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Prezentacja książki prof. dr hab. Piotra Skubiszewskiego „Studies in Medieval Iconography”

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Walczak M.
Biuletyn Historii Sztuki
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2022
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vol. 84
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issue 1
201-208
EN
Presentation of the book ‘Studies in Medieval Iconography’ by Prof. Piotr Skubiszewski
PL
Prezentacja książki prof. dr hab. Piotra Skubiszewskiego "Studies in Medieval Iconography"
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Myśliwy i pan natury. Jeszcze raz o przedstawieniach zwierząt na nagrobku króla Władysława II Jagiełły

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Walczak M.
Biuletyn Historii Sztuki
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2022
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vol. 84
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issue 3
435-472
EN
This article is an attempt to take a new look at the depictions of animals on the tomb-chest of the King of Poland and the Grand Duke of Lithuania Władysław II Jagiełło, which was executed before 1431 by a workshop of undetermined provenance. On the basis of written sources and comparative material, it is argued that the uniform iconographic programme, which consists of depictions of a dragon under the king's feet, two lions under the monarch's head, and hounds and falcons on the tomb-chest, refers to the politically important concept of the ruler's dominion over the natural world.
PL
Artykuł stanowi próbę nowego spojrzenia na przestawienia zwierząt na nagrobku Władysława II Jagiełły, króla Polski i Wielkiego Księcia Litwy, powstałym przed 1431 r. w warsztacie o nieustalonej proweniencji. Na podstawie źródeł pisanych i materiału porównawczego autor dowodzi, że w jednostkowym programie ideowym, na który składają się przedstawienia smoka pod stopami, dwóch lwów pod głową władcy oraz psów gończych i sokołów na cokole tumby, odwołano się do ważnej z politycznego punktu widzenia koncepcji panowania władcy nad światem natury.
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Dekoracja rzeźbiarska kapitularza przy klasztorze oo. dominikanów w Krakowie

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Walczak M.
Folia Historica Cracoviensia
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2004
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vol. 10
EN
The history of the chapter house of the Dominican Friars in Cracow is not known in greater detail. Only two medieval documents with a mention of it are known. In in capitulo fratrum ordinis Praedicatorum Cracoviae of 1244 an endowment for the Cistercian monastery in Mogiła was confirmed. In Cracovie in capitulo fratrum predicatorum of 1306 the purchase of land in Dąbie, near Cracow, was certified. Marcin Szyma estimated that these notes cannot be ascribed to one building, which means that there were two gathering places for monks, one built after the other. Szyma locates the oldest chapter-house in the site of today’s sacristy and links it with a brick wall with a biforium window and portal remains, found in the western wall of the building. The older record marks terminus ante quern, and comparative chronology and analysis of style point to 1240s as the date of extension of the house. A new chapter house was built in Szyma’s assessment at the end of that century, and certainly before 1306. The building has fairly rich decorative carving, infrequently mentioned in historical records. The portal in the western wall of the chapter house has had three preserved, if tumbledown, consoles carved in yellowish, fine-grained sandstone. The closest analogies to these decorations are to be found in edifices built for the last members of the Premyslids dynasty, especially for king Premyslav Otokar II in the third quarter of the 13th century. In works connected with the “Premyslids building school” compact, block-like shapes of caps, ‘coated’ with tiny leaves and decorative ‘crowns’ at rib base were fairly common. Consoles in a portal of the oldest fragment of  Śpilberk in Brno or chapels in the castles in Bezdez, Horsovsky Tyn, Zvikov and Buchlov are of special importance for these considerations. Czech examples most often employ a variety of flora, yet, even here, in the portal caps of the monastery in Hradiśte on Jizerou (ca 1260) we come across a laciniated acanthus with characteristic folds. The connections described testify to the origins of the Cracow’s portal at the end of the third at the earliest or, most probably, the beginning of the fourth quarter of the 13th century. Until 1301 Czech Dominicans belonged to one province with Polish friars. Political expansion of Premyslav Otokar II in Polish territory, and especially in Cracow, led to a number of alliances with princes of the Piast dynasty, including Boleslaus the Chaste. The sandstone capital preserved in the Franciscan monastery can also cast light upon artistic connections between Cracovian and Czech sculptors. The capital, which has gone practically unnoticed in professional literature, is believed to be a fragment of an unfinished portal from the first tierce of the 14th century. The Cracow fragment is closest to the caps found in a Benedictine monastery at Ostrov, near Davie from ca 1260-1280 (Prague, National Museum), and the capital from St. Ludmila’s chapel, which until 1894 adjoined the sacristy of the Virgin Maiy’s church at Tyn in Prague (Prague, National Museum). Vault brick ribs are provided with stone leads at the base and are supported on stone consolas with three curved offsets. In each of the three bays there is a round keystone with an engraved decoration with a spatial, almost perfectly plastic character. Naturalistic character of the keystone with a floral pattern leads back to the French cathedral decorations. These decorations were introduced in the East by big workshops in the Reich, with the workshop of Naumburg Master in the first place. The spatial, openwork form, which consists of leaves rendered in a perfectly plastic way, approximates the Cracow carving to, for example, keystones in the body of the naves in the cathedral in Meissen. Figural reliefs seem to refer to works of the ‘expressive’ trend in sculpture of the second half of the 13th and the beginning of the 14th century, which have unquestionable connections with the alternative Gothic painting or with the formula of the zigzag style (German Zackenstill). Angular breaking of folds was considerably softened here due to exceptionally fleshy treatment of matter. Huge piles of fabric are very plastic, which blurs the outline of the drawing and washes away its expression. The closest similarity links these sculptures with works that came from Saint Erminold Master workshop - one that played a key role in the development of stone sculpture in the territory of the Reich at the close of the 13th century. The style character of sculptures (especially this ‘underlying’ tradition of the zigzag style, readable amongst piles of fleshy matter) points to the times short after the year 1300 as their origin. Hie workshop that was completing the walling up in the Cracow Dominican monastery combined the solutions known in Central Europe, while the dominant role seems to be played by patterns from Austria and the southern parts of the Reich (Regensburg). Basic role in the artist’s choice could have been played by wide contacts of friars within the order, if only through going for general studies.
PL
Kapituły generalne braci kaznodziejów w Paryżu (1239), Bolonii (1240) i Kolonii (1245) zakazały umieszczania w kościołach dominikańskich dekoracji plastycznych. Wzrastająca popularność predykantów i wykraczające daleko poza zakonną obserwancję ambicje ich dobrodziejów sprawiły, że dość prędko zarzucono ducha prostoty i ubóstwa. Nikłe fragmenty rzeźbiarskiej dekoracji kościoła Dominikanów w Poznaniu, które zachowały się do naszych czasów, zdradzają niepospolite bogactwo i rozmach inwestycji. Dekoracja rzeźbiarska kapitularza dominikańskiego w Krakowie była najczęściej pomijana w opracowaniach z zakresu historii sztuki. Portal w ścianie zachodniej wzmiankowano zaledwie kilka razy. Leonard Lepszy i Stanisław Tomkowicz uznali go za dzieło schyłkowego gotyku („bogaty okrój późnogotycki...”), jednak nie starali się nawet sprecyzować czasu powstania.  Wobec nikłego stanu badań, najwyższy czas przyjrzeć się bliżej skromnym na pozór rzeźbom i zająć stanowisko w kwestii ich autentyczności.
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Uroczystości pięćsetlecia kanonizacji św. Stanisława w Krakowie w r. 1753 okiem historyka sztuki

100%
Walczak M.
Folia Historica Cracoviensia
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2003
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vol. 9
EN
On September 8, 1753 a celebration took place in the Wawel Cathedral to commemorate the five-hundredth anniversary of the canonisation of St. Stanislaus. The main element of a specially prepared decoration was a structure of considerable size as sembled in the middle of the nave, opposite the martyr’s tomb. It served as a throne on top of which a late Gothic reliquary, made by a Cracovian goldsmith Marcin Marciniec, for Stanislaus’ head was placed. The structure was embellished with the Saint’s coats of arms and candelabras and over it a canopy with wings spread to the sides was hung. On both sides of the reliquary two eagles were placed. Two more, holding a mitre and a crosier, stood underneath. In the four comers of the structure four obelisks adorned with candelabras were placed, while the sides of the altar of St. Stanislaus had two more with lights and bishop’s insignia painted on them. Among various forms of relics veneration propagated by the Church after the Council of Trent, one was their solemn presentation to the congregation. The article analyses different examples of decorations connected with such presentations. As a close analogy to Cracow’s celebrations a jubilee of the nine-hundredth anniversary of the translation of St. Liborius from Le Mans to Paderbom celebrated in 1736 was chosen. The analysis includes annual celebrations inhonour of St. Florian at Sackingen and customs connected with the translations of relics from the catacombs in Rome to churches in the Habsburg countries. The examples listed and the analysis of the written sources about Cracow allowed a hypothetical  reconstruction of occasional architecture and an interpretation of its symbolic contents.
PL
W 1753 roku w katedrze wawelskiej świętowano obchody kanonizacji św. Stanisława Biskupa i Męczennika. Rocznicę celebrowano w dniu 8 września, w święto Narodzenia Matki Boskiej. Dzień wcześniejw udekorowanym i dobrze oświetlonym wnętrzu katedry obchody rozpoczęto od uroczystych nieszporów. Po ich  zakończeniu oddano salwy z 36 dział ustawionych w różnych częściach miasta leżących poza murami. Tuż po godzinie trzeciej po południu zaczął bić Zygmunt, a za nim wszystkie krakowskie dzwony. Podobnie stało się o godzinie siódmej wieczorem, a następnego dnia o godzinie siódmej rano i o  szóstej po południu na zakończenie uroczystości. Główną mszę świąteczną celebrował gościnnie biskup inflancki Antoni  Ostrowski, a ordynariusz krakowski czytał mszę przy grobie świętego. W czasie mszy głównej kazanie wygłosił profesor świętej teologii Antoni Krzanowski, kanonik kolegiaty św. Floriana. Na zakończenie obchodów, w których uczestniczyłcały krakowski kler oraz bractwa, odśpiewano Te Deum, a biskup udzielił zgromadzonym błogosławieństwa. Po nim uformowała się procesja, która przy wtórze antyfony Vir inclyte Stanislae wyruszyła od ołtarza głównego w stronę tronu w nawie głównej, gdzie od początku uroczystości spoczywała głowa świętego. Wraz z relikwią procesja przeszła obok grobu męczennika, a zakoń­czyło ją odśpiewanie Gaudę Mater Polonia. Po zakończeniu uroczystości w katedrze biskup przeszedł do kościoła Franciszkanów, gdzie odczytano bullę beatyfikacyjną Józefa z Kupertynu.
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Jerzy Gadomski (1934-2015)

63%
Horzela D., Walczak M.
Biuletyn Historii Sztuki
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2019
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vol. 81
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issue 1
157-172
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MEMORIAL PORTRAITS OF BISHOPS SAMUEL MACIEJOWSKI AND FRANCISZEK KRASINSKI IN THE CLOISTER OF THE FRANCISCAN FRIARY IN CRACOW

63%
Czyzewski K. J., Walczak M.
ARS
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2013
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vol. 46
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issue 2
148 – 170
EN
Portrait galleries of bishops have been known in the Latin Christendom since the early Middle Ages, attesting the important role that the ius imaginum – originally a major privilege of Roman patricians – had played in the propaganda of the Church. Of the thirteen portraits that have survived to this day in the portrait gallery of the cloisters of the Franciscan friary in Krakow, a unique example of its kind, the paper concentrates on selected examples, e.g. portraits of two prominent bishops from the early modern era, Samuel Maciejowski (1545 – 1550) and Franciszek Krasinski (1572 – 1577).
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Badania nad sztuką średniowieczną w Polsce po roku 1989

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Horzela D., Walczak M.
Średniowiecze Polskie i Powszechne
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2019
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vol. 11
262-297
EN
The geopolitical changes in Central and Eastern Europe which began in 1989 influenced also changes in the status of the field of history. In an attempt to change the perception of the field, a turn to the Middle Ages could be observed, as the times of prosperity in the Kingdoms of Bohemia, Hungary and Poland could serve as an excellent foundation for building a national identity. Thus, the authors propose a complex picture of historically and artistically oriented Medieval Studies in Poland against the backdrop of the situation in Central and Eastern Eu‑ rope, trying to ascertain how and to what extent the events of 1989 influenced the status and development of the discipline. Thirty years after the Yalta Conference, what can be observed is a gradual process of opening the discipline onto new methodologies and technological changes, as well as realizing its capabilities, which were hitherto suppressed by the oppressive political system. The natural generational change contributes to solidifying practices which the youngest generation of art historians takes for granted. However, the influences of inertia, deeply-rooted complexes and post-mortem victory of communist propaganda cannot be omitted. For the ma‑ jority of academic centers in Poland, it is virtually paradigmatic to talk about art in a very nar‑ row geographical context, accompanied by the tendency to isolate phenomena with clear ties to the European context. Too often is art in Poland seen as an expression and a consequence of its peripheral status, while almost overlooking the uniqueness and originality of many artistic phenomena. Moreover, a vision of Poland as a homogenous entity in its contemporary borders persists in the subconscious of the society, which constitutes a serious hindrance in the spread‑ ing of knowledge and is often used as a tool in historical politics. In addition, it should be noted that, unfortunately, many good practices, such as the obligation of familiarity with the entirety of the literature on the subject, begin to disappear, perhaps in connection with the “publish or perish” mentality and the need to fulfill the obligations towards the academic institution. Para‑ doxically, then, the political upheaval of 1989 brought in the discipline of art history, as well as the field of humanities as a whole, both positive as well as detrimental changes.
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Wokół medalu biskupa Andrzeja Trzebickiego

63%
Czyżewski K. J., Walczak M.
Artifex Novus
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2020
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issue 4
111-161
EN
The paper deals with a high-quality and very rare medal issued in honour of the Bishop of Cracow Andrzej Trzebicki in 1677, of which only a few specimens struck in gold and silver are known. Its obverse represents a bust-length image of the prelate turned right, with a legend running around the rim, while the reverse features an image of a swan accompanied by a Latin motto and date. The medal, issued in Gdańsk, was executed after a design by Johann Höhn the Younger. Regrettably, neither the issuer nor the circumstances of the medal’s commission are known. What is of key importance for determining the above facts is the correct reading of the sigla: ‘ATH D.D.D’, inscribed on the obverse, which so far have been deciphered as: ‘Andreas Trzebicki honor dat, donat, dedicat’. In keeping with this reading, the bishop himself would have been the issuer of a medal struck in his honour. Having analysed documentary evidence, the authors of the present paper have put forward alternative readings of the inscription: ‘Andreae Trzebicki Honori Dat Dedit Dedicat’ or ‘Andreae Trzebicki Haec [numisma?] Data Decreto Decurionum’. The latter reading seems to be more plausible and suggests that, hypothetically, the medal may have been issued by the Cracow city council. The immediate reason for issuing the medal may have been Trzebicki’s support of the strivings of the municipal authorities of Cracow for autonomy in electing members of the city council, which until then were appointed by the local voivode. These efforts took place in 1677 and concluded with a charter issued by King John III Sobieski in Gdańsk on 30 December of that year, granting the city the requested rights. The magnificent medal reveals an aspect of eulogising the prelate, and his praise is expressed not only through his faithful likeness depicted on the obverse. Trzebicki used the ‘Swan’ coat of arms, and the swan was widely interpreted as a symbol of chastity. The motto ‘Candore’ on the reverse refers to not only the whiteness of the swan but also to the principles to which the bishop adhered, both in his private life and in carrying out his public duties. The medal under discussion has from the very beginning enjoyed a special appreciation of collectors, as attested by his detailed analysis included in a study of the medallic collection of King Frederick I in Berlin, by Lorenz Beger, published 1704. Beger has noted the titulature of the prelate, ‘Dei et Apostolicae Sedis gratia’ – which he considered incorrect (from a Protestant point of view). Additionally, he pointed out to the ambiguity of the swan as a symbol of chastity, as the bird has a black skin hidden under white plumage, which can be interpreted as duplicity, unfair intentions and hypocrisy.  
PL
Artykuł poświęcony jest wysokiej klasy medalowi znanemu z niewielkiej liczby egzemplarzy wybitych w złocie i srebrze ku czci biskupa krakowskiego Andrzeja Trzebickiego (1677). Na awersie przedstawiono popiersie hierarchy w prawo z legendą biegnącą dookoła, natomiast na rewersie wizerunek łabędzia z łacińską dewizą i datą.  Emisja miała miejsca w Gdańsku, a projekt numizmatu wykonał Johann Höhn Mł. Niestety emitent, ani okoliczności zamówienia nie są znane. Kluczowe znaczenie ma prawidłowa interpretacja sygli na awersie: ATH D.D.D., które dotychczas czytano: „Andreas Trzebicki honor dat, donat, dedicat”. W myśl takiej lekcji sam biskup byłby emitentem medalu ku swojej czci. Autorzy po analizie źródeł zaproponowali wariantywne propozycje odczytu: „Andreae Trzebicki Honori Dat Dedit Dedicat” lub „Andreae Trzebicki Haec [numisma?] Data Decreto Decurionum”. Druga lekcja wydaje się prawdopodobniejsza, co skłania do hipotetycznego uznania za emitenta medalu krakowskiej rady miejskiej. Bezpośrednim powodem emisji mogło być popieranie przez Trzebickiego starań o uzyskanie przez władze Krakowa samodzielności w wybieraniu rajców, dotąd wskazywanych przez miejscowego wojewodę. Starania te miały miejsce w 1677 r. i zakończyły się wydaniem przez króla Jana III Sobieskiego odpowiedniego przywileju (30 grudnia) w Gdańsku. Wspaniały medal ma wydźwięk apologetyczny i głosi chwałę hierarchy nie tylko przez ukazanie jego wiernej podobizny. Trzebicki posługiwał się herbem łabędź, który był interpretowany powszechnie jako symbol czystości.  Dewiza Candore odnosi się zarówno do bieli łabędzia, jak do zasad przyświecających biskupowi w życiu prywatnym i działalności publicznej. Omawiany medal cieszył się od początku szczególnym uznaniem kolekcjonerów, o czym zaświadcza jego dokładna analiza w opracowaniu kolekcji medali króla Fryderyka I w Berlinie autorstwa Lorenza Begera (1704). Autor zwrócił uwagę na błędną z punktu widzenia protestanta tytulaturę hierarchy „Dei et Apostolicae Sedis gratia”), a także na ambiwalencję łabędzia jako symbolu czystości (ptak ten ma czarną skórę ukrytą pod białymi piórami, co można interpretować jako dwoistość, nieczystość intencji i hipokryzję).
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Przegroda chórowa i lektorium w kościele Trójcy Świętej w Krakowie. Rekonstrukcja – datowanie – użytkowanie

45%
Szyma M., Bojęś-Białasik A., Czechowicz J., Czyżewski K., Walczak M.
Biuletyn Historii Sztuki
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2021
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vol. 83
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issue 4
783-842
EN
An attempt to reconstruct the rood screen from the mid-13th century and of the chancel screen from the late 14th century in Cracow’s Dominican Church is presented; the reconstruction is based on excavations, architectural research, written records, and laser scanning measurements of the Church. The first screen was a partition wall opened up with two passages. The second, of the type of a Hallenlettner type was five-span with the lateral spans functioning as separate chapels and the middle span communicating the nave with the gallery. In 1543, the chancel screen was altered owing to the construction of the Chapel of St Hyacinth on the first storey. In 1581-1583, the chancel screen was pulled down as the Chapel was extended.
PL
W artykule przedstawiono próbę rekonstrukcji przegrody chórowej z poł. XIII w. oraz lektorium z końca XIV w. w kościele Dominikanów w Krakowie w oparciu o wykopaliska, badania architektoniczne, źródła pisane i pomiar kościoła metodą skanowania laserowego. Pierwsza przegroda była ścianą działową przeprutą dwoma przejściami. Druga, w typie lektorium halowego, była konstrukcją pięcioprzęsłową z bocznymi przęsłami funkcjonującymi jako samodzielne kaplice, i ze środkowym przęsłem komunikującym nawę z chórem. W 1543 r. lektorium przebudowano w związku z urządzeniem na jego piętrze kaplicy św. Jacka. W l. 1581-83 kaplicę powiększono burząc lektorium.
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