DOI Artikel:
Woziński, Andrzej: Wokół zagadnień formy, programu ikonograficznego i treści zegara astronomicznego w kościele Panny Marii w Gdańsku
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28101#0048
Andrzej
Woziński
Middle Ages belief following the Antiąuity distinguished several periods in human
life, very often - four. They corresponded to the four seasons defined by astronomical
phenomenon, four elements and four temperaments: sanguinic, choleric, melancholic
and phlegmatic. This four-system was one of the principles on which universes order
was based in medieval belief.
In early medieval period Isidore of Seville and Beda Venerabilis wrote about these
relationships. In the late Middle Ages, this theory was widely spread through translations
of Latin texts into national languages and printed publications. Temperaments theory
was often tied to astrological content, descriptions of seven planets and zodiac signs. Per-
sonifications and allegory of the four temperaments were popular in late medieval art.
Differentiating not only age and costumes, but also facial expressions, emotional state
and behaviour tends to the assumption that figures on both calendar;s sides in Gdańsk
are just personifications of the four temperaments. This can be seen in the panels deco-
rated with floral motifs in different state of biological development below and above the
figures. They can symbolise eternal cycle of the dying and rebirth of nature.
The fact that the subject was assimilated with signs of zodiac and planets is an ar-
gument in favour of identifying these figures as four temperaments personifications.
The tradition of this relationship dates back to the early Middle Ages. The drawing in
so-called Ramsey Computus from earły llth century presents among other things four
temperaments connected with four periods in human life, four elements, four triads
of months, and four triads of zodiacs signs. Connection between temperaments and
zodiacs signs have been shown in some of zodiac man representations e.g. in famous
miniature of the Tres Riches Heures of the Duke of Berry, affer 1417.
The topic of temperaments does not exists in other than the Gdansk astronomical
clocks; it appeared, although rarely in decorations of churches e.g. on the capitals of the
Cluny hemicycle from about 1095; on the pavement mosaic from about 1220-1230 in St.
Pankratius Church in Oberpleis near Siegburg; and in the fresco from about 1250 in the
crypt of the Duomo in Anagni.
Four temperaments representations constituted a component of iconographic program-
mess showing macrocosm and microcosm. The subject of the universe, its structure, com-
ponents, relationships, and impact on the earthly world appeared in the medieval thinkers’
treatises, inter alia Boethius and Isidore of Seville who followed ancient Greek philosophers.
It seems that the Gdańsk astronomical clock showed in summary the form the macrocosm
and microcosm unity idea. ’Mundus minor’ is represented by temperaments personifica-
tions with their connections to four elements, periods in human life, seasons and by symbol-
ic images of vegetatives cycles. Simultaneously, they are combined with macrocosm repre-
sented by zodiac constelations, starlit sky, the Sun and Moon in the middle part of the clock.
On the base a specific typology of the themes of sin, redemption and end of the world have
been included into this cosmological program. The Gdańsk clock was the metaphor of the
universe. It carried the message that the cosmos and the Earth are the work of God; time is
divine giff, it is managed by the Creator standing over it and over the universes movement.
44
Woziński
Middle Ages belief following the Antiąuity distinguished several periods in human
life, very often - four. They corresponded to the four seasons defined by astronomical
phenomenon, four elements and four temperaments: sanguinic, choleric, melancholic
and phlegmatic. This four-system was one of the principles on which universes order
was based in medieval belief.
In early medieval period Isidore of Seville and Beda Venerabilis wrote about these
relationships. In the late Middle Ages, this theory was widely spread through translations
of Latin texts into national languages and printed publications. Temperaments theory
was often tied to astrological content, descriptions of seven planets and zodiac signs. Per-
sonifications and allegory of the four temperaments were popular in late medieval art.
Differentiating not only age and costumes, but also facial expressions, emotional state
and behaviour tends to the assumption that figures on both calendar;s sides in Gdańsk
are just personifications of the four temperaments. This can be seen in the panels deco-
rated with floral motifs in different state of biological development below and above the
figures. They can symbolise eternal cycle of the dying and rebirth of nature.
The fact that the subject was assimilated with signs of zodiac and planets is an ar-
gument in favour of identifying these figures as four temperaments personifications.
The tradition of this relationship dates back to the early Middle Ages. The drawing in
so-called Ramsey Computus from earły llth century presents among other things four
temperaments connected with four periods in human life, four elements, four triads
of months, and four triads of zodiacs signs. Connection between temperaments and
zodiacs signs have been shown in some of zodiac man representations e.g. in famous
miniature of the Tres Riches Heures of the Duke of Berry, affer 1417.
The topic of temperaments does not exists in other than the Gdansk astronomical
clocks; it appeared, although rarely in decorations of churches e.g. on the capitals of the
Cluny hemicycle from about 1095; on the pavement mosaic from about 1220-1230 in St.
Pankratius Church in Oberpleis near Siegburg; and in the fresco from about 1250 in the
crypt of the Duomo in Anagni.
Four temperaments representations constituted a component of iconographic program-
mess showing macrocosm and microcosm. The subject of the universe, its structure, com-
ponents, relationships, and impact on the earthly world appeared in the medieval thinkers’
treatises, inter alia Boethius and Isidore of Seville who followed ancient Greek philosophers.
It seems that the Gdańsk astronomical clock showed in summary the form the macrocosm
and microcosm unity idea. ’Mundus minor’ is represented by temperaments personifica-
tions with their connections to four elements, periods in human life, seasons and by symbol-
ic images of vegetatives cycles. Simultaneously, they are combined with macrocosm repre-
sented by zodiac constelations, starlit sky, the Sun and Moon in the middle part of the clock.
On the base a specific typology of the themes of sin, redemption and end of the world have
been included into this cosmological program. The Gdańsk clock was the metaphor of the
universe. It carried the message that the cosmos and the Earth are the work of God; time is
divine giff, it is managed by the Creator standing over it and over the universes movement.
44