DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.25050#0293
church was chiefly the responsibility of Boleslaus the Chaste.
Consecrated in 1269, the church shows similarities to the Early
Gothic brick architecture of Lombardy; it was originally built on
a Greek-cross plan, but scholars still argue whether the architect
and the founder intended it as definitive, or rather a stage
along the way to the construction of an longitudinal building.
Whichever the case, in the first half of the fifteenth century
the church received a distinctly shaped body, with the nave
adjoining the almost equal-sized Passion of Christ Chapel. The
monastery, built in stages beginning in the fourteenth century, is
located south of the church, and grouped around a spacious
viridarium encircled by a Gothic cloister. In 1850 the Franciscan
buildings along with the entire quarter went up in flames. The
reconstruction and redecoration was spread over several dozen
years, Stanislaw Wyspianski creating masterpieces of modern
religious art in his murals and stained-glass windows.
The Franciscan Church and monastery are deeply enmeshed in
the history of Cracow. Many significant events took place here.
The church is the resting place of Prince Boleslaus the Chaste and
his sister. Blessed Salomea, the instigators of the religious revival
in the thirteenth-century Poland. In 1289, Ladislaus the Short,
embarking on his long struggle for the throne, took refuge in the
church. In 1386, the Franciscan Church was the scene of a historic
ceremony: Jagiello, the Grand Duke of Lithuania and his brothers
were baptized here; and in 1461 a mob murdered the Castellan
Andrzej T^czynski, which led to draconian repression against the
city authorities, responsible for the riot. Begun in the fifteenth
century was the beautiful tradition of hanging the cloister walls
with images of successive Cracow bishops, and a veritable portrait
gallery has been built up since. And lastly, the monastery was from
the sixteenth and the eighteenth centuries the focus of the Italian
community and the seat of their religious fraternity, with their
own chapel in the church.
The most authentic part of the church is the northern elevation
of the transept, surviving almost intact in its thirteenth-century
278
Consecrated in 1269, the church shows similarities to the Early
Gothic brick architecture of Lombardy; it was originally built on
a Greek-cross plan, but scholars still argue whether the architect
and the founder intended it as definitive, or rather a stage
along the way to the construction of an longitudinal building.
Whichever the case, in the first half of the fifteenth century
the church received a distinctly shaped body, with the nave
adjoining the almost equal-sized Passion of Christ Chapel. The
monastery, built in stages beginning in the fourteenth century, is
located south of the church, and grouped around a spacious
viridarium encircled by a Gothic cloister. In 1850 the Franciscan
buildings along with the entire quarter went up in flames. The
reconstruction and redecoration was spread over several dozen
years, Stanislaw Wyspianski creating masterpieces of modern
religious art in his murals and stained-glass windows.
The Franciscan Church and monastery are deeply enmeshed in
the history of Cracow. Many significant events took place here.
The church is the resting place of Prince Boleslaus the Chaste and
his sister. Blessed Salomea, the instigators of the religious revival
in the thirteenth-century Poland. In 1289, Ladislaus the Short,
embarking on his long struggle for the throne, took refuge in the
church. In 1386, the Franciscan Church was the scene of a historic
ceremony: Jagiello, the Grand Duke of Lithuania and his brothers
were baptized here; and in 1461 a mob murdered the Castellan
Andrzej T^czynski, which led to draconian repression against the
city authorities, responsible for the riot. Begun in the fifteenth
century was the beautiful tradition of hanging the cloister walls
with images of successive Cracow bishops, and a veritable portrait
gallery has been built up since. And lastly, the monastery was from
the sixteenth and the eighteenth centuries the focus of the Italian
community and the seat of their religious fraternity, with their
own chapel in the church.
The most authentic part of the church is the northern elevation
of the transept, surviving almost intact in its thirteenth-century
278