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IDENTYFIKACJA MARMURU UŻYTEGO W SARKOFAGU WŁADYSŁAWA JAGIEŁŁY W KATEDRZE WAWELSKIEJ

100%

Bromowicz J. , Magiera J.

Ochrona Zabytków

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2006

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nr 3

87-96

EN

In an attempt to identify the marble of the tomb of King Jagiello, three kinds of marbles were used as a refernce material, i.e.: Italian Ammonitico Rosso, Austrian Roter Knollenkalk and Hungarian red. Structure, texture and mineral composition were examined and SEM-EDAX analysis was done. Very limited size of the sample available disabled the use of the optical microscope. Generally, the tomb is made of red limestone with a nodular structure and sound, non porous texture. The nodules are 1 to 5 cm in diameter. This kind of a decorative limestone being succeptible to carving and polishing is traditionally called a 'marble'. Four varieties were identified in the tomb: Variety 1. Colour is red-brownish, nodules are slightly lighter than a matrix. Indistinct parallel bedding, stylolites and ammonites can also be seen. Variety 2. Generally, red-brownish in colouring, with stronger contrast between nodules (yellow-pinkish) and matrix (brown-reddish). Variety 3. Dark red-brownish. Nodules do not contrast strongly from the matrix. Variety 4. Colour is intermediate between varieties 1 and 2. Structure, texture and colour point to the Ammonitico Rosso marble as a stone applied in the tomb. Size, shape and colour of the nodules as well as colouring of the matrix make it similar to a variety that occurs in the vicinity of Verona and is called Rosso di Verona. Hungarian marbles obviously differ from that used in the tomb. Their colouring is generally darker and more brownish. Nodules are less pronounced and less contrasted from the matrix. SEM and SEM-EDAX analyses did not appear particularly diagnostic. The sample from the tomb was generally more fine grained than the reference samples thus disabling comparison of further structural and textural features. However, similarities were detected between the tomb marble and the Rosso di Verona marble, e.g. in the texture and number of genarations of the micrite, presence of clay minerals and iron oxides. Noticeable is a presence of Al, Si and K in the tomb marble, being apparently connected with clay minerals and with products of chemical weathering. All this point to the Rosso di Verona as the most probable stone applied in the tomb. Chemical composition of the marbles form the Verona area is following: Si - 5.90% CaO - 51.31% MgO - 0.14% CO2 - 40.48% Fe2O3 - 0.66 % FeO - traces Al2O3 - 0.84% Mn - traces Average porosity is less than 0.5%, and water sorption is less than 0.1% (W. D. Grimm, R. Snethlage, 1984).

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THE MAUSOLEUM OF SIGISMUND I, THE RORANTYSCI CHOIR, AND CRACOW RENAISSANCE 'MUSICOLOGY'

80%

Targosz K.

Studia Waweliana

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2007

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nr 13

91-104

EN

The article deals with the mausoleum of King Sigismund I, the first Renaissance funerary chapel in Poland, a special college of singers attached to the chapel, called the Rorantysci choir, and Renaissance 'Musicology' - a collection of musical treatises. The time bracket for the construction of the mausoleum in the Wawel Cathedral is set by the years 1519 and 1533. The author of the chapel was the Renaissance artist Bartolomeo Berrecci. The decoration includes a relief sculpture of King David and quotations from the Psalms, engraved on the frieze of the entablature. Ten years later, in 1543, the king brought into being a special choir (Rorantysci Choir), which was obliged to chant an early morning Mass (rorata) every day throughout the year. Between 1515 and the mid-1540s a number of treatises on the art of singing were published in Cracow. Writers such as Stephanus Monetarius, Sebastianus Felstinensis, Georgius Libanus, and others refer to the Pythagoreans, Plato, Cicero, St Augustine, Boethius, and more recent authors. They distinguish human music ('musica humana') as an expression of the harmony of the human soul and body, also understood as vocal music. The authors of the treatises placed great emphasis on the importance of music in the relationship between God and people, on the worship of Him by, for example, singing the Psalms, as was practised in the Sigismund mausoleum.

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THE OLD-TESTAMENT GENESIS OF RELATIONS BETWEEN THE CREATORS OF THE SIGISMUND CHAPEL: THE KING AND BERRECCI

80%

Zadrozny T.

Biuletyn Historii Sztuki

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2005

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tom 67

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nr 1-2

9-57

EN

Drawing on the Bible and 15th-century examples of biblical exegesis, the author of this article seeks to explain the content of the inscription Bartholo Florentino Opifice carved in the dome of the lantern in the Wawel chapel dedicated to the Assumption as well as the causes behind the lofty placing of this inscription within the sphere symbolising empyreal heaven among choirs of angels. This inscription has been interpreted not only as an expression of social and cultural transformations, but also as an integral part of the entire building's ideological programme, inspired by the effects of neo-Platonic doctrines, thus permitting the artist to perceive his artistry and the fruits of his labour in an analogy to a divine work of creation. In previous discussion on the inscription's content, genesis and meaning, no consideration has been taken of the theological circumstances in which the Chapel was built. The voice of the speaker from heaven is a characteristic element from the Bible of direct revelation, and simultaneously a symbol of every other kind of revelation. These kinds of revelation were experienced by Moses and Solomon, the builders of two temporal forms of the House of God: the Tabernacle and the Temple of Jerusalem as two constructions of perfection. Inspired by the words contained in Exodus, the inscription carved in the Sigismund Chapel lantern, even though it records the name of Berrecci, nevertheless serves as an artistic and theological emphasis of the king's glory and virtues, his wisdom as well as his specific mission in creating worldly order.