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    Tytuł:
    Kitowicz ilustrowany. Jan K. Ostrowski, "Portret w dawnej Polsce", Muzeum pałacu króla Jana III w Wilanowie, Warszawa 2019, ss. 495, il. 589
    Kitowicz illustrated. Jan K. Ostrowski, 'Portret w dawnej Polsce', Muzeum pałacu króla Jana III w Wilanowie, Warszawa 2019, ss. 495, il. 589
    Autorzy:
    Kałamajska, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/24823908.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Opis:
    Recenzja książki Jana K. Ostrowskiego "Portret w dawnej Polsce" (Warszawa: Muzeum pałacu króla Jana III w Wilanowie, 2019).
    Źródło:
    Biuletyn Historii Sztuki; 2020, 82, 2; 327-330
    0006-3967
    2719-4612
    Pojawia się w:
    Biuletyn Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zegary słoneczne Ignacego Manuvira
    Ignatius Manuvirs Sundials
    Autorzy:
    Kałamajska-Saeed, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/1955803.pdf
    Data publikacji:
    1999
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    In Grodno, Jędrzejów, Cracow, Warsaw, Vilnius and Raubicze near Mińsk there are eight very similar rococo sundials. They were all signed by Ignatius Manuvir who described himself as His Majesty the King's surveyor, the Mińsk province's bailiff, and once even the Grand Duchy of Lithuania's bailiff. His name suggests his foreign origin, but the fact that he held an office – even such a modest one – proves that he was naturalised in Poland. It is not known if Ignatius Manuvir made the sundials as an amateur or if he was a professional, although the latter suggestion might be supported by the number of preserved objects. They were made during a period of fifteen years, between the years 1770 and 1785. Each one is provided with a precise date and a rhymed panegyric addressed to the owner whose name is mentioned; however, on none of them the place where it was made is given. All the sundials were designed for property owners from the eastern territories of the Grand Duchy of Lithuania, from the Mińsk, Witebsk or Połock provinces, so it may be supposed that Ignatius Manuvir lived in those parts, perhaps in Witebsk itself, where during the 18th century also other Manuvirs were recorded. The artistic merit of the discussed group of sundials is less than modest. The composition scheme is in fact invariably the same, repeating the not very revealing form whose assumption is adjusting to the graphic form of the owner's coat of arms. This conditions the shape of the dial or its contents. Similarly monotonous in their repetitions are the texts of the rhymed panegyrics containing wishes of prosperity in the hours measured by the sundial, more or less ably connected with allusions to the coat of arms and the dignities of the customer. However, this mediocrity paradoxically constitutes significant value of the presented objects. Naive rhymes and awkwardly drawn coats of arms, chronostichons, the layer of “learning” demonstrated by the diagrams accompanying the dial – all these contribute to a picture that is charming in its baroque, pompous, Sarmatian character. It is a significant proof of a deeply rooted, common custom, and at the same time one of its last instances. However, it is worth stressing that this provincial pomp proves to be a concession to the tastes of the customers, and as a horologist Manuvir shows reliable knowledge of astronomy, which is stressed with esteem by experts on the subject.
    Źródło:
    Roczniki Humanistyczne; 1999, 47, 4; 275-289
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Cudowny obraz Matki Boskiej Studenckiej z kościoła jezuitów w Grodnie
    The Miraculous Image of Our Lady of the Students From the Jesuit Church in Grodno
    Autorzy:
    Kałamajska-Saeed, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/1954615.pdf
    Data publikacji:
    2002
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    The brotherhood under the invocation of the Annunciation to the Virgin Mary, to which pupils of the Jesuit school in Grodno belonged, received in 1664 the picture of Our Lady and Infant, famous for being miraculous. It is a copy of the famous painting from the Roman basilica Santa Maria Maggiore painted on tin; the cult of the painting, spread mainly by the Jesuits, belonged to the most popular ones in Poland. The half-figure presentation of Hodegetria, commonly called the Virgin Mary of the Snow, in Grodno received the name of Our Lady of the Students or of the Congregation. The introduction of the picture received a very solemn setting, and almost half a year later its miraculousness, confirmed by testimonies of numerous witnesses given under oath, was in a formal way approved of by the Vilnius bishop Jerzy Białłozór. In 1686 the Jesuits published a comprehensive brochure Summary of Our Lady of the Students’ miracles and excellent graces containing a description of the history of the painting and of 102 miracles that had happened until that time thanks to its intercession. Despite the affected exageration, typical of this kind of publications, the booklet contains a lot of useful information, not only about the history and forms of the cult, but also about events of a different kind, e.g. the information about construction of the first pharmacy in Grodno in 1686, not known from other sources, that is woven into the devotional narration. The descriptions from the Summary are complemented by equally naive paintings in the stalls, made for the chapel probably about 1730. Their artistic merit is not great, however, they become significant as an iconographic source, since they present two subsequent altars in which the miraculous picture was set: the original one of 1664 and the next one of about 1720. The pictures are primitive, but they are the only ones we have. In the paintings there is a documentation of its kind of the fact of stealing the silver ornaments of the picture and of decorating it with a golden dress founded by Kazimierz Jan Sapieha. From the information contained in the church inventory of 1773 it follows that the dress was replaced by a new one, which was probably done simultaneously with the making of an impressive silver frame that, as the goldsmith’s marks found on it show, was made by Christian von Hausen in Gdań sk in 1761. The above mentioned inventory also gives information about building a new stone altar in 1773; it highly values the advantages of its stucco sculpture decoration. It was made by the then Jesuit novice Tadeusz Podhajski. His name is not mentioned in the inventory but there are evident similarities to his later, confirmed, works.
    Źródło:
    Roczniki Humanistyczne; 2002, 50, 4 Special Issue; 517-534
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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