relics of medieval plaster and layers of paint on the walls, columns and pillars of the Norbertine nuns convent in Strzelno completed around the 2nd-3rd quarter of the 13th century. The relics of the polychromies observed by numerous enthusiasts of the Romanesque Strzelno and discovered during archaeological excavations were topped with the results of conservation-restoration works which uncovered the first figural polychromies in the chancel’s apse. Following verification of the dating of the colours of the church’s interior, an indication was made that in the 13th century, the colour red prevailed; in the 15th-16th centuries, the figural scenes of the apse sported many colours while the remaining part of the sacrum was brightened up with three-colour, geometric patterns. To complete the range of colours, floor tiles were added. Examples have been provided of specialist painting analyses. The entire arrangement has been compared with selected colourful medieval structures. References have been made to the symbolism of the colours used in the Middle Ages and thecontemporary, erroneous perception of Romanesque architecture as rustic, devoid of plaster and colours.
EN
The former Premonstratensian convent complex in Strzelno, in the past one of the largest in the Greater Poland- Kujawy region, was subject to structural transformations in the course of several centuries. The existence of the Romanesque convent, probably created at the time of the foundation of two churches (the rotunda and the monastic basilica) is testified not only by the in situ extant Romanesque portal adjoining the n orthern basilica, but also by the newly discovered (today: walled up) passage in the northern arm of the transept of the church of the Holy Trinity. In the wake of the fires and cataclysms which affected the Strzelno churches at the end of the thirteenth century and during the fourteenth century, the object was given a purely defensive character. The greatest construction intervention, apart from the re designing of the basilica in the Gothic style, was the granting of a Baroque form to the rotunda of St. Prokop (Holy Cross), excluded from religious cult at the end o f the eighteenth century. Repair conducted upon the initiative of the Prussian government did not prevent devastation and, consequently, the pulling down of the Gothic-Baroque object in 1813— 1898. The historical qualities of the Strzelno churches were discovered during the in te r-w a r period, and work on the restoration of the Romanesqu character of the rotunda was completed in 1948-1952, albeit it was conducted not totally in accordance with the principles of conservation.
EN
The article examines an inventory of monastic records kept in the Archdiocesan Archives in Gniezno. It covers archive documents from the Monastic Records section as well as archival units spread across various fonds in the archives. The Monastic Records section was established in the 1970s following a separation of monastic records from the Archives of the Metropolitan Chapter fonds. The section also encompasses archive documents from the Monastery of the Norbertine Sisters in Strzelno, which were transferred from Strzelno to Gniezno on Cardinal Stefan Wyszyński’s orders in 1961. The remaining part of the inventory is made up primarily of records from the period of dissolutions in the 18th and 19th centuries kept in the Archives of the Metropolitan Chapter fonds as well as records of the various parishes. The whole collection of archive documents is very rich and varied in terms of its contents, and concerns religious orders established in the Archdiocese of Gniezno before the 1850s.
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