DOI Artikel:
Kamińska, Justyna: Kościół podominikański w Poznaniu - uwagi na temat pierwotnego układu przestrzennego i dekoracji architektonicznej
Zitierlink:https://digi.ub.uni-heidelberg.de/diglit/modus2020/0035
fleshy lips, with wavy hair reaching the lower jaw and a fringe of two rows of curls
resembles the heads of małe figures appearing in Wrocław on the capitals of the
vaulting shafts,45 as well as on one of the consoles (see: Fig. 6). Linette assumed
that the figurę depicted in the keystone was that of Duke Przemysł i.46 Including
the founders image in the architectural decoration of the Poznań tempie would
be part of a broader phenomenon of Polish Mendicants displaying their ties with
members of princely families.47 Against this hypothesis, however, the figurę exhibits
no princely attributes or portrait features48 - meaning that this representation
should be associated rather with the Ile-de-France-derived tradition of decorating
keystones with heads or busts that are usually unidentifiable with specific people.49
The second keystone depicts a standing angel with spread wings, with one hand
folded over his chest and the other hand lowered along the body Unfortunately
serious damage hinders any detailed comparative analysis, although in the Wrocław
cathedral, analogies can be madę to the type of keystone itself, consisting of a fig-
ural representation placed directly on the keystone and devoid of floral decorations.
Perhaps “stone fragments of carved decorations [...] consisting of oak leaves,” found
in 1922 while extending the rood arch of the Poznań tempie, were also a remnant
of the original decorative program, yet unfortunately no documentation of these
works has survived, and the elements themselves have been lost.50
Similarities between the chancel of the church of Saint Dominie and the choir
of the Wrocław cathedral are not limited to the stone details only, but they also
include the plan (the form of an elongated rectangle divided into three bays, angu-
larly enclosed in the east), six-section vaults and the related arrangement of Win-
dows, and the use of vertical divisions in the form of vaulting shafts supported
by consoles.51 Mindful of the obvious differences in scalę and the generał degree
of decorativeness, it is worth paying attention to another feature that connects both
temples - the treatment of massive walls, which is not found in other similarly dated
churches in Greater Poland and Silesia, where both external and internal faęades
have cut recesses perpendicular to their surfaces, forming window profiles, and
in the case of the Wrocław cathedral, also arcades opening to the choirs ambula-
tory (see: Fig. 7). The elear divide in the Wrocław cathedral between this early Gothic
character of massive walls and the canopy structure of ribs and vaulting shafts with
rayonnant details, which in the opinion of Jarosław Jarzewicz finds numerous analo-
gies in cathedrals built east of France in the first half of the thirteenth century,52 is
noticeable, despite the damage, also in the Poznań Dominican tempie.
6. Wrocław cathedral, sup-
port of the vaulting shaft in
the chancel’s ambit. Photo
by Piotr Pajor
->see p. 12
7. Wrocław cathedral, re-
construction of the original
articulation of the central
aisle of the choir. Photo
after: J. Adamski, Gotycka
architektura sakralna na
Śląsku w latach 1200-1420.
Główne kierunki rozwoju,
Kraków 2017, p. 64, fig. 55
^seep. 13
45 Tadeusz Jurkowlaniec went so far as to attribute the execution of the Poznań keystone and
the Wrocław frieze with the representation of a gardener to the same artist, see: T. Jurkowlaniec,
Gmach pamięci, p. 6o.
46 E. Linette, Odkrycia w kościele, pp. 55-56; idem, Wczesnogotycki wystrój, pp. 350-352.
47 M. Szyma, Kościół i klasztor, pp. 213-214.
48 Sz. Skibiński, Rzeźba zworników, p. 92.
49 M. Walczak, Rzeźba architektoniczna w Małopolsce za czasów Kazimierza Wielkiego, Kraków
2006 (= Ars vetus et nova, 20), pp. 299-303.
50 “Sprawozdania z czynności Oddziału Sztuki i Kułtury za rok 1922”, TS, archive of the bmkz in
Poznań, ąuoted from: E. Linette, Wczesnogotycki wystrój, p. 346; N. Pajzderski, Odnowienie
kościoła, p. 6.
51 E. Linette, Wczesnogotycki wystrój, pp. 345,352.
52 J. Jarzewicz, Tradycja i innowacja w gotyckiej architekturze katedry wrocławskiej, in: Katedra
wrocławska na przestrzeni tysiącłecia. Studia z historii architektury i sztuki, R. Kaczmarek,
D. Galewski (eds.), Wrocław 2016, pp. 51-66.
Post-Dominican church in Poznań...
35
resembles the heads of małe figures appearing in Wrocław on the capitals of the
vaulting shafts,45 as well as on one of the consoles (see: Fig. 6). Linette assumed
that the figurę depicted in the keystone was that of Duke Przemysł i.46 Including
the founders image in the architectural decoration of the Poznań tempie would
be part of a broader phenomenon of Polish Mendicants displaying their ties with
members of princely families.47 Against this hypothesis, however, the figurę exhibits
no princely attributes or portrait features48 - meaning that this representation
should be associated rather with the Ile-de-France-derived tradition of decorating
keystones with heads or busts that are usually unidentifiable with specific people.49
The second keystone depicts a standing angel with spread wings, with one hand
folded over his chest and the other hand lowered along the body Unfortunately
serious damage hinders any detailed comparative analysis, although in the Wrocław
cathedral, analogies can be madę to the type of keystone itself, consisting of a fig-
ural representation placed directly on the keystone and devoid of floral decorations.
Perhaps “stone fragments of carved decorations [...] consisting of oak leaves,” found
in 1922 while extending the rood arch of the Poznań tempie, were also a remnant
of the original decorative program, yet unfortunately no documentation of these
works has survived, and the elements themselves have been lost.50
Similarities between the chancel of the church of Saint Dominie and the choir
of the Wrocław cathedral are not limited to the stone details only, but they also
include the plan (the form of an elongated rectangle divided into three bays, angu-
larly enclosed in the east), six-section vaults and the related arrangement of Win-
dows, and the use of vertical divisions in the form of vaulting shafts supported
by consoles.51 Mindful of the obvious differences in scalę and the generał degree
of decorativeness, it is worth paying attention to another feature that connects both
temples - the treatment of massive walls, which is not found in other similarly dated
churches in Greater Poland and Silesia, where both external and internal faęades
have cut recesses perpendicular to their surfaces, forming window profiles, and
in the case of the Wrocław cathedral, also arcades opening to the choirs ambula-
tory (see: Fig. 7). The elear divide in the Wrocław cathedral between this early Gothic
character of massive walls and the canopy structure of ribs and vaulting shafts with
rayonnant details, which in the opinion of Jarosław Jarzewicz finds numerous analo-
gies in cathedrals built east of France in the first half of the thirteenth century,52 is
noticeable, despite the damage, also in the Poznań Dominican tempie.
6. Wrocław cathedral, sup-
port of the vaulting shaft in
the chancel’s ambit. Photo
by Piotr Pajor
->see p. 12
7. Wrocław cathedral, re-
construction of the original
articulation of the central
aisle of the choir. Photo
after: J. Adamski, Gotycka
architektura sakralna na
Śląsku w latach 1200-1420.
Główne kierunki rozwoju,
Kraków 2017, p. 64, fig. 55
^seep. 13
45 Tadeusz Jurkowlaniec went so far as to attribute the execution of the Poznań keystone and
the Wrocław frieze with the representation of a gardener to the same artist, see: T. Jurkowlaniec,
Gmach pamięci, p. 6o.
46 E. Linette, Odkrycia w kościele, pp. 55-56; idem, Wczesnogotycki wystrój, pp. 350-352.
47 M. Szyma, Kościół i klasztor, pp. 213-214.
48 Sz. Skibiński, Rzeźba zworników, p. 92.
49 M. Walczak, Rzeźba architektoniczna w Małopolsce za czasów Kazimierza Wielkiego, Kraków
2006 (= Ars vetus et nova, 20), pp. 299-303.
50 “Sprawozdania z czynności Oddziału Sztuki i Kułtury za rok 1922”, TS, archive of the bmkz in
Poznań, ąuoted from: E. Linette, Wczesnogotycki wystrój, p. 346; N. Pajzderski, Odnowienie
kościoła, p. 6.
51 E. Linette, Wczesnogotycki wystrój, pp. 345,352.
52 J. Jarzewicz, Tradycja i innowacja w gotyckiej architekturze katedry wrocławskiej, in: Katedra
wrocławska na przestrzeni tysiącłecia. Studia z historii architektury i sztuki, R. Kaczmarek,
D. Galewski (eds.), Wrocław 2016, pp. 51-66.
Post-Dominican church in Poznań...
35