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DOI Artikel:Laskowska, Magdalena: Eglomizowany ołtarz z kościoła farnego w Bieczu w zbiorach Muzeum Narodowego w Krakowie
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31060#0050
Magdalena Laskowska
The Altarpiece from the Parish Church in Biecz in the Collection
of the National Museum in Kraków
Summary
The paper is concerned with an altarpiece, dating back to 1617, from the Corpus Christi
church in Biecz, which has been in the collection of the National Museum in Kraków sińce
1913. This work is particularly noteworthy for its rare techniąue as well as its interesting
form and well-thought-out iconographic programme. The paper presents the history of
the altarpiece starting from 1767 (when the altarpiece was mentioned for the first time in
Acta Visitationis Archidiaconatus Cracoviensis as part of the furnishings of the Sułowski
familys chapel in the parish church in Biecz), subseąuent changes in its location within
the church, and finally its trip to Kraków. In 1903, the work was brought to Kraków by
Sławomir Odrzywolski, who was in charge of the conservation carried out in the parish
church in Biecz at the time. One can also read about the history of research and first at-
tempts at renovating the altarpiece after it became part of the collection of the National
Museum in Kraków and until 2007, when it underwent thorough conservation. The paper
gives an overview of the art circle to which the originator of the altarpiece, Daniel Schnei-
der, belonged. It also discusses the problem of the provenance of the work in the context
of the relations between Biecz and Silesia in the 16th and 17th c.
The text also raises the ąuestion of the altarpieces iconographic programme and its
techniąue of execution, namely the stained-glass one, in which eglomise glass panels are
bonded with lead joints and secured on a wooden framework. The paper also contains
a short overview of the history of painting under glass, with particular attention paid to
eglomisation, a description of individual stages of painting under glass written based on
source materials from the period and the changing terminology of the method and mod-
ern classifications. The altarpiece from Biecz is compared with other European examples
of modern retables (decorated with painting under glass), architectural details from the
Mannerist era and objects of decorative arts from the period. The discussion of this last
issue is based, among other things, on the results of a ąuestionnaire sent to over a hundred
Polish museums, which aimed to collect comparative materiał for this altarpiece as well as
to find out about restoration methods used in the conservation of eglomise works.
The Altarpiece from the Parish Church in Biecz in the Collection
of the National Museum in Kraków
Summary
The paper is concerned with an altarpiece, dating back to 1617, from the Corpus Christi
church in Biecz, which has been in the collection of the National Museum in Kraków sińce
1913. This work is particularly noteworthy for its rare techniąue as well as its interesting
form and well-thought-out iconographic programme. The paper presents the history of
the altarpiece starting from 1767 (when the altarpiece was mentioned for the first time in
Acta Visitationis Archidiaconatus Cracoviensis as part of the furnishings of the Sułowski
familys chapel in the parish church in Biecz), subseąuent changes in its location within
the church, and finally its trip to Kraków. In 1903, the work was brought to Kraków by
Sławomir Odrzywolski, who was in charge of the conservation carried out in the parish
church in Biecz at the time. One can also read about the history of research and first at-
tempts at renovating the altarpiece after it became part of the collection of the National
Museum in Kraków and until 2007, when it underwent thorough conservation. The paper
gives an overview of the art circle to which the originator of the altarpiece, Daniel Schnei-
der, belonged. It also discusses the problem of the provenance of the work in the context
of the relations between Biecz and Silesia in the 16th and 17th c.
The text also raises the ąuestion of the altarpieces iconographic programme and its
techniąue of execution, namely the stained-glass one, in which eglomise glass panels are
bonded with lead joints and secured on a wooden framework. The paper also contains
a short overview of the history of painting under glass, with particular attention paid to
eglomisation, a description of individual stages of painting under glass written based on
source materials from the period and the changing terminology of the method and mod-
ern classifications. The altarpiece from Biecz is compared with other European examples
of modern retables (decorated with painting under glass), architectural details from the
Mannerist era and objects of decorative arts from the period. The discussion of this last
issue is based, among other things, on the results of a ąuestionnaire sent to over a hundred
Polish museums, which aimed to collect comparative materiał for this altarpiece as well as
to find out about restoration methods used in the conservation of eglomise works.