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Architektura komturskiego zamku krzyżackiego w Grudziądzu i wyposażenie kaplicy w świetle źródeł ikonograficznych oraz pisanych

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Tylicka T.

tom 20

67-98

It is the history, old design and equipment of the Teutonic Komtur castle in Grudziądz that do still arise controversy in scientists, in spite of the fact that there existed relatively significant amount of historical iconographic and written sources (vetting inventories). One should deliberate to what extent the old panoramas of the city, with the view of Teutonic fortress, could be treated as records purely documentary and what inventory value they may have. An answer to that question was sought after by earlier researchers of the Grudziądz castle: X. Froelich, M. Töppen, C. Steinbrecht and J. Heise in the 19th century and B. Schmid, H. Jacobi and K. Szymański in the 20th century. The analysis of preserved drawings, etchings and projects of the castle from the 17th, 18th and 19th century as well as written sources (inventory records) allow today to confirm the existence, location, and to some degree also appearance of fundamental structures of convent foundation, that is, the High Castle and the special organisation of the bailey. Basing on comparison of foundation’s main elements, reoccurring on views, it is possible to make a hypothetical reconstruction of the fortress and to track its transformations in the space of time, indicating gradual destruction processes. It is necessary to approach certain preserved iconographic materials with some restraint and treat them more as artistic works, for which the castle became the source of inspiration, rather than works of stricte documentary value; in that way those imaginings have so far been often enough estimated by former researchers. It was the Virgin Mary chapel, exceptionally thoroughly considered when it comes to its architecture and containing equipment of high artistic level, that was one of the most important places in the High Castle. Up till today, there have survived only few relicts of architectural detail – two figural sculptures, one zoomorfic sculpture and vaulting keystone, integrated with the tower of St Nicolas parish church (currently a collegiate church). From the chapel’s equipment, it was the main altar in the form of pentaptych, with the main scenes depicting Coronation and The Falling Asleep of the Virgin Mary that survived. That outstanding work of board painting of significant iconographic programme, named the Grudziądz Poliptych, is currently placed in the collections of the Gallery of Medieval Art at the National Museum in Warsaw. It contains 18 scenes of the life of Mary and Jesus and constitutes synthetic record of Redemption history, intended for watching in three scenes, depending on liturgical feasts during the year. Previous opinion discrepancies regarding dating of the work are closed by the fact that the altar was mentioned by a Teutonic inventory record from 1383, what at the same time acknowledges the thesis of former researchers’ group (J. Heise, B. Schmid, B. Makowski, W. Łoś among others) that tracked the time of the pentaptych’s origin to the years 1370 – 1380.