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2 2015

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Graficzne tezy z wizerunkami św. Ignacego Loyoli i św. Franciszka Ksawerego w Muzeum Archidiecezji Przemyskiej

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Dzik J.

tom 6

317-324

The Archdiocesan Museum in Przemyśl holds two large-format thesis posters commemorating public viva voce examinations of 18th-century doctoral dissertations of Antoni Bielecki of the Jelita coat of arms (no. V/354) and Michał Łoś of the Dąbrowa coat of arms (no. V/355). Nearly identical in size (176 × 102 cm) and bearing appropriate dedications, the two posters are mezzotints on paper pasted in three parts on canvas. Their condition is poor. They come from the parish church in Nizhankovice (formerly Krasnopol, near Staryi Sambir in Ukraine), as evidenced by the entry in the inventory register of the museum. Interpretation of the various elements of the compositions with its complex symbolism is hampered by the poor condition of the posters. The allegorical-symbolic compositions represent a hitherto unknown iconography of the apotheosis of the Jesuit patriarchs – St. Ignatius of Loyola and St. Francis Xavier. In the first of them St. Ignatius of Loyola, surrounded by four allegorical figures, holding a lance plunged into a dragon’s head and wearing a chasuble with the Jesuit monogram IHS, is depicted as a victor over evil (vanquisher of heresy). The second poster features the baptism of the exotic queen Neachile (a personification of Asia?) by St. Francis Xavier surrounded by allegorical figures (e.g. a personification of baptism (?) and Eve the first mother embodying the original sin). The two works were published by Józef Sandurski and Michał Piotrowski, chancellors of the Jesuit Accademia Mariana in Lviv (one of them bears the date of 24 May 1745), to commemorate a public viva voce examination of two dissertations in theology. The posters, not recorded in the literature, were made, as is suggested by their call number, in the Augsburg workshop of Johann Andreas Pfeffel (1674–1748). They testify to the existence of lively contacts between Poles from the Easter Borderlands, especially from the prestigious Jesuit College in Lviv, and German printing workshops, which thrived in the 18th century. They are unique, because very few such printed pieces have been preserved in Poland. Worthy of note are also similar contemporary theses associated with Polish saints – John of Dukla and Stanislaus Kostka. The first, by an unknown author, depicts the Vision of St. John of Dukla (print collection of the National Museum in Cracow) and is dedicated to the Deputy Cup-Bearer and Standard-Bearer of Lithuania, Prince of the Holy Roman Empire of the German Nation, Hieronim Radziwiłł (1715–1760). Another thesis poster depicting this Bernardine father was made by Johann Wolfgang Baumgartner and Georg Christoph Kilian. Of interest is also a thesis poster dedicated to the Polish Jesuit St. Stanislaus Kostka (Auditus from a series illustrating the five senses) made after a design by Johann Wolfgang Baumgartner in the Klauber brothers’ workshops (National Museum in Cracow, Museum of the Czartoryski Princes). Thesis posters with hagiographic themes are an interesting example of contacts between monasteries and German printing houses. They have not been thoroughly examined so far in Poland and, therefore, require further study.

Obrazy wizji św. Bonawentury i św. Franciszka z Asyżu (1. poł. XVIII w.) z klasztoru Franciszkanów reformatów w Przemyślu. Nowe rozpoznanie ikonograficzne

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Dzik J.

2015

nr 1

153-166

The conservation of two, late Baroque, semi-circularly closed images of nearly identical size, located in the Reformed Franciscan monastery of St. Anthony in Przemyśl, which were thought to present the Communion of Saint Francis and the Veneration of the Cross by Saint Francis, brought about interesting outcomes. It turned out that the images were previously interpreted mistakenly, as they actually present the Communion of Saint Bonaventure and the vision of Saint Francis in Vicalvi (Vision of an angel with an ampoule), typical of the Franciscan post- Trent iconography. The pattern for the image Communion of Saint Bonaventure in the Przemyśl monastery was an engraved reproduction of a painting by A. van Dyck, which was to be created by Pieter Bailliu, an engraver from Antwerp (Balliu; around 1613- after 1660). The creation referred to the Last Communion of Saint Francis by Rubens. According to Carl Justi, the main idea of the presentation was a feeling of humility and a particular dignity of Saint Bonaventure towards the Blessed Sacrament. As a young monk, he attended a mass, but felt too unworthy to receive Holy Communion every day. During the mass, an angel appeared who, after taking a particle of a Host from the hands of a priest celebrating the mass, put it into Bonaventura’s mouth, so that “he knew that it was better to receive the Eucharist with love than to refrain from it for fear”. That pattern was common in Reformed Franciscan churches. The Communion of Saint Bonaventure was created to decorate the sacristy of the church in Pińczów (signature A. N. W. and the date 1717) and as a modello stored in the monastery in Kraków for an uncreated altar picture or sacristy decoration. That scene is also presented in the sacristy of the former Bernardine (now Dominican) church in Św. Anna near Przyrów. The second picture, Vision of an angel with an ampoule, was a reproduction of an engravery by Giovanni Francesco Barbieri called Guercino, presenting the vision of Saint Francis of Vicalvi, referred to as Vision of priestly dignity. The composition, popularized by, among others, the engraveries by Giovanni Battista Pasqualini (1630), was a pattern for painted decorations in the sacristies of Reformed churches in Pińczów, Wieliczka, Kęty and Biecz. According to Raffaell Colace in the article San Francesco e l’angelo con l’ampolla, the image of the saint by Guercino can be interpreted in two ways. On the one hand, in the context of underlining the humility of the saint who considered himself unworthy of being a priest and, on the other hand – the “spotlessness” of priesthood, the value particularly emphasized by the Catholic doctrine after the Council of Trent. The discussed pictures are a typical element of equipment of the sacristies of Reformed churches in the former Lesser Poland province. They were probably connected with the function of that place, in which the liturgical celebration was prepared. It can be presumed that, in the past, the pictures could have been the equipment of the sacristy of the Przemyśl church. It seems to be confirmed by the archival files kept at Reformed Franciscan Province Archives from the 19th century, reporting “great images over the mensa in the sacristy”. The images, created by a local guild artist or an artist from the Order do not manifest significant artistic values. However, they are interesting from the point of view of iconographic values, as a reproduction – through graphic patterns – of renowned works of Guercino and van Dyck, who are among the greatest European painters. Presenting both legendary events from the life of the patriarch of the Order and the main theorist of Franciscan thought was supposed to emphasize the new, post-Trent form of devotion – veneration of Eucharistic Christ and an exceptional dignity of celebrating the Holy Mass. Perhaps the humble attitude of the monks had a moralizing significance in a form of an example for the priesthood in the Reformed Franciscan order. Thus, the presentations are of high historical and cultural importance for the research on the history of the order.