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    Tytuł:
    Scena religijna wobec realizmu. Portret wotywny i portret ukryty w obrazie „Opłakiwanie” z kościoła św. Katarzyny w Braniewie
    Religious Scene Towards Realism. The Votive Portrait and the Hidden Portrait in the „Mourning” Picture from St. Catherine Church in Braniewo
    Autorzy:
    Jagla, Jowita
    Powiązania:
    https://bibliotekanauki.pl/articles/512349.pdf
    Data publikacji:
    2012
    Wydawca:
    Wydawnictwo Diecezjalne Adalbertinum
    Tematy:
    symbolism of portrait
    “Mourning” picture
    Cardinal Hozjusz
    St. Catherine church
    Braniewo
    Opis:
    The authoress analyzes the „Mourning” picture from St. Catherine church in Braniewo. In her interpretation she remarks that the whole expressive scene is dedicated to the death of Christ, which on one hand side is focused on the Lord’s Passion, but on the other – does not confine itself only to religious contents. The picture contains some kind of moralizing message due to taking advantage of possibilities delivered by the symbolism of portrait. A spectator is introduced by the artist into the epicenter of the portrayed occurrence. The painter not only spotlights himself pride-fully as an author of the work, but also indicates the direction of perception: from oppressed Christ to Cardinal Hozjusz as the founder of the picture, and an exemplary Christian.
    Źródło:
    Studia Ełckie; 2012, 14; 541-555
    1896-6896
    2353-1274
    Pojawia się w:
    Studia Ełckie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The complex of St. Florian and St. Catherine church in Gołąb as a unique example of military art of Lublin voivodeship
    Autorzy:
    Krupa, K.
    Gleń, P.
    Powiązania:
    https://bibliotekanauki.pl/articles/104774.pdf
    Data publikacji:
    2018
    Wydawca:
    Politechnika Rzeszowska im. Ignacego Łukasiewicza. Oficyna Wydawnicza
    Tematy:
    defensive architecture
    church
    Loreto Chanel
    Renaissance
    Lublin Renaissance
    Mannerism
    military art
    Zaor Jan
    Likkel Piotr
    Opis:
    With the development of the civilization and the need to ensure safety for the next generation and cultural material, it became more and more vital to provide defence in case of danger. That is why, the character of residential space and historical architecture was influenced by the conflicts, which had various forms. Aside from the buildings, which were fulfilling visible and explicitly defined military function like e.g. fortresses or defence walls, there were also others that have been subjected to the process of incastellation to respond to the needs of the society. Giving the defensive character to the buildings that had originally completely different purpose, especially religious, had been developed since the Roman times. Military art was purely functional at the beginning. Later it was intertwined with decorations and other architectonic elements that were occurring e.g. in churches and conventual complexes. The aim of this article is to analyse the expression of the late Renaissance architecture with the elements of military art (ars militaris) in the discussed church, the Loreto Chapel and the wall, which together constitute the religious complex of St. Florian and St. Catherine in Gołąb in Lublin Voivodeship. Referring to functional and architectural-construction solutions of the subject of our research, the author discusses the topic of giving defensive character to religious buildings while keeping their functional layout, decorativeness and rich architectural expression typical for the architecture of the Lublin Renaissance.
    Źródło:
    Czasopismo Inżynierii Lądowej, Środowiska i Architektury; 2018, 65, 1; 151-160
    2300-5130
    2300-8903
    Pojawia się w:
    Czasopismo Inżynierii Lądowej, Środowiska i Architektury
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    NOBILITATISQVE GERMANAE E XEMPLUM. Wolfgang von Rothkirch und Panthen i jego epitafium z kościoła św. Katarzyny w Makowicach koło Świdnicy.
    NOBILITATISQVE GERMANAE EXEMPLUM – Wolfgang von Rothkirch und Panthen and his epitaph from St. Catherine Church in Makowice near Świdnica
    Autorzy:
    Żernik, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/560163.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    Wolfgang von Rothkirch
    Kościół pw. św. Katarzyny w Makowicach koło Świdnicy
    Opis:
    Wolfgang von Rothkirch und Panthen had functions of a duke counselor and a starost on the court of Georg Rudolph, duke of Liegnitz and Brieg. Through the eyes of his contemporaries – what was mentioned in Simon Grunaeus’s, rector of St. Mary Church in Liegnitz, funeral sermon – he was seen both as a person of great knowledge and a magnanimous, honest and hard-working man. The epitaph devoted to Rothkirch, placed in a little village church in Makowice near Świdnica, with its form and ideological programme echoing hierogliphics fascination of those times, perfectly matched humanistic currents present at the duke court. The monument was created in ca. 1620 most probably by Georg Weber, one of the most innovative sculptors in the Liegnitz milieu. The dominant role of words as the main bearer of the dead’s praise, as well as the used emblems showing vanitative contents, which – with high probability – may be assumed as Simon Grunaeus’s work, accentuate the monument’s individual character, and also allow us to see Wolfgang von Rothkirch’s epitaph as an elite work, aimed at educated circles of recipients
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2009, 3(13); 19-34
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Powojenne losy kościoła św. Katarzyny w Braniewie w świetle archiwaliów Wojewódzkiego Konserwatora Zabytków w Olsztynie
    The Post-War History of the St. Catherine Church in Braniewo in the Light of the Archival Material of the Provincial Monuments Conservator in Olsztyn
    Autorzy:
    Wojtkowski, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/512387.pdf
    Data publikacji:
    2012
    Wydawca:
    Wydawnictwo Diecezjalne Adalbertinum
    Tematy:
    Christian historico-artistic heritage
    sacred art
    religious politics
    Braniewo
    Diocese of Warmia
    Opis:
    The church of S. Catherine in Braniewo was destroyed by the military operations of the World War II. The church was to be restored and left as “a permanent ruin” after 1945. The post-war history of the object accurately illustrates communist policy towards the Christian historico-artistic heritage of Warmia. The documents show that on 22 June 1959 the Provincial Conservator, Lucjan Czubiel, agreed “to remove the upper fragment of remainders of the church tower”. In 1961 the Department for Religious Affairs in Olsztyn took a following position on the ruins of St. Catherine church: “the protection of St. Catharine ruins should be postponed for subsequent years”. In practice this meant the suspension of any maintenance works and the progressive process of destruction. The documents reveal a deliberate action towards the total annihilation of the church. The shifting of the responsibility for the object between the Provincial Conservator and Town Council Presidium in Braniewo, and also the setting of a deadline for destructing remainders of the ruins on 3 May 1973 (a religious feast day of Mary the Queen of Poland), demonstrate a specific attitude of the authorities in Poland to the Christian heritage in those times. Finally, the ruins of St. Catherine church became the property of the Roman Catholic Church by the Ministry’s resolution No. 303 of 31 December 1973. For 28 years the state authorities have been trying to destroy a masterpiece of the Christian historico-artistic heritage, the church in Braniewo. The Diocese of Warmia waited 33 years for a permission to rebuild it. The first mass after World War II was celebrated by Bp. Julian Wojtkowski on Christmas Eve in 1981. Since the ruins were taken back, the temple was rebuilt and restored to its old splendor by the Diocese of Warmia within 8 years.
    Źródło:
    Studia Ełckie; 2012, 14; 311-334
    1896-6896
    2353-1274
    Pojawia się w:
    Studia Ełckie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Karchowicka Biblia Pauperum źródłem dla poznania kultury materialnej
    Karchowice Bible Pauperum source for knowledge of material culture
    Autorzy:
    Przybyłok, Arkadiusz
    Powiązania:
    https://bibliotekanauki.pl/articles/682046.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Karchowice
    kościół pw. św. Katarzyny Aleksandryjskiej
    gotyckie freski
    church st Catherine of Alexandria
    gothic frescoes
    Opis:
    In 2007, there was a discovery made in st Catherine of Alexandria church in Karchowice – a wall paintings showing scenes known from New Testament. Explorers dated them widely to 15th century but analysis of the armament and clothes restricts this dating to the end of the century. All of the biblical figures (Jesus, Apostoles and women) are wearing stylised long clothes, not similar to the fashion of that medieval time, however, torturers are dressed in a typical late 15th century way. They have over-ankle shoes, tight fitting hoses and doublets some of which have also puffed sleeves. Few of them are wearing robes with fancy cuts on the edges. The most interesting piece of cloth depicted on the paintings is the one made of a textile with tile-shaped pattern or peacock’s feathers on it. There are not only civilians on the paintings but soldiers as well. Most of their armament is reduced to few elemnents only (eg. helmet and kind of weapon), but some of soldiers are wearing full plate armours with decorative garments put on them. The most popular type of helmets here is a skull cap and ball shaped kettle hat. One of the soldiers has epaulieres with pteruges which probably should be taken as an indication of painter’s imagination. The way all figures have been depicted on the wall paintings in Karchowice seems to be premeditated. While Jesus and people around him are wearing simple clothes, Romes are dressed very excessively. Thanks to that it was possible for the illiterate viewer to distinguish which of persons on the fresco is a good or a bad one.
    -
    Źródło:
    Acta Universitatis Lodziensis. Folia Archaeologica; 2016, 31
    0208-6034
    2449-8300
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Archaeologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    GOTYCKIE DEKORACJE MALARSKIE ELEWACJI KOŚCIOŁA PARAFIALNEGO P.W. ŚW. KATARZYNY ALEKSANDRYJSKIEJ W GOLUBIU Przyczynek do badań nad dekoracją maswerkową w architekturze Państwa Zakonnego w Prusach
    GOTHIC PAINTED DECORATIONS ON THE ELEVATION OF THE CHURCH OF ST. CATHERINE OF ALEXANDRIA IN GOLUB. A Contribution to Studies about Tracery Decoration in the Architecture of the Teutonic Order State in Prussia
    Autorzy:
    Tuliszewski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/536670.pdf
    Data publikacji:
    2006
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    CHURCH OF ST. CATHERINE OF ALEXANDRIA (GOLUB)
    GOTHIC DECORATIONS
    POLYCHROME
    TEUTONIC ORDER STATE
    Opis:
    The Gothic painted decorations of the plastered blind windows and friezes on the elevation of the parish church in Golub have been mentioned at the end of the nineteenth century by German conservators and historians of East Prussian architecture (J. Heise, A. Boetticher) in the catalogues of historical monuments written by them. Nonetheless, it was not until the research, drawings and measurements of the roof truss construction were carried out in December 2004 by the employees of ROBiDZ (Torun), that the presence of the titular painted decorations was unearthed. The discoveries were made in a rather inaccessible spot, i. e. under the roof of the chapel of the Holy Cross, covering part of the eastern axes of the northern elevation. The second stage of the measurements performed next to the bell tower disclosed remnants of identical engraved tracery decorations at the level of the fourth storey of the southern tower elevation. The excellent condition of the preserved compositions engraved on a thin layer of lime plaster made it possible to reconstruct their original form. This material, together with photographic documentation, was used for making inventory drawings based on a CAD-type programme. The documentation produced by ROBiDZ (Torun) classified four types of the originally polychromed tracery decoration. With the exception of a plastered band on the cornice, the other compositions share an identical tripartite division of the lower lancet sphere as well as a band above it, featuring a carpet pattern with a recurring four-leaf motif. Moreover, a characteristic feature of the Golub tracery is the fact that the classical three-, four- and five-leaf motifs occur next to each other, and have been executed both from petals cut out of a circle and those which are enclosed within a lancet. The presented article embarks upon an attempt at defining the provenance of the forms of the discovered compositions. A formal analysis has been unquestionably facilitated by the studies conducted by specialists as well as the conservation documentation of similar objects by, i. a. M. Poksinska and E. Pilecka. Golub, located in the territory of the Teutonic Order state, only 40 kms from Torun, must have found itself within the range of the impact exerted by this cultural centre, the second largest in Pomerania, a fact decisive for a search for analogous decorations in the buildings of Golub and its environs. We cannot exclude the probability that the described tracery should be attributed to a group of artists working not only Toruń but also in the provinces. They included representatives of various nationalities and assorted West European trends, influencing art in the region of Chełmno, Kujawy and Varmia. It must be added that the imposing number of architectural solutions and decorative motifs in the land of Chełmno makes it impossible to indicate a concrete source of inspiration for the solutions encountered in Golub. Cited analogies prove that fourteenth-century ornamental motifs were popularised in Toruń and the neighbouring regions by means of the pattern books and construction complexes which appeared in these terrains as part of a cultural exchange augmented by the intensive trade contacts maintained by the Baltic towns. The presented study does not propose an ultimate classification of all types of the tracery decorations originally executed on the elevation of the parish church in Golub. Within this context, the documented examples comprise only part of the whole repertoire of the ornamental blind windows in the church. Initial results of the examination of the chemical composition of lime mortar in the blind windows and tower cornice made it possible to identify the pigments used in the decorations, i. a. iron oxide red, ochre and plant black. The execution technology of the painted tracery could be ultimately explained after complex conservation studies. With all certainty, the tracery discovered in Golub in 2005, both engraved in plaster and painted, confirms the great popularity of this decoration technique in the state of the Teutonic Knights, used not only on sacral edifices but also on secular and town buildings. In turn, the immense variety of the types of compositions attests to the fact that the basic purpose of such ornaments was to enhance the decorativeness and prestige of the embellished objects.
    Źródło:
    Ochrona Zabytków; 2006, 1; 39-51
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nieznane okoliczności złożenia szczątków króla Stanisława Leszczyńskiego w Petersburgu w 1857 r. w świetle relacji Bernarda i Rogera Łubieńskich na tle losów bpa Konstantego Ireneusza Łubieńskiego
    The Burial of the Remains of King Stanisław Leszczyński in Sankt Petersburg in 1857 Considering the Unknown Facts in Bernard and Roger Łubieński’s Account and the Life of Bishop Konstanty Ireneusz Łubieński
    Autorzy:
    Dąbrosz-Drewnowska, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/1826678.pdf
    Data publikacji:
    2021-10-12
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Stanisław Leszczyński
    Stanisław August Poniatowski
    kościół św. Katarzyny w Petersburgu
    Konstanty Ireneusz Łubieński
    Tomasz Wenthworth Łubieński
    Zygmunt Szczęsny Feliński
    Bernard Łubieński
    Roger Łubieński
    Church of St. Catherine in Petersburg
    Opis:
    Artykuł przedstawia okoliczności złożenia w kościele św. Katarzyny w Petersburgu w 1857 r. trumienki ze szczątkami króla Stanisława Leszczyńskiego. Szczątki te w 1922 r. ostatecznie zostały przywiezione do Polski i złożone na Wawelu. Mimo że w historiografii zajmowano się problemem „peregrynacji” szczątków królewskich z Francji do Rosji i ich ostatecznym przywiezieniem do Polski, nieznane pozostawały okoliczności pochówku trumienki w Petersburgu, gdzie spoczęła obok trumny ostatniego polskiego króla Stanisława Augusta Poniatowskiego. Nieznane były ponadto osoby, które się do tego przyczyniły. Artykuł pokazuje rolę, jaką odegrała w tych wydarzeniach rodzina Łubieńskich, a zwłaszcza ks. Konstanty Ireneusz Łubieński, późniejszy biskup sejneński. Przedstawione losy duchownego na podstawie wspomnień rodziny i zaprzyjaźnionych duchownych pozwalają zrozumieć, dlaczego pochowanie trumienki w Petersburgu było w ogóle możliwe.
    The context of placing the coffin with the remains of King Stanisław Leszczyński in the Church of St. Catherine in Petersburg in 1857 is carried in the article. The remains finally returned to Poland and they rest in Wawel (Kraków, Poland). The history of peregrination of the remains from France to Russia and in the end to Poland is commonly known as well as their arrival to Petersburg and their burial next to King Stanisław August Poniatowski and other dignitaries responsible for their rescue. The role of the Łubieński Family and particularly the one of the bishop of Sejny Konstanty Ireneusz Łubieński in the recapture of the remains is highlighted in the article. The life of the priest traced there is based on the souvenirs of his family and his fellow priests. Thanks to their testimony it becomes clear why the burial of the remains was feasible.
    Źródło:
    Teka Komisji Historycznej Towarzystwa Naukowego KUL; 2021, 18; 41-71
    2658-1175
    2719-3144
    Pojawia się w:
    Teka Komisji Historycznej Towarzystwa Naukowego KUL
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pomiędzy tradycją zakonu a tradycją rodu – treści ideowe fasady kościoła Benedyktynek pw. św. Katarzyny w Wilnie
    Between the tradition of the order and the tradition of the family – ideology behind the facade of the church of st. Catherine in Vilnius
    Autorzy:
    Czyż, Anna Sylwia
    Powiązania:
    https://bibliotekanauki.pl/articles/1068253.pdf
    Data publikacji:
    2019-10-01
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    Wilno
    benedyktynki
    klasztory żeńskie
    Sybilla Pacówna
    Feliks Jan Pac
    Pacowie
    karawaka
    Kościół wojujący i triumfujący
    female monasteries
    the pac family
    caravak
    militant and triumphant church
    Benedictine nuns
    Vilnius
    Opis:
    Sprowadzone do Wilna między 1616 a 1618 r. benedyktynki utworzyły niewielką i skromnie uposażoną wspólnotę. Ich sytuacja zmieniła się w 1692 r., kiedy to dzięki bogatym zapisom Feliksa Jana Paca mogły wystawić murowany kościół konsekrowany w 1703 r. Hojność podkomorzego litewskiego nie była przypadkowa, bowiem do wileńskich benedyktynek wstąpiły jego córki Sybilla i Anna, jedyne potomstwo jakie po sobie pozostawił. Z nich szczególne znaczenie dla dziejów klasztoru miała Sybilla (Magdalena) Pacówna, która w 1704 r. została wybrana ksienią. Nie tylko odnowiła ona życie wspólnoty, ale stała się również jedną z najważniejszych postaci ówczesnego Wilna. Po pożarze w 1737 r. Sybilla Pacówna energicznie przystąpiła do odbudowy klasztoru i kościoła, którą kończyła już jej następczyni Joanna Rejtanówna. Wzniesioną wówczas według projektu Jana Krzysztofa Glaubitza fasadę ozdobiono stiukowo-metalową dekoracją o indywidualnie zaplanowanym programie ideowym odwołującym się i do tradycji zakonnej i rodowej – pacowskiej. W fasadzie wyeksponowano ideały związane z życiem benedyktyńskim sytuując je wśród aluzji o konieczności walki na płaszczyźnie ducha i ciała, włączając w militarną symbolikę także konieczność walki z wrogami Kościoła i ojczyzny oraz charakterystyczną dla duchowości benedyktyńskiej pobożność związaną z krzyżem w typie karawaka oraz z Opatrznością Bożą. Jednocześnie przypominano o bogactwie powołań w klasztorze benedyktynek wileńskich przyrównując mniszki do lilii. Porównanie to dzięki obecności w fasadzie herbu Gozdawa (podwójna lilia) oraz powszechnego w XVII i XVIII w. zwyczaju określania Paców „Liliatami” można było odnosić także do ich rodu, w tym do zasłużonej dla klasztoru ksieni Sybilli. Tak mocne wyeksponowanie fundatorów było nie tylko chęcią upamiętnia darczyńców, ale wraz z całym architektonicznym i plastycznym wystrojem świątyni wiązało się z koniecznością stworzenia przeciwwagi dla nowego i prężnie rozwijającego się pod patronatem elity litewskiej klasztoru Wizytek w Wilnie. Przy tym charakter dekoracji fasady kościoła pw. św. Katarzyny wpisuje się w inne fundacje Paców: kościół pw. św. Teresy i kościół pw. śś. Piotra i Pawła będąc ostatnią ważną inicjatywą artystyczną rodu w stolicy Wielkiego Księstwa Litewskiego.
    The Benedictines, who had been brought to Vilnius between 1616 and 1618, formed a small and modest community. Thanks to the generous legacy of Feliks Jan Pac, in 1692 their situation changed as they could erect a brick church, which was then consecrated in 1703. The generosity of the Lithuanian chamberlain was not a coincidence; his two daughters, Sybilla and Anna, the only offspring he left, had joined the Benedictine Sisters in Vilnius. Sybilla (Magdalena) Pac, who became an abbess in 1704, was particularly important for the history of the monastery. Not only did she renew the community life, but she also became one of the most important personalities of the then Vilnius. After the fire in 1737 Sybilla Pac vigorously started rebuilding the monastery and the church, which was completed by her successor, Joanna Rejtan. The facade which was then erected after Johann Christoph Glaubitz’s design was adorned with stucco and metal decorations with a perfectly devised ideological programme which referred to the tradition of the order and to the one of the Pac family. The facade presented ideals connected with the Benedictine life, which placed them among the hints of having to fight at the level of spirit and body, incorporating among the military symbols also the need to fight the enemies of the Church and the state, and the typical for the Benedictine spirituality piety connected with the Caravaca cross and the Divine Providence. At the same time, it reminded of the Benedictine vocations comparing nuns to lilies. This comparison, due to the presence of the Gozdawa coat-of-arms (double lilie) and the common nickname of the Pac family in the 17th and 18th cc. “the Liliats”, could also apply to their lineage, including the abbess Sybilla and her services to the monastery. Exposing founders in such an emphatic way was not only the will to immortalise them, but was also, together with the entire architectural and artistic decor of the church, connected with the need to counterbalance the new and dynamically developing Visitation Monastery in Vilnius. At the same time, the nature of the facade decoration of the Church of St. Catherine is in line with other foundations of the Pac family: St Theresa’s Church and the St Peter and St Paul Church, and was the last significant artistic initiative of the family in thecapital of the Grand Duchy of Lithuania
    Źródło:
    Artifex Novus; 2019, 3; 58-75
    2544-5014
    Pojawia się w:
    Artifex Novus
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Choral-Lieder... mit Variationes — kompozycje Johanna Ephraima Eggerta na carillon kościoła św. Katarzyny w Gdańsku
    Choral-Lieder... mit Variationes — Johann Ephraim Eggert’s Compositions for Saint Catherine’s Church Carillon in Gdańsk
    Autorzy:
    Popinigis, Danuta
    Powiązania:
    https://bibliotekanauki.pl/articles/521867.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    carillon
    the St Catharine’s Church carillon
    compositions for carillon
    variations for carillon
    Johann Ephraim Eggert
    Opis:
    A manuscript entitled Choral-Lieder zu dem Glocken-Spiel der Altstädtschen Ober-Pfarr-Kirche zu St. Catharinen ausgesetzt mit Variationes, dated 1784 and containing pieces for the Saint Catherine’s church carillon, is kept in the State Archive in Gdansk. The manuscript contains 260 compositions based on a protestant chorale. They are grouped in two sections entitled Lieder zur ganzen Stunde and Lieder zur halben Stunde, i.e. songs for playing at full and half hours. In all, the manuscript contains 130 three-minute compositions to be played at full hours and 128 ninety-second compositions to be played at half hours. The fi rst part of the manuscript also contains two 15-second quarter-hour preludes. The works were written by Johann Ephraim Eggert, a St. Catherine’s church carillonist. The paper discusses the structure of the compositions. Despite what the title suggests, not all compositions are in the form of variations. Of the 130 pieces designated to be played at full hours, 124 are indeed variations, but there are 5 in the form of chorale prelude, and 1 is a simple monophonic chorale. As for the half hour compositions, about 25% are variations and the remaining ones are chorale preludes. The author of the article presents characteristic features of Eggert’s compositions. Discussing variations, she examines the ways of presenting the themes, texture, variation technique resources, and also types of variations. In the chorale preludes, she focuses on the ways of treatment. The author also points to the fact that the forms of Eggert’s compositions and his use of technical resources result from the carillon’s design.
    Źródło:
    Aspekty Muzyki; 2011, 1; 157-179
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zgromadzenie Sióstr św. Katarzyny i jego Reguła
    The Congregation of the Sisters of Saint Catherine and its Rule
    Autorzy:
    Jaworska, Łucja Irena
    Powiązania:
    https://bibliotekanauki.pl/articles/2144435.pdf
    Data publikacji:
    2021-12
    Wydawca:
    Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
    Tematy:
    siostry św. Katarzyny (katarzynki)
    bł. Regina Protmann
    Reguła
    Warmia
    Diecezja Warmińska
    prawo kościelne
    Sisters of St Catherine
    Blessed Regina Protmann
    Rule
    Diocese of Warmia
    church law
    Opis:
    Zgromadzenie Sióstr św. Katarzyny Dziewicy i Męczennicy (siostry katarzynki) sięga swymi początkami drugiej połowy XVI stulecia. Powstało ono w 1571 r. w Braniewie (niem. Braunsberg) na Warmii (niem. Ermland), w wyniku przemian zachodzących w Kościele po Soborze Trydenckim. Jego założycielką jest bł. Regina Protmann (†1613), która w nowo utworzonej wspólnocie sióstr połączyła kontemplację z działalnością apostolsko-czynną. Pierwsza Reguła zgromadzenia powstała dzięki wsparciu jezuitów, działających w Braniewie od 1565 roku, za aprobatą ówczesnych biskupów warmińskich (Marcin Kromer, Piotr Tylicki). W kolejnych wiekach, a zwłaszcza w XX w., te zasady życia wspólnotowego były modyfikowane, przede wszystkim ze względu na myśl Soboru Watykańskiego II.
    The Congregation of the Sisters of St Catherine the Virgin and Martyr (Sisters of St Catherine) dates back to the second half of the 16th century. It was founded in 1571 in Braniewo (ger. Braunsberg), in Warmia (ger. Ermland), as a result of changes taking place in the Church after the Council of Trent. Its founder was Blessed Regina Protmann (†1613), who combined contemplation with apostolic activity in the newly established community of sisters. The first Rule of the congregation was drafted with the support of the Jesuits, who had been active in Braniewo since 1565, with the approval of the then Warmian bishops (Marcin Kromer, Piotr Tylicki). In the following centuries, and especially in the 20th century, these principles of community life were modified, mainly due to the thought of the Second Vatican Council.
    Źródło:
    Studia Elbląskie; 2021, 22; 103-126
    1507-9058
    Pojawia się w:
    Studia Elbląskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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