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Tytuł:
Jak Stanisław August trony sprzedawał
How King Stanisław August Sold Thrones
Autorzy:
Gutkowski, Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/1955795.pdf
Data publikacji:
1999
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
After his abdication in 1795 King Stanisław August sold or gave away a considerable part of his collections and furniture from the Warsaw Castle. The author reminds, after sources from the archives, the history of the royal thrones. On the basis of the King's correspondence with his close collaborators he describes an attempt at selling in 1796 the thrones from the Senators' Hall and the Perpetual Council Hall to a high-ranking Russian dignitary, Nikolai Repnin. The transaction fell through. What happened to the throne from the Senators' Hall after 1796 is not known.
Źródło:
Roczniki Humanistyczne; 1999, 47, 4; 249-252
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Krasickiego zdanie o Stanisławie Auguście
I. Krasickis Opinion About King Stanisław August
Autorzy:
Rudnicka, Jadwiga
Powiązania:
https://bibliotekanauki.pl/articles/1954655.pdf
Data publikacji:
2002
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Król Stanisław August Poniatowski
satyra
kazanie
opozycja
Komisja Edukacji Narodowej
King Stanisław August Poniatowski
satire
homily
opposition
Commission for National Education
Opis:
Ignacy Krasicki expressed his opinion about King Stanisław August Poniatowski in the coronation homily on 25 November 1764, and then in the satire entitled On the King written in 1779. In the homily he said that it was a man of `a splendid mind and righteous heart'; he also tried to convince the audience that the King should be respected. In the satire he defended the King against the charges of the opposition who said that he was not a king's son, that he was too young, too good and that he loved learned people. The charges resulted from envy, spite and foolishness, as during his reign Stanisław August effected far-reaching reforms in Poland. Among others, he established the Commission for National Education – the first ministry of education in the world, that played an important role after the political collapse of the state.
Źródło:
Roczniki Humanistyczne; 2002, 50, 1; 27-35
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Garnitur nieszczęśliwości króla Stanisława Augusta
King Stanisław Augusts „Garnitur nieszczęśliwości” („Snit of Unhappiness”)
Autorzy:
Żygulski, Zdzisław
Powiązania:
https://bibliotekanauki.pl/articles/1955792.pdf
Data publikacji:
1999
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
On 3 November 1771 in Warsaw the Bar confederates made an attempt against Stanisław August Poniatowski's liberty in order to force him to proclaim himself against Russia. Jan Kuźma called Kosiński, who was the leader of a small party of conspirators, kidnapped the King. The escort of the King's carriage was defeated; one of the haiduks, Jerzy Henryk Butzow, died from the bullets, and another one, Szymon Mikulski, was wounded with a sabre. A bullet pierced the King's fur coat, and during the kidnapping he lost his shoe. Kuźma offered the captive his own boot with a spur, but ultimately, remorseful, having been promised remission of his guilt, he freed the monarch on the following day. Stanisław August who was certain that he had been saved by miracle, kept all the relics of the event: his own garment, called “suit of unhappiness”, Kuźma's boot, Mikulski's hat cut with the sabre, and even the bullets taken out of Butzow's body. After his abdication he took them to St Petersburg. After the King's death the relics were inherited by Prince Józef Poniatowski, and finally, in 1815, they were given to Świątynia Sybilli (Sybil's Temple) in Puławy, the first Polish historical museum established by Princess Izabela Czartoryska. Of these objects the royal shirt and stocking, Kuźma's boot and Mikulski's hat have been preserved in today's Muzeum Czartoryskich (the Czartoryskis' Museum) in Cracow. The hat was used by Jan Matejko as a model for his painting “Konstytucja 3 Maja” (“The Constitution of 3rd May”) that is now exhibited in the Royal Castle in Warsaw.
Źródło:
Roczniki Humanistyczne; 1999, 47, 4; 237-248
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Itinerarium Króla Władysława Łokietka (1320-1333)
The Itinerary of King Władysław Łokietek (1320-1333)
Autorzy:
Plisiecki, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/1957175.pdf
Data publikacji:
1998
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The itinerary here attempts to reconstruct the system which King Władysław Łokietek used to run the state. The reconstruction is based on the names of places he visited and dates when he sojourned there. The main source of information being the royal documents Łokietek issued in the years 1320-1333. The second group of information consisted of annals and chronicles dealing with the period in question, the most valuable being the Rocznik Traski (The Traski Annals). Apart from the Polish annals the author used also the foreign sources, mainly the Teutonic chronicles written by Wiganda, Peter of Dusburg and anonymous writers: the Oliwa chronicle, Chronica terrae Prussiae and the Teutonic diary of the first half of the 14th century. The records of the proceedings in the Polish-Teutonic case going on in the 14th and 15th centuries, especially the trial which took place in 1339. Out of the total number of 130 bits of information collected from the sources as many as 83 come from documents. The number of data for each year varies from 2 to 11 full bits of information (that is, containing exact date, the name of the concrete place and the statement that the king was there). The list of the gathered data allow us to attempt to divide the years of Łokietek's reign (the period of 1320-1333) with regard to the regularity of his tours into two groups. To the first one belong the years from 1320 to 1326 inclusive. It is possible to observe in those years a regularity in the king's tours round Poland. In the remaining years, 1327-1333, despite that there are almost the same places and in similar periods of the year, this regularity was disturbed, the fact which makes it impossible to draw some binding conclusions as to the system of tours in relation to the whole period of Łokietek's reign. It is necessary then to reconstruct the system on the basis of the data from the years mainly of the first group. One should bear in mind, however, that the sources are scarce as regards the matter in question, therefore we should rather talk about hypotheses. Łokietek's sojourn in Little Poland in the years 1320-1326 is confirmed. Usually, he was there in winter or in spring, then in some years during late spring also in Kuyavia. After that he would usually spend some time in Greater Poland in summer and return to Little Poland about autumn. This suggests a relationship between the seasons and his sojourn in particular territories: Little Poland − in winter and autumn, rarely in spring; Kuyavia − a sojourn in spring, Greater Poland − in summer. This may reflect his itinerary of tours around the state which would look as follows: Kraków − Brześć Kujawski − Poznań − Pyzdry − Kalisz − Kraków. It is likely that thus could have looked the king's tour after coronation, although there is no evidence that Łokietek had such a special (and regarded by historian as traditional) tour at all. The period of 1327-1333 was dominated by wars. As a rule, one expedition took place in a year. It is likely that this conspired to disturb the regularity of Łokietek's tours in those years. Among the places the king visited Kraków stands out (1320-1326; sojourns in autumn and in spring; 1327-1333: in spring and summer), then in the years 1320-1326: Poznań, Brześć and Pyzdry, and in the years 1327-1333: Wiślica, Poznań and Sandomierz. It seems that the reason why a certain place was chosen for Łokietek's visit was not only the geographic and political factor but also the religious one. For one can observe a coincidence between the dates of the king's sojourn in some places and the dates of saint patrons of those places. This may suggest that Łokietek took part in feasts and church fetes celebrated at the territory under his reign.
Źródło:
Roczniki Humanistyczne; 1998, 46, 2; 33-115
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Renesansowy zamek królewski w Lublinie siedziba króla i sejmu
The Renaissance Royal Castle in Lublin the King's and the Sejm's Seat
Autorzy:
Rolska-Boruch, Irena
Powiązania:
https://bibliotekanauki.pl/articles/1955693.pdf
Data publikacji:
1999
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
In 1520 reconstruction of the castle in Lublin into a royal residence and the Sejm's seat was started. The Renaissance building had been erected on King Zygmunt I's initiative with the use of models of royal castles in Piotrków and on the Wawel Hill in Cracow. Both the plans of the reconstruction and its executors were connected with the workshops working for the King; among them was Bartłomiej Berrecci. The Renaissance castle in Lublin distinguished itself from other castle buildings by its form and decoration. Its interiors were adapted to fulfilling the function of a dwelling-house and to court ceremonies, and at the same time they were the place where the parliamentary (Sejm) debates were held. The most important element of the castle was the tower built in the south-west corner of the hill. Its shape and decorations in the form of medallions symbolised the residence of the King. The painted royal hall had similar contents; it was decorated, among others, with coats of arm. The form of the Renaissance castle in Lublin played an important role in building 16th century lordly residences, especially in the area of the Lublin province.
Źródło:
Roczniki Humanistyczne; 1999, 47, 4; 107-113
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rozmiary i geografia patronatu królewskiego w diecezji chełmskiej za Zygmunta III Wazy
The Size and Geography of the Royal Patronage in Poland During the Reign of King Zygmunt III Vasa
Autorzy:
Szady, Bogumił
Powiązania:
https://bibliotekanauki.pl/articles/1955893.pdf
Data publikacji:
1999
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The article is an attempt at presenting the size and distribution of the king's patronage in Poland with a special emphasis on the situation in the Chełm diocese. Zygmunt III Vasa (1588-1632) had the right of patronage from which the right of presenting a candidate for benefices (the right of presentation) issued with respect to the most important Church offices in Poland. This first of all concerned the benefices of higher categories that gave a considerable income. Zygmunt III was the patron of all the bishoprics in Poland as well as of the important prebends in cathedral and collegiate chapters. The cathedral chapters in the Lvov province, established mostly in the 14th and 15th centuries are characterized by a considerably higher degree of participation of the king's patronage than the chapters in the old dioceses in the Gniezno province. Also a big part of the parishes (25.4% in the Chełm diocese) were under the protection of the king and his officials. In the case of the cathedral chapters of the Gniezno province the number of prebends under the king's patronage was smaller than of those under the bishop's one, whereas in the case of parishes the king's patronage was smaller than the nobility's one. Only in a few situations can one come across the king's right of patronage with respect to lower benefices, eg. hospital provostries. The benefices under the king's patronage in Poland were connected with the ruler's ownership. Hence their distribution resulted both from political events (the shape of political borders, wars) and from the social-economic situation (the course of settlement process, economic attractiveness) of particular areas which influenced the possession structure and defined the percentage of crown lands in the total area of land. The distribution of the king's patronage in the Chełm diocese in that period can be defined as regular (1-2 royal churches in a deanery). It usually included old towns in which parish churches were founded as the first ones in the diocese. During the more than four centuries of the Chełm diecese's existence the participation of the king's patronage gradually decreased in favour of that of the nobility and clergy. A detailed analysis of the changes in the Chełm diocese shows that in the years 1588-1632 21 churches were first built or renovated, of which only three were connected with royal ownership. The question remains open if this process was typical of this one diocese, or of all the dioceses in Poland.
Źródło:
Roczniki Humanistyczne; 1999, 47, 2; 77-102
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
King, Prophet or Priest? The Charisma of a Consecrated Ruler in the Ottonian Miniatures: Ideological Contents and the Functions of Presentations of the Saxon Dynasty Emperors
Autorzy:
Tabor, Dariusz
Powiązania:
https://bibliotekanauki.pl/articles/1806822.pdf
Data publikacji:
2019-10-23
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
miniatures; liturgy; consecration; ruler
Opis:
The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 64 (2016), issue 4. The article focuses on miniatures of an enthroned emperor. These are: the miniature showing Otto II from the Registrum Gregorii (Chantilly, Musée Condé, MS 14), two miniatures from the so-called Gospels of Otto III (Munich, Bayerische Staatsbibliothek, Clm. 4453)—one showing Otto III and the other one showing the allegories of the provinces of the empire, two miniatures (Otto II and the provinces) contained in the Gospels bound in the code also containing works by Flavius Josephus (Bamberg, Staatsbibliothek, Class. 79) and the miniature with the figure of Otto III found in the Liuthar Gospels, also called the Aachener Evangeliars (Aachen, Domshatz). The pictures were studied by Percy Ernst Schramm, Piotr Skubiszewski, Henry Mayr-Harting, Wolfgang Christian Schneider, Ludger Körntgen, Hagen Keller and Eric Palazzo. Exaltation of the emperor has its precedents in the Carolingian art. Placing the royal space in the upper gallery of the Palatine Chapel in Aachen and the miniature showing the exalted Charles the Bald in the Count Vivian Bible witness to the Carolingian approach to the person of the ruler. The sources of the consecration of an exalted ruler over bishops and princes in miniatures should be looked for in the theological-political views of the epoch. Hincmar, Archbishop of Reims, Smaragdus, Alcuin and Thietmar of Merseburg define the ruler as one chosen and anointed by God for ruling the people. However, the exaltation of the ruler should be looked for in the liturgy of the consecration of the king that is documented in the Pontifical Romano-Germanique. The most important act of this liturgy is the anointing, unction, practiced during the consecration prayer. The image of the enthroned emperor mirrors the moment of the liturgy in which the consecrated one, after being anointed and handed the regalia, ascends the throne in the apse, led there by the metropolitans and princes. The anointing is derived from the Old Testament consecration of kings, prophets and judges. However, the consecration of a king is different from the consecration of a bishop, presbyter or deacon, so defining the anointed king as a sacerdos is unjustified. The image of the bishop consecrated and exalted on the pattern of a ruler also appears in the Ottonian art—in the Psalterium Egberti and the Codex Egberti. The analysed and interpreted pictures are put in the context of the set of Christological miniatures found in liturgical books where the mentioned miniatures appear. It follows from the above statements that the figure of the ruler as one who listens to God’s Word, and the figure of the ruler who is not a type of Christ, but should be shaped on the pattern of Christ, are the basic features of the contents of all the four miniatures.
Źródło:
Roczniki Humanistyczne; 2018, 66, 4 Selected Papers in English; 7-35
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Maupassant, roi du Nouveau Décaméron
Maupassant, King of Le Nouveau Décaméron
Maupassant, król Le Nouveau Décaméron
Autorzy:
Benhamou, Noëlle
Powiązania:
https://bibliotekanauki.pl/articles/2056532.pdf
Data publikacji:
2022-05-30
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Maupassant
Mendès
Le Nouveau Décaméron
nowela
zbiór
kobiety
portret
short story
collection
women
portrait
Opis:
Cet article se propose de montrer la place importante de Guy de Maupassant dans Le Nouveau Décaméron. Lui qui avait été jugé par la critique le meilleur conteur des Soirées de Médan avec sa nouvelle « Boule de suif », publie onze nouvelles sur les femmes, le mariage, l’adultère et la prostitution dans les volumes de Catulle Mendès parus 1884 à 1887. Nous étudions aussi l’image que les entre-textes donnent de l’auteur. Le lecteur découvre un écrivain courtois, mondain, qui aime les femmes et est aussi galant et séducteur. Finalement, Maupassant, couronné par Mendès roi de la sixième journée, avec Boule de suif comme reine, est le plus important de cette œuvre collective. Cependant, son portrait fictif présent dans les volumes du Nouveau Décaméron a contribué à donner une image stéréotypée de Maupassant.
Artykuł ma na celu ukazanie znaczącej roli Guy de Maupassanta w Le Nouveau Décaméron. Uznany przez krytykę za najlepszego autora Les Soirées de Médan, dzięki opowiadaniu Boule de suif, Maupassant publikuje w latach 1884-1887 w zbiorowym dziele Catulle’a Mendèsa jedenaście nowel o kobietach, małżeństwie, zdradzie i prostytucji. Artykuł analizuje również obraz autora, jaki wyłania się z lektury komentarzy zamieszczonych w Le Nouveau Décaméron. Czytelnik odkrywa Maupassanta jako pisarza o nienagannych manierach, światowca, a jednocześnie uwodzicielskiego salonowca i miłośnika kobiet. Ogłoszony przez Mendèsa królem dnia szóstego, z Boule de Suif jako królową, Maupassant jest istotnie najważniejszym autorem Le Nouveau Décaméron. Jego fikcyjny portret zarysowujący się na kartach tego dzieła przyczynił się jednak do wykreowania stereotypowego obrazu pisarza.
This article aims to show the important place of Guy de Maupassant in Le Nouveau Décaméron. He had been judged by critics the best storyteller of Les Soirées de Médan for his tale “Boule de suif,” and he published eleven short stories on women, marriage, adultery and prostitution in the volumes of Catulle Mendès from 1884 to 1887. We also examine the image that the “entre-textes” give of the author. The reader discovers a courteous, worldly writer who loves women and who is also impeccably mannered and seductive. Finally, Maupassant, crowned by Mendès king of the sixth day, with Boule de Suif as queen, is the most important writer of this collective work. However, his fictitious portrait present in the volumes of Le Nouveau Décaméron contributed to the creation of the stereotypical image of Maupassant.
Źródło:
Roczniki Humanistyczne; 2022, 70, 5; 63-76
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jan Reisner w Akademii św. Łukasza. Artysta a polityka króla Jana III i papieża Innocentego XI
Jan Reisner in Accademia di San Luca: The Artist and the Politics of King Jan III and Pope Innocent XI
Autorzy:
Bernatowicz, Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/1791415.pdf
Data publikacji:
2020-12-22
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Jan Reisner
Akademia św. Łukasza w Rzymie
edukacja artystyczna
kontakty artystyczne Polski z Włochami
późnobarokowy eklektyzm w architekturze
król Jan III Sobieski
Accademia di San Luca
artistic education
Polish artistic contacts with Italy
late Baroque eclecticism in architecture
King Jan III Sobieski
Opis:
Jan Reisner (ok. 1655-1713) – malarz i architekt został wysłany przez Jana III wraz z Jerzym Siemiginowskim na studia artystyczne w Akademii św. Łukasza w Rzymie. Podróż do Wiecznego Miasta, do którego dotarł 24 lutego 1678 r., odbył w orszaku księcia Michała Radziwiłła. Opiekunem i protektorem artysty podczas nauki w latach 1678-1682 był kardynał Carlo Barberini, późniejszy protektor Regni Poloniae. W konkursie architektonicznym Akademii św. Łukasza ogłoszonym w 1681 r. Reisner otrzymał pierwszą nagródę w pierwszej klasie, a nieco później został przyjęty na członka prestiżowej uczelni. Nadano mu Order Złotej Ostrogi (Aureatae Militiae Eques) oraz tytuł Aulae Lateranensis Comes, co było równoznaczne z uzyskaniem szlachectwa. Nagrodę architektoniczną przynało jury Concorso Academico w składzie: principe Akademii malarz Giuseppe Garzi, sekretarz Giuseppe Gezzi, architekci – Gregorio Tommassini i Giovanni B. Menicucci. W Archivio storico dell’Accademia di San Luca zachowały się trzy rysunki projektowe kościoła wykonane przez Jana Reisnera piórkiem i akwarelą, przedstawiające elewację frontową, przekrój podłużny oraz rzut. Mimo że wykonane zostały na konkurs w 1681 r. opisano je z datą 1682, gdy wręczano już nagrody. Projekt Reisnera odzwierciedlał skomplikowane tendencje w architekturze lat sześćdziesiątych i siedemdziesiątych XVII w., zwłaszcza w edukacji architektonicznej Akademii św. Łukasza. Próbowano tam pogodzić klasycyzujące tendencje propagowane przez dwór francuski z nawiązywaniem do form dojrzałego baroku rzymskiego. W konsekwencji próby połączenia cech dwóch tradycji powstało dzieło eklektyczne, tak jak i inne projekty konkursowe tworzone przez studentów Akademii św. Łukasza. Architekt zaprojektował świątynię-mauzoleum Barberinich, na planie koła z otwierającymi się do środka ośmioma niższymi kaplicami i prostokątnym prezbiterium. W rotundowym wnętrzu wyodrębnić można trzy części: korpus z otwierającymi się kaplicami, tambur oraz czaszę z naszkicowaną kompozycją Strącenie aniołów. W środku oznaczony został ołtarz z filarowo-kolumnowych baldachimem. Genezę architektoniczną budowli określiły antyczne budowle: Panteon (125 r. po Ch.) oraz Muzoleum Konstancji (IV w. po Ch.). Nowożytną redakcję tego modelu otworzył Andrea Palladio, projektując Tempietto Barbaro w Maser z 1580 r. W bliższej perspektywie czasowej i terytorialnej inspiracji mogły dostarczyć Santa Maria della Assunzione w Ariccia (1662-1664) Berniniego i Notre-Dame-de-l’Assomption (1670-1676) w Paryżu projektu Charles’a Errarda. Zwłaszcza niezrealizowany projekt Carlo Fontany adaptacji Koloseum na miejsce kultu Świętych Męczenników podjął Klemens X w związku z obchodami Roku Świętego w 1675 r. W środku amfi Flawiusza projektował wzniesienie kościoła w formie antykizowanej rotundy, z kopułą na wysokim tamburze i wieńcem kaplic wokół. Równie istotny był projekt Fontany centralnego kościoła w baskijskiej Loyoli (Santuario di S. Ignazio a Loyola). W barokowych realizacjach ówczesnego Rzymu znajdujemy wzory dla dekoracji architektonicznej kościoła Reisnera. W układzie i plastyce elewacji widoczne jest oddziaływanie kolumnowych fasad baroku, tak powszechnych, w różnych wariantach w dziełach da Cortony, Borrominiego i Rainaldiego. Świeżo ukończone były monumentalne, kolumnowe fasady wzniesione według projektów Carlo Rainaldiego: S. Andrea della Valle (1656 / 1662-1665 / 1666) i S. Maria in Campitelli (projekt – 1658-1662; realizacja, 1663-1667) oraz Borrominiego San Carlo alle Quatro Fontane (1667-1677). Aniołki podtrzymujące girlandy na cokołach attyki tamburu są wzorowane na dekoracji z dwóch kościołów Berniniego: S. Maria della Assunzione w Ariccia (1662-1664) i S. Andrea al Quirinale (1658-1670). Do repertuaru dojrzałego baroku należą również oprawy okienne elewacji frontowej piętra w postaci przerwanego belkowania i z naczółkiem formie odcinków zakończonych wolutkami. Z projektu wynika, że prezbiterium miało być założone na lekko wydłużonym prostokącie o zaokrąglonych narożach i nakryte sufitem z fasetami, w przekroju zbliżonym do spłaszczonej mocno kopuły. Zbliża się ona do rozwiązań stosowanych przez Borrominiego w Collegio di Propaganda Fide i Oratorium Filipinów. Widoczne są trzy owalne okna dekorowane łuczkami o zarysie litery „C” i z żebrami wychodzącymi z wolut podstawy kopuły, które należały do charakterystycznych motywów da Cortony, przejętych od Michała Anioła. Wieńcząca latarnia otrzymała oryginalny kształt – w przekroju kontur gruszki z trzema oknami o takim samym kształcie, ujęty rozciągniętymi esowato wolutami, należącymi do kanonicznych motywów stosowanych za da Cortoną przez rzesze architektów późnobarokowego eklektyzmu. Wraz z nauką architektury, co było w Akademii typowe, Reisner uczył się malarstwa i geodezji, dzięki którym po powrocie do Polski zyskał prestiż i znaczenie na dworze Jana III, potem u wojewody płockiego Jana Krasińskiego. Znakomicie zapowiadający się talent architektoniczny nie zabłysnął jako architekt w Polsce, choć – jak niewielu studentów Akademii św. Łukasza – dostąpił wszystkich zaszczytów jako student i absolwent.
Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.
Źródło:
Roczniki Humanistyczne; 2020, 68, 4 Special Issue; 159-191
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Psalmy króla Dawida w ujęciu Bohdana Drozdowskiego. Leksyka
King David’s Psalms According to Bohdan Drozdowski. Lexis
Autorzy:
Nowak, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/1943998.pdf
Data publikacji:
2010
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Bohdan Drozdowski
psałterz
leksyka
frazeologia
stylizacja
archaizacja
adaptacja kulturowa
the Psalter
lexis
phraseology
stylisation
archaisation
cultural adaptation
Opis:
This study examines lexical and stylistic properties of Bohdan Drozdowski’s paraphrase of the Psalter. The author focuses on lexical and phraseological archaisms. There are also some questions here connected with internal borrowings (regional and local lexis) and expressives. The stylistic disharmonies of the text have also been discussed.
Źródło:
Roczniki Humanistyczne; 2010, 58, 6; 77-93
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Symbolika urbanistyczna w Jeruzalem mieście Króla Wielkiego Stefana Kucharskiego
The Urbanistic Symbols in Stefan Kucharskis Jerusalem, the City of the Great King
Autorzy:
Burek, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/1882462.pdf
Data publikacji:
2015
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Stefan Kucharski
barok
literatura religijna
piśmiennictwo karmelitańskie
metafora
baroque
religious literature
Carmelite writings
metaphor
Opis:
Jeruzalem miasto Króla Wielkiego to jeden z tekstów Stefana (właśc. Hieronima) Kucharskiego (1595-1653). Dzieło zachowało się co najmniej w dwóch wersjach, znajduje się w tzw. kopiariuszu lubelskim (Archiwum Polskiej Prowincji Karmelitów Bosych w Krakowie, rkps nr 246, s. 287-302) oraz zbiorze pt. Różne ćwiczenia lubo nauki duchowne i wykłady przez Wielebnego Ojca Stefana od świętej Teresy […], napisane (Archiwum Biblioteki Sióstr Karmelitanek Bosych w Krakowie, rkps nr 62, karty 44r-47v). Ów „wykład” skierowany był najpewniej do sióstr karmelitanek bosych. Podejmuje zagadnienia natury mistycznej, traktuje o sposobach zamieszkiwania Boga w człowieku. W tekście Kucharskiego metafora jest chyba najważniejszym i najczęściej używanym środkiem literackiego przekazu. Nacechowana symbolicznie miejska przestrzeń posłużyła autorowi jako swoista alegoria, wyrażająca poglądy antropologiczne i teologiczne.
Jerusalem, the City of the Great King is one of the texts by Stefan (in point of fact: Hieronim) Kucharski (1595-1653). The work has been preserved at least in two versions: they are kept in the so called Lublin Cartulary (The Archive of the Polish Province of the Discalced Carmelites, manuscript nr 246, pp. 287-302) and in the collection entitled Various exercises or spiritual lessons and lectures written by the Reverend Father Stefan of St Theresa (The Archive of the Library of Discalced Carmelite Sisters in Krakow, manuscript nr 62, charts 44r-47v). The “lecture” most probably directed to Discalced Carmelite sisters, tackles the issues of a mystical nature and treats about the ways, in which God lives in a man. In Kucharski's text the metaphor is the most important and most often used means of expression. The urban space, characterized by symbols is used by the author as a peculiar allegory expressing his anthropological and theological views.
Źródło:
Roczniki Humanistyczne; 2015, 63, 1; 225-241
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rozdwojone sejmiki lubelskie z 1776 roku
The split Lublin regional diets of 1776
Autorzy:
Bednaruk, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/1891849.pdf
Data publikacji:
2013
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
sejmiki
demokracja szlachecka
Rzeczpospolita Obojga Narodów
czasy stanisławowskie
sejm
regional diets
the gentry democracy
the Republic of Both Nations
the times of King Stanisław
the Sejm
Opis:
On 15th July 1776 the Lublin gentry, divided into supporters and opponents of the King, held two separate regional diets in two different places. The supporters of the Royal court were headed by Crown Chamberlain Wincenty Potocki and Łuków Castellan Jacek Jezierski, whereas Lublin Voivode Antoni Lubomirski helped by Lublin Chamberlain Tomasz Dłuski gathered the King's opponents. However, although twice as many noblemen took part in the meeting of the opposition, and they met the remaining conditions required by law, the supporters of the King won the confrontation. It was their representatives who sat in the Sejm and the Tribunal, and the ones elected by the opposition were rejected. Representatives of foreign courts: Russian and Austrian became involved in the dispute and it was mainly them that made the Lublin Voivode give up pushing through his ideas.
Źródło:
Roczniki Humanistyczne; 2013, 61, 2; 235-248
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Становление Школы славянских исследований (1915-1919) и российское зарубежье
Russia Abroad and the Establishment of the School of Slavonic Studies
Autorzy:
Tribunskiy, Pavel
Powiązania:
https://bibliotekanauki.pl/articles/1754065.pdf
Data publikacji:
2021-08-11
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
rosjoznawstwo
Szkoła Studiów Slawistycznych
King’s College
diaspora rosyjska
Russian Studies
School of Slavonic Studies
Russia Abroad
Opis:
This article is dedicated to the activities of Russia Abroad while The School of Slavonic Studies was coming into being (1915-1919). I propose that representatives of Russia Abroad played a pivotal role in the establishment of Russian Studies at The School of Slavonic Studies, which became the prevailing part of the curriculum. The teaching of the Russian language at King’s College London was part of the training of Oriental language specialists who took part in the exams for official positions in the Indian Civil Service, as well as in the British army. A radical change in the teaching of “Russian” and, more broadly, “Slavic” subjects occurred in 1915, when The School of Slavonic Studies was established at the college. During the formation of the School, the boundaries of the curriculum were outlined, the first teachers recruited, and classes and public lectures begun. Representatives of Russia Abroad, the most numerous of the teachers, turned out to be the most active figures of the new School, according to the results of their activities. Their valuable work at the School in the early years was overshadowed by Bernard Pares’ larger-scale projects.
Zagraniczna Rosja i powstanie szkoły studiów slawistycznych Artykuł poświęcony jest aktywności diaspory rosyjskiej podczas tworzenia Szkoły Studiów Slawistycznych (1915-1919). Sądzę, że reprezentanci Zagranicznej Rosji odegrali kluczową rolę w powstawaniu rosjoznawstwa w Szkole Studiów Slawistycznych, które stanowiło przeważającą część programu nauczania. Nauczanie języka rosyjskiego w King’s College London było częścią przygotowania specjalistów-orientalistów, którzy brali udział w egzaminach na oficjalne stanowiska w indyjskiej służbie cywilnej oraz w armii brytyjskiej. Radykalna zmiana w nauczaniu przedmiotów z zakresu „rosyjskiego”, lub szczerzej – „słowiańskiego”, miała miejsce w 1915 r., kiedy w King’s College została założona Szkoła Studiów Slawistycznych. W momencie powstawania Szkoły określono ramy programu nauczania, przyjęto pierwszych nauczycieli, rozpoczęto prowadzenie zajęć i wykładów otwartych. Przedstawiciele rosyjskiej diaspory, stanowiący największą część wykładowców, stali się najbardziej aktywnymi postaciami nowej Szkoły, jak wskazują rezultaty ich działalności. Ich cenna praca na rzecz Szkoły, w pierwszych latach jej działalności, została potem przyćmiona przez większe projekty Bernarda Paresa.
Źródło:
Roczniki Humanistyczne; 2021, 69, 7; 49-63
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pośmiertne peregrynacje Stanisława I Leszczyńskiego. Z dziejów poglądów na szczątki królewskie jako pamiątkę narodową i obiekt muzealny
The Posthumous Peregrinations of King Stanisław I Leszczyński. On the History of Views on Royal Remains as a Relic of the Past and a Museum Item
Autorzy:
Gombin, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/2120037.pdf
Data publikacji:
2001
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The history of the remains of Stanisław Leszczyński was exceptionally stormy. Buried in the Notre-Dame de Bon Secours Church in Nancy, during the French Revolution they were profaned twice (in 1793 and 1803). The inhabitants of the town who were royalists hid some of them and they treated them as relics. It was these relics (a finger, a jaw and some intestines) that in 1814 were brought to Poland by General M. Sokolnicki who was returning home with the remnants of the Polish army after the Napoleonic wars. The cult of human remains treated as relics of the past was a characteristic phenomenon at the turn of the 18th century. Sokolnicki deposited the King's intestines in Poznań. According to the general's intentions the rest of the remains (put into a small, classicistic coffin) were to be consigned in the Wawel Castle (the jaw) and in Puławy (the finger) − however, the plan was not put into effect. Perhaps this was the result of Sokolnicki's tragic death in 1816. In 1828 the coffin found itself in the collection of the Warsaw Towarzystwo Przyjaciół Nauk (Society of the Friends of Sciences). According to a report by one of its members − Ł. Gołębiowski − it belonged to the most precious collections of the Society. As result of the plunder by Russians after the November Uprising it was taken − along with the collection of books − to the Emperor's Public Library in St. Petersburg. In 1857, owing to an intervention by the then director of the library, M. Korf, and to the steps taken by the Polish historian and journalist A. H. Kirkor, Alexander II ordered placing it in St. Catherine Church in Petersburg. This fact was soon noted by the press. Systematic studies were begun concerning the King's remains (H. Lepage, A. H. Kirkor); accounts were collected from the still alive witnesses of the events that had happened nearly half a century earlier (K. Tyszkiewicz). H. Lepage proved that the corpse that had been placed in the crypt in 1803 had never left it. A part of the public opinion condemned what Sokolnicki had done, calling it „vandalism” (K. Jarochowski). It was demanded that the King's bones, now scattered over Europe, be deposited in Nancy again. The coffin left St. Catherine Church in 1922 when it was taken by the members of the Polish vindication commission − E. Wierzbicki, Rev. B. Ussas and M. Piotrowski. The latter one brought it to Poland. The action was supported by the then parish priest in St. Catherine Church, Rev. K. Budkiewicz. The Poles, brought up in Russia, had no doubts that their deed was right − they understood it as saving an important national relic of the past. It is characteristic that they were also going to take to Poland the remains of Stanisław August Poniatowski buried in St. Petersburg. Due to the death of Rev. Budkiewicz (murdered by the Bolsheviks) this plan was not put into effect. In the independent Poland the attitude towards the relics of King Leszczyński was not so unambiguous. For J. Skotnicki − a high ranking official at the Ministry of Religious Denominations and Public Education, in whose hands the coffin found itself − Piotrowski's deed was a sign of irresponsibility that could expose the Polish side to diplomatic troubles and block the process of vindication of works of culture from the USSR. The Polish officials revealed a surprising lack of knowledge of the 19th century history of the King's relics. Skotnicki gave them to the Director of the Warsaw Castle − M. Treter who put the relics in the Castle safe. The press soon revealed this fact to the public. A storm that started in the press resulted in placing the coffin in the Wawel Castle (1928). In the polemics the very people who acted in 1922 took part (Ussas, Wierzbicki), writing a number of articles in which they explained the motives of their action. Their declarations, extraordinarily bombastic, did not seem credible to a large part of the public opinion. From the events of 1922 newspapers most willingly selected the sensational elements, adding a lot of colour to them. From Ussas's and Wierzbicki's texts it follows that the remains were treated by them as an object from which a „historical spirit” emanates, a witness to the plunders after the Uprising, a relic connected with St. Catherine Church and with its parish priest murdered by the Bolsheviks. This was indeed a continuation of General Sokolnicki's romantic tradition.
Źródło:
Roczniki Humanistyczne; 2001, 48-49, 4; 171-193
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
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