DOI article:
Karp, Julianna: Zarys problematyki ukazywania modlitwy świętych w sztuce nowożytnej
Citation link:https://digi.ub.uni-heidelberg.de/diglit/modus2020/0167
Library.54 The illustrations are of an instructional naturę and they help the recipi-
ent to imitate and understand the saints ways of prayer. It should be emphasized
that each of the postures described in the Ninę Ways of Prayer of Saint Dominie is
accompanied by a detailed explanation of its meaning and what the praying saint
wanted to express through it, and following his example, other believers also. The
text clearly shows that the physical posturę adopted during prayer, and thus also
its artistic representation, is not without significance. These elements emphasize
the special importance that was attached not only to the act itself, but also to
the body language in the act of prayer.55 Each gesture has a specific meaning
that is universally recognized and understood in the Christian world. Therefore,
presenting prayer in a work of art with one of the many possible postures that
belong to it is not accidental, but can carry additional content.
Significance of accurate representation
of face expressions in early modern painting
The posturę itself is not the only meaningful element in the representations of pray-
er. One should pay attention to the accompanying facial expressions, often extre-
mely dramatic and evocative. Leonardo da Vinci was one of the first art theorists
to emphasize their importance. In his Traktat o malarstwie [Treatise on Painting],
consisting of notes collected after the artisfs death, we find a chapter devoted
to the ways of representing the facial expressions of characters in art. Leonardo
recommends moderation, and maintaining diversity in the use of these means
of expression, but at the same time he emphasizes their importance and the need
for the facial expressions to be consistent with the body posturę.56 In the years
1561-1562, a little-known clergyman Giovanni Andra Gilia created a work titled
Dialogo secondo, nel ąuale si ragiona degli errori, e degli abusi de’pittori circa 1’istorie,
in the form of a dialogue conducted by people from various backgrounds, includ-
ing a doctor, a lawyer, and a clergyman. Their discussion focuses on the sacred
art at the time, and the irregularities related thereto.57 In Gilias treatise, the main
determinant of correctness in art is, above all, the preservation of decorum, truth-
fulness, and historical correctness in the apposite themes.58 Another important
work is Gabriele Paleottis treatise Rozprawa o obrazach świeckich i świętych [Dis-
course on Sacred and Profane Images], published in Italian in 1582.59 According
to Cardinal Paleotti, in order to induce piety through a painting, the artist, like
a writer or an orator, must use appropriate means so that the persuasion is ef-
fective; so that he can inspire admiration, instruct, and move. The very purpose
of art, according to Paleotti, is to reproduce naturę.60 The Cardinal emphasized
54 H. van Os, The Culture of Prayer, p. 64.
55 M. Pabis, Świadkowie Chrystusa, p. 64.
56 M. Rzepińska, Leonardo da Vinci „Traktat o malarstwie”, Wrocław-Warszawa-Kraków 1984
(= Teksty źródłowe do dziejów teorii sztuki, 25), pp. 104-105.
57 M. Bury, L. Byatt, C.M. Richardson, Introduction, in: G.A. Gilio, Dialogue on the errors and
abuses of painters, M. Bury, L. Byatt, C.M. Richardson (eds.), translated by M. Bury, L. Byatt,
Los Angeles 2018, pp. 1-3.
58 M. Bury, Gilio on Painters of Sacred Images, in: G.A. Gilio, Dialogue on the errors and abuses
of painters, pp. 9-11.
59 P. Prodi, Introduction, in: G. Paleotti, Discourse on Sacred and Profane Images, P. Prodi (ed.),
translated by W. McCuaig, Los Angeles 2012, pp. 8-9.
60 G. Paleotti, Discourse on Sacred and Profane Images, pp. 110-111,113-114.
An outline of issues pertaining to representations of saints at prayer...
167
ent to imitate and understand the saints ways of prayer. It should be emphasized
that each of the postures described in the Ninę Ways of Prayer of Saint Dominie is
accompanied by a detailed explanation of its meaning and what the praying saint
wanted to express through it, and following his example, other believers also. The
text clearly shows that the physical posturę adopted during prayer, and thus also
its artistic representation, is not without significance. These elements emphasize
the special importance that was attached not only to the act itself, but also to
the body language in the act of prayer.55 Each gesture has a specific meaning
that is universally recognized and understood in the Christian world. Therefore,
presenting prayer in a work of art with one of the many possible postures that
belong to it is not accidental, but can carry additional content.
Significance of accurate representation
of face expressions in early modern painting
The posturę itself is not the only meaningful element in the representations of pray-
er. One should pay attention to the accompanying facial expressions, often extre-
mely dramatic and evocative. Leonardo da Vinci was one of the first art theorists
to emphasize their importance. In his Traktat o malarstwie [Treatise on Painting],
consisting of notes collected after the artisfs death, we find a chapter devoted
to the ways of representing the facial expressions of characters in art. Leonardo
recommends moderation, and maintaining diversity in the use of these means
of expression, but at the same time he emphasizes their importance and the need
for the facial expressions to be consistent with the body posturę.56 In the years
1561-1562, a little-known clergyman Giovanni Andra Gilia created a work titled
Dialogo secondo, nel ąuale si ragiona degli errori, e degli abusi de’pittori circa 1’istorie,
in the form of a dialogue conducted by people from various backgrounds, includ-
ing a doctor, a lawyer, and a clergyman. Their discussion focuses on the sacred
art at the time, and the irregularities related thereto.57 In Gilias treatise, the main
determinant of correctness in art is, above all, the preservation of decorum, truth-
fulness, and historical correctness in the apposite themes.58 Another important
work is Gabriele Paleottis treatise Rozprawa o obrazach świeckich i świętych [Dis-
course on Sacred and Profane Images], published in Italian in 1582.59 According
to Cardinal Paleotti, in order to induce piety through a painting, the artist, like
a writer or an orator, must use appropriate means so that the persuasion is ef-
fective; so that he can inspire admiration, instruct, and move. The very purpose
of art, according to Paleotti, is to reproduce naturę.60 The Cardinal emphasized
54 H. van Os, The Culture of Prayer, p. 64.
55 M. Pabis, Świadkowie Chrystusa, p. 64.
56 M. Rzepińska, Leonardo da Vinci „Traktat o malarstwie”, Wrocław-Warszawa-Kraków 1984
(= Teksty źródłowe do dziejów teorii sztuki, 25), pp. 104-105.
57 M. Bury, L. Byatt, C.M. Richardson, Introduction, in: G.A. Gilio, Dialogue on the errors and
abuses of painters, M. Bury, L. Byatt, C.M. Richardson (eds.), translated by M. Bury, L. Byatt,
Los Angeles 2018, pp. 1-3.
58 M. Bury, Gilio on Painters of Sacred Images, in: G.A. Gilio, Dialogue on the errors and abuses
of painters, pp. 9-11.
59 P. Prodi, Introduction, in: G. Paleotti, Discourse on Sacred and Profane Images, P. Prodi (ed.),
translated by W. McCuaig, Los Angeles 2012, pp. 8-9.
60 G. Paleotti, Discourse on Sacred and Profane Images, pp. 110-111,113-114.
An outline of issues pertaining to representations of saints at prayer...
167