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1

Dokumentacja zabytkowego złotnictwa

100%

Gradowski M.

Ochrona Zabytków

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2012

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issue 1-2

111-115

EN

Our scientists’ long-year neglect of research into historic silver work was a result of the absence of the general literature of the subject. This fact induced me to elaborate the old technology and terminology of silver work, because I regarded these publications as a basis for future research. Then, the key problem was access to the monuments concerned, and the only solution was to create relevant documentation in the field. The main source of research into historic silver work turned out to be church silver-chests. However, the political situation in which this documentation was to be prepared was complex. A “civil servant” willing to describe and photograph monuments was not welcome by an average pastor already at the start. Church silvers were protected against disclosure with particular care, because they were thought to be the most tempting objects for the government. In this situation, in order to create an opportunity to carry out significant research on silver work, I prepared a special documentation scheme, which was adopted as a valid standard in the Centre. The main trend of planned activities was a detailed photo documentation, which enabled the researcher to become familiar with an object without the need to carry out field explorations. The next step was to find a way to open cabinets in sacristies of parish churches and cathedral treasuries and to prepare full documentation for all objects that can be defined as monuments of silver work. These ambitious intentions were remarkably put into practice by Wacław Górski – a photographer from the Nicolaus Copernicus University (NCU), who was trusted by church authorities and had access to monuments put in their care. The elaboration of documentation took 20 years – from 1981 to 2001. Together with his team of assistants (students of NCU), Górski visited hundreds of churches, where he often found magnificent treasures of silver work. Documentation was prepared for 18,500 objects in the Gdańsk and Gniezno archdioceses and Pelplin, Toruń, Elbląg, Płock, Włocławek and Kalisz dioceses. In 2001, the management of the Centre decided to suspend documentary work with regard to historic silver work in Poland. However, the huge set of documentation created until then was hundred times fruitful, serving as a basis for a series of scientific studies, including master’s theses and doctoral dissertations. A full insight into the said documentation is provided by The catalogue of silver work in the set of specialist documentation of the National Centre for Research and Documentation of Monuments in Warsaw ( Katalog złotnictwa w zbiorze dokumentacji specjalistycznej Krajowego Ośrodka Badań i Dokumentacji Zabytków w Warszawie, Warszawa 2006), which I prepared together with Magdalena Pielas.

2

Skarbiec kościoła OO. Kapucynów w Krośnie

86%

Rotter L.

Nasza Przeszłość. Studia z dziejów Kościoła i kultury katolickiej w Polsce

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2020

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vol. 133

315-334

EN

Treasuries are usually associated with astounding and mysterious places in which treasures and souvenirs from the past are hidden. It is not always the case, but sometimes they do match this definition. Such features are displayed by the treasury in capuchins cloister in Krosno. It is not an old treasury. The oldest precious items date back to XVIII century. It seems to be a very interesting set of artifacts of the goldsmith’s art which were mostly dedicated to the capuchin order in general or concretely to the cloister in Krosno. The aim of this paper is to classify the collection. It may contribute to boost further endeavors to evaluate all the golden items deposited in the cloister in Krosno.

PL

Skarbce kojarzą się zwykle z miejscami niesamowitymi, tajemniczymi, kryjącymi skarby i pamiątki z przeszłości. Nie zawsze tak jest, ale skarbce klasztorne często spełniają tę definicję. Nie inaczej jest w przypadku skarbca klasztoru kapucynów w Krośnie. Nie jest to skarbiec leciwy, najstarsze zabytki datowane są na XVIII wiek, jednak wydaje się być ciekawym zbiorem artefaktów sztuki złotniczej dedykowanych w większości przypadków zakonowi lub nawet konkretnie klasztorowi kapucynów krośnieńskich. Stąd podjęta w artykule próba skatalogowania zbiorów co może przyczynić się do dalszych prac nad opracowaniem złotnictwa zdeponowanego w krośnieńskim klasztorze.

3

Kielich z kościoła Bożego Ciała w Elblągu

72%

Woźniak M. F.

Studia Elbląskie

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2022

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vol. 23

9-35

EN

The chalice from the Corpus Christi hospital church in Elbląg is one of the most outstanding works of goldsmithing in the area of former Royal Prussia. On the basis of the goldsmith’s mark - which was still rare at the time - it is associated with the person of Dionisius Freymann, a goldsmith active in Elbląg since 1508. The chalice is distinguished by its meticulous workmanship, its high technical quality, but also by its high-class composition of form, using various means of artistic expression. It occupies a position of distinction in the entire abundant output of Prussian goldsmiths of the time. After 1945 it was thought to have been lost, donated to the Primate of Poland, Cardinal Stefan Wyszyński, after 1967 and given by him in 1970 to the Treasury of Gniezno Cathedral.

PL

Kielich z kościoła szpitalnego Bożego Ciała w Elblągu należy do najwybitniejszych dzieł złotnictwa na terenie dawnych Prus Królewskich. Na podstawie znaku złotniczego – co wówczas było jeszcze rzadkością – wiązany jest z osobą Dionisiusa Freymanna, złotnika czynnego w Elblągu od 1508 roku. Kielich wyróżnia się starannością wykonania, wysoką jakością techniczną, ale także wysokiej klasy kompozycją formy, przy zastosowaniu różnych środków wyrazu artystycznego. Zajmuje pozycję odrębną w całej obfitej wytwórczości ówczesnych złotników pruskich. Po 1945 roku uchodził za zaginiony, ofiarowany Prymasowi Polski kard. Stefanowi Wyszyńskiemu po 1967 i przekazany przez niego w 1970 do Skarbca katedry w Gnieźnie.

4

Historical Goldsmithry in the Churches of the Archdiocese of Kraków. Remarks on the recent inventory

72%

Skrabski J.

Folia Historica Cracoviensia

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2019

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vol. 25

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issue 2

77-119

PL

Tekst jest próbą zarysowania najważniejszych problemów wynikłych z przeprowadzonych prac, przedstawienia najciekawszych odkryć, jak barokowej monstrancji w kościele w Wawrzeńczycach, charakterystyki najwybitniejszych a nieznanych powszechnie dzieł, uwypuklenia roli polskich, ale i zagranicznych złotników, jak Marcina Lekszyckiego, Ericha Adolfa i Alberta Greinera oraz Wilhelma Rauschera. Więcej miejsca poświęcono słabo rozpoznanym zagadnieniom importów wyrobów złotniczych na ziemie polskie w XIX i 1. poł. XX wieku oraz działalności złotników i brązowników w najważniejszych polskich ośrodkach w tym samym okresie.

EN

In the years 2013–2018 a scientific project “Artisinal Handicraft in the Churches of Kraków Archdiocese,” financed by the National Humanities Development Programme (No. 11 H 120 11 681), was realized at the Institute of History of Art and Culture of The Pontifical University of John Paul II in Krakow. In its course, over 11,100 works of art in more than 160 churches were catalogued and digitalized, and over 40,000 photos were taken. The documentation was rendered available in an academic database (ram.upjp2.edu.pl). This paper is an attempt to outline the most crucial issues associated with the performed tasks, present the most interesting discoveries, such as the baroque monstrance in the Wawrzeńczyce church.

5

Monstrancja i kielich z dawnego kościoła klasztornego reformatów w Kryłowie, obecnie w zakrystii klasztoru reformatów w Przemyślu

58%

Dzik J.

Hereditas Monasteriorium

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2014

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vol. 5

295-302

EN

The Reformati Monastery in Kryłów near Hrubieszów was founded in the 1750s. After the dissolution of the monastery in 1808 by the Austrian authorities the monastery church was sold and dismantled and its furnishings were dispersed. The Reformati Monastery Church of St. Anthony in Przemyśl houses a valuable rococo radial monstrance made around the mid-18th century, which can be regarded as an eminent example of Polish goldsmithing. Its value is enhanced by full figures of God the Father and Apocalyptic Lamb as well as symbols of Old Testament sacrifices. The foot of the monstrance bears the inscription CONV. KRYLOVIENSIS PP. REFORM, unequivocally pointing to the place for which it was made. This may be the monstrance mentioned in the chronicle of the Kryłów monastery, which speaks of a large and beautiful monstrance made in 1760 for the local monastery church after a drawing by Fr. Stanisław Dominik Kleczewski (1714–1776). Kleczewski served as definitor, custodian and provincial of his order; he also represented the Polish Province at general chapters in Rome. In addition, he was an amateur draughtsman. The Reformati Monastery Church of St. Casimir in Cracow boasts a rococo chalice dating to the late 18th century. The inscription on the foot indicates the place for which the chalice was made: “Conventus Krylovi[ensis]”; the inscription is accompanied by letters PP RE TŁ RM. The chalice and the monstrance mentioned in the monastery chronicle may have been a set. The topic of goldsmithing of high artistic value and precise workmanship from Reformati churches in the eastern part of Poland requires further studies (other such objects include a rococo monstrance from 1770–1780 from the Reformati Monastery in Rawa Ruska, currently kept in the monastery in Biecz, and a classicist radial monstrance of unknown provenance made at the turn of the 19th century kept in the monastery of the Przemyśl Reformati). It is all the more interesting given the fact that in this religious order, particularly valuing poverty, monstrances for liturgical purposes were usually made of wood, with only the lunette holding the host being made of silver.

6

Cost-Saving Minting Technology: Recurrent Overstriking of Bracteates

58%

Svensson R.

Wiadomości Numizmatyczne

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2022

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vol. 66

215-229

PL

Brakteaty na cienkich krążkach wybijano w średniowieczu przez kilkaset lat. Funkcjonowanie w Europie Środkowej, Wschodniej i Północnej setek małych, niezależnych stref obiegu z ich własnymi mennicami oraz silne powiązania między brakteatami a renowacją monety wyjaśniają dużą liczbę typów pieniądza brakteatowego. Do ich produkcji niezbędna była specjalna technika mennicza nawiązująca do złotnictwa. Pod krążek podkładano miękki materiał, a relief uzyskiwano bardziej przez odciśnięcie, niż wbicie. W niniejszym studium przeanalizowano w jaki sposób technika brakteatowa mogła obniżać koszty produkcji w porównaniu do tradycyjnej techniki menniczej. Tłoczenie brakteatów na rozklepanej starej monecie powodowało, że średnica krążka niemal nie zmieniała się mimo kolejnych przebić. Dzięki technice brakteatowej unikano zatem jednego z najbardziej kosztownych etapów w produkcji menniczej: czasochłonnego wytwarzania krążków. Natomiast przebijanie monet dwustronnych z wykorzystaniem tradycyjnej techniki menniczej mogło zostać wykonane tylko kilka razy, ponieważ skutkowało tym, że krążek stawał się cieńszy i większy. To ostatnie zjawisko objaśnia istnienie dwustronnych półbrakteatów.

EN

Leaf-thin bracteate coins were minted for several hundred years during the Middle Ages. The existence of hundreds of small independent currency areas with their own mints in central, eastern and northern Europe and the strong link between bracteates and periodic recoinage explain the large number of bracteate types. A special minting technology linked to goldsmithing technology was required to produce the bracteates. A soft material was placed under a flan, and the motif was created by bending the flan rather than pressing the motif into the flan. This study analyzes how bracteate technology could save costs in the minting procedure compared to traditional coinage technology. The bending characteristic of the bracteates together with the flat hammering of old bracteates imply that the size of the flan remained almost unchanged after recurrent overstrikes. Thus, the bracteate technology saved one of the costliest steps in the minting procedure: the time-consuming production of the flan. In contrast, overstriking of biface coins using the traditional coin technology could only be performed a few times, since it caused a stepwise thinner and larger flan. The latter phenomenon explains the existence of biface half-bracteates.

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