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Historia stall zachodnich w kościele Wniebowzięcia Najświętszej Marii Panny w Toruniu w świetle ostatnich prac badawczych i konserwatorskich
Get PDFThe author attempts a preliminary stratification of the set of choir stalls in the former Franciscan church of the Assumption of the Virgin Mary in Toruń, using methods of structural analysis supported by non-destructive testing (NIR) and dendrochronology. The paper is focused on one fragment of the stalls – the seats, probably moved in the 17th century from the chancel to the last bay of the nave, close to the western portal. These pieces of medieval furniture (formerly probably a single unit belonging to the ensemble in the choir), were extended here with parapets and technically adapted to the requirements of the new location, where they were visually harmonized with the western balcony built at the same time. During the Bernardine period, the stalls aesthetics have been readapted to the changes in the balcony (they were decorated with a rocaille ornament, no longer visible today). In this way, the stalls gained a “new life” in their new location. They reflect the confessional and functional transformation of the church. The author devotes particular attention to two ideological threads: the iconographic content of the Gothic pew-end with scenes from Aesop’s fables and the story of Reynart the fox, which were uncovered after almost a century in 2021, and – authenticated thanks to infrared – the Bernardine meditative sentences on the parapets, later painted over. These discoveries were made possible thanks to research conducted within the “Art Inventory of Toruń” project and the preliminary conservation-restoration works of the north section in 2022. The conservation work on the western stalls continues and this text is a proposal for the reconstruction of the object’s history that may be supplemented or modified in the future.Autor dokonuje próby wstępnego rozwarstwienia zespołu stall chórowych w kościele pofranciszkańskim WNMP w Toruniu, korzystając z metod analizy strukturalnej wspartej badaniami nieniszczącymi (NIR) i dendrochronologią. Wywód jest skoncentrowany na jednym ich fragmencie – siedziskach, przeniesionych prawdopodobnie w XVII wieku z prezbiterium do ostatniego przęsła nawy głównej, w strefę portalu zachodniego. Meble te (dawniej zapewne jeden element należący do kompletu stall w chórze) zostały tu rozbudowane o przedpiersia i przystosowane technicznie do wymogów nowego miejsca, a także wizualnie zharmonizowane z wzniesioną w tym czasie emporą zachodnią. W okresie bernardyńskim ich estetykę dopasowano znów do zmian w obrębie empory (zostały ozdobione – dziś już niewidocznym – ornamentem rocaille’owym). Na nowym miejscu stalle zyskały „nowe życie” i rejestrują przemiany konfesyjnie i funkcjonalne kościoła. Osobną uwagę autor poświęca dwóm wątkom ideowym: treściom ikonograficznym gotyckiego policzka z scenami z bajek Ezopa i historii lisa Reynarta, które zostały odsłonięte po niemal stu latach w 2021 roku, oraz – uczytelnionym dzięki podczerwieni – bernardyńskim sentencjom medytacyjnym na przedpiersiach, później zamalowanym. Odkrycia te były możliwe dzięki badaniom w projekcie „Inwentarz sztuki Torunia” i sondażowej konserwacji-restauracji policzka i przedpiersi północnych w 2022 roku. Prace konserwatorskie przy stallach zachodnich są kontynuowane, a niniejszy tekst jest propozycją rekonstrukcji historii tego zabytku, która być może zostanie w przyszłości uzupełniona lub odmiennie zinterpretowana
Dawny „ołtarz ambonowy” w kościele pw. Matki Boskiej Różańcowej w Boguszynach w kontekście ostatnich prac konserwatorskich
Get PDFIn the parish church in Boguszyny/Gottberg (commune Pełczyce, district Choszczno) in West Pomerania one can find interesting relics of Lutheran wooden “pulpit-retable,” that over the years followed the changing liturgical needs of the religious communities using the church. Despite their early dating and good artistic quality they hitherto escaped the attention of researchers. The present study aims for introducing that historic artefact into the literature as an example of “living” work of art, adjusted to diverse contexts. The opportunity to undertake that subject have been recently performed conservation works (A. Przepióra, M. Ziemkiewicz, Toruń 2010), that resulted in recreating the artistic impact obliterated over the centuries. The main body of the retable and the carcass of the pulpit, decorated in northern renaissance style, had been made in the first quarter of 17th century. The retable made one of the first in West Pomerania examples of an autonomic, Lutheran architectonic retables, liberated from the Mediaeval tradition. Its iconographic program remains unknown (there is an information on a nonexistent relief or The Last Supper in the predella). In the side recesses of the retable sculptures of Virgin with the Child and St. Barbara were placed, originating probably form some Gothic triptych. They in turn make an interesting proof of the activities of local woodcarvers’ workshops in the first quarter of 15th century, scarcely represented in this area. In an unknown circumstances (probably already after 1700) the Boguszyny retable and pulpit had been integrated in the characteristic “pulpit-retable,” popular in this area since late 17th century. In such a form it functioned till the World War II. After the church have been taken over by the Catholic church, the retable underwent a number of drastic conversions, that aimed for adjusting it to the new function. In 2010 the conservators were faced with those conversions. The completed conservation works has brought the retable to the condition closest to the original phase (with reconstruction of missing elements of the structure, polychrome and gildings and with stylised arrangement of central quarter), relics of the pulpit were returned to its former function. The performed treatment seems to be a reasonable compromise between the Protestant history of the artefact and its present Catholic usus . The present paper, analysing in detail all those transformations, is a contribution to the recently undertaken discussion on the conservation problem of transformed historic monuments and artefacts serving different denominations and on the attitude of contemporary preservation and conservation of monuments towards those transformations
Gotyckie malowidło z Ukrzyżowaniem w kościele Wniebowzięcia Najświętszej Marii Panny w Toruniu w świetle najnowszych badań
Get PDFThis paper presents the results of recent studies (stylistic analysis and non-destructive testing) of the painting located in the first Eastern span of the ground floor of the northern aisle (former cloister) in the church of the Assumption of the Blessed Virgin Mary in Toruń. Regardless of the poor state of preservation of the painting, of which just the general outlines are recognizable, there are two subsequent chronological layers visible, detectable also by the near infrared and UV-induced fluorescence analyses. The younger layer can be dated back to the late 14th century, which is indicated by its typology (the image of the Crucified) and by its general stylistic features rooted in Bohemian art; the older layer can be dated to the first half of 14th century. The painting made a part of decoration of the brothers’ space (with possible access of lay people). Its original function is not known. Surely, it documents the existence of the Passion cult with strong Eucharistic colouring as well as to the Franciscan observances (processional liturgy?). It also makes a proof of actualisation of the interior décor and of the transmission of Bohemian patterns in late 14th century.Artykuł przedstawia rezultaty nowego rozpoznania (badania stylistyczne i techniki nieniszczące) malowidła w pierwszym od wschodu przęśle przyziemia nawy północnej (dawny krużganek) w kościele Wniebowzięcia NMP w Toruniu. Choć malowidło jest słabo zachowane i widoczne tylko w ogólnym zarysie, czytelne są dwie kolejne warstwy chronologiczne, rozpoznawalne także w fotografii w bliskiej podczerwieni i fluorescencji wzbudzanej UV. Warstwę młodszą można datować na koniec XIV w., na co wskazuje typologia (wizerunek Ukrzyżowanego) oraz ogólne cechy stylowe osadzone w sztuce czeskiej; warstwa starsza może pochodzić z 1. połowy XIV w. Obraz należał do wystroju przestrzeni brackiej (z możliwym dostępem ludzi świeckich). Jego pierwotna funkcja nie jest znana. Z pewnością dokumentuje kult pasyjny z silnym zabarwieniem eucharystycznym, a także obrzędowość franciszkańską (liturgia procesyjna?). Jest też dowodem aktualizacji wystroju wnętrza oraz transmisji wzorców czeskich pod koniec XIV w
Wprowadzenie do problematyki polichromii rzeźb i detali architektonicznych z tzw. sztucznego kamienia w sztuce państwa zakonnego w Prusach
Get PDFThe issue of colouring in stone sculpture is not a new question in the studies on art, but recent decades have been marked with significant increase of this research current, including studies on technology and conservation works. Interdisciplinary projects of that type have been conducted both in the sphere of monuments of the Antique (the studies of V. Brinkmann, the Bunte G ö tter project), and in the sphere of mediaeval sculpture – mostly monumental one (the cathedrals of Senlis, Amiens; research and conservation of the sculptures in Magdeburg, Naumburg, Bamberg as well as the churches in South Germany). This research announcement aims for pointing out to this issues regarding the sculpture made of the so called artificial stone in the Monastic State of the Teutonic Knights in Prussia. The research on the polychrome of 14th century sculpture and architectonic details made of this material for several years accompanies conservation – restoration and didactic activities carried out in the Institute for the Study, Conservation and Restoration of Cultural Heritage NCU. The resulting conclusions are very important for the theoretical studies on the art of the region, referring not only the issue of the complete aesthetic impact of those works, but contributing also to the issue of their workshop tradition. The investigation carried out on several artefacts from Teutonic castles in Toruń and Malbork revealed quite restricted colour palette of the polychrome (vermilion and lead white for flesh colour, black for the borders, gold-leaf) and a layer of minium as the bottom-most layer common for the most of them. That layer most probably was a priming, levelling the irregularities of the base, serving also as an underpainting. The comparative analysis revealed that this method was deeply rooted in the Western practice of 13th and 14th centuries on German territories. Its employment in Prussia contradicts the theory of the locally active workshops having developed specific painting techniques for the so called artificial stone. At the present stage of studies it can not be decided, whether the limited colouring of the subsequent polychrome layer proves developing an individual, modest aesthetics for the sculpture in the Monastic State (corresponding with the brick material of the architecture) or whether their final colouring also followed the Western patterns, but due to the poor state of preservation one deals with the incomplete and not entirely authentic image. This question seems attractive enough to launch a future inter-field research project aiming for answering it
Zbigniew Nawrocki, Historyczne kamienice w Toruniu. Gotyk, Wydawnictwo Firma Fotograficzno-Wydawnicza Photo Studio WM, Toruń 2016, ss. 152, il. kolor
Get PDFNot only the Golden Gate? A newly discovered fragment from the decoration of the castle chapel portal in Althaus (Starogród) as a contribution to the identification of ceramic sculpture in the Teutonic Order's State in Prussia
Get PDFThe paper features new observations on ceramic architectural detail and ceramic sculptural elements, the most common types of finishing brick buildings in the Ordensland during the 13th and first half of the 14th centuries. It presents an unpublished fragment which came to light as a result of the archaeological excavations in Starogród conducted in Kulmerland (Chełmno land) in the context of the project Castra Terrae Culmensis (2017), namely the fragment of a portal (?) sculpture of an unknown Saint. It is a minor discovery of small size, but compared to other preserved artwork of this type from around 1300 from the Teutonic Order’s castles of Marienburg (today Malbork), Elbing (Elbląg), Thorn (Toruń), and Graudenz (Grudziądz), it is of great “causative power” in terms of revising our knowledge of types, manufacturing techniques, and above all, the actual layers of meaning with regard to figural decorations in the oldest Teutonic Order’s strongholds in Prussia. As a result, ceramic architectural sculpture can be considered a phenomenon of much wider range than has previously been accepted. The emphasis regarding its condition can be moved from the exceptional symbol of rank and power toward genius loci of architecture from the first phase of construction campaigns undertaken by the Teutonic Order in Prussia
Zamek krzyżacki w Toruniu XIII–XXI w. Studium historyczno-architektoniczne z katalogiem detalu architektonicznego ze zbiorów Muzeum Okręgowego. Edited by Elżbieta Pilecka, Zbigniew Nawrocki, Romualda Uziembło, and Jadwiga Łukaszewicz
No full textZamek krzyżacki w Toruniu XIII–XXI w. Studium historyczno-architektoniczne z katalogiem detalu architektonicznego ze zbiorów Muzeum Okręgowego [The Teutonic Order’s Castle in 13th–21th-Century Thorn: Historical and Architectural Study with a Catalog of Architectural Detail from the Collections of the District Museum in Toruń]. Edited by Elżbieta Pilecka, Zbigniew Nawrocki, Romualda Uziembło, and Jadwiga Łukaszewicz. Toruń: Muzeum Okręgowe w Toruniu, 2017. 243 pp. ISBN: 978-83-60-324-80-6. [review]Zamek krzyżacki w Toruniu XIII–XXI w. Studium historyczno-architektoniczne z katalogiem detalu architektonicznego ze zbiorów Muzeum Okręgowego [The Teutonic Order’s Castle in 13th–21th-Century Thorn: Historical and Architectural Study with a Catalog of Architectural Detail from the Collections of the District Museum in Toruń]. Edited by Elżbieta Pilecka, Zbigniew Nawrocki, Romualda Uziembło, and Jadwiga Łukaszewicz. Toruń: Muzeum Okręgowe w Toruniu, 2017. 243 pp. ISBN: 978-83-60-324-80-6. [review
Novitas Versus Auctoritas w sztuce średniowiecznej : Studia dedykowane Profesorowi Piotrowi Skubiszewskiemu w dziewięćdziesiątą rocznicę urodzin
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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