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    Tytuł:
    Organy i organiści w okręgu wiślickim w XVIII w. na podstawie akt wizytacyjnych
    Organs and Organists in the Wiślica District in the 18th Century on the Basis of the Inspection Acts
    Autorzy:
    Wiśniowska-Kirch, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/1955035.pdf
    Data publikacji:
    2000
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    organy
    organiści
    pozytyw
    wizytacje
    okręg wiślicki
    XVIII w .kościół
    organs
    organists
    positive
    inspections
    the Wiślica district
    Church in the 18th century
    Opis:
    In the 18th century organs rapidly became popular in the Wiślica district. It has been found that most organs built then were small instruments in today's understanding. They consisted of positives without pedals. As far as the names are concerned it seems like the organs were a bigger instrument than the positive, especially with respect to the number of voices. Studies of the number of voices have shown that the number of instruments called `organs' and `positive' was equal, with the range of voices between six and nine. The most typical place where organs were put was the organ loft, which was at the back of the church, over the main door: 75.5% of the organs stood there. The inspections do not give much information about the construction details of the organs. With respect to the bellows most often their number was mentioned: it was 2, 4 or 6. Pedals were mentioned in two parishes but it may be assumed that there were more of them. It has been found that the percentage of portable instruments decreased – in the first half of the 18th century from 20 to 17.6%, and this process was especially rapid in the second half of the 18th century: from 17.6 to 7.7%. This proves a decrease in popularity of this kind of organs. During the 18th century the number of organists increased, which was probably related to the increase in the number of organs. If at the beginning of the 18th century the number of organists in relation to the number of inspected churches was a little above 60%, it increased to 90% in the middle of that century, and at the end of it it was probably 100%. The organists only had the names of Christian saints or ones that appeared in the Old Testament. They represented all age groups. Most often they were between 40 and 55 years old, and the average age was 42. The organist often had also the function of chanter, teacher, sacristan or bell-ringer. He was usually given a whole house, received payment in money, sometimes fairly big, and a strip of land or garden to maintain.
    Źródło:
    Roczniki Humanistyczne; 2000, 48, 2; 169-223
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bernardyński pisarz z ХVІІІ wieku Michał Paszkiewicz i jego kazania w zbiorach Narodowego Muzeum Historycznego Republiki Białoruś w Mińsku
    The 18th century writer Michał Paszkiewicz OFMObs and his literary works in the collection of the National Historical Museum of the Republic of Belarus
    Autorzy:
    Lauryk, jury
    Powiązania:
    https://bibliotekanauki.pl/articles/472324.pdf
    Data publikacji:
    2017-12-30
    Wydawca:
    Uniwersytet Warszawski. Wydział Dziennikarstwa, Informacji i Bibliologii
    Tematy:
    XVIII w.
    Michał Paszkiewicz
    Józef Kleczkowski
    Kościół katolicki w Wielkim Księstwie Litewskim
    zakony
    bernardyni
    homiletyka
    drukarstwo
    stare druki
    18th century
    Roman-Catholic Church in Great Duchy of Lithuania
    Ordines
    Bernardians
    sermons
    bookprinting
    oldprinted books
    Opis:
    W zbiorach starodruków Narodowego Muzeum Historycznego Republiki Białoruś znajduje się adligat, w skład którego wchodzi pięć z sześciu obecnie znanych utworów piszącego po polsku autora białoruskiego Michała Paszkiewicza – wszystkie te wydawnictwa opatrzone są własnoręcznymi dedykacjami twórcy. Zrobił on karierę w zakonie oo. Bernardynów – po przejściu kolejnych stopni hierarchii osiągnął godność kustosza i wreszcie – prowincjała litewskiego. Na polu literatury odznaczył się przede wszystkim jako pisarz kaznodziejski, publikując wygłaszane przez siebie kazania funeralne poświęcone osobom z najwyższych warstw społecznych. Niniejszy artykuł traktuje o drukowanej spuściźnie pisarza jako źródle do studiów nad jego działalnością zakonną i literacką.
    In the Collection of oldprinted books of National Historical Museum of the Republic of Belarus in Minsk there is preserved a pamphlet book which contains five from six know by bibliographs issues of works by Michał Paszkiewicz. All of these issues have on their title-pages autograph dedications addressed by author to Joseph Kleczkowski, who was a Canonic of Smaliensk (Smoleńsk), the Dean of Połack (Połock), and the Parson of Vaŭkałata (Wołkołata). M. Paszkiewicz made an eminent career in the so-called Order of Bernardians (Ordo Fratrum Minorum Regularis Observantiae) and reached positions of the custodian and then the provincial minister of Lithuania. Concerning his literary heritage he was famous generally as the author of funeral sermons of celebrities of that time. The article is an attempt to discuss published works by M. Paszkiewicz as sources for the research on his religious and literary activity.
    Źródło:
    Z Badań nad Książką i Księgozbiorami Historycznymi; 2017, Polonika w zbiorach obcych, tom specjalny; 184-194
    1897-0788
    2544-8730
    Pojawia się w:
    Z Badań nad Książką i Księgozbiorami Historycznymi
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pijar Łukasz Ziemecki, autor polichromii w Rzeszowie i Łowiczu. Życie i twórczość malarza w świetle źródeł archiwalnych
    The Piarist Łukasz Ziemecki, Author of the Polychromes in Rzeszów and Łowicz. The Painter’s Life and Oeuvre in the Light of Archival Sources
    Autorzy:
    Mączyński, Ryszard
    Powiązania:
    https://bibliotekanauki.pl/articles/38711325.pdf
    Data publikacji:
    2024
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Łukasz (Albert) Ziemecki
    Luke of St Pantaleon
    Piarist college in Rzeszów
    Piarist church in Rzeszów
    Piarist church in Łowicz
    artist monk
    Piarist congregation
    Baroque polychrome painting
    Polish painting in the 17th and 18th century
    Łukasz od św. Pantaleona
    kolegium Pijarów w Rzeszowie
    kościół Pijarów w Rzeszowie
    kościół Pijarów w Łowiczu
    zakonnik-artysta
    zakon pijarów
    polichromia barokowa
    malarstwo polskie XVII i XVIII wieku
    Opis:
    Artykuł poświęcony jest biografii malarza-pijara Łukasza od św. Pantaleona (w stanie świeckim Albert Ziemecki). Dotychczas zyskał on jedynie drobne, niepozbawione omyłek wzmianki. Gruntowna kwerenda badawcza w Archivio Generale delle Scuole Pie w Rzymie i Archiwum Polskiej Prowincji Zakonu Pijarów w Krakowie pozwoliła zebrać na jego temat szczegółową faktografię. Żył w latach 1655–1715. Był Polakiem, pochodził z Rzeszowa, do zakonu wstąpił w 1679 r., już jako wykształcony artysta. W ciągu 36 lat posługi duchownej przebywał w trzech tylko pijarskich kolegiach: Rzeszowie, Górze i Łowiczu. Miał wyjątkowy status: nie prowadził żadnej działalności edukacyjnej, zajmował się wyłącznie twórczością plastyczną, wykonując rysunki, obrazy sztalugowe i polichromie ścienne. Te ostatnie stanowiły jego opus magnum: w końcu XVII w. dekorował kościół i kolegium w Rzeszowie, na początku XVIII – kościół w Łowiczu. Pełny katalog prac tego niedocenionego malarza polskiego baroku zostanie przedstawiony w przygotowanej do osobnego wydania monografii.
    The article focuses on the biography of the Piarist painter Luke of St Pantaleon (Polish: Łukasz od św. Pantaleona, lay name: Albert Ziemecki). Until now, he has been the subject of no more than short, often erroneous remarks. A thorough research query at the Archivio Generale delle Scuole Pie in Rome and the Archives of the Polish Province of the Piarist congregation in Cracow made it possible to gather detailed facts concerning his life. The painter lived in the years 1755–1715. He was a Pole, a native of Rzeszów, and entered the order in 1679, already as a trained artist. During his 36 years of monastic service, he lived in only three Piarist colleges: at Rzeszów, Góra and Łowicz. His status within the order was unique, as he did not engage in any educational activity and was exclusively involved in artistic work, producing drawings, easel paintings and wall polychromes. The latter constituted his opus magnum: at the end of the 17th century, he decorated the church and college in Rzeszów, and at the beginning of the 18th century, the church in Łowicz. A full catalogue of the works of this underestimated Polish painter of the Baroque period will be presented in a monograph, now being prepared for a separate edition.
    Źródło:
    Biuletyn Historii Sztuki; 2024, 86, 2; 111-148
    0006-3967
    2719-4612
    Pojawia się w:
    Biuletyn Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Budownictwo Kościoła ewangelickiego na obszarach historycznej Warmii w dobie sekularyzacji (1772-1840)
    Autorzy:
    Jodkowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/2041261.pdf
    Data publikacji:
    2014
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Ostpreußen evangelische Kirche in Ermland
    evangelische Diaspora in Ermland
    kirchliche Bauwerke
    Deutschland im 18. und 19. Jh.
    Karl Friedrich Schinkel
    Church
    secularisation
    evangelisation
    autonomy
    modernity
    process of learning
    Church Reform
    Prusy Wschodnie
    Kościół ewangelicki na Warmii
    Diaspora Kościoła ewangelickiego
    Budownictwo kościelne
    Niemcy w XVIII i XIX wieku
    Opis:
    Jednym ze skutków inkorporacji Warmii do Królestwa Prus była jej sekularyzacja. Odtąd posiadłości ziemskie biskupa warmińskiego oraz kanoników przeszły na własność państwa. Zabór pruski umożliwił osiedlanie się ludności protestanckiej na obszarach dotąd niemal całkowicie katolickich. Władze państwowe starały się wyjść naprzeciw oczekiwaniom ludności protestanckiej, zatrudniając jeszcze w XVIII wieku kierowników szkół i katechetów w warmińskich miastach. Fryderyk Wielki wydał także rozporządzenie umożliwiające sprawowanie nabożeństw w tamtejszych ratuszach. Z czasem adoptowano również pomieszczenia będące częścią zamków. Wraz jednak ze wzrostem liczby ludności pojawiła się konieczność budowy własnych świątyń, jak również domów parafialnych i szkół. Wsparcie finansowe gwarantował król pruski Fryderyk Wilhelm III, sugerując początkowo przekazanie na ten cel funduszu sekularyzacyjnego po skasowanym klasztorze w Neuzelle w Brandenburgii. Projekty nowych świątyń opracowywano w Wyższej Deputacji Budowlanej, na czele której ustanowiono z czasem znakomitego architekta Karla Friedricha Schinkla.     
    One of the consequences of the incorporation of Warmia into the Kingdom of Prussia was the growing secularisation of the entire region. The lands belonging to the bishop of Warmia and his canons became the property of the state. The Prussian Partition enabled Protestants to settle in the areas which had previously been dominated almost entirely by Catholics. State authorities tried to meet the expectations of Protestants already in the 18th century by employing school headmasters and religion teachers in the towns of Warmia. Frederick the Great issued a decree that allowed holding religious services in local town halls. Some rooms in the castles were also adapted for the purpose. However, along with the increase in population, there was a growing demand for new church buildings, parish houses and schools. Necessary financial support came from the Prussian king Frederick William III, who suggested that the so-called secularisation fund, available after the dissolution of the Neuzelle monastery in Brandenburg, be assigned to this end. Building of new churches was entrusted to the State Construction Commission, led by a distinguished architect, Karl Friedrich Schinkel.
    Eine der Folgen der Eingliederung Ermlands zum preußischen Königreich war die Säkularisierung. Infolge der Säkularisierung wurden die Ländereien des Ermländer Bischofs sowie diejenigen der Domkapitulare staatliches Eigentum. Die preußische Annexion ermöglichte die Ansiedlung der protestantischen Bevölkerung auf dem bisher gänzlich katholischen Gebieten. Die Staatsregierung versuchte, den Erwartungen der protestantischen Bevölkerung entgegenzukommen, indem sie noch im 18. Jh. Schuldirektoren und Katecheten in den Städten Ermlands angestellt hatte. Friedrich der Große hat ebenfalls eine Anordnung erlassen, nach dem die Zelebration der Gottesdienste in dortigen Rathäusern gestattet wurde. Mit der Zeit wurden dafür auch einige Bauten adaptiert, die zu den Schlössern gehörten. Mit dem Anwachsen der Bevölkerung wurde jedoch die Notwendigkeit sichtbar, eigene Gotteshäuser sowie Pfarrhäuser und Schulen zu bauen. Die finanzielle Unterstützung hat der preußischen König Friedrich Wilhelm III. gesichert, der suggerierte, zu diesem Zweck die Gelder aus dem nach der Auflösung des Klosters in Neuzelle in Brandenburg entstandenem Säkularfond zu verwenden. Projekte der neuen Kirchen wurden in der Ober-Bau-Deputation erstellt, zu deren Leiter der exzellente Architekt Karl Friedrich Schinkel ernannt wurde.
    Źródło:
    Studia Nauk Teologicznych PAN; 2014, 9; 209-230
    1896-3226
    2719-3101
    Pojawia się w:
    Studia Nauk Teologicznych PAN
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Królewskie egzekwie w warszawskim kościele kapucynów w XVIII wieku
    Royal Exequies in the Warsaw Capuchin Church in the 18th Century
    Autorzy:
    Osiecka-Samsonowicz, Hanna
    Powiązania:
    https://bibliotekanauki.pl/articles/24565461.pdf
    Data publikacji:
    2021
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Maria Kazimiera D’Arquien Sobieska
    Jan III Sobieski
    August II Mocny
    Joachim Daniel Jauch
    Alessandro Galli-Bibiena
    kościół kapucynów w Warszawie
    uroczystości egzekwialne
    pogrzeby serc w Rzeczypospolitej XVIII w.
    castrum doloris
    katafalk
    Marie Casimire D’Arquein Sobieska
    John III Sobieski
    Augustus II the Strong
    Joachim Daniel von Jauch
    Capuchin Church in Warsaw
    Exequies
    burials of hearts in the 18th-cetury Polish-Lithuanian Commonwealth
    catafalque
    Opis:
    W artykule omówiono plastyczną oprawę egzekwii odprawionych z inicjatywy Augusta II Mocnego za Marię Kazimierę Sobieską w 1717 r. oraz uroczystości związanych z wystawieniem trumien królowej, Jana III Sobieskiego i ich wnuka, zorganizowanych przez królewicza Jakuba Sobieskiego w 1733 r. Analiza rysunków Joachima Daniela Jaucha ze zbiorów Sächsisches Hauptstaatsarchiv w Dreźnie, wsparta źródłami archiwalnymi, pozwoliła na próbę usystematyzowania bogatego materiału ikonograficznego dotyczącego projektów artysty z okazji pochówku serca Augusta II Mocnego w Kapicy Królewskiej w 1736 r., jej dekoracji oraz wystroju kościoła w czasie egzekwii za monarchę, odprawianych w rocznice jego śmierci na polecenie Augusta III przez blisko dwadzieścia pięć lat. Uroczystości te, celebrowane w jednej z najważniejszych sakralnych fundacji Jana III, były ważnym elementem saskiej propagandy politycznej.
    The Capuchin Church in Warsaw was one of the major sacral foundations of John III Sobieski who passed away in 1696. Owing to a complex political situation, the King’s remains were not buried then at the Wawel, but only in 1697, following a modest ceremony, they were deposited at the Capuchin Monastery, while his heart was placed in the Order’s archives. In 1700, the body of his grandson John, son of James Sobieski, was deposited next to the monarch’s coffin, while in 1717, the coffin of Marie Casimire Sobieski who passed away in France, was added there. In March that year, as instructed and financed by Augustus II the Strong, exequies were performed to pray for the Queen. The ceremony had an important propaganda undertone. Not only did the bier feature inscriptions exposing the merits of Augustus II who made sure the late Queen would rest in peace, but also thanks to the resolution of the so-called Silent Seym in session merely a fortnight before, he had made an attempt at reforming the state’s political system, and introduced the long-awaited peace to the Polish-Lithuanian Commonwealth. At least as of 1731, James Sobieski was trying in vain to organize a dignified burial of the remains of his parents which were decaying in the Warsaw Monastery. However, the indebted Prince could not afford their costly exportation to the Cracow Cathedral and the funeral there. It is likely that he was the one who decided to have exequies performed in the Capuchin Church on the 50thanniversary of the Relief of Vienna, with his parents’ coffins lying in state. It seems likely that precisely this planned ceremony has to be connected with the drawing of the castrum doloris found at the National Gallery of Art in Washington DC attributed to Alessandro Galli-Bibiena, and, according to the inscription, executed for the victor from Vienna and his spouse (Fig. 1). From around 1716 Alessandro worked as an architect at the court of James Sobieski’s brother-in- law Charles III Philip Pfalz-Neuburg who may have commissioned the design of the catafalque from the artist coming from a famous family of decorators. Nonetheless, the design, not mentioned in any studies dedicated to the Galli-Bibiena workshop, was never implemented. When on 1 February 1733 Augustus II died in Warsaw, the issue of the remains of John III and Marie Casimire awaiting their burial at the Wawel returned to the fore; the decision was made for their remains together with Wettin’s body to be transported to Cracow, which took place in August that year. On the instruction of James Sobieski the coffins of John III, Marie Casimire, and of their grandson lay in state in the Capuchin Church already on 15 May. The description of the church’s funerary decoration is rendered in a hand-written Latin report published also in the Polish translation. In front of the chancel a castrum doloris was raised containing the coffins of the royal couple and their grandson, before which the box with the heart of John III was exposed. Above, a velvet canopy was suspended, while in the corners four plinths crowned with globes and eagles holding laurel twigs of which silver candle holders grew were placed. The catafalque and the coffins, the high altar and the Church’s walls were decorated with crimson cloths, while the ceiling featured al fresco compositions related to the idea of the ceremony and the King's reign. The body of Augustus II was transported to the Warsaw Castle, and the monarch’s heart was sent to Dresden; meanwhile, his viscera were deposited ‘de mandato Reipublicae’ in the crypt of the Capuchin Church. It was only on 31 January 1736 that the ceremony of the transfer of the vessel containing the royal viscera to a marble urn raised in the middle of the ‘oratory’ adjacent to the Church took place; the oratory’s remodelling into a chapel, later called ‘Royal’, had been commissioned by Augustus III the year before, however, works on its decoration had not been completed. Thanks to the Latin hand-written account of the event and a press note it is known that in the Church as such only a plinth crowned with regalia was placed before the high altar. During the exequies held in the Capuchin Church on the King’s death anniversary in 1737, an analogical plinth was surrounded by eight pillars-guéridons resembling herms in shape, adorned with fruit and plant garlands: four lower ones culminated in crowns, while the higher ones featured eagles perched on globes. It may have been this very composition (or its version) that was rendered in the drawing by Joachim Daniel von Jauch (Figs. 5–7) preserved in the Dresden Sächsisches Hauptstaatsarchiv; he was the designer of the decoration for royal exequies and also of the Royal Chapel and its furnishing completed after 1737 (Figs. 8–9). Other drawings by Jauch from the Dresden archives register the designs of the Church’s decor on the occasion of subsequent death anniversaries of Augustus II. The explanation featured in the drawings suggests that the illustrated elements were reused annually with only minor modifications. Interestingly, the composition of eight pillars-guéridons, was almost identical with the ones visible in the above-mentioned design, with the only difference that the four lower ones were interconnected with ogees forming a richly decorated canopy over the plinths with the regalia (Figs. 10–13). Similar pillars-guéridons were placed on the catafalque corners in the Collegiate Church of St John in Warsaw during the exequies for Augustus II in 1735; the decoration for that ceremony had also been the artist’s work (Figs. 14a–15). Eclectic designs by Jauch suggest that in the case of pillars-guéridons he was inspired by French print pattern books (Figs. 16a–b, 17). The traditional elements, serving mainly the décor of royal and magnate residences, were, however, given by him a new function in the funerary arrangement, and they  in a way constituted his trademark in this domain of his art. Therefore, it can be assumed that the decoration of the Capuchin Church for the exequies for the Sobieskis in 1733 with the four pillars with the globes and eagles on the top, known from the descriptions, were also the artist’s work. In the concept of the canopy Jauch resorted to the tradition of the Roman Baroque, though this may have also happened through the mediation of French art present at the court of the House of Wettin. The finial in the form of four converging volutes at the top, echoing Bernini’s canopy in the Vatican Basilica was frequent in France in altar structures popularized thanks to prints, beginning with that in the Paris Notre-Dame du Val-de-Grâce Church (1665) almost until the end of the 18th century (Figs. 23–25). Wettin’s viscera were placed in the Capuchin Church in order to benefit from the legend of John III, but also to reduce the latter’s importance in order to serve the Saxon political propaganda initiated by Augustus II with the exequies for Marie Casimire. The tradition of commemorating the anniversary of the death of Augustus II cultivated for over twenty-five years, until the end of the reign of Augustus III (1763), recorded in the press, led to the fact that Augustus II overshadowed the figure of the Church’s founder. It was only in 1830 that the box with the heart of John III was transferred to the Royal Chapel rebuilt then. In 1919, the first mass after Poland had regained independence was celebrated there: it was dedicated to John III. Thanks to the preserved photographs there is no doubt that from the elements kept in the monastery it was the catafalque with a wood-carved volute canopy designed for Augustus II (Figs. 27, 28a–f, 29), and not the castrum doloris of John III and Marie Casimire from 1733 that was recreated. The structure from 1919 was raised again in 1924 in St John’s Cathedral in Warsaw for the funeral of Henryk Sienkiewicz (Fig. 30), and for the last time, again as a historic monument connected with John III, at an exhibition mounted at the National Museum in Warsaw in 1933.
    Źródło:
    Biuletyn Historii Sztuki; 2021, 83, 3; 569-615
    0006-3967
    2719-4612
    Pojawia się w:
    Biuletyn Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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