DOI Heft:
Nr. 1-2
DOI Artikel:Starzyński, Marcin: Stanisława Samostrzelnika renesansowa dekoracja heraldyczna klasztoru Cystersów w Mogile
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34475#0032
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MARCIN STARZYŃSKI
miniaturist was also employed to work on the said
chapel's painted decoration. He was responsible for
the polychrome decorating the wax figures depicting
Oleśnicki that were placed in a number of churches
as votive offerings following the miraculous healing.
Also at this time, Samostrzelnik designed
embroidery patterns to adorn the bishop Tomasz
Strzempihski's coronet as restored on Tomicki's
request, and, almost with equal certainty, the S-
shaped figure in a pastoral currently housed in the
treasury of Cracow's St. Mary's parish church. The
same artist is regarded as being responsible for
creating the portrait of Piotr Tomicki placed in the
cloisters of the city's Franciscan monastery, as well
as likely author of a painting depicting St. George
from the Wawel cathedral treasury. Following
Tomicki's death, Samostrzelnik returned to the
abbey at Mogiła where, on the commission of Erazm
Ciołek, he earned out the monastery interiors'
monumental polychrome decoration, completed
around 1538. He died at Mogiła in 1541 at around
the age of 70.
In his main article, the author aims to familiarise
the so-called Master of Mogila's last-known works,
which were polychrome decorations in the convent
church, walls and vaulting of the monastery cloisters
and vaulting of the library hall in the same abbey. In
carrying out this commission, the artist focused on
the heraldic decorations worked into this interior
decoration, which can be read as a symbolic map of
this religious house's contacts within the Church
structure of Małopolska, as well as representing the
group of potential intimate friends and protectors of
abbot Erazm Ciołek, the cannon of Cracow and
Laodiciambishop; a humanist fascinated by Erasmus
of Rotterdam's writings and closely connected to the
royal court as well as Cracow University. Found
here, next to the royal family's, was the coat-of-arms
of Piotr Gamrat, a trusted associated of queen
Bona's, bibliophile, art collector and patron of
learning, as well as those of the cannons of Cracow
associated with the crown chancellery and
diplomatic service to Sigismund 1. Each of the
above-named personages belonged to the most
distinguished representatives of humanism among
the Polish episcopate of the first half of the 16th
century.
The titular heraldic decoration adorning the
monastery interiors under abbot Ciolek's
administration constitutes an eloquent example of
the degree to which the language of coats-of-arms
had begun to spread out throughout the Polish
Kingdom at that time, as well as how the original
artistic ideals of the Cistercians had altered during
the course of the previous half millennium since the
order's creation. It is equally a fabulous, if somewhat
forgotten, example of mural paintwork in Mało-
polska from the reign of Sigismund 1.
Tru/MArter/ Ay Peter Afurtp^i
MARCIN STARZYŃSKI
miniaturist was also employed to work on the said
chapel's painted decoration. He was responsible for
the polychrome decorating the wax figures depicting
Oleśnicki that were placed in a number of churches
as votive offerings following the miraculous healing.
Also at this time, Samostrzelnik designed
embroidery patterns to adorn the bishop Tomasz
Strzempihski's coronet as restored on Tomicki's
request, and, almost with equal certainty, the S-
shaped figure in a pastoral currently housed in the
treasury of Cracow's St. Mary's parish church. The
same artist is regarded as being responsible for
creating the portrait of Piotr Tomicki placed in the
cloisters of the city's Franciscan monastery, as well
as likely author of a painting depicting St. George
from the Wawel cathedral treasury. Following
Tomicki's death, Samostrzelnik returned to the
abbey at Mogiła where, on the commission of Erazm
Ciołek, he earned out the monastery interiors'
monumental polychrome decoration, completed
around 1538. He died at Mogiła in 1541 at around
the age of 70.
In his main article, the author aims to familiarise
the so-called Master of Mogila's last-known works,
which were polychrome decorations in the convent
church, walls and vaulting of the monastery cloisters
and vaulting of the library hall in the same abbey. In
carrying out this commission, the artist focused on
the heraldic decorations worked into this interior
decoration, which can be read as a symbolic map of
this religious house's contacts within the Church
structure of Małopolska, as well as representing the
group of potential intimate friends and protectors of
abbot Erazm Ciołek, the cannon of Cracow and
Laodiciambishop; a humanist fascinated by Erasmus
of Rotterdam's writings and closely connected to the
royal court as well as Cracow University. Found
here, next to the royal family's, was the coat-of-arms
of Piotr Gamrat, a trusted associated of queen
Bona's, bibliophile, art collector and patron of
learning, as well as those of the cannons of Cracow
associated with the crown chancellery and
diplomatic service to Sigismund 1. Each of the
above-named personages belonged to the most
distinguished representatives of humanism among
the Polish episcopate of the first half of the 16th
century.
The titular heraldic decoration adorning the
monastery interiors under abbot Ciolek's
administration constitutes an eloquent example of
the degree to which the language of coats-of-arms
had begun to spread out throughout the Polish
Kingdom at that time, as well as how the original
artistic ideals of the Cistercians had altered during
the course of the previous half millennium since the
order's creation. It is equally a fabulous, if somewhat
forgotten, example of mural paintwork in Mało-
polska from the reign of Sigismund 1.
Tru/MArter/ Ay Peter Afurtp^i