DOI Heft:
Nr. 3-4
DOI Artikel:Korpysz, Ewa: Renesansowe sakrarium w kościele parafialnym w Dobromilu: =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35032#0394
384
EWA KORPYSZ
Among the comparatively few historical monuments
of Renaissance sculpture from the Ruthenian
territories of the ÆaspHÙ/fca to be preserved in situ is
the alabaster piscina (or sacrarium) in the parish
church of DobromiE in the Ukraine (Polish name:
Dobromil).
Until now, this object has not been an object of
research, having been overlooked in historical
sources, while being treated marginally in published
materials.
The piscina is walled into the chancel's northern
side. It was executed in alabaster of a colour system
mixing light brown with bright yellow and black. It
bears the form of an aedicule surmounted by
tympanum and supported by consoles. The middle
part comprises a semi-circular niche placed between
pilasters featuring bas-reliefs that is closed by a
seashell containing ^o/Te//o, on both sides of which
are depicted the prostrate figures of angels.
In spite of its unremarkable level of artistic
expertise, the piscina of DobromiE is an object
worthy of interest. Its form may be defined as typical
of European wall tabernacles carried out in stone
from the 15th and 16th centuries. However, within
the territories of the Respublica it is an isolated work
of sculpture, since among the score or more
Renaissance stone piscinae to have been preserved,
only the example from DobromiE features a semi-
circular niche closed by a conche and a pair of angles
flanking the .sywrń?//o. Compared with the seashells
placed in the piscinae at Zielonki, Zawichost and
Koźmin, the form of the one at DobromiE differs in
form, the conche failing to cover the niche. In turn,
the angels of monumental form that feature in the
cyboria designed by Padovano in Cracow, however,
in relation to the piscina appeared in Koźmin,
although not immediately next to the and
yet above it. The niche's outline, semi-circular in
plan, is not to be encountered in this kind of historic
object anywhere in Poland within its post-1945
borders, while in Italy, where by far the most
piscinae have remained to current times, it is to be
found mainly in Roman churches.
The piscina under inspection presents an
inconsistent level of craftsmanship. The angels were
sculpted primitively, and yet the architectural
elements were carried out with greater care. The
pilasters are decorated with intertwining floral detail
in the arrangement of candelarbra that when viewed
en face are in bas-relief, while seen in profile lend
the impression of being carved. The ornamentation
decorating the pilasters are closely related to that
applied by Sebastian Czeszek in the tomb of
Katarzyna Ramultowa in Drohobycz of ca. 1572.
Similar motifs are to be found in the two-level tomb
of the Herburt married couple in nearby Felsztyn (an
undated work linked to the Hutte-Czapki workshop
or to Czeszek). Analogies may be traced in works
associated with Santi Gucci, such as the Firlej tomb
in Janowiec (1585-7) and the Pińczów workshops
functioning in the vicinity of Lublin.
The artist responsible for the piscina at
DobromiE was a stonemason and professional in
shaping decorative forms and yet poorly
experienced in figurai sculpture. The motives he
applied were Italian in origin, thus proving the artist
involved had come into contact with such art either
personally or by means of some sort of master with
whom he must have worked. It might thus have been
a mason linked to Czeszek's workshop, having either
studied under and collaborated with him or
otherwise no more than familiar with his artwork. It
is equally possible that a mason originating from the
borderlands of Italy and Switzerland had been
involved in this object's creation.
7)vm,s7^A?<7 by /7?e eJzforv
EWA KORPYSZ
Among the comparatively few historical monuments
of Renaissance sculpture from the Ruthenian
territories of the ÆaspHÙ/fca to be preserved in situ is
the alabaster piscina (or sacrarium) in the parish
church of DobromiE in the Ukraine (Polish name:
Dobromil).
Until now, this object has not been an object of
research, having been overlooked in historical
sources, while being treated marginally in published
materials.
The piscina is walled into the chancel's northern
side. It was executed in alabaster of a colour system
mixing light brown with bright yellow and black. It
bears the form of an aedicule surmounted by
tympanum and supported by consoles. The middle
part comprises a semi-circular niche placed between
pilasters featuring bas-reliefs that is closed by a
seashell containing ^o/Te//o, on both sides of which
are depicted the prostrate figures of angels.
In spite of its unremarkable level of artistic
expertise, the piscina of DobromiE is an object
worthy of interest. Its form may be defined as typical
of European wall tabernacles carried out in stone
from the 15th and 16th centuries. However, within
the territories of the Respublica it is an isolated work
of sculpture, since among the score or more
Renaissance stone piscinae to have been preserved,
only the example from DobromiE features a semi-
circular niche closed by a conche and a pair of angles
flanking the .sywrń?//o. Compared with the seashells
placed in the piscinae at Zielonki, Zawichost and
Koźmin, the form of the one at DobromiE differs in
form, the conche failing to cover the niche. In turn,
the angels of monumental form that feature in the
cyboria designed by Padovano in Cracow, however,
in relation to the piscina appeared in Koźmin,
although not immediately next to the and
yet above it. The niche's outline, semi-circular in
plan, is not to be encountered in this kind of historic
object anywhere in Poland within its post-1945
borders, while in Italy, where by far the most
piscinae have remained to current times, it is to be
found mainly in Roman churches.
The piscina under inspection presents an
inconsistent level of craftsmanship. The angels were
sculpted primitively, and yet the architectural
elements were carried out with greater care. The
pilasters are decorated with intertwining floral detail
in the arrangement of candelarbra that when viewed
en face are in bas-relief, while seen in profile lend
the impression of being carved. The ornamentation
decorating the pilasters are closely related to that
applied by Sebastian Czeszek in the tomb of
Katarzyna Ramultowa in Drohobycz of ca. 1572.
Similar motifs are to be found in the two-level tomb
of the Herburt married couple in nearby Felsztyn (an
undated work linked to the Hutte-Czapki workshop
or to Czeszek). Analogies may be traced in works
associated with Santi Gucci, such as the Firlej tomb
in Janowiec (1585-7) and the Pińczów workshops
functioning in the vicinity of Lublin.
The artist responsible for the piscina at
DobromiE was a stonemason and professional in
shaping decorative forms and yet poorly
experienced in figurai sculpture. The motives he
applied were Italian in origin, thus proving the artist
involved had come into contact with such art either
personally or by means of some sort of master with
whom he must have worked. It might thus have been
a mason linked to Czeszek's workshop, having either
studied under and collaborated with him or
otherwise no more than familiar with his artwork. It
is equally possible that a mason originating from the
borderlands of Italy and Switzerland had been
involved in this object's creation.
7)vm,s7^A?<7 by /7?e eJzforv