- Tytuł:
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Artystyczna oprawa brackich świąt i uroczystości w diecezji krakowskiej do 1783 roku
Artistic setting of confraternities’ holy days and celebrations in the diocese of Krakow until 1783 - Autorzy:
- Tracz, Ks. Szymon
- Powiązania:
- https://bibliotekanauki.pl/articles/2082118.pdf
- Data publikacji:
- 2019
- Wydawca:
- Polska Akademia Nauk. Czytelnia Czasopism PAN
- Opis:
- The Apostolic Constitution Quequmque of Pope Clement VIII, published on 7 December 1604, re-established the legal structure and functioning of all confraternities throughout the Church after the Council of Trent. The Constitution closed the medieval chapter of their activities and paved the way for their dynamic development over the next centuries, until the patent of Emperor Joseph II of 22 May 1783, which abolished all religious brotherhoods in the entire Habsburg monarchy, including the diocese of Krakow. The activities of confraternities covered almost all areas of social and religious life. However, the overriding goal was the development of public worship in the Church, its deepening, and the renewal of the Christian life of the members of the fraternity. Consequently, the focus was on the appropriate artistic setting for the celebrations, which was reflected in the care for a suitably arranged and decorated liturgical space, which was a place of common spiritual practices and meetings, the so-called trysts. If the confraternity was wealthy, the side chapel at the church where the confraternity was established was used for this purpose. The chapels of the Cracovian fraternities provide good examples. Sometimes, confraternities operating in villages (e.g. the Brotherhood of St. Isidore in Radziechowy), had magnificent chapels. The basic element of the chapel’s furnishings was the main painting placed in a special altar. In the case of very wealthy fraternities, the chapel had a few side altars placed under various invocations, and even a pulpit and a musical choir. When the fraternity had only the chapel at its disposal, and there was no meeting room or it was located in the so-called caper, i.e. the building outside the church, then the most necessary paraphernalia as well as ceremonial clothes were stored in the wardrobes placed inside the chapel. Often the wardrobes were decorated with representations referring to the charisma of a given confraternity. The basic element creating the “everyday” artistic setting for the brotherhoods’ celebrations was the altarpiece. It contained a painting with a representation of the patron saint or the illustration of the truth of faith, which was particularly revered and promoted by the brotherhood. The devotional painting was usually accompanied by other depictions of saints from the religious order, which cared for the confraternity, and to whose spiritual graces the confraternity was affiliated. They could be the patron saints of the founders, the commonly worshipped saints, or the saints in whose memory special indulgences were obtained. At times, the content of the altar was accompanied by pictures hanging in the immediate vicinity of the altar. An important role was also played by processional crosses and floats, especially the main float, where the brotherhood’s painting identifying the confraternity was placed. The splendour of these ceremonies, including the grand processions and pilgrimages, was raised by the costumes characteristic of individual confraternities and strictly defined by their statutes. The members of a confraternity used special staffs and sceptres with the symbols of the brotherhood. For many of them it was an honour to belong to a particular confraternity, so they portrayed themselves in their ceremonial costumes as Queen Anna Jagiellon did after 1586. These ceremonials also involved the creation of occasional decorations to celebrate the most important events. Triumphal gates decorated with emblems and coats of arms and lemmas were erected, and the route of the procession was decorated. Carriages were decorated with brotherhood’s paintings. On the backdrop of occasional decorations short theatrical spectacles were staged. This was always the case on the occasion of the inauguration of a new brotherhood, in which other confraternities from the immediate vicinity dressed in costumes, carrying staffs and accompanied by floats and banners took part. The musical setting also played an important role in these celebrations.
- Źródło:
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Rocznik Historii Sztuki; 2019, 44; 227-248
0080-3472 - Pojawia się w:
- Rocznik Historii Sztuki
- Dostawca treści:
- Biblioteka Nauki
Artykuł