DOI article:
Bednarska, Jadwiga: Z dziejów polskiej ilustracji panegirycznej l połowy XVII wieku – problematyka formalna
DOI Page / Citation link:https://doi.org/10.11588/diglit.14539#0126
122
JADWIGA BEDNARSKA
extant illustrations it allows to study formai problems and to bring out original characteristics. The copperplate
technique prédominâtes in this type of illustration. One of the most obvious characteristics is the richness of word-picture
forms. The main emphasis was laid on heraldic éléments, while inscriptions have a personal implication. Various
thematic ideas „in panegyric illustrations derived from ancient literaturę — a fact doubtlessly linked with Sarmatian
ideology. The creators of iconographie programs searched out only subjects referring to armoriai bearings. Emblematic
works were the most often used sources of formai inspirations including the most popular by: A. Alciatus, J. Camerarius,
H. Ruscelli, C. Paradin, J. Typotius or O. Vaenius. Engravers usually used only composition schemes, modified them
according to needs and created on effect a new original entity. Favourite subjects included legends linked with
escutcheons, e.g., the set of emblems in the Sphinx Samsonica... panegyric (of a collective authorship of the Jesuit
College at Rawa Mazowiecka). There were also emblems relating to old fables glorifying the armoriai bearings of
archbishops Henry Firley, Jan Wężyk or bishop A. Szołdrski in panegyrics produced at the Jesuit College at Kalisz.
The development period of Polish ermorial bearings took place already in the first half of the 17th century. The
greatest influence on panegyric illustration was exerted by Dutch art from the 16th and the first half of the 17th
centuries of distinct manneristic traits and later works of art connected with Rubens' workshop. The originals included
illustrations by Hendrick Goltzius, Crispin de Passe Yr.. Schelte A. Bolswert, Jan and Egidius Sadeler, Hieronim
Wierix, Vredeman de Vries. Cornelis and Philippe Galle, etc. Particularly interesting is the influence of title page relating
to Rubens' compositions. For example, the title page engraved by C. Galle according to Rubens' invention for M. Sar-
biewski's lyrics, published by Moretus in Antwerp in 1632, was the source of inspiration for the illustration of Conrad
Gôtke in the epithalamium Bellaria Academica... from 1642. The original for the composition of the anonymous illustration
in the Sacro Civilis Politia panegyric from 1636 was the title card after a project by Rubens engraved by this graphie
artist in K. Scribanus' work Politico Christianus published in Antwerp in 1624. The author discusses. moreover. other
sources of inspiration such as the influence of printers' colophons or G. P. Valeriano's Hieroglifika. Mentioned are also
problems concerning the autorship of illustrations. The author endeavoured to separate imported works from native
production. Only illustrations ornamenting seven panegyrics can be with great probability described as imported works.
The artistic level taken as a discriminant for native works can be misleading sometimes. Imported works include the
illustration in H. Polubiiiski's panegyric published by Piotrkowczyk in Cracow in 1635 and illustrations in the already
mentioned panegyrics honouring church dygnitaries, published by the printing press in Kalisz. Gdańsk prints, often
engraved by foreign, especially Dutch engravers, are oustanding as regards the level of illustration. As regards Polish
illustrations, there occurred a significant impoverishment of originals due to an insufficient mastering of graphie art.
Thèse engravers were unable to render the complex richness of thèmes included in programs of panegyrists. Noticeable
are illustrations by Jan Sabałowicz, Konrad Gôtke, Dawid Tscherning and the Wrocław goldsmith Caspar Pfister. One of
the characteristics of thèse illustrations was the actualization of présentations referring to antique culture. This involwed
the depicting of figures from mythology or ancient history in contemporary costumes. There existed considérable différences
between figures on illustrations and works in concert with the ail antica forms. Of the greatest interest are panegyric
illustrations in which ornamenting architectonic éléments refer to various monuments of antique architecture (e.g., K. Gôtke's
illustrations in the Parentalis splendor panegyric from 1647. authorship by K. Wojsznarowicz I Décora liliieti from 1642
by J. Sleski and woodeuts b\ an unknown author in the Pliants Sarmatica... panegyric from 1633). Polish panegyric
illustrations from the first half of the 17th century have its own image. Besides ornamented motifs, representing the
most original trait of Polish illustration, landscape motifs présent in several illustrations, introduce an element of a certain
variety if we consider the fact of the prevalence of strictly symmetrical Systems of a heraldic subject.
Translated by Jan Rudzki
JADWIGA BEDNARSKA
extant illustrations it allows to study formai problems and to bring out original characteristics. The copperplate
technique prédominâtes in this type of illustration. One of the most obvious characteristics is the richness of word-picture
forms. The main emphasis was laid on heraldic éléments, while inscriptions have a personal implication. Various
thematic ideas „in panegyric illustrations derived from ancient literaturę — a fact doubtlessly linked with Sarmatian
ideology. The creators of iconographie programs searched out only subjects referring to armoriai bearings. Emblematic
works were the most often used sources of formai inspirations including the most popular by: A. Alciatus, J. Camerarius,
H. Ruscelli, C. Paradin, J. Typotius or O. Vaenius. Engravers usually used only composition schemes, modified them
according to needs and created on effect a new original entity. Favourite subjects included legends linked with
escutcheons, e.g., the set of emblems in the Sphinx Samsonica... panegyric (of a collective authorship of the Jesuit
College at Rawa Mazowiecka). There were also emblems relating to old fables glorifying the armoriai bearings of
archbishops Henry Firley, Jan Wężyk or bishop A. Szołdrski in panegyrics produced at the Jesuit College at Kalisz.
The development period of Polish ermorial bearings took place already in the first half of the 17th century. The
greatest influence on panegyric illustration was exerted by Dutch art from the 16th and the first half of the 17th
centuries of distinct manneristic traits and later works of art connected with Rubens' workshop. The originals included
illustrations by Hendrick Goltzius, Crispin de Passe Yr.. Schelte A. Bolswert, Jan and Egidius Sadeler, Hieronim
Wierix, Vredeman de Vries. Cornelis and Philippe Galle, etc. Particularly interesting is the influence of title page relating
to Rubens' compositions. For example, the title page engraved by C. Galle according to Rubens' invention for M. Sar-
biewski's lyrics, published by Moretus in Antwerp in 1632, was the source of inspiration for the illustration of Conrad
Gôtke in the epithalamium Bellaria Academica... from 1642. The original for the composition of the anonymous illustration
in the Sacro Civilis Politia panegyric from 1636 was the title card after a project by Rubens engraved by this graphie
artist in K. Scribanus' work Politico Christianus published in Antwerp in 1624. The author discusses. moreover. other
sources of inspiration such as the influence of printers' colophons or G. P. Valeriano's Hieroglifika. Mentioned are also
problems concerning the autorship of illustrations. The author endeavoured to separate imported works from native
production. Only illustrations ornamenting seven panegyrics can be with great probability described as imported works.
The artistic level taken as a discriminant for native works can be misleading sometimes. Imported works include the
illustration in H. Polubiiiski's panegyric published by Piotrkowczyk in Cracow in 1635 and illustrations in the already
mentioned panegyrics honouring church dygnitaries, published by the printing press in Kalisz. Gdańsk prints, often
engraved by foreign, especially Dutch engravers, are oustanding as regards the level of illustration. As regards Polish
illustrations, there occurred a significant impoverishment of originals due to an insufficient mastering of graphie art.
Thèse engravers were unable to render the complex richness of thèmes included in programs of panegyrists. Noticeable
are illustrations by Jan Sabałowicz, Konrad Gôtke, Dawid Tscherning and the Wrocław goldsmith Caspar Pfister. One of
the characteristics of thèse illustrations was the actualization of présentations referring to antique culture. This involwed
the depicting of figures from mythology or ancient history in contemporary costumes. There existed considérable différences
between figures on illustrations and works in concert with the ail antica forms. Of the greatest interest are panegyric
illustrations in which ornamenting architectonic éléments refer to various monuments of antique architecture (e.g., K. Gôtke's
illustrations in the Parentalis splendor panegyric from 1647. authorship by K. Wojsznarowicz I Décora liliieti from 1642
by J. Sleski and woodeuts b\ an unknown author in the Pliants Sarmatica... panegyric from 1633). Polish panegyric
illustrations from the first half of the 17th century have its own image. Besides ornamented motifs, representing the
most original trait of Polish illustration, landscape motifs présent in several illustrations, introduce an element of a certain
variety if we consider the fact of the prevalence of strictly symmetrical Systems of a heraldic subject.
Translated by Jan Rudzki