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DOI Artikel:Utzig, Joanna: Witraże w katedrze we Włocławku w kontekście stylu malarstwa południowoniemieckiego pierwszej połowy XIV wieku
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.32431#0039
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SUMMARY
Joanna Utzig
STAINED GLASS WINDOWS IN THE WŁOCŁAWEK
CATHEDRAL IN THE CONTEXT OF STYLE
OF SOUTH GERMAN PAINTING OF THE FIRST
HALF OF THE 14™ CENTURY
The set of fourteenth-century stained glass windows in the
Włocławek Cathedral is one of the most significant mon-
uments of medieval stained glass paintings preserved in
Poland. This article focuses on an attempt to determine the
context of the form and style of the Włocławek stained glass
panels, the issue of which had been undertaken by research-
ers such as: Władysław Stroner, Lech Kaiinowski or Helena
Małkiewiczówna. Nevertheless, it seems that the formal and
genetic aspect of these panels have not been subject to an
in-depth research. The formal genetic analysis presented
below also aims to confirm the hypothesis of a somewhat
earlier origin of the panels than previously assumed. In fact,
their origin should be dated as early as possible, namely
around the year 1340. In the literature of the subject created
to date, stained glass was mostly associated with the art of
the South-German areas. Other formal analogies have been
reported, such as those regarding stained glass windows
from the areas of Gotland and in the Swabian Esslingen.
However, these analogies do not seem to be drawn accu-
rately. The stained-glass panełs of Włocławek seem to have
closest connections to the painting style of South-German
areas — in fact, the entire vast region stretching from Lake
Constance (Konstanz, Ziirich), through Bavaria (Regens-
burg), the Austrian Danube, both Upper (St. Florian) and
Lower (Klosterneuburg, Lilienfeld, Vienna). These are areas
used to belong to the Habsburg dynasty. This article also
discusses a wider issue connected with the existence of
a common artistic landscape (Ger. Kunstlandschaft) in the
paintings from the first half of the 14 th century in the areas
of South Germany. It seems that previous studies under-
estimated the observable similarities between works cre-
ated in this region. Reference materials for the Włocławek
Cathedral stained glass panels can be found perhaps to an
equal degree throughout the entire South-German region,
which is also an indirect argument for the recognition of
the common qualities of the art of the region of Lake Con-
stance, Austria and Bavaria. The Włocławek stained-glass
panels show most similarities with the works of minia-
ture paintings. Similarities to the older cycle of miniature
paintings of the so-called Manesse Codex (die Grofie Hei-
delberger Liederhandschrift), manuscripts of the Chronicles
ofthe World (Weltchronik) by Rudolf von Ems exhibited in
Zurich and Berlin, the set of codices connected with the
Benedictine monastery in Engelberg, Switzerland, the Spe-
culum Humanae Salvationis codices of Kremsmiinster and
Vienna and stained glass windows in the Klosterneuburg
Abbey are particularly noteworthy.
SUMMARY
Joanna Utzig
STAINED GLASS WINDOWS IN THE WŁOCŁAWEK
CATHEDRAL IN THE CONTEXT OF STYLE
OF SOUTH GERMAN PAINTING OF THE FIRST
HALF OF THE 14™ CENTURY
The set of fourteenth-century stained glass windows in the
Włocławek Cathedral is one of the most significant mon-
uments of medieval stained glass paintings preserved in
Poland. This article focuses on an attempt to determine the
context of the form and style of the Włocławek stained glass
panels, the issue of which had been undertaken by research-
ers such as: Władysław Stroner, Lech Kaiinowski or Helena
Małkiewiczówna. Nevertheless, it seems that the formal and
genetic aspect of these panels have not been subject to an
in-depth research. The formal genetic analysis presented
below also aims to confirm the hypothesis of a somewhat
earlier origin of the panels than previously assumed. In fact,
their origin should be dated as early as possible, namely
around the year 1340. In the literature of the subject created
to date, stained glass was mostly associated with the art of
the South-German areas. Other formal analogies have been
reported, such as those regarding stained glass windows
from the areas of Gotland and in the Swabian Esslingen.
However, these analogies do not seem to be drawn accu-
rately. The stained-glass panełs of Włocławek seem to have
closest connections to the painting style of South-German
areas — in fact, the entire vast region stretching from Lake
Constance (Konstanz, Ziirich), through Bavaria (Regens-
burg), the Austrian Danube, both Upper (St. Florian) and
Lower (Klosterneuburg, Lilienfeld, Vienna). These are areas
used to belong to the Habsburg dynasty. This article also
discusses a wider issue connected with the existence of
a common artistic landscape (Ger. Kunstlandschaft) in the
paintings from the first half of the 14 th century in the areas
of South Germany. It seems that previous studies under-
estimated the observable similarities between works cre-
ated in this region. Reference materials for the Włocławek
Cathedral stained glass panels can be found perhaps to an
equal degree throughout the entire South-German region,
which is also an indirect argument for the recognition of
the common qualities of the art of the region of Lake Con-
stance, Austria and Bavaria. The Włocławek stained-glass
panels show most similarities with the works of minia-
ture paintings. Similarities to the older cycle of miniature
paintings of the so-called Manesse Codex (die Grofie Hei-
delberger Liederhandschrift), manuscripts of the Chronicles
ofthe World (Weltchronik) by Rudolf von Ems exhibited in
Zurich and Berlin, the set of codices connected with the
Benedictine monastery in Engelberg, Switzerland, the Spe-
culum Humanae Salvationis codices of Kremsmiinster and
Vienna and stained glass windows in the Klosterneuburg
Abbey are particularly noteworthy.