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Vignette of Constantinople on the "Tabula Peutingerianana". The Column of Constantine or the Lighthouse

100%

Kochanek P.

Studia Ceranea

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2019

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vol. 9

475-521

EN

The article contains the analyses of 40 descriptions of the vignette of Constantinople in Tabula Peutingeriana created between the years 1768 and 2018. The number of these descriptions is not at all complete, however, it seems to give quite a representative survey of how has this vignette been interpreted throughout the last 250 years. Among these descriptions, merely five authors (H. Thiersch – 1909; F. Castagnoli – 1960; A. and M. Levi – 1967 and M. Reddé – 1979) believe that one of the elements of that vignette is a lighthouse. The article explains the origin of this erroneous interpretation on the basis of the edition of Tabula Peutingeriana from the year 1753, prepared by F.C. von Scheyb, and repeated by K. Mannert (1824), E. Desjardins (1869–1874) and K. Miller (1888), as well as of the observations in this field made by H. Gross (1913) and W. Kubitschek (1917). What is today regarded as the most probable interpretation of the element of that vignette, referred to as the lighthouse is the thesis that what is referred to here, is the Constantine’s Column, on whose top there is the statue of the founder of the Second Rome. If we assume the second half of the 4th century as the time when Tabula Peutingeriana was created, then the Constantinople vignette would be the oldest graphic presentation of that column. However, the graphics of the vignette is far from the descriptions of Constantine’s column in the Byzantine sources. That might result from a simple mistake made by the later copiers, or it can also be the effect of their conscious modifications of the most important vignettes on the map. For the Constantinople vignette, compared to the vignettes of Rome and Antioch, seems to contain a certain symbolic code, which allows for dating the copy of map stored today in Vienna. It seems that the original map could have been created, as it seems, in the 2nd half of the 4th century, as it is traditionally assumed. Probably it had been graphically retouched quite substantially (at least as far as the vignettes of Rome and Constantinople are concerned, joined in a strict mutual relationship) in the Carolingian period, and, more exactly, in the 1st half of the 9th century, and then, for the second time, the map underwent modifications aimed at updating its contents in the 13th century.

2

The Tod Head lighthouse lantern. The conservation-restoration of a technical object that has been continuously modified over the years

75%

Grima M.

Architectus

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2020

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issue 1(61)

9-16

EN

This paper presents the conservation and reassembly of the Tod Head lighthouse lantern in the storage area of the National Museums Scotland. The Tod Head lighthouse was located on the Scottish east coast, north of Edinburgh. The lantern was dismantled in 2011 and sent to the National Museums Collection Centre. Firstly we look at a technical explanation of a functioning lighthouse. The lighting device – which is called a lantern – uses Fresnel lenses, also called stepped lenses. The design of the lantern was a collaboration between the Scottish engineer David Alan Stevenson and the horologist Augustin Henry-Lepaute, partner of Augustin Fresnel. Secondly, a short history of the object is presented. Throughout the 20th century, the lantern has undergone many changes. The light has been electrified and the mechanism has been motorised. Finally we detail the conservation operations and the reassembly.

PL

Tematem artykułu jest proces konserwacji latarni morskiej Tod Head przeprowadzony na terenie magazynu National Museums Scotland. Latarnia Tod Head znajdowała się na wschodnim wybrzeżu Szkocji, na północ od Edynburga. W 2011 r. rozebrano ją i wysłano do National Museums Collection Centre. Na początku sprawdzono dokumentację techniczną funkcjonującej latarni. Urządzenie oświetlające – które nazywa się latarnią – wykorzystuje soczewki Fresnela, zwane również soczewkami schodkowymi. Projekt latarni powstał dzięki współpracy szkockiego inżyniera Dawida Alana Stevensona oraz gnomologa Augustina Henry-Lepaute’a, współpracownika Augustina Fresnela. W pracy przedstawiono krótką historię obiektu. W XX w. latarnia przeszła wiele zmian. Źródło światła (latarni) zostało zelektryfikowane, a mechanizm (obrotowy) zautomatyzowany. W artykule szczegółowo opisano operacje konserwatorskie i ponowne złożenie obiektu.

3

Winieta latarni morskiej w La Coruña na mapie Beatusa z Burgo de Osma w kontekście symboliki wczesnochrześcijańskiej

51%

Kochanek P.

Vox Patrum

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2019

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vol. 71

291-326

EN

The purpose of this article is to compare the vignette of the lighthouse of La Coruña, which is on the map of Beatus from Burgo de Osma, with the lighthouses carved on reliefs of sarcophagi and tombstones in the epoch of the Roman Empire and with the vignettes of this lighthouse on other surviving medieval maps. In this way, to point out the ideological kinship between these elements. The lighthouse on the reliefs of pagan sarcophagi is the symbol of the happy port to which the human soul is heading. In turn, the lighthouse on Christian grave plates, found in the Roman catacombs, is a symbol of salvation, sometimes treated as the equivalent of the cross. The lighthouse on the map of Burgo de Osma is located on the western border of the world known at that time, which areas were the most remote from both the garden in Eden in the East and from Jerusalem, the place of salvific work of Christ. So these were areas of spiritual darkness, where, according to tradition, Jakub the Elder brought the light of the Gospel. With his arrival, in the areas where death reigned so far, the hope of salvation flared, which is illustrated graphically on the analyzed Beatus map by the lighthouse, which is near the Apostle’s sanctuary. In this way, a safe spiritual haven was first established on the western periphery of the then known world, which over time became a great pilgrimage center. It is no coincidence that this map was made in the circle of the monastic Benedictine culture, which carefully preserved the old Christian tradition.

PL

Niniejszy artykuł porównuje winietę latarni morskiej z La Coruña, która znajduje się na mapie Beatusa z Burgo de Osma, z latarniami morskimi wyrzeźbionymi na reliefach sarkofagów i płyt nagrobnych w epoce cesarstwa rzymskiego oraz z winietami tejże latarni na innych zachowanych mapach średniowiecznych. W ten sposób starano się wskazać na ideowe pokrewieństwo pomiędzy tymi elementami. Latarnia morska na reliefach pogańskich sarkofagów jest symbolem szczęśliwego portu, do którego zmierza ludzka dusza. Z kolei latarnia morska na chrześcijańskich płytach grobowych, odnalezionych w rzymskich katakumbach, jest symbolem zbawienia, taktowanym niekiedy jako ekwiwalent krzyża. Latarnia na mapie z Burgo de Osma znajduje się na zachodnich kresach znanego wówczas świata, które to obszary były najbardziej oddalone zarówno od ogrodu w Edenie na Wschodzie, jak i od Jerozolimy, miejsca zbawczego dzieła Chrystusa. Były to więc tereny duchowego mroku, dokąd zgodnie z tradycją Jakub Starszy przyniósł światło Ewangelii. Wraz z nim na obszarach, gdzie dotąd panowała śmierci, zapłonęła nadzieja zbawienia, czego graficznym wyrazem na analizowanej mapie Beatusa jest zestawienie latarni morskiej z sanktuarium Apostoła. W ten sposób na kresach Zachodu powstała najpierw bezpieczna duchowa przystań, a później wielkie centrum pielgrzymkowe, rozświetlające duchowe mroku tej peryferyjnej części ówczesnego świata. Nie przypadkiem mapa ta została wykonana w kręgu klasztornej kultury benedyktyńskiej, która przechowywała pieczołowicie dawną chrześcijańską tradycję.

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1 Architectus

1 Studia Ceranea

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2 Kochanek P.

1 Grima M.

1 2020

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Vignette of Constantinople on the "Tabula Peutingerianana". The Column of Constantine or the Lighthouse

The Tod Head lighthouse lantern. The conservation-restoration of a technical object that has been continuously modified over the years

Winieta latarni morskiej w La Coruña na mapie Beatusa z Burgo de Osma w kontekście symboliki wczesnochrześcijańskiej