DOI Heft:
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DOI Artikel:Kopania, Kamil: Słowo - obraz - teatr: uwagi na temat "Rozmyślań dominikańskich"
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.49354#0053
The Word, the Picture and the Theatre. Comments on the subject of the 'Dominican Reflections' 47
among other scenes, Christ being presented before
Herod or Pilate. It is thus possible that the miniatur-
ist in question drew his inspiration not so much from
the mysteries as the works of other artists.
The buildings depicted with a cut front wall, if
only characterised by their simplicity, contain no
traits suggesting they form part of a permanent, ma-
sonry-built or wooden construction or that they form
an integrated part of the surrounding architecture. As
such, they may be recognised as mansions, or imita-
tions of them.
Treating the miniatures discussed as precursors
to the stage designs of Sebastian Serlio is utterly
groundless.
The way miniature number two presented his fig-
ures cannot be linked to the way in which they were
depicted in mystery texts. The stylistic features of
the miniatures in question are the result of the artist's
relating the style displayed in book illustrations as
produced by Cracow publishing houses in the first
quarter of the 16th century.
Stipulating that similarities exist between Reflec-
tions and the Toruń Passion is completely un-
founded. Furthermore, the second of these historical
documents does not in itself reveal any dependence
on mystery plays.
The literary structure of Dominican Reflections
is not distinguishable from that of other works which
are similar or in contrast to its kind but identical in
content. The dramatised scenes, dialogues and
monologues supposedly testifying to the 'theatrical-
ity' of Reflections are present not only in the work
under examination but also, for example, in the Re-
flections of Przemyśl or the Gospel of Nicodemus.
The ultimate shape of these latter two works was con-
ditioned by the influence of works which in numerous
cases had arisen centuries earlier, in times when the
mystery plays had not as yet come into being.
The text under examination did not take shape
under the miniatures' influence but rather that of
works forming a part of passion literature and his-
torie references. Above all else, however, it was pas-
sion treatises, containing parallels and examples of
biblical exegesis, which provided the basis for ex-
panding in a narrative respect the history of Christ's
passion as depicted in close detail in the miniatures
accompanying the manuscript.
The miniatures illustrating Dominican Reflec-
tions are dependent on the text, and not vice versa.
This fact is especially relevant to the works of the
second miniaturist who depicted with extraordinary
precision successive scenes from this work, fre-
quently comprising parallels and biblical exegesis.
Furthermore, numerous miniatures owe their form
and composition to other, mainly graphic works
which had taken shape at an earlier stage.
Translated by Peter Martyn
Illustrations
]. John of Limbourg, Ascension, ca. 1403, Paris,
Bibliotheque Nationale de France, Ms. lat. 166,fol. 14
2. John of Flanders, Ecce homo, 1485-90, Prague,
Ndrodni Galerie
3. Master of Brunswick, Ecce homo, 1505-6 r.,
Brunswick, Herzog-Anton-Ulrich-Museum
4. Master of passion scenes from the Dominican
triptych, Laying to rest in the Tomb,1465, Cracow,
Muzeum Narodowe
5. Dominican Reflections, Hair wrenching by
Annas's servants
6. Dominican Reflections, Ridiculing the blind-
folded Christ, the Virgin Mary, Maids and St. John
weeping over the Holy Saviour's torment as well as
St. Peter's repudiation of Jesus
7. Dominican Reflections, Pontius Pilate presenting
Christ to the Jews. The Jews demanding Christ's cru-
cifixion and the freeing of Barabbas, the Virgin
Mary, St. John and Mary Magdalen by Barabbas's
dark cell weeping over Jesus
8. Dominican Reflections, The Soldiers' Ridiculing
of Christ incarcerated in a cell in the presence of Vir-
gin Mary and St. John
9. Dominican Reflections, The Dragging of Christ
from his cell by the court of the Jewish Counsel
10. Dominican Reflections, Christ's Farewell with
the Virgin Mary, Martha and Mary Magdalen
11. Dominican Reflections, Lament in Bethany and
the Virgin Mary, Maids and St. John kissing the foot-
prints of Christ on his way to Golgotha
12. Dominican Reflections, Consecration of bread
and wine
13. Jean Fouquet, Martyrdom of St. Apolonius',
miniature from the 'Canonical hours of Etienne
Chevalier', 1452-60 r., Musee Conde in Chantilly
14. Dominican Reflections, Conducting of Christ
from Annas to Caiaphas, the judges in the square
15. Dominican Reflections, Pontius Pilate washing
his hands and the Jews expressing gratitude for the
condemning of Christ
16. Reconstruction ofthe mansions (as well as their
arrangement) as used at the time ofa presentation
staged in 1583 in Lucerne, Theatermuseum der
Universitdt zu Koln
17. Renward Cysat, plan ofa spectacle in Lucerne,
1583, Lucerne, Zentralbibliothek, BB Ms. 180 gol.
among other scenes, Christ being presented before
Herod or Pilate. It is thus possible that the miniatur-
ist in question drew his inspiration not so much from
the mysteries as the works of other artists.
The buildings depicted with a cut front wall, if
only characterised by their simplicity, contain no
traits suggesting they form part of a permanent, ma-
sonry-built or wooden construction or that they form
an integrated part of the surrounding architecture. As
such, they may be recognised as mansions, or imita-
tions of them.
Treating the miniatures discussed as precursors
to the stage designs of Sebastian Serlio is utterly
groundless.
The way miniature number two presented his fig-
ures cannot be linked to the way in which they were
depicted in mystery texts. The stylistic features of
the miniatures in question are the result of the artist's
relating the style displayed in book illustrations as
produced by Cracow publishing houses in the first
quarter of the 16th century.
Stipulating that similarities exist between Reflec-
tions and the Toruń Passion is completely un-
founded. Furthermore, the second of these historical
documents does not in itself reveal any dependence
on mystery plays.
The literary structure of Dominican Reflections
is not distinguishable from that of other works which
are similar or in contrast to its kind but identical in
content. The dramatised scenes, dialogues and
monologues supposedly testifying to the 'theatrical-
ity' of Reflections are present not only in the work
under examination but also, for example, in the Re-
flections of Przemyśl or the Gospel of Nicodemus.
The ultimate shape of these latter two works was con-
ditioned by the influence of works which in numerous
cases had arisen centuries earlier, in times when the
mystery plays had not as yet come into being.
The text under examination did not take shape
under the miniatures' influence but rather that of
works forming a part of passion literature and his-
torie references. Above all else, however, it was pas-
sion treatises, containing parallels and examples of
biblical exegesis, which provided the basis for ex-
panding in a narrative respect the history of Christ's
passion as depicted in close detail in the miniatures
accompanying the manuscript.
The miniatures illustrating Dominican Reflec-
tions are dependent on the text, and not vice versa.
This fact is especially relevant to the works of the
second miniaturist who depicted with extraordinary
precision successive scenes from this work, fre-
quently comprising parallels and biblical exegesis.
Furthermore, numerous miniatures owe their form
and composition to other, mainly graphic works
which had taken shape at an earlier stage.
Translated by Peter Martyn
Illustrations
]. John of Limbourg, Ascension, ca. 1403, Paris,
Bibliotheque Nationale de France, Ms. lat. 166,fol. 14
2. John of Flanders, Ecce homo, 1485-90, Prague,
Ndrodni Galerie
3. Master of Brunswick, Ecce homo, 1505-6 r.,
Brunswick, Herzog-Anton-Ulrich-Museum
4. Master of passion scenes from the Dominican
triptych, Laying to rest in the Tomb,1465, Cracow,
Muzeum Narodowe
5. Dominican Reflections, Hair wrenching by
Annas's servants
6. Dominican Reflections, Ridiculing the blind-
folded Christ, the Virgin Mary, Maids and St. John
weeping over the Holy Saviour's torment as well as
St. Peter's repudiation of Jesus
7. Dominican Reflections, Pontius Pilate presenting
Christ to the Jews. The Jews demanding Christ's cru-
cifixion and the freeing of Barabbas, the Virgin
Mary, St. John and Mary Magdalen by Barabbas's
dark cell weeping over Jesus
8. Dominican Reflections, The Soldiers' Ridiculing
of Christ incarcerated in a cell in the presence of Vir-
gin Mary and St. John
9. Dominican Reflections, The Dragging of Christ
from his cell by the court of the Jewish Counsel
10. Dominican Reflections, Christ's Farewell with
the Virgin Mary, Martha and Mary Magdalen
11. Dominican Reflections, Lament in Bethany and
the Virgin Mary, Maids and St. John kissing the foot-
prints of Christ on his way to Golgotha
12. Dominican Reflections, Consecration of bread
and wine
13. Jean Fouquet, Martyrdom of St. Apolonius',
miniature from the 'Canonical hours of Etienne
Chevalier', 1452-60 r., Musee Conde in Chantilly
14. Dominican Reflections, Conducting of Christ
from Annas to Caiaphas, the judges in the square
15. Dominican Reflections, Pontius Pilate washing
his hands and the Jews expressing gratitude for the
condemning of Christ
16. Reconstruction ofthe mansions (as well as their
arrangement) as used at the time ofa presentation
staged in 1583 in Lucerne, Theatermuseum der
Universitdt zu Koln
17. Renward Cysat, plan ofa spectacle in Lucerne,
1583, Lucerne, Zentralbibliothek, BB Ms. 180 gol.