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La Padova di August Fryderyk Moszyński

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Łukaszewicz J.

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2021

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nr 12.1

123-140

EN

This article is dedicated to the image of Padua in the diary of August Fryderyk Moszyński (1731–1786), a close collaborator of King Stanislas August Poniatowski, architect, director of royal buildings, and promoter of the Warsaw theatre. The diary, which covers a journey to France and Italy (1784–1786), has been partially published in the original French version (1930; 2010) and Polish translation (1970). The diary is remarkable for Polish 18 th -century odeporic literature due to its critical approach, quasi-scientific character, and interest in contemporary developments. In this article, the author establishes the dates of Moszyński’s stay in Padua and then analyses elements such as the descriptions, impressions, and assessments of urban environments; buildings, pictures, people, and events; as well as cultural and scientific life. The portrait of Padua drawn by Moszyński is compared with that which emerges from other travelogues and texts presented to the Polish public at the time, in particular with the description of Italy that appeared in the Warsaw journal "Pamiętnik Historyczno- Polityczny" in 1787. The analysis of the travelogue passages relating to the two stays in Padua confirms the versatility of the traveller. The description of Padua by Moszyński is multifaceted, often ironic and personal. He wrote as an expert in architecture and urban spaces; a connoisseur of theatre; a builder of scientific instruments; an admirer of Renaissance artists; a lover of truth in art; and a sharp and critical observer. The last part of the article is dedicated to the circumstances of Moszyński’s death, which, contrary to what may be suggested by the diary, did not occur in Padua but in Venice (on 3 July 1786, at the famous Leon Bianco inn).

IT

L’articolo è dedicato all’immagine di Padova nel Diario di viaggio in Francia e in Italia (1784–1786) di August Fryderyk Moszyński (1731–1786), stretto collaboratore del re Stanislao Augusto Poniatowski, architetto, direttore di edifici reali, promotore del teatro di Varsavia. Il diario è stato parzialmente pubblicato in francese (1930, 2010) e in traduzione polacca (1970). Nella letteratura odeporica polacca del Settecento si distingue per il suo approccio critico, il carattere quasi scientifico e l’interesse per il presente. Una volta fissate le date dei soggiorni a Padova, vengono analizzati elementi quali descrizioni, impressioni e valutazioni relative ad ambienti urbani, edifici, quadri, persone ed eventi, nonché la vita culturale e scientifica. Il ritratto di Padova disegnato da Moszyński è messo a confronto con altri odeporici dell’epoca e quello che emerge da testi su argomenti simili presentati al pubblico polacco nello stesso periodo, in particolare con la descrizione dell’Italia apparsa a puntate sulla rivista varsaviana "Pamiętnik Historyczno-Polityczny" nel 1787. L’analisi dei brani del diario relativi ai due soggiorni a Padova conferma la versatilità del viaggiatore. La descrizione di Padova è sfaccettata, spesso ironica e personale. Moszyński scrive da esperto di architettura e di spazi urbani, conoscitore di teatro, costruttore di strumenti scientifici, ammiratore di artisti rinascimentali, amante della verità nell’arte, osservatore acuto e severo. L’ultima parte del saggio è dedicata alle circostanze della morte di Moszyński, che – contrariamente a quanto affermato in alcune fonti e a quanto suggerito dal diario stesso – non è avvenuta a Padova, bensì a Venezia (il 3 luglio 1786, nella famosa locanda del Leon Bianco).

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L’artista e i “luoghi della memoria”. Padova nelle illustrazioni di Aleksander Gierymski pubblicate sulla stampa

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Zarzycki J.

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nr 12.2

87-109

EN

In the article, four illustrations by Aleksander Gierymski are described. These illustrations were completed for the illustrated press during Gierymski’s sojourn in Italy from 1885 to 1886. These illustrations were typical of the “Polish traces in Italy,” relating to Padua in this case, and were published in the magazines "Wędrowiec" and "Kłosy". These illustrations show the tombs of exceptional Poles who were buried in Padua; commemorative plaques dedicated to them (in honour of Copernicus); or the monuments of Prato della Valle (Sobieski and Batory). However, in the article, based on the illustrations and the accompanying texts, and based on the artist’s correspondences (with the likes of Józef Ignacy Kraszewski, Michał Wiszniewski, Stanisław Dunin-Borkowski, and Władysław Bełza) and his diaries relating his time in Italy, the following issues, amongst others, will be addressed: Gierymski’s work method; the discourse (including the visual discourse) of “Polish traces in Italy” in Padua; Gierymski’s illustrations as an interpretation of the Polish "lieux de mémoire" in Italy. The article encourages an adoption, in the future, of a wider perspective that includes the illustrations of the “Polish traces in Italy” of other Polish artists from that period.

IT

In questo articolo vengono descritte quattro illustrazioni realizzate da Aleksander Gierymski per la stampa illustrata durante il suo soggiorno in Italia dal 1885 al 1886. Erano illustrazioni tipiche di “tracce polacche in Italia”, in questo caso relative a Padova, e pubblicate sulle riviste: "Wędrowiec" e "Kłosy". Esse mostrano le lapidi funerarie di eccezionali polacchi sepolti a Padova, quelle commemorative a loro dedicate (in onore di Copernico), oi monumenti di Prato della Valle (Sobieski e Batory). Pertanto, nell’articolo, basato sulle illustrazioni e sui testi di accompagnamento, sulla corrispondenza dell’artista e sui testi di viaggio in Italia (di Józef Ignacy Kraszewski, Michał Wiszniewski, Stanisław Dunin-Borkowski e Władysław Bełza), sono state affrontate, tra le altre, le seguenti questioni: il metodo di lavoro di Gierymski; il discorso (anche quello visivo), “le tracce polacche in Italia” a Padova; le illustrazioni di Gierymski come interpretazione del "lieu de mémoire" polacco in Italia. L’articolo invita ad adottare in futuro una prospettiva più ampia: le illustrazioni delle “tracce polacche” in Italia” di altri artisti polacchi di quel periodo.

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Early 20th Century Miracula Related to St. Anthony’s Wondrous Painting from Sądowa Wisznia in the Light of Archival Sources from the Collection of the Krakow Archive of Our Lady of the Angels’ Province of the Reformed Franciscans

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Małocha J.

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nr 1

159-206

PL

Artykuł stanowi edycję źródła archiwalnego będącego spisem cudów, jakie dokonać się miały od ok. 1900 r. do 1913 r. za sprawą św. Antoniego Padewskiego w wizerunku z reformackiego klasztoru w Sądowej Wiszni. Analizowany tekst znajduje się obecnie w zasobie krakowskiego Archiwum Prowincji Matki Boskiej Anielskiej OO. Reformatów nie stanowi on jednak samodzielnej jednostki archiwalnej, lecz został włączony w tom rękopiśmiennej Kroniki klasztoru w Sądowej Wiszni z lat 1888–1945. Właściwą edycję źródła – wykonaną według zasad I. Ihnatowicza, tj. z zastosowaniem podwójnego systemu rozbudowanych przypisów – poprzedzono wieloelementowym wstępem. Prowadzi on od krótkiego omówienia specyfiki kultu świętego z Padwy w środowisku polskich reformatów, przez rys historii klasztoru w Sądowej Wiszni i samego łaskami słynącego obrazu, aż po analizę przedmiotowych mirakuli. Autorka pokusiła się tu o wskazanie analogii do wymienionych cudów oraz o rozważania na temat rysującego się w świetle informacji źródłowych wycinkowego obrazu kresowego społeczeństwa z początku XX w. w aspekcie pobożnościowym oraz tendencji do uwidocznionej tu wiary w cudotwórczą moc obiektów kultu. Sięgnęła przy tym także do innych źródeł z zasobu wspomnianego archiwum (m.in. ksiąg intencji mszalnych, kroniki, dokumentacji Stowarzyszenia św. Antoniego).

EN

The article is an edition of the archival source containing a list of miracles which took place from ca. 1900 to 1913 through the intercession of St. Anthony of Padua in a painting from the Reformed Franciscan monastery in Sądowa Wisznia. The analyzed text is currently kept in the resources of the Archive of Our Lady of the Angels’ Province of the Reformed Franciscans in Krakow. Note that it does not constitute an independent archive unit, but has been instead incorporated in the hand-written Chronicle of the Monastery in Sądowa Wisznia of 1888–1945. The actual source edition – prepared in accordance with the principles set by I. Ihnatowicz, i.e. a complex, double note system – is preceded by a multi-section introduction. It starts with a brief outline of the unique characteristics of the cult of St. Anthony among the Polish Reformed Franciscans, followed by a short history of the monastery in Sądowa Wisznia and the gracious painting, and closes with an analysis of the miracles. The author did not hesitate to point out analogies withthe miracles described in the article and to include reflections on the fragmentary picture of the early 20th-century society of the Eastern Borderlands of Poland based on the sources, in terms of their religiousness and a tendency to put faith in a miraculous power of objects of worship. She also used other sources from the archives (e.g. the mass intention book, the chronicle and the documents of St. Anthony’s Society).