DOI Artikel:
Rozprawy
DOI Artikel:Miodońska, Barbara: Korona zamknięta w przekazach ikonograficznych z czasów Zygmunta I
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.47895#0026
BARBARA MIODOŃSKA
that the adoption of the closed crown in Roland was
connected with the legał naturę of the relationship
between the Kingdom of Roland and Prussia, seems
to be well founded. This was one of Poland’s key
political problems at the turn of the 16th century.
In considering which historical events may have di-
rectly stimulated the transformation of the homage
and coronation crown, the Prussian Homage of 1525,
the meeting of the Jagiellon Kings of Poland, and
Bohemia and Hungary, with Maximilian I at Vienna
in 1515, and Sigismund II Augustus’s coronation in
1530 must all be taken into account. It is an indis-
putable fact thet the later datę marks the start of
the period of decisive and finał preponderance of the
closed crown in iconographic documents.
Next the author discusses the kind of garments
worn by the King when receiving homage. Gieysz-
tor, referring to Andrzej Krzycki’s letter describing
the homage done by Albrecht von Hohenzollern to
Sigismund I in 1525, expresses the opinion that on
this occasion the King of Poland appeared for the
first time in sacerdotal robes, identical with corona-
tion robes, and modelled on the imperial vestments.
The author quotes accounts of homages in 1445 (Jan
Długosz, Historiae Polonorum libri XII, ed. Przez-
dziecki, vol. V, p. 176) and in 1485 (Volumina legum I,
p. 109—110), and draws the conclusion that as far
back as the 15th century, besides sacerdotal coronation
robes, the Kings of Poland received homage ”in modo
sacerdote” vestments. These accounts are not abso-
lutely unambiguous, but some additional light is shed
by an iconographic document — a miniaturę in the
Pontifical of Erazm Ciołek (National Museum in Cra-
cow, Czartoryski Library MS 1212, fol. LIII), executed
in the 1510s. The author disagrees with Gieysztor over
his interpretation of Krzycki’s letter. In her opinion
this letter shows that in the period under discussion
the traditional concept of the priest-king, expressed
in the sacerdotal robes of monarch, was beginning
to conflict in the mind of the community as a whole
with a new, Renaissance idea, that of the warrior-
-king, carrying the implication that the monarch
should appear in armour at the homage ceremony.
It is significant that this second concept eventually
gained ground in the sculpture of royal tombs in the
16th century. Yet the two concepts, the age-old one
of a king drawing his authority from God, and the
Renaissance one of the monarch as a heroic warrio-r
(„Clipeus Patriae”, „Victor ac Triumphator”, to cite
the epithets given to Sigismund I), have been recon-
ciled and harmonized in the Sigismund Chapel in
Wawel Cathedral, the finest monument of Renaissance
art which the Court of the last Jagiellons produ-
ced.
that the adoption of the closed crown in Roland was
connected with the legał naturę of the relationship
between the Kingdom of Roland and Prussia, seems
to be well founded. This was one of Poland’s key
political problems at the turn of the 16th century.
In considering which historical events may have di-
rectly stimulated the transformation of the homage
and coronation crown, the Prussian Homage of 1525,
the meeting of the Jagiellon Kings of Poland, and
Bohemia and Hungary, with Maximilian I at Vienna
in 1515, and Sigismund II Augustus’s coronation in
1530 must all be taken into account. It is an indis-
putable fact thet the later datę marks the start of
the period of decisive and finał preponderance of the
closed crown in iconographic documents.
Next the author discusses the kind of garments
worn by the King when receiving homage. Gieysz-
tor, referring to Andrzej Krzycki’s letter describing
the homage done by Albrecht von Hohenzollern to
Sigismund I in 1525, expresses the opinion that on
this occasion the King of Poland appeared for the
first time in sacerdotal robes, identical with corona-
tion robes, and modelled on the imperial vestments.
The author quotes accounts of homages in 1445 (Jan
Długosz, Historiae Polonorum libri XII, ed. Przez-
dziecki, vol. V, p. 176) and in 1485 (Volumina legum I,
p. 109—110), and draws the conclusion that as far
back as the 15th century, besides sacerdotal coronation
robes, the Kings of Poland received homage ”in modo
sacerdote” vestments. These accounts are not abso-
lutely unambiguous, but some additional light is shed
by an iconographic document — a miniaturę in the
Pontifical of Erazm Ciołek (National Museum in Cra-
cow, Czartoryski Library MS 1212, fol. LIII), executed
in the 1510s. The author disagrees with Gieysztor over
his interpretation of Krzycki’s letter. In her opinion
this letter shows that in the period under discussion
the traditional concept of the priest-king, expressed
in the sacerdotal robes of monarch, was beginning
to conflict in the mind of the community as a whole
with a new, Renaissance idea, that of the warrior-
-king, carrying the implication that the monarch
should appear in armour at the homage ceremony.
It is significant that this second concept eventually
gained ground in the sculpture of royal tombs in the
16th century. Yet the two concepts, the age-old one
of a king drawing his authority from God, and the
Renaissance one of the monarch as a heroic warrio-r
(„Clipeus Patriae”, „Victor ac Triumphator”, to cite
the epithets given to Sigismund I), have been recon-
ciled and harmonized in the Sigismund Chapel in
Wawel Cathedral, the finest monument of Renaissance
art which the Court of the last Jagiellons produ-
ced.