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DOI Artikel:Dobrzeniecki, Tadeusz: Imago Pietatis: its meaning and function
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18819#0032
op. cit., pp. 71 —155 discusses the problcms important to our consideration: Das Lamm in Is LIII, 7; Das Paschallamm
ais Symbol Christi (A. des Leidens Chris.i, G. ais Symbol der Eucharistie).
50. John XIX, 33.36: Ad Iesum autem cum oenissent, ul viderunt cum Lam mortuum, non fregerunt eius crura. Facta sunt enim
haec ut Scriptura irnpleretur: Os non comminuetis ex eo {— Ex XII, 46; Nu IX, 12); Rupertua of Deutz, Commentarius
in Joannem, Uh. 13; Os non comminuetis ex eo. Hoc de agno paschali praecepit lex. Br cvi ergo sed cl aro judicio perdocct, illum
legałem Paschae agnum significativum fuisse huius veri Agni, qui nunc tandem pro nobis immolatus est, sicut jamdudum
bene exercltata certum habet sanctae Ecclesiae fides, PL, vol. LXIX, eol. 794; St Paul called Christ also the Paschal Lamb
in I Cor. V, 7: Pascha nostrum immolatus est Christus.
51. T. Dobrzeniecki,,.Tht; Toruń Quinity in the National Muscum in Warsaw,"TAe Art Bulltlin, XLVI, 1964, pp. 380-388.
52. Sec also Ilebr. IX, 22: Sine sanguinis cffusione non fit rzmissio; St Bonaventure writes on the offering of the Lamb: lesus
populum suum sulvavit consignationc propni sanguinis ips? enim verus est Agnus, cuius sanguinis rirtttte salnantur christiani
(Opera omnia, vol. IX, col. 428 b).
53. H.BrauneanJ E. Wiese, Schhsische Mzlerei und Plastik des Mittelalters, Leipzig, 1929, No 182, pl. 200; A. Stange, Deutsche
Malerei der G>tik, XI, Bsrlin, 1961, pp. 129— 130, fig. 283; E.M. Vetter, Die Kreuzigungstafel des Isenheimer Altars,
Heidelberg, 1968, fig. 6, p. 10: St John the Baptist is added to the Crucifixion secne as a preaclier of penance and an-
nouncer of the lte:lenŁption; the text of his open book is M;itth. III, 2.3: Vox clamantis in deserto parate viam domini rectas
facile semitas dei agile peniisntiam appropinąuabit enim regnum celorum.
54. F. Zeri,,,Stu;lies on Italian Paintings: II. Panels of the Passioj of Christ by Antonio delia Corna," The Journal of the
Wallers ArlGallery, XXIX —XXX, 1969, fig. 8, p. 59: It is a curious representation of the Man of Sorrows between St John
the Baptist and St John the Evangelist (the panel measuring 75x57 cm, was for sale in Paris by 1967, łleim-Gairac).
55. M. de la Taille, Mysterium fidei, Parisiis, 19313, p. 309: Imnwlatio semel acta fealiter in passione, ąuotidie peragilur figu-
rali'er demum in sacramenlo — ąuotidie Agnus immolatur; according to Pa^chasius Radbeitus: Ileratur autem ąuotidie
haec oblatio, licet Christus, semel passus in carne, per unam eamdemąus mortis passionem semel salvaverit munduni—
redemptor noster hoc totum ąuod iempore passionis suae semel gessit, adhuc usąue hodie ąuotidiana ejusdem beata passionis
commemoratione peragit. De Corpore et Sanguinc Domini, c. 4, n. 1, PL vol. CXX, col. 1278.
56. J. A. Jungmann, Missariun Solemnia, II, Friuburg, 1958, p. 416: this feature is a derivative of the Eastern liturgy, in which
during the fraction of Bread the texts of Isaiah LIII, 7.8 on the Passion as well as that of St John, XIX, 34.35 have
been recited.
57. Gabrielis Biel Canonis Misse Expasilio ediderunt H.A. Obermann et W.J. Courtenay. Pars Quarta, Wiesbaden, 1967,
pp. 37,38-39 (Lectio LXXXI).
58. Alexander ILiIensis, Summa Theologica, P. IV, q. 37, m. 5, a. 1.
59. A. Ebner, Missale R?manum im Mittelalter. Iter Italicum, Graz, 1957, p. 347 — in an Italian Missal of the XII/XIIIth
century; A. Wilmirt, ,,Prieres pour la Communion en deux psautiers du Mont-Cassin," Ephemerides liturgicae, XLIII,
1929, p. 324: Ordo ad accipiendum corpus Domini: Postąuam sumpseris dic tribus vicibus: Verbum caro factum est et ha-
bitavit in nobis; P. Browe, ,,ivtittelalterliche Komn^unionriten," Jahrbuch fur Lilurgiewissenschaft, XV, 1941, p. 32;
Jungmann, op. cit., pp. 457, 484, 503, 504.
60. Biel, op. cit., p. 75 (Lectio LXXXIII): commemorant incarnationis mysterium dicens: lerbum caro factum est et cetera.
61. M. Horster, ,,Mantuae sanguis preciosus," Wallraf-Richartz Jahrbuch, XXV, 1963, fig. 135, p. 154, the author has read
the inscription with the SavioUr's words: DOMINO MEO (!) SANGUIS MEUS; Vetter, op. cii., fig. 4: Madonna zwischen
Johannes d.T. und dem Schmerzensmann, p. 9 — 10; I. Faldi, Pittori Viterbesi di cinąue secoli, Roma, 1970, p. 21, fig. 83.
62. John VI, 55.
63. E.g. I Cor. XI, 26; H. Leitzrnann, Messę und Ilerrenmahl, Eine Sludic zur Geschichte der Liturgie, Berlin, 1967, Betz, op.
cit. (with rich bibliography)
64. W. Haber, Passah und Ostem, Unłersuchungen zur Osterfeier der al len Kirche, Berlin, 1969; P. Rupprecht, ,,Der heilige
Thomas und das Leidensgedachtnisin der Eucharistie," Theologische Quartalschrift, CXVIII, 1937, pp. 403—436; M. Lepin,
L'idee du Sacrifice de la Messę d'apres les theologiens depuis Vorigine jusąud nos jours, Paris, 1926; W. Massa, Die Eucha-
ristiepredigt am Vorabend der Reformation, Diss. Univ. Bonn, 1966, pp. 80 — 94: Die Eucharistie ais Memoriale Domini
und Repraesentatio Passionis; F. Mangenot, ,,Eucharistie da XIIIe au XVe siecle" [in: ] Diclionnaire de Theologie
Catholiąue, V/2, col. 1302-1326.
65. It's author was Popc Innocent VI (1352 — 1362); J. Connelly, Hymns of the Roman Liturgy, London, 1954, pp. 130—131:
it is one of mmy sliort hymns which uscd to be sung iD the Middle Agcs after the Consccration. Verum cerpus — this
takes as the Hoc est enim corpus meum and professes that the true Body cf Christ is now present.
66. Narodnt Galerie iv Praze. Ceske Umeni Goticke (= Cataloguc), Praha, 1964, No 103; similar representatiens are repro-
duced [in:] W. Paatz, Bcrnl Notkę und sein Kreis, Berlin, 1939, No 78, fig. 69 (the panel of 1483); Anticerpen, Museum
Mayer uan den Bergh, Antwerpen, 1960, fig. 22 (a painting by Jacob Cornelifz cf ca 1510; repr. also in G. Schiller,
Ikonographie der christlichen Kunst, II. Die Passion Jesu Christi, Giiterslch, 19€8, fig. 7C8); M. "Walnki. La peinture
d' autels et de retables cji Pologne au t emps des Jagellcns, Paris, 1937, pl. XLII (tfce cc ntral part of the triptyc h from Dc na-
borów: herc Christ standing in the sarcophagus gives Himsclf with His cwn lunćs — se dat suis manibus: He is taking
the Host from His pierced side to put It into a calice; two angels are ^preading in front of IIim a long wliitc veil, as it
used to be done in the Middle Ages before the recciver of Holy Ccmmimicn.
67. John VI, 51-52.
68. Z. Drobna, La riąueza dcl bordado ecclesiastico en Checoslouaąuia, Praga, 1949, fig. 26, 27,28; V. Denkstein, F. Matoa e
26
ais Symbol Christi (A. des Leidens Chris.i, G. ais Symbol der Eucharistie).
50. John XIX, 33.36: Ad Iesum autem cum oenissent, ul viderunt cum Lam mortuum, non fregerunt eius crura. Facta sunt enim
haec ut Scriptura irnpleretur: Os non comminuetis ex eo {— Ex XII, 46; Nu IX, 12); Rupertua of Deutz, Commentarius
in Joannem, Uh. 13; Os non comminuetis ex eo. Hoc de agno paschali praecepit lex. Br cvi ergo sed cl aro judicio perdocct, illum
legałem Paschae agnum significativum fuisse huius veri Agni, qui nunc tandem pro nobis immolatus est, sicut jamdudum
bene exercltata certum habet sanctae Ecclesiae fides, PL, vol. LXIX, eol. 794; St Paul called Christ also the Paschal Lamb
in I Cor. V, 7: Pascha nostrum immolatus est Christus.
51. T. Dobrzeniecki,,.Tht; Toruń Quinity in the National Muscum in Warsaw,"TAe Art Bulltlin, XLVI, 1964, pp. 380-388.
52. Sec also Ilebr. IX, 22: Sine sanguinis cffusione non fit rzmissio; St Bonaventure writes on the offering of the Lamb: lesus
populum suum sulvavit consignationc propni sanguinis ips? enim verus est Agnus, cuius sanguinis rirtttte salnantur christiani
(Opera omnia, vol. IX, col. 428 b).
53. H.BrauneanJ E. Wiese, Schhsische Mzlerei und Plastik des Mittelalters, Leipzig, 1929, No 182, pl. 200; A. Stange, Deutsche
Malerei der G>tik, XI, Bsrlin, 1961, pp. 129— 130, fig. 283; E.M. Vetter, Die Kreuzigungstafel des Isenheimer Altars,
Heidelberg, 1968, fig. 6, p. 10: St John the Baptist is added to the Crucifixion secne as a preaclier of penance and an-
nouncer of the lte:lenŁption; the text of his open book is M;itth. III, 2.3: Vox clamantis in deserto parate viam domini rectas
facile semitas dei agile peniisntiam appropinąuabit enim regnum celorum.
54. F. Zeri,,,Stu;lies on Italian Paintings: II. Panels of the Passioj of Christ by Antonio delia Corna," The Journal of the
Wallers ArlGallery, XXIX —XXX, 1969, fig. 8, p. 59: It is a curious representation of the Man of Sorrows between St John
the Baptist and St John the Evangelist (the panel measuring 75x57 cm, was for sale in Paris by 1967, łleim-Gairac).
55. M. de la Taille, Mysterium fidei, Parisiis, 19313, p. 309: Imnwlatio semel acta fealiter in passione, ąuotidie peragilur figu-
rali'er demum in sacramenlo — ąuotidie Agnus immolatur; according to Pa^chasius Radbeitus: Ileratur autem ąuotidie
haec oblatio, licet Christus, semel passus in carne, per unam eamdemąus mortis passionem semel salvaverit munduni—
redemptor noster hoc totum ąuod iempore passionis suae semel gessit, adhuc usąue hodie ąuotidiana ejusdem beata passionis
commemoratione peragit. De Corpore et Sanguinc Domini, c. 4, n. 1, PL vol. CXX, col. 1278.
56. J. A. Jungmann, Missariun Solemnia, II, Friuburg, 1958, p. 416: this feature is a derivative of the Eastern liturgy, in which
during the fraction of Bread the texts of Isaiah LIII, 7.8 on the Passion as well as that of St John, XIX, 34.35 have
been recited.
57. Gabrielis Biel Canonis Misse Expasilio ediderunt H.A. Obermann et W.J. Courtenay. Pars Quarta, Wiesbaden, 1967,
pp. 37,38-39 (Lectio LXXXI).
58. Alexander ILiIensis, Summa Theologica, P. IV, q. 37, m. 5, a. 1.
59. A. Ebner, Missale R?manum im Mittelalter. Iter Italicum, Graz, 1957, p. 347 — in an Italian Missal of the XII/XIIIth
century; A. Wilmirt, ,,Prieres pour la Communion en deux psautiers du Mont-Cassin," Ephemerides liturgicae, XLIII,
1929, p. 324: Ordo ad accipiendum corpus Domini: Postąuam sumpseris dic tribus vicibus: Verbum caro factum est et ha-
bitavit in nobis; P. Browe, ,,ivtittelalterliche Komn^unionriten," Jahrbuch fur Lilurgiewissenschaft, XV, 1941, p. 32;
Jungmann, op. cit., pp. 457, 484, 503, 504.
60. Biel, op. cit., p. 75 (Lectio LXXXIII): commemorant incarnationis mysterium dicens: lerbum caro factum est et cetera.
61. M. Horster, ,,Mantuae sanguis preciosus," Wallraf-Richartz Jahrbuch, XXV, 1963, fig. 135, p. 154, the author has read
the inscription with the SavioUr's words: DOMINO MEO (!) SANGUIS MEUS; Vetter, op. cii., fig. 4: Madonna zwischen
Johannes d.T. und dem Schmerzensmann, p. 9 — 10; I. Faldi, Pittori Viterbesi di cinąue secoli, Roma, 1970, p. 21, fig. 83.
62. John VI, 55.
63. E.g. I Cor. XI, 26; H. Leitzrnann, Messę und Ilerrenmahl, Eine Sludic zur Geschichte der Liturgie, Berlin, 1967, Betz, op.
cit. (with rich bibliography)
64. W. Haber, Passah und Ostem, Unłersuchungen zur Osterfeier der al len Kirche, Berlin, 1969; P. Rupprecht, ,,Der heilige
Thomas und das Leidensgedachtnisin der Eucharistie," Theologische Quartalschrift, CXVIII, 1937, pp. 403—436; M. Lepin,
L'idee du Sacrifice de la Messę d'apres les theologiens depuis Vorigine jusąud nos jours, Paris, 1926; W. Massa, Die Eucha-
ristiepredigt am Vorabend der Reformation, Diss. Univ. Bonn, 1966, pp. 80 — 94: Die Eucharistie ais Memoriale Domini
und Repraesentatio Passionis; F. Mangenot, ,,Eucharistie da XIIIe au XVe siecle" [in: ] Diclionnaire de Theologie
Catholiąue, V/2, col. 1302-1326.
65. It's author was Popc Innocent VI (1352 — 1362); J. Connelly, Hymns of the Roman Liturgy, London, 1954, pp. 130—131:
it is one of mmy sliort hymns which uscd to be sung iD the Middle Agcs after the Consccration. Verum cerpus — this
takes as the Hoc est enim corpus meum and professes that the true Body cf Christ is now present.
66. Narodnt Galerie iv Praze. Ceske Umeni Goticke (= Cataloguc), Praha, 1964, No 103; similar representatiens are repro-
duced [in:] W. Paatz, Bcrnl Notkę und sein Kreis, Berlin, 1939, No 78, fig. 69 (the panel of 1483); Anticerpen, Museum
Mayer uan den Bergh, Antwerpen, 1960, fig. 22 (a painting by Jacob Cornelifz cf ca 1510; repr. also in G. Schiller,
Ikonographie der christlichen Kunst, II. Die Passion Jesu Christi, Giiterslch, 19€8, fig. 7C8); M. "Walnki. La peinture
d' autels et de retables cji Pologne au t emps des Jagellcns, Paris, 1937, pl. XLII (tfce cc ntral part of the triptyc h from Dc na-
borów: herc Christ standing in the sarcophagus gives Himsclf with His cwn lunćs — se dat suis manibus: He is taking
the Host from His pierced side to put It into a calice; two angels are ^preading in front of IIim a long wliitc veil, as it
used to be done in the Middle Ages before the recciver of Holy Ccmmimicn.
67. John VI, 51-52.
68. Z. Drobna, La riąueza dcl bordado ecclesiastico en Checoslouaąuia, Praga, 1949, fig. 26, 27,28; V. Denkstein, F. Matoa e
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