DOI Artikel:
Morka, Mieczysław: Włoski tryptyk renesansoy w kościele na Kamionku w Warszawie: problemy ikonografii i autorstwa
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.48916#0051
Włoski tryptyk renesansowy w kościele na Kamionka w Warszawie
morę probably in a chapel of the Rosarians, forming at the
same time a confraternity known as the flagellators (in
a church of the Dominican nuns). It must have been a town
or city in which the cult of St. Catherine would have been
especially strong. The author would suggest Siena on the
grounds that the confraternity of flagellators (Confraternita
dei disciplinati) operated in the oratorium of the brethren
known as Compagnia di S. Catterina della Notte, who were
based in the Ospedale di S. Maria della Scala. He would
also consider as possible original sites the monastery of
S. Maria Sopra Minerva in Romę in which St. Catherine
died and where from 1481 the Rosacrucians, together with the
flagellators, were active. Bologna, the city where St. Dominie
died, should also be born in mind as a possible site,
although here the flagellators had their own małe and female
sections. Pemggia and Pisa should also be considered, on
account of the brethren of Virgin Mary, raccomandanti
della Yergine, even though being linked to the flagellators
does not mean that another site in Italy might not have be-
en chosen. The white and hooded tunics worn by the friars,
featuring a single red cross on the right shoulder repeated
on the hood’s peak, might also provide a clue to the original
site intended for the triptych.
The hypothetical Identification of Ambrogio da
Soncino as the triptych artist is based on the actual painter’s
eryptosignature the actual painter’s eryptosignature, placed
in an inscription identifying St. Ambrose (ill. 13) in the ver-
sion: D. AMBROSIUS FEC with the ligature stamp. The
author interpretes this inscription as: Dominicanus Ambro-
sius Fecit; ie executed. In conclusion, the author expresses
a hope that introducing the triptych to „academic circles”
will in time make it possible to identify morę precisely the
original destination prior to its removal, which almost
certainly would have taken place in the year 1783 when the
confraternity was annulled in the Habsburg Empire, as well
as to confirm the hypothetical authorship.
Translated by Peter Martyn
37
morę probably in a chapel of the Rosarians, forming at the
same time a confraternity known as the flagellators (in
a church of the Dominican nuns). It must have been a town
or city in which the cult of St. Catherine would have been
especially strong. The author would suggest Siena on the
grounds that the confraternity of flagellators (Confraternita
dei disciplinati) operated in the oratorium of the brethren
known as Compagnia di S. Catterina della Notte, who were
based in the Ospedale di S. Maria della Scala. He would
also consider as possible original sites the monastery of
S. Maria Sopra Minerva in Romę in which St. Catherine
died and where from 1481 the Rosacrucians, together with the
flagellators, were active. Bologna, the city where St. Dominie
died, should also be born in mind as a possible site,
although here the flagellators had their own małe and female
sections. Pemggia and Pisa should also be considered, on
account of the brethren of Virgin Mary, raccomandanti
della Yergine, even though being linked to the flagellators
does not mean that another site in Italy might not have be-
en chosen. The white and hooded tunics worn by the friars,
featuring a single red cross on the right shoulder repeated
on the hood’s peak, might also provide a clue to the original
site intended for the triptych.
The hypothetical Identification of Ambrogio da
Soncino as the triptych artist is based on the actual painter’s
eryptosignature the actual painter’s eryptosignature, placed
in an inscription identifying St. Ambrose (ill. 13) in the ver-
sion: D. AMBROSIUS FEC with the ligature stamp. The
author interpretes this inscription as: Dominicanus Ambro-
sius Fecit; ie executed. In conclusion, the author expresses
a hope that introducing the triptych to „academic circles”
will in time make it possible to identify morę precisely the
original destination prior to its removal, which almost
certainly would have taken place in the year 1783 when the
confraternity was annulled in the Habsburg Empire, as well
as to confirm the hypothetical authorship.
Translated by Peter Martyn
37