DOI article:
Ługowski, Piotr: Reformacka Pompa Funebris Benedykta Roszowskiego
DOI Page / Citation link:https://doi.org/10.11588/diglit.56525#0109
108
PIOTR ŁUGOWSKI
14. Joachim Daniel Jauch, projekt castrum doloris
Augusta II Mocnego w kościele Kapucynów w Warszawie
w 1736 r., rysunek, Drezno, Sächsisches Hauptstaatsarchiv,
S.VII, E 91, nr 1, Bl.4
15. Rekonstrukcja z 1933 r. katafalku Jana III Sobieskiego
i Marii Kazimiery, z użyciem elementów
z katafalku Augusta II Mocnego z 1736 r.,
neg. Instytut Sztuki PAN
BENEDYKT ROSZKOWSKI’S REFORMED POMPA FUNEBRIS
Summary
Benedykt Roszkowski, a reformed friar from the Order of Reformed Friars Minor (Reformati) in the Greater Poland province
(Wielkopolska), became famous as a religious preacher (sermoniser). He held this position for twenty-one years, in various centres of the
province, and held the ministry of guar dian a number of times. He was also a member of provincial government in the forni of secretary and
definitor (1779-1782) as well as fulfilling the role of custodian or provincial deputy (1785-1788). The friar also helped create settings for
chur ch ceremonies.
This article discusses Roszkowski’s hitherto unknown manuscript containing a description of the artistic settings of six funeral ceremonies
that took place in the Reformati Churches during the year s 1758-1762. The descriptions were illustrated with the friar’s own watercolour s depict-
ing the theatrum created during funeral ceremonies. The document, written in Latin, was made between 1762 and 1764 as Roszkowski’s gift to
the Provincial Superior of Greater Poland, Father Dionizy Sy dry. His descriptions include the funeral of the Crown Oboźnina (wife of the Crown
Great Camp Leader) Teresa Teofila Lipska née Dąbska, and the funeral rites in memory of the Oboźny (Crown Great Camp Leader) Prokop
Lipski in the Reformati Church in Poznań (1758); the funeral of the Master of the Hunt’s wife from Wschowa, Zofia Górzyńska, in the Reformati
Chur ch in Miejska Górka (1761); the exequies of Zofia Puklatecka in the Reformati Chur ch in Poznań (1762); the funeral of Brygida Czapska
née Działyńska, the wife of the Malbork voivode, in the Reformed Chur ch in Pakość, and the funeral rites in the parish chur ch in Konarzewo
(1762). For all these funerals, the friar designed both the interior of the chur ch and the castrum doloris placed in the centr e. The baldachin-type
castrum doloris dominated: on a multi-step platform (sometimes taking the shape of a fortress with bastions) with a raised coffin were figures
of Values or personifications, and on its sides were obelisks in the form of rocaille or decorative columns crowned with busts of Virtues. The
whole structure was topped with a hanging fabric baldachin. In such artistic settings, the friar combined heraldic content with references to both
the Bible and mythology. With the informal char acter of its descriptions, this manuscript differs from the occasional prints published by Rosz-
kowski. Not only does the friar specify the material from which individual elements were made, but he also demonst ates the real context of
their presentation. It is the first time we find in one document the descriptions of so many elements of the pompa funebris, along with their visual
representations, made by a man who was artist, designer and preacher in one. These various aspects make Roszkowski’s work a special sour ce
for resear ch on the funeral cultur e of the former Polish-Lithuanian Commonwealth, one which finds no equal.
fransi. Katarzyna Krzyżagórska-Pisarek
PIOTR ŁUGOWSKI
14. Joachim Daniel Jauch, projekt castrum doloris
Augusta II Mocnego w kościele Kapucynów w Warszawie
w 1736 r., rysunek, Drezno, Sächsisches Hauptstaatsarchiv,
S.VII, E 91, nr 1, Bl.4
15. Rekonstrukcja z 1933 r. katafalku Jana III Sobieskiego
i Marii Kazimiery, z użyciem elementów
z katafalku Augusta II Mocnego z 1736 r.,
neg. Instytut Sztuki PAN
BENEDYKT ROSZKOWSKI’S REFORMED POMPA FUNEBRIS
Summary
Benedykt Roszkowski, a reformed friar from the Order of Reformed Friars Minor (Reformati) in the Greater Poland province
(Wielkopolska), became famous as a religious preacher (sermoniser). He held this position for twenty-one years, in various centres of the
province, and held the ministry of guar dian a number of times. He was also a member of provincial government in the forni of secretary and
definitor (1779-1782) as well as fulfilling the role of custodian or provincial deputy (1785-1788). The friar also helped create settings for
chur ch ceremonies.
This article discusses Roszkowski’s hitherto unknown manuscript containing a description of the artistic settings of six funeral ceremonies
that took place in the Reformati Churches during the year s 1758-1762. The descriptions were illustrated with the friar’s own watercolour s depict-
ing the theatrum created during funeral ceremonies. The document, written in Latin, was made between 1762 and 1764 as Roszkowski’s gift to
the Provincial Superior of Greater Poland, Father Dionizy Sy dry. His descriptions include the funeral of the Crown Oboźnina (wife of the Crown
Great Camp Leader) Teresa Teofila Lipska née Dąbska, and the funeral rites in memory of the Oboźny (Crown Great Camp Leader) Prokop
Lipski in the Reformati Church in Poznań (1758); the funeral of the Master of the Hunt’s wife from Wschowa, Zofia Górzyńska, in the Reformati
Chur ch in Miejska Górka (1761); the exequies of Zofia Puklatecka in the Reformati Chur ch in Poznań (1762); the funeral of Brygida Czapska
née Działyńska, the wife of the Malbork voivode, in the Reformed Chur ch in Pakość, and the funeral rites in the parish chur ch in Konarzewo
(1762). For all these funerals, the friar designed both the interior of the chur ch and the castrum doloris placed in the centr e. The baldachin-type
castrum doloris dominated: on a multi-step platform (sometimes taking the shape of a fortress with bastions) with a raised coffin were figures
of Values or personifications, and on its sides were obelisks in the form of rocaille or decorative columns crowned with busts of Virtues. The
whole structure was topped with a hanging fabric baldachin. In such artistic settings, the friar combined heraldic content with references to both
the Bible and mythology. With the informal char acter of its descriptions, this manuscript differs from the occasional prints published by Rosz-
kowski. Not only does the friar specify the material from which individual elements were made, but he also demonst ates the real context of
their presentation. It is the first time we find in one document the descriptions of so many elements of the pompa funebris, along with their visual
representations, made by a man who was artist, designer and preacher in one. These various aspects make Roszkowski’s work a special sour ce
for resear ch on the funeral cultur e of the former Polish-Lithuanian Commonwealth, one which finds no equal.
fransi. Katarzyna Krzyżagórska-Pisarek