DOI Artikel:
Labuda, Adam S.: O retabulum Trójcy Świętej bractwa św. Jerzego w kościele Mariackim w Gdańsku
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28181#0056
Adam S. the same time, the paintings on the predella were created, forming consistent imagery of
Labuda the retable in the altar. It depicted the patrons of the Brotherhood, manifesting itself as
knightly aspirations and tasks of that association, as well as emphasising the links between
the Brotherhood with the Teutonic Knights as representatives of the elite knighthood. Ihe
depiction of King Arthur on the reverse of the retable and the Grand Master of the Teu-
tonic Knights especially brought additional meanings. The writer interprets them in the
context of complex social relations within Gdańsk society, particularly those between its
elite and the Teutonic Knights in the second and third decades of the 15th century. Those
relations constituted a continuous waving between conflict and reconcihation.
The beginning of the 141 Os was tainted by tragic events: death sentences to opponents
of the alliance with the Jagiellonian State in the spring of 1410, the treacherous assassi-
nation of two burgomasters and a municipal councillor representing the interests of the
city which contradicted the expectations of The Order at the castle of the Gdańsk Kom-
tur (Commander) of the Order in April 1411. Annual changes in the composition of the
self-government: burgomasters, municipal council and the bench were a part of this con-
tinual and complex conflict which was either dominated by a pro-Teutonic or anti-Teu-
tonic party. The former party could operate due to illegal Teutonic interference in the elec-
tion procedures to the municipal council. Nevertheless, the conciliatory stance of the city
revealed itself strongly after the rebel of the commonalty in 1416 which shattered the inner
socio-political order of the city. With the decisive support of the Grand Master and partici-
pation of the Order, the revolt was dampened, thus restoring the former power relations;
the position of the Teutonic Order against the city was reinforced. Although the city of the
1420s again demonstrated a tendency to diminish Teutonic influence, the experience of
the revolt must have lingered in the memories of municipal authorities, leading to an ac-
knowledgement of the balanced policy and acceptable relations with the superior authority
as a guarantee of social safety.
The depiction on the reverse might have been - in the historical context outhned here-
in above - both a suitable and elegant form to manifest allegiance and expectation of be-
nevolence from the superior power. The elders of the Brotherhood would thus honour the
Grand Master, who was continually incorporating his political and ideological leadership
in the State. Such a demonstration from the Brotherhood might somehow have cloaked
the dramatic conflicts from before 1416. Certainly, that was the voice of the Brotherhood
not an official statement of municipal authority; however, it is obvious that Brotherhood
members were recruited from the patricians governing the city.
The above-mentioned historical circumstances additionally speak for the presumed
dating of the creation of both the painting and the entire retabulum; it cannot be ruled out
that its creation occurred before 1425. As to the first place the retabulum was exhibited, it
must have been St. Georges Chapel, yet the arrangement of the displayed piece was different
from that supposedly dated to 1454/ 1466-1473 and known from modern photographic
documentation.
Translated by M.B. Guzowska
50
Labuda the retable in the altar. It depicted the patrons of the Brotherhood, manifesting itself as
knightly aspirations and tasks of that association, as well as emphasising the links between
the Brotherhood with the Teutonic Knights as representatives of the elite knighthood. Ihe
depiction of King Arthur on the reverse of the retable and the Grand Master of the Teu-
tonic Knights especially brought additional meanings. The writer interprets them in the
context of complex social relations within Gdańsk society, particularly those between its
elite and the Teutonic Knights in the second and third decades of the 15th century. Those
relations constituted a continuous waving between conflict and reconcihation.
The beginning of the 141 Os was tainted by tragic events: death sentences to opponents
of the alliance with the Jagiellonian State in the spring of 1410, the treacherous assassi-
nation of two burgomasters and a municipal councillor representing the interests of the
city which contradicted the expectations of The Order at the castle of the Gdańsk Kom-
tur (Commander) of the Order in April 1411. Annual changes in the composition of the
self-government: burgomasters, municipal council and the bench were a part of this con-
tinual and complex conflict which was either dominated by a pro-Teutonic or anti-Teu-
tonic party. The former party could operate due to illegal Teutonic interference in the elec-
tion procedures to the municipal council. Nevertheless, the conciliatory stance of the city
revealed itself strongly after the rebel of the commonalty in 1416 which shattered the inner
socio-political order of the city. With the decisive support of the Grand Master and partici-
pation of the Order, the revolt was dampened, thus restoring the former power relations;
the position of the Teutonic Order against the city was reinforced. Although the city of the
1420s again demonstrated a tendency to diminish Teutonic influence, the experience of
the revolt must have lingered in the memories of municipal authorities, leading to an ac-
knowledgement of the balanced policy and acceptable relations with the superior authority
as a guarantee of social safety.
The depiction on the reverse might have been - in the historical context outhned here-
in above - both a suitable and elegant form to manifest allegiance and expectation of be-
nevolence from the superior power. The elders of the Brotherhood would thus honour the
Grand Master, who was continually incorporating his political and ideological leadership
in the State. Such a demonstration from the Brotherhood might somehow have cloaked
the dramatic conflicts from before 1416. Certainly, that was the voice of the Brotherhood
not an official statement of municipal authority; however, it is obvious that Brotherhood
members were recruited from the patricians governing the city.
The above-mentioned historical circumstances additionally speak for the presumed
dating of the creation of both the painting and the entire retabulum; it cannot be ruled out
that its creation occurred before 1425. As to the first place the retabulum was exhibited, it
must have been St. Georges Chapel, yet the arrangement of the displayed piece was different
from that supposedly dated to 1454/ 1466-1473 and known from modern photographic
documentation.
Translated by M.B. Guzowska
50