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DOI Artikel:Dobrzeniecki, Tadeusz: Imago Pietatis: its meaning and function
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18819#0031
SECUNDUM MAGNAM MISERICORDIAM TUAM; Sorrowful Christ with answer on the scroll: NOLO MORTEM
PECCATORIS SED UT MAGIS CONVERTATUR ET VIVAT (after Ezechiel, XXXIII, Jl).
28. R. Pallucchini, La pittura veneziana dei trecento, Venezi .-Roma, 1964, figs. 36, 39; M. Muraro, Paolo da Venezia, Milano,
1969, pl. 73.
29. V. Sussmann, „Maria mit dcm Schutzmantel," Marburger Jahrbuch fiir Kunsiwissenschaft, V, 1929, p. 343; Matejćek,
op. cit., fig. 55.
30. W". Kloss, Die Erfurter Tafelmalerei von 1350-1470, Berlin, 1935; A. Stange, Deutsche Malerai der Gotik, III, Berlin 1936,
fig. 198.
31. Matth. XXVI, 39; the New Testamental texts on the obedience of Christ to Father are: Ilebr. V,7.8; I PetriII,23;
Rom. V, 19.
32. Ps XXI, 8. The Crucified Christ applied these words to himself. Matth. XXVII, 46 V.
33. Is. LII, 2.
34. Jesus said about himself: mitis sum et humilis corde, Matth. XI, 25 (= Is. LVII, 15).
35. E. g. Symeon expectans consolationem Israel (Lukę II, 25).
36. Lukę I, 38: Ecce ancilla Domini; see M.E. Gossmann, Die Verkiindigung an Maria im dogmatiscfien Verstdndnis des Mit-
telalters, Munich, 1957, s.v. Demu! Marias.
37. Domina nostra de humililate; M. Meiss,"The Madonna of Humility", The Art Bulletin, XVIII, 1936, pp. 435 f.;H.W. van
Os, Marias Demut und Verherrłichung in der sienesisciien Malerei 1300 — 1450, s'- Gravenhage, 1969.
38. Tliis manuscript was quoted in the history of the Chureh Santa Croce, written in the Year of jubilce 1750, Ii. Besozzi,
La storia delia basilica di S. Croce in Gerusalemme, Roma, 1750, p. 155; P. Ortmayr, "Papst Gregor der Grosse und das
Schmerzensmaimbild in S. Croce zum Rom (Zur Vorgeschichte dieses Bildcs)", Rivista di archeologia cristiana, XVIII,
1941, pp. 97 f.
39. Ad Philip. II, 9 —10: Proptcr ąuod et Deus exaltavit illum et donaril Uli nomen, quod est super omne nomen: ut in nomine
Iesu omne genu flectatur coelestium, terrestrium et infernorum, et omnis lingua confiteatur quia Dominus Iesus Christus in
gloria est Dei Patris; A.J. Vermeulen, The Semantic Dcvelopment of Gloria in Early Christian Latin, Utrecht-Nijmegen,
1956, pp. 115 — 124: The Gloria Chris ti in Early Christian Art; P. Beskow, Rex Gloriae. The Kingship of Christ in the Early
Church, Stockholm. 1962, pp. 53, 278-79 (Phil. II, 9-10).
40. E.g. Lukę XXIV, 26: aporiuit pali Christum et ita intrare in gloriam suam.
41. Ego sum pastor bonus. Bonus pastor animam suam dat pro ovibus suis (John X, 11) see the commentary of St Bernard,
In Cant. serin XXXI, n. 10: Bonus pastor, qui animam suam dat pro ovibus suis: animam pro illis, carnem illis; U tam in
prtilium,istam in cibum. Res miral ipsepastor, ipse pascua est, ipse rcdemptio. St Thomas Aquinas in his sequence Lauda
Sion Salvałorem writes: Bone pastor, pani $ vere; F.J.E. Raby, A History of Chris tian-Latin Poetry from the Beginmngs
to the Close of the Middle Ages, Oxford, 1953, p. 405: The sequen.ce in the Mass is the famous Lauda Sion Salvator, which
properly enougli is a sevcrely doctrinal exposition ol the dogma of the Real Presence; N. Gihr, Die Sequenzen des rbmischnn
Messbuches dogmatisch und aszetisch erklart, Freiburg i. Br., 1887, pp. 410 — 417; A. Legner, Der Gule Hirte, Dusseldorf,
1959, fig. 28: Christ-Man of Sorrows as the Good Shcpherd {a carved figurę); fig. 29: Christ the Good Shepherd in Mystical
Press (a mural of close of the XVth century, Cologne, St Ursula^; A. .Tort, Poimen. Das Bild vom Hirten in der biblischen
Uberlieferung und seine christologische Bedeutung, Diss. Giessen, 1939; Th. K. Kempf, Christus der Ilirt. Ursprung und
Deutung einer altchrist'ichen Symbo'gestah, Rom, 1942; Fr. Nikolascb, Das Lamm ais Christussymbol in den Schriften der
Vdter, Wien, 1963, pp. 155 — 179: Christus ais Hirtund Lamm; the representation of the Lamb in Santa Pudenziana (Rome)
is accompanied by the text: HIC AGNUS MUNDUM RESTAURAT SANGUINE LAPSUM MORTUUS ET VIVUS
IDEM SUM PASTOR ET AGNUS see Dictionnaire d'Archeologie et de Liturgie, I, 1 col. 882.
12. John XV, 13: Maiorem hac dilectionem nemo habet ut animam suam ponat quis pro amicis suis.
43. John VI, 35; XI, 25; VIII, 12; XIV, 10.24 = I, 1.14; qualitates Messiae foretold by Isaiah are: Et reauiescet super eum
spiritus sanctus scientiae et pietatis (XI, 2); misericors (XLII, 3.4).
43a A. Thomas, ,, Das Urbild der Gregoriusraesse," Riuista di archeologia cristiana, X, 1933, pp. 51 f.
44. C. Bertelli,"Tbe In.age of Pity in Santa Croce in Gerusalemmc" [im], Essays in the History of Art presented to R. Wiltkower,
London, 1967, pp. 40-55.
45. E.g. mosaic icon in the Monastery at Tatarna (Evrytania) (fig. 6) repr.: The Exhibition Byzantine Art,op. cif., No 167;
Icones. Sinai Gr°ce Bułgaria Yougoslavia, Belgrad, 1966, p. XXVIII, fig. 48.
46. P. Browe, Die eucharislischen Wunder des MittelaUers, Breslau, 1938, pp. 113 — 115; the oldest known version of the legend
was written down by a monk of the Monastery of Streaneskaleb (Northumbria) in the early VIIIth century; for its edition
see F.A. Gasquet, A Life of Pope St Gregory the Great, London, 1904; an iniportant yersion is included in the Speculum
historiale of Vincent de Beauvais, XXII, c. 20.
47. K ArevaIo (j* 1824), a distinguished connoisseur and editor of the Patristie literaturę put down in Dracontii carmina I,
11, an opinion of interes t to us; Chris ti ani scriptores pro clemuntia, benignitate et missricordia passim pietatem ponunt: quae
rox eodem sensu in precibus ec.lesiasticis frcquentissima est; see also H. Ashworth,,,The Liturgieal prayers of St Gregory
the Great," Traditio, XV, 1959, pp. 107 — 161 (the author uses the term pietas).
48. John I, 29.36.
49. P. Federkiewicz, ,,Ecce Agnus Dei, "Yerbum Domini, XII, 1932, pp. 117 —120: Origo Isaiana Agni Dei in loh. I, 29;
J. Jercmias,, ,Amnos tou theou pais ton theou,'' Zeitschrift fiir die neuiestamentliche Wissenschaft und die Kunde der dl teren
Kirche, XXXIV, 1935, pp. 115 — 123; E.E. May, Ecce Agnus Dei. A philological and exegetical approach to John I, 29.36,
Washington, 1947; II. Strąkowski, Chrystus-Baranek ic Piśmie świętym, Lublin, 1961 with rich bibliography; Nikoh:suh,
25
PECCATORIS SED UT MAGIS CONVERTATUR ET VIVAT (after Ezechiel, XXXIII, Jl).
28. R. Pallucchini, La pittura veneziana dei trecento, Venezi .-Roma, 1964, figs. 36, 39; M. Muraro, Paolo da Venezia, Milano,
1969, pl. 73.
29. V. Sussmann, „Maria mit dcm Schutzmantel," Marburger Jahrbuch fiir Kunsiwissenschaft, V, 1929, p. 343; Matejćek,
op. cit., fig. 55.
30. W". Kloss, Die Erfurter Tafelmalerei von 1350-1470, Berlin, 1935; A. Stange, Deutsche Malerai der Gotik, III, Berlin 1936,
fig. 198.
31. Matth. XXVI, 39; the New Testamental texts on the obedience of Christ to Father are: Ilebr. V,7.8; I PetriII,23;
Rom. V, 19.
32. Ps XXI, 8. The Crucified Christ applied these words to himself. Matth. XXVII, 46 V.
33. Is. LII, 2.
34. Jesus said about himself: mitis sum et humilis corde, Matth. XI, 25 (= Is. LVII, 15).
35. E. g. Symeon expectans consolationem Israel (Lukę II, 25).
36. Lukę I, 38: Ecce ancilla Domini; see M.E. Gossmann, Die Verkiindigung an Maria im dogmatiscfien Verstdndnis des Mit-
telalters, Munich, 1957, s.v. Demu! Marias.
37. Domina nostra de humililate; M. Meiss,"The Madonna of Humility", The Art Bulletin, XVIII, 1936, pp. 435 f.;H.W. van
Os, Marias Demut und Verherrłichung in der sienesisciien Malerei 1300 — 1450, s'- Gravenhage, 1969.
38. Tliis manuscript was quoted in the history of the Chureh Santa Croce, written in the Year of jubilce 1750, Ii. Besozzi,
La storia delia basilica di S. Croce in Gerusalemme, Roma, 1750, p. 155; P. Ortmayr, "Papst Gregor der Grosse und das
Schmerzensmaimbild in S. Croce zum Rom (Zur Vorgeschichte dieses Bildcs)", Rivista di archeologia cristiana, XVIII,
1941, pp. 97 f.
39. Ad Philip. II, 9 —10: Proptcr ąuod et Deus exaltavit illum et donaril Uli nomen, quod est super omne nomen: ut in nomine
Iesu omne genu flectatur coelestium, terrestrium et infernorum, et omnis lingua confiteatur quia Dominus Iesus Christus in
gloria est Dei Patris; A.J. Vermeulen, The Semantic Dcvelopment of Gloria in Early Christian Latin, Utrecht-Nijmegen,
1956, pp. 115 — 124: The Gloria Chris ti in Early Christian Art; P. Beskow, Rex Gloriae. The Kingship of Christ in the Early
Church, Stockholm. 1962, pp. 53, 278-79 (Phil. II, 9-10).
40. E.g. Lukę XXIV, 26: aporiuit pali Christum et ita intrare in gloriam suam.
41. Ego sum pastor bonus. Bonus pastor animam suam dat pro ovibus suis (John X, 11) see the commentary of St Bernard,
In Cant. serin XXXI, n. 10: Bonus pastor, qui animam suam dat pro ovibus suis: animam pro illis, carnem illis; U tam in
prtilium,istam in cibum. Res miral ipsepastor, ipse pascua est, ipse rcdemptio. St Thomas Aquinas in his sequence Lauda
Sion Salvałorem writes: Bone pastor, pani $ vere; F.J.E. Raby, A History of Chris tian-Latin Poetry from the Beginmngs
to the Close of the Middle Ages, Oxford, 1953, p. 405: The sequen.ce in the Mass is the famous Lauda Sion Salvator, which
properly enougli is a sevcrely doctrinal exposition ol the dogma of the Real Presence; N. Gihr, Die Sequenzen des rbmischnn
Messbuches dogmatisch und aszetisch erklart, Freiburg i. Br., 1887, pp. 410 — 417; A. Legner, Der Gule Hirte, Dusseldorf,
1959, fig. 28: Christ-Man of Sorrows as the Good Shcpherd {a carved figurę); fig. 29: Christ the Good Shepherd in Mystical
Press (a mural of close of the XVth century, Cologne, St Ursula^; A. .Tort, Poimen. Das Bild vom Hirten in der biblischen
Uberlieferung und seine christologische Bedeutung, Diss. Giessen, 1939; Th. K. Kempf, Christus der Ilirt. Ursprung und
Deutung einer altchrist'ichen Symbo'gestah, Rom, 1942; Fr. Nikolascb, Das Lamm ais Christussymbol in den Schriften der
Vdter, Wien, 1963, pp. 155 — 179: Christus ais Hirtund Lamm; the representation of the Lamb in Santa Pudenziana (Rome)
is accompanied by the text: HIC AGNUS MUNDUM RESTAURAT SANGUINE LAPSUM MORTUUS ET VIVUS
IDEM SUM PASTOR ET AGNUS see Dictionnaire d'Archeologie et de Liturgie, I, 1 col. 882.
12. John XV, 13: Maiorem hac dilectionem nemo habet ut animam suam ponat quis pro amicis suis.
43. John VI, 35; XI, 25; VIII, 12; XIV, 10.24 = I, 1.14; qualitates Messiae foretold by Isaiah are: Et reauiescet super eum
spiritus sanctus scientiae et pietatis (XI, 2); misericors (XLII, 3.4).
43a A. Thomas, ,, Das Urbild der Gregoriusraesse," Riuista di archeologia cristiana, X, 1933, pp. 51 f.
44. C. Bertelli,"Tbe In.age of Pity in Santa Croce in Gerusalemmc" [im], Essays in the History of Art presented to R. Wiltkower,
London, 1967, pp. 40-55.
45. E.g. mosaic icon in the Monastery at Tatarna (Evrytania) (fig. 6) repr.: The Exhibition Byzantine Art,op. cif., No 167;
Icones. Sinai Gr°ce Bułgaria Yougoslavia, Belgrad, 1966, p. XXVIII, fig. 48.
46. P. Browe, Die eucharislischen Wunder des MittelaUers, Breslau, 1938, pp. 113 — 115; the oldest known version of the legend
was written down by a monk of the Monastery of Streaneskaleb (Northumbria) in the early VIIIth century; for its edition
see F.A. Gasquet, A Life of Pope St Gregory the Great, London, 1904; an iniportant yersion is included in the Speculum
historiale of Vincent de Beauvais, XXII, c. 20.
47. K ArevaIo (j* 1824), a distinguished connoisseur and editor of the Patristie literaturę put down in Dracontii carmina I,
11, an opinion of interes t to us; Chris ti ani scriptores pro clemuntia, benignitate et missricordia passim pietatem ponunt: quae
rox eodem sensu in precibus ec.lesiasticis frcquentissima est; see also H. Ashworth,,,The Liturgieal prayers of St Gregory
the Great," Traditio, XV, 1959, pp. 107 — 161 (the author uses the term pietas).
48. John I, 29.36.
49. P. Federkiewicz, ,,Ecce Agnus Dei, "Yerbum Domini, XII, 1932, pp. 117 —120: Origo Isaiana Agni Dei in loh. I, 29;
J. Jercmias,, ,Amnos tou theou pais ton theou,'' Zeitschrift fiir die neuiestamentliche Wissenschaft und die Kunde der dl teren
Kirche, XXXIV, 1935, pp. 115 — 123; E.E. May, Ecce Agnus Dei. A philological and exegetical approach to John I, 29.36,
Washington, 1947; II. Strąkowski, Chrystus-Baranek ic Piśmie świętym, Lublin, 1961 with rich bibliography; Nikoh:suh,
25