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DOI Artikel:Czyżewski, Krzysztof J.; Walczak, Marek: The memorial portraits of bishops Samuel Maciejowski and Franciszek Krasiński in the cloister of Franciscan friary in Cracow
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.52949#0152
ŠTÚDIE / ARTICLES
ARS 46, 2013,2
The Memorial Portraits of Bishops
Samuel Maciejowski and Franciszek Krasinski in the
Cloister of the Franciscan Friary in Cracow*
Krzysztof J. CZYŽEWSKI - Marek WALCZAK
Portrait galleries of bishops have been known in
the Latin Christendom since the Early Middle Ages.
They were modelled on the set of forty-two imagines
clipeatae depicting the successive Bishops of Rome in
the basilica of San Paolo fuori le Mura, dating from
the times of Pope Leo the Great (440 — 460).* 1 This
sériés of portraits attests to the important role that
the ins imaginum — originally a major privilège of Ro-
man patricians — had played in the propaganda of the
early Church.2 Written sources confirm the popularity
of such décorations in the first millennium. For ex-
ample, on the piers of the church of Saint-Hilaire-le-
Grand at Poitiers was depicted a cycle of portraits of
local bishops, arranged according to their sequence
presented in the official diocesan catalogue of ec-
clesiastical hierarchy.3 Galleries of bishops’ portraits
* The present article is a part of a füll monograph on the galle-
ry of bishops’ portraits in the cloister of the Franciscan friary
in Cracow, currently under préparation by these authors.
1 DE BRUYNE, L.: K'antica sérié dei ritrattipapali della basilica
di S. Paolo fuori le mura. Roma 1934; LADNER, G: / ritratti
dei Papi nell’ antichità e nel medioevo. Vol. I. Città del Vaticano
1941, pp. 39-59.
2 ANDALORO, M.: Vom Porträt zur Ikone. In: ANDALO-
RO, M. - ROMANO, S. (eds.): Römisches Mittelalter. Kunst und
Kultur in Rom von der Spätantike bis Giotto. Regensburg 2002,
pp. 33-37, esp. p. 37.
3 CARRASCO, M.: Spirituality and Historicity in Pictorial
Hagiography: Two Miracles by St. Albinus of Angers. In:
Art History, 12,1989, p. 3, n. 27.
were usually located in cathedrals, e.g. in transepts
(Augsburg), on choir screens (Merseburg, Ghent),
Stalls (Freising, Vienna), or eise in ancillary spaces,
such as sacristies (Naples, Mantua, Antwerp) and
chapter houses (Léon, and the collegiate church of
the Nativity of the Virgin at Sandomierz).4 Galleried
passages connecting the bishopric résidences with
their cathedrals in Salzburg and Freising, where the
hierarchs, while moving within the episcopium, were
able to reflect on their predecessors, are other inter-
esting instances of areas used for displaying bishops’
portraits.5 A mention should also be made of a highly
original création, both as far as its location and ico-
nography are concerned, námely the “genealogical
tree” of the diocese of Geneva in the canons cloister
at the Cathedra! of St. Lawrence in that city. It depicts
4 Such groups are generally poorly researched and rarely
published, because of difficult accessibiüty, repetitiveness
of formal solutions and usually low artistic quality of parti-
cular portraits, among others. An example of a discovery of
such a gallery - hitherto unknown to art historians — is the
chapter house of the collegiate church at Sandomierz (after
1664) with four images of the bishops of Cracow from the
second half of the seventeenth Century. — STBPIEŇ, U.:
Portréty czterech biskupów. Przyczynek do dziejów wystroju
i wyposaženia kapitularza katedry sandomierskiej. In: ’/.essyty
Sandomierskie, 17 (32), November 2011, pp. 20-23.
5 HAHN, S.: Rundgang 5: Der Fürstengang, ein Monument
Freisinger Geschichte. In: Freising. 1250 Jahre geistliche Stadt.
Ausstellung im Diözesanmuseum und in den historischen Räumen des
Dombergs in Freising. [Exhib. Cat.] 10 June - 19 November
1989. München — Zürich 1989, pp. 375-378.
148
ARS 46, 2013,2
The Memorial Portraits of Bishops
Samuel Maciejowski and Franciszek Krasinski in the
Cloister of the Franciscan Friary in Cracow*
Krzysztof J. CZYŽEWSKI - Marek WALCZAK
Portrait galleries of bishops have been known in
the Latin Christendom since the Early Middle Ages.
They were modelled on the set of forty-two imagines
clipeatae depicting the successive Bishops of Rome in
the basilica of San Paolo fuori le Mura, dating from
the times of Pope Leo the Great (440 — 460).* 1 This
sériés of portraits attests to the important role that
the ins imaginum — originally a major privilège of Ro-
man patricians — had played in the propaganda of the
early Church.2 Written sources confirm the popularity
of such décorations in the first millennium. For ex-
ample, on the piers of the church of Saint-Hilaire-le-
Grand at Poitiers was depicted a cycle of portraits of
local bishops, arranged according to their sequence
presented in the official diocesan catalogue of ec-
clesiastical hierarchy.3 Galleries of bishops’ portraits
* The present article is a part of a füll monograph on the galle-
ry of bishops’ portraits in the cloister of the Franciscan friary
in Cracow, currently under préparation by these authors.
1 DE BRUYNE, L.: K'antica sérié dei ritrattipapali della basilica
di S. Paolo fuori le mura. Roma 1934; LADNER, G: / ritratti
dei Papi nell’ antichità e nel medioevo. Vol. I. Città del Vaticano
1941, pp. 39-59.
2 ANDALORO, M.: Vom Porträt zur Ikone. In: ANDALO-
RO, M. - ROMANO, S. (eds.): Römisches Mittelalter. Kunst und
Kultur in Rom von der Spätantike bis Giotto. Regensburg 2002,
pp. 33-37, esp. p. 37.
3 CARRASCO, M.: Spirituality and Historicity in Pictorial
Hagiography: Two Miracles by St. Albinus of Angers. In:
Art History, 12,1989, p. 3, n. 27.
were usually located in cathedrals, e.g. in transepts
(Augsburg), on choir screens (Merseburg, Ghent),
Stalls (Freising, Vienna), or eise in ancillary spaces,
such as sacristies (Naples, Mantua, Antwerp) and
chapter houses (Léon, and the collegiate church of
the Nativity of the Virgin at Sandomierz).4 Galleried
passages connecting the bishopric résidences with
their cathedrals in Salzburg and Freising, where the
hierarchs, while moving within the episcopium, were
able to reflect on their predecessors, are other inter-
esting instances of areas used for displaying bishops’
portraits.5 A mention should also be made of a highly
original création, both as far as its location and ico-
nography are concerned, námely the “genealogical
tree” of the diocese of Geneva in the canons cloister
at the Cathedra! of St. Lawrence in that city. It depicts
4 Such groups are generally poorly researched and rarely
published, because of difficult accessibiüty, repetitiveness
of formal solutions and usually low artistic quality of parti-
cular portraits, among others. An example of a discovery of
such a gallery - hitherto unknown to art historians — is the
chapter house of the collegiate church at Sandomierz (after
1664) with four images of the bishops of Cracow from the
second half of the seventeenth Century. — STBPIEŇ, U.:
Portréty czterech biskupów. Przyczynek do dziejów wystroju
i wyposaženia kapitularza katedry sandomierskiej. In: ’/.essyty
Sandomierskie, 17 (32), November 2011, pp. 20-23.
5 HAHN, S.: Rundgang 5: Der Fürstengang, ein Monument
Freisinger Geschichte. In: Freising. 1250 Jahre geistliche Stadt.
Ausstellung im Diözesanmuseum und in den historischen Räumen des
Dombergs in Freising. [Exhib. Cat.] 10 June - 19 November
1989. München — Zürich 1989, pp. 375-378.
148