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Die Domkapitel und Bischöfe im Ordensland Preussen: Ideologie, Religiosität und Kirchenreform anhand der Bildlichen Quellen
Full text linkThe Chapters and Bishops of the Teutonic State in Prussia: Ideology, Religiosity and the Church Reform on the Basis of Pictorial Sources The paper focuses on the Church elite in Prussia in the context of the formation and development of the common religious identity in the region through the material sources (work of art). In the historic studies there is still no comprehensive research on the spirituality of high clergy and their activity for the shaping and controlling of the lay-people religiosity (popular religion). In the discussion on the inner spiritual model of canons and bishops as well as on the church reform and promotion of the devotio moderna, not only the written archive basis, but also the iconographic (pictorial) sources have to be analyzed. The author shows on the several examples of artworks (both of official and private use) the possibilities of exploitation medieval images in the study on the individual religious needs and exclusive practice of canons (especially: the decoration of private books and the images in the closed oratories and cloister chambers) and on the propaganda threads, realized as external testimony of religious attitudes, medium of self-presentation and visualization of ecclesiastical ideology in the liturgical spaces of Prussian cathedrals (Marienwerder (Kwidzyn), Konigsberg (Kaliningrad), Kulmsee (Chełmża), Frauenburg (Frombork)) and bishop’s seats (Heilsberg (Lidzbark Warmiński))
Niderlandzki modlitewnik 83 ze zbiorów toruńskich – przyczynek do badań nad warsztatem iluminatorskim w późnym średniowieczu
Full text linkThe subject of the analysis is a codex Geert Groote Cannonical Hours (cod, 83/I) from the Special Collection of the University Library in Toruń, up till 1945 being a part of collection of the Staats- und Universitätsbibliothek in Königsberg. It is one of more interesting, luxurious devotional books in Toruń collection, richly decorated with initials and floral bordures with drolerie motifs on the margins. It has been introduced to the literature by Alicja Karłowska-Kamzowa, but so far it have not had a full monograph and the information on its provenance and dating have to be revised. The codex, written in low-Netherlandish language with Latin insertions and preceded with a calendar of the Utrecht Diocese, most probably made a book of private usus (probably of a lay person). Basing on the analysis of the style of figural parts, the applied composition schemes and numerous ornamental motifs one can assume that it was made in the North-Netherland environment (circle of “Masters of Otto van Moerdrecht”) and shift its dating (once established by Alicja Karłowska-Kamzowa to the turn of 15th century) towards the second quarter of 15th century. An important research issue in case of the codex is the division and systematics of work within the illuminators’ workshop, perceptible thanks to leaving numerous parts without the final finish. A thorough analysis of the technique of making the ornaments allows to trace the subsequent stages of work and its “conveyor-belt” organisation as well as to point out the reasons for “hierarchisation” of tasks. The features of ornamentation systems in the gatherings and the exceptions from the perceptible rules allow for looking at the “individualities” active at the execution of that codex in a new light. The creative method studied in the present paper allows to resign from attributing the work to just two masters, however the number of decorators is hard to be decided on. Also unanswered remains the question of the reasons why the work has not been complete
“Mentis oculos levavit”. The pictorial aspects of the mysticism Dorothy’s of Montau
No full textThe medieval iconography of Dorothy of Montau is exceptionally scanty. The oldest image of her is dating back to the late 15th century, and the possible reception of her visions in the art remains a hypothesis, despite of their creative suggestibility, that could have influenced the artistic creation. On the other hand, many of her visions reveal the dependence on earlier imagery sources, that with use of knowledge of artistic phenomena can be recognized. This is the task for art historian. Such research is of great potential, as the revelations of Dorothy include sensual aspect (characteristic of the Late-medieval feminine mysticism), sensitivity for pictorial details and evidences for her individual sense of beauty. The paper analyses visual aspects of Dorothy’s mysticism, above all basing on treatises of Johannes von Marienwerder: Liber de festis, Septililium, Vita latina. Discussed are types of revelations, their imagery elements and the way of their perception and description by the Prussian visionary. Considering those revelations against the background of sacral iconography demonstrates close associations between mystical experience and the experience of the image. It can be seen in the relations between the description of events, persons (appearance, attributes, garment), places, motifs and the popular iconography (Adoration of the Magi, Coronation of the Virgin etc.). The relationship between contemplation of the vision and the emotional reception of devotional images can be also reconstructed. The key for the interpretation of the sources and meaning of Dorothy’s visions is the consideration in context of scholastic epistemology and ars memorativa as well as from the point of view of anthropology of image (external image / sight – internal image / eye – mystic as medium). By this analysis the mental power and mnemonic function of religious imagery can be proved. The questions for character of revelations have to stay unanswered (supernatural mystical vision, appearing in the mind of visionary as the images that are easy to assimilate for her? Subjective realisation of the “dialogue with image” in her imagination through external images? Subconscious choice of those elements from the whole revelation, that were possible to recognize, understand and explain?). Thus, her religious experience, described using canonical sacral images, is a part of phenomenon of mutual relations of art and mysticism in the late Middle Ages
„Amoris sagittae et spicula”. The carnal aspects of the mysticism of Dorothy of Montau – a reinterpretation approach
No full textThe paper is devoted to the physical aspects of asceticism and mystical experience of Prussian female mystic, the blessed Dorothy of Montau, analysed based on the detailed and vivid description of John Marienwerder. It makes an attempt of hypothetic identification of actual character of somatic effects of visions and mystical unions with Christ (sweating, hot flushes, pain) with special consideration of spiritual “stabbings” of heart (and other bodily parts) with arrows and spears of Divine Love and the symptom of enlarged womb. The interpretation by John Marienwerder, rooted in the medieval knowledge of physiology and set in categories of the bridal mysticism, made a considered apology of the Prussian recluse. In effort to reinterpret the somatic symptoms described by medieval theologian, this paper controverts also the attempt of their evaluation and analysis appearing in contemporary scientific literature employing methods of the so called psycho-history. Most likely neither the female psychology nor the religious hysteria were responsible for the carnal symptoms described by John Marienwerder. The mystic throughout all her life heroically struggled with the consequences of scalding she had suffered as a child and of multiple childbirth intertwined with carnal mortifications, however the main cause of her painful experiences most probably was a progressing heart disease. Its increasing untreated symptoms (natural history of illness) can be identified in the writings by John Marienwerder and analysed in the light of contemporary medical knowledge. The holiness of the recluse manifested not only in the sphere of asceticism, renouncement, zealous religious practice and contemplation, but also in transmitting the corporal suffering of somatic origin into the sphere of deep spiritual experience based on the idea of Compassio Christi
Kaznodziejski potencjał malowidła w prezbiterium fary świętojańskiej w Toruniu. Treść i forma
Full text linkThe theme of that study is a monumental mural painting on the north wall of the chancel of the former parish church of the Old Town in Toruń. In an unique way around the motif of Crucifixion concentrated are here numerous iconographic motifs of diverse origin: evangelic, old-testament, mystic and moralizing ones. Despite the abundant studies the detailed contents and form of that work have been so far only drafted. A discerning comparison of its potential with the structure, contents and social model of the mediaeval ars praedicandi proves, that it might have been serving as the preachers’ aid. Iconographic elements of the mural match the most important threads of mediaeval homiletics, and the moralizing message has been adjusted to the assumption of large-town sermons. Three-zoned structure of composition can be interpreted as three parts of the preachers’ dilatation, while the particular elements and their mutual relations make a four-step homiletic reasoning. Each of the zones has its own detailed development and uses a suggestive pictorial rhetoric of an emotive impact on the viewer. In visually the most interesting part – purgatory torments and the hell – the choice of stigmatised sins and individual attributes was addressed to the large-town auditorium, as was the Legend of the three living… being the warning against excessive passion for mundane goods in the spirit of the ad status preaching. The general message of that artwork seems to be obvious, while the proper reception and right interpretation of all it contents was possible only at the proper level of theological knowledge and erudition. The painting could have been a compendium, facilitating logical development of the contents of a sermon and building its general structure based on the tree-scheme. Particular elements could have been selected out of it and one could lead their exegesis in whichever direction, using whatever rhetoric for sermons suitable for various occasions. The artistic language of that work reveals a Western provenance and is based on miniatures’ pattern. For general analogies for that complex composition one can search among the courtly pastoral codices made in France and England. General formal character as well as costume, arms and armoury features indicate inspirations with western painting of the first half of 14th century. Interpretation of style is hindered by extensive overpainting and reintegration, but assuming those features as dating ones, one should abandon the so far dating of the work to the last quarter of 14th century and set it in times about 1350. Exclusive language of western forms can also be interpreted in aspect of the preachers’ ad status rhetoric. In absence of written sources that would allow for a thorough recognition of the scope and contents of sermons in the Monastic State of Teutonic Order, the role of that painting as a source material can hardly be overestimated.
Uwagi o znaczeniu tzw. Pięknych Madonn w sztuce i religijności państwa zakonnego w Prusach
Full text linkThe so-called Beautiful Madonnas belong among the most interesting and the most complex groups in gothic sculpture, being still subject to vivid discussions – despite the apparent depletion of the discourse. Time and again new attempts of defining those sculptures emerge, both in terms of their message and their visual structure; new attempts to approach their systematics and attribution. Having a crucial significance for the artistic evolution of Central Europe at the dawn of 15th century, they became an axis of one of more important discussions in Mediaeval studies of that region: the dispute on the genesis of International Style, which keeps reappearing and arising controversies. In Prussia the circle of Beautiful Madonnas has been represented by three figures – the missing Beautiful Madonna on the Moses-console from St. John’s church in Toruń, the Gdańsk Beautiful Madonna in the Rosary Retable in Holy Virgin Church in Gdańsk and located in the same church Virgin with The Child in the Priestly Brotherhood Retable. Despite the previously proposed systematics, none of them seems to be of local creation in the land of former Teutonic State. It also seems that there is no direct relation between them. In this paper a question is being asked about artistic significance of those sculpture for the art of the region (the creativity of local environment) and about their functional sense. After the period of numerous polemics – especially in context of Clasen’s work – presently it is accepted that Beautiful Madonnas are the efflorescence of the experience of Bohemian art. The figure from Toruń not only originated from the Bohemian tradition (which had been repeatedly underlined), but most probably it had been made in one of Prague workshops and found its way to Prussia by import. It has been confirmed by its typological isolation (the lack of similar images of Virgin Mary, that would suggest assimilation of the formula) and artistic alienation in the art of the region. One can not find any justification for most of the so far attributions, relating other eminent works to the Toruń master: Christ in Gethsemane made of marly limestone (Planer Kalkstein) is an import from Prague, as well as a different in form, missing Mary of Good Hope. Also the attribution of a relief Assumption of Mary Magdalene does not seem convincing. The circle of the supposed followers of the master is also disputable. One can not find justification especially for the proposal to relate much younger (ca. 1430) figure of the so-called Gdańsk Beautiful Madonna with the one from Toruń. The Gdańsk sculpture originates from different, French tradition and reveals North-Netherland workshop affiliations (the Ankeveen Madonna). Due to its large dimensions one can assume, that is was made on site. Perhaps the same workshop produced also the so far omitted, partly damaged Madonna in the Frombork Cathedral, that underwent conservation treatment in 2008-2009. It is hard to determine, whether the Netherland master brought to Gdańsk an already formed topos of western art, or whether he worked it out in Gdańsk (in relation with the model of Beautiful Madonna from Toruń). The further development of his art took place most probably not in Pomerania, but in the North Netherlands. And finally the sculpture in the Holy Virgin Brotherhood Retable – another example of an import from Prague, in terms of form reaching for the patterns of late 14th century, in terms of type belonging to the times after 1400. Only this one became a subject of local reception, most probably due to its cult (indulgence) function and the miraculous air. Thus Prussian Beautiful Madonnas were imports from abroad, and not the efflorescence of local artistic tendencies. As a typological and stylistic group they remained an isolated phenomenon in Orderly State. They emerged in a specific religious climate, on the verge of traditional cult of Virgin Mary and devotio moderna, giving witness to the transformations of religious life in Prussia. However, since their artistic impact – as a type, a model, a stylistic source – was not very big, the question of their real significance as a testimony of religious devotion remains open
The organisation of liturgical space and its furnishing at the Franciscan Friars’ in late Middle Ages illustrated by an example of the Blessed Virgin Mary’s church in Toruń
Full text linkNa przełomie XIV i XV wieku przestrzeń liturgiczna kościoła franciszkańskiego pw. NMP w Toruniu była w pełni ukształtowana i przystosowana do misji i posługi zakonu braci mniejszych, wyposażona w ołtarze, najważniejsze elementy wyposażenia oraz liczne malowidła ścienne, wykorzystywane w posłudze duszpasterskiej i pobudzaniu religijnych uczuć u wiernych. Przestrzeń ta została dopełniona w końcu XV wieku za sprawą nowych elementów – stalli, balustrad, krucyfiksu. Wystrój i wyposażenie ecclesiae fratrum (ołtarz główny, dekoracje malarskie, lektorium) jest z dzisiejszej perspektywy uchwytny słabo. Znacznie więcej wiadomo o przestrzeni ecclesaie laicorum , której wystrój zachował się w większym stopniu (malowidła ścienne, rzeźby, chrzcielnica) lub jest uchwytny przez źródła pisane (organy, ambona, płyty nagrobne), także w zakresie zmian strukturalnych i transformacji związanych ze zmianami konfesyjnymi i przemianami funkcji wnętrza. Analizowane w tekście zabytki, choć nie tak liczne, jako źródła materialne są istotnym uzupełnieniem skąpej bazy archiwalnej, dotyczącej funkcjonowania jednego z najważniejszych pruskich konwentów mendykanckich w średniowieczu.At the turn of 14 th and in early 15 th century the sacred space of the Franciscan St Mary’s church in Toruń was fully developed and adjusted to the mission and ministry of the Order of Friars Minor, equipped with altars, most important furniture and numerous paintings used in pastoral ministry and in encouraging lay piety. It was completed in the late 15 th cent., especially with woodwork (stalls, balustrades, crucifix). Décor and furnishing of ecclesiae fratrum (main altar, murals, choir stalls, as well as rood screen and its altars) are from today’s perspective much less palpable. Ecclesia laicorum is in that respect much better preserved (wall paintings, sculptures, baptismal font) or known against written sources (organ, cancel, grave plates) in spite of structural alterations and transformations resulting from denominational and functional changes. The analysed artefacts – though not so numerous, as the material sources significantly complement a skimpy archival base related with functioning of one of the most significant Prussian convents in Middle Ages
The So-called Copernicus’ Chapel: a Jubilee Creation in the Gothic St John’s Cathedral in Toruń
No full textThe article is devoted to the history of transformation and re-arrangement of the first from the West chapel on the South side of the Gothic parish church of the Old Town in Toruń, at present the Toruń Cathedral of St John the Baptist and St John the Evangelist. The former merchants’ chapel dedicated to St Nicholas over its history had changed its furnishing and patrocinium twice (St Michael the Archangel/ The Guardian Angels), which had been dictated by religious needs. In the 19th century it had also assumed the function of baptismal chapel and in 1973 – the Copernicus Jubilee Year – gained an entirely new arrangement to suit the memoria of the astronomer, who was born in this town. From than on it is universally referred to “The Copernicus Chapel”. The Authors analyse the historic grounds for that commemoration (the Copernicus memorabilia collected in that interior), the principles of its new arrangement with the use of Medieval elements of the church furnishing, the elements of historic and emotional narrative as well as the contemporary implications of that creation
Piękna Madonna Gdańska i Madonna z kaplicy św. Anny we Fromborku w świetle badań petrograficznych: Uwagi o materiale i proweniencji artystycznej
Full text linkThe study concerns the identification of materials and confirmation of common workshop origin and stylistic provenance of two sculptures of c. 1420–1430, preserved from among the artistic heritage of the State of Teutonic Order in Prussia: the Beautiful Madonna of Gdańsk (in Our Lady’s Basilica in Gdańsk) and – partly destroyed – figure of Madonna from St Ann’s Chapel in Frombork (presently in the collection of the Nicolaus Copernicus Museum). Those statues, alienated from the background of the art of the region both due to their stone fabric and to their artistic form and monumental scale, had been sculpted in the same stone, most probably acquired in one of the quarries in the Scheldt river basin in the same workshop of a decidedly Western artistic formation. Even though the identification of material does not definitely decide on their artistic origin, it allows to seek the wellspring of their style in Franco-Netherland art much more confidently than before. It can not be finally decided whether the sculptures were made in Pomerania, in the workshop of a Netherland artist, for whom the stone was brought down from the region of Hainaut– Artois / French Flanders or whether they were imported from Southern Netherlands. The latter possibility however – combining the origin of raw material and the origin of artistic form – seems much more probable. The text presents in detail the methodology of testing the samples acquired from both sculptures and the derived conclusions that prove great potential of petrographic analyses in art history. It also extends the comparative characteristics of both artefacts against the background of European sculpture of the 1st half of 15th cent. The study aims – on one hand – for establishing their provenance in confrontation with the results of the analysis of the stone (especially important both for regional studies and for world studies on the Beautiful Style); on the other and – for introducing into the wider discussion on the geography of stone sources and the fabric of Mediaeval sculpture an unknown so far research material.Studium jest poświęcone identyfikacji materiałoznawczej oraz potwierdzeniu wspólnoty warsztatowej i proweniencji stylu dwóch rzeźb z ok. 1420–1430, zachowanych z dziedzictwa artystycznego państwa zakonnego w Prusach: Pięknej Madonny Gdańskiej (w Bazylice Mariackiej w Gdańsku) i – silnie uszkodzonej – rzeźby Madonny z kaplicy św. Anny we Fromborku (obecnie w zbiorach Muzeum Mikołaja Kopernika we Fromborku). Oba posągi, odosobnione na tle sztuki regionu przez swój kamienny surowiec, formę artystyczną oraz monumentalną skalę, zostały odkute z tej samej skały, pozyskanej najpewniej z kamieniołomów w dorzeczu Skaldy, w jednym warsztacie o zdecydowanie zachodniej formacji artystycznej. Choć rozpoznanie materiału nie rozstrzyga definitywnie o genezie artystycznej rzeźb, źródeł stylu ich obu można dzięki niemu o wiele pewniej niż dotychczas upatrywać w sztuce franko-niderlandzkiej. Nie można ostatecznie zawyrokować, czy rzeźby te powstały na Pomorzu w warsztacie niderlandzkiego twórcy, dla którego sprowadzono materiał pozyskiwany na obszarze Hainaut-Artois / Flandrii francuskiej, czy też są importami z południowych Niderlandów – ta druga możliwość, łącząca pochodzenie surowca i pochodzenie formy, wydaje się jednak dużo bardziej prawdopodobna. Tekst prezentuje szczegółowo metodykę badań próbek pobranych z obu rzeźb i płynące z nich wnioski, dające dowód wysokiego potencjału analiz petrograficznych dla historii sztuki, a także pogłębia charakterystykę porównawczą obu zabytków na tle rzeźby europejskiej pierwszej połowy XV wieku. Celem studium jest z jednej strony określenie ich proweniencji artystycznej w konfrontacji z wynikami badań skały (niezwykle istotne zarówno dla badań regionalnych, jak i dla światowych studiów nad stylem pięknym); z drugiej – wprowadzenie do szerszej dyskusji nad geografią złóż i tworzywem rzeźby średniowiecznej nieznanego dotąd materiału badawczego (z pełną dokumentacją badań petrograficznych, umożliwiającą dalsze analizy porównawcze).
An unresearched Gradual from St Johns’ Church in Toruń – A contribution to the study of music sources in Chełmno Diocese in the Middle Ages
No full textArtykuł referuje wstępne wyniki badań kodykologicznych, zabytkoznawczych i technologicznych przeprowadzonych przy średniowiecznej księdze muzycznej ze zbiorów Muzeum Diecezjalnego w Toruniu (nr inw. MDT-K-003) w ramach grantu 0122/NPRH6/H11/85/2018, Inwentarz Sztuki Torunia, cz. 1, Dziedzictwo sakralne, zespół staromiejski. W skąpej literaturze przedmiotu kodeks rozpoznany został jako antyfonarz, wykonany dla kościoła parafialnego pw. św. Jana Chrzciciela i Jana Ewangelisty w Toruniu, (do którego zasobów archiwalnych do niedawna należał), datowano go na przełom XV i XVI wieku. W prezentowanym artykule księga została rozpoznana jako Graduale de tempore o uzusie krzyżackim: autorzy analizują zawartość kodeksu, omawiają zagadnienia kodykologiczne, związane z jego strukturą materialną i użytkowaniem, prezentują studium zdobień i nowe wnioski proweniencyjne. Księga wykazuje bardzo bliskie analogie – zarówno pod względem oryginalnej struktury, jak i charakteru dopisów – wobec niekompletnego woluminu Graduale de sanctis ze zbiorów Biblioteki Diecezjalnej w Pelplinie (sygn. L2). Oba woluminy pochodzą prawdopodobnie z kręgu kapituły chełmińskiej (co potwierdza także analiza porównawcza zdobień w pelplińskim antyfonarzu L5–L6 wykonanym na zlecenie dziekana kapituły w Chełmży, Iohannes Copetz w 1419 r.) i powstały najpewniej w 2. ćwierci XV wieku. Dokonana tu identyfikacja ważnego, ale mało znanego dzieła rękopiśmiennego, przechowywanego w zbiorach toruńskich, ma duży potencjał i w ujęciu porównawczym może prowadzić do wyłonienia konkretnego skryptorium, czynnego w I poł. XV w. przy katedrze w Chełmży.This article presents preliminary results of codicological, historical and technological research into a medieval liturgical manuscript from the collection of the Diocesan Museum in Toruń (inv. no. MDT-K-003), carried out thanks to grant no. 0122/NPRH6/H11/85/2018, ‘An Inventory of Toruń’s Art’, part 1, ‘Sacred Art Heritage, Old Town Complex’. In the scant subject literature, this codex is identified as an antiphonary compiled for the parish church of SS John the Baptist and John the Evangelist in Toruń (in the archive of which it remained until recently) and dated to the turn of the sixteenth century. In the present article, this book is identified as a Graduale de tempore used by the Teutonic Knights. The authors analyse the contents of the codex, discuss codicological issues related to its material structure and use, present a study of its decoration and draw new conclusions concerning its provenance. The book demonstrates very close analogies, with respect to both its original structure and the character of the later entries, to an incomplete Graduale de sanctis held in the Diocesan Museum in Pelplin (shelf mark L2). Both these manuscripts probably originated in the environment of Chełmża (Kulmsee) Cathedral Chapter (as is confirmed by comparative analysis with the decoration in the Pelplin Antiphonary L5–L6, compiled in 1419 at the request of Iohannes Copetz, dean of the chapter, in Chełmża (Kulmsee)). The two volumes can probably be dated to the second quarter of the fifteenth century. Our reinterpretation of an important but little-known handwritten source from the Toruń collection shows considerable potential. Comparative studies may lead to the identification of a scriptorium operating in the first half of the fifteenth century at Chełmża (Kulmsee) Cathedral
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