DOI Artikel:
Miodońska, Barbara: Rex regum i rex Poloniae w dekoracji malarskiej Graduału Jana Olbrachta i Pontyfikału Erazma Ciołka: z zagadnień ikonografii władzy królewskiej w sztuce polskiej wieku XVI
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26594#0228
REX REGUM < REX FOLOXIAE
power in God, the division of ecclesiastical and secular power, the statement of their
parity, and the necessity for their harmonious cooperation. The figures of the Pope
and the King do not lose their identity with Gregory and David, but may also be in-
terpreted as representing the spiritual and secular rule, the earthly deputies of God,
Who is the source of all power according to the words of St Paul: "AADo potgstas
nisi a Deo". Their treatment as equals agrees with the political doctrine of the
"two swords". The confrontation of the Pope and the King, and not of the Pope and an
Emperor or the King and a Bishop, may be understood as a deliberate manifestation
of regal sovereignty in the State, marking inter aiia the subordination of the diocesan
hierarchy to the king, which became a fact under the reign of the donor of the Grad-
ual.
The representatives of sacerJotimn and regnnm do not receive the attributes of
power from God, as they usually do in illustrations of legal texts, but beseech their
suzerain in prayer, the tenor of which is revealed both by the texts of the liturgy for
the first Sunday in Advent (the Introit, Gradual; Psalm 24 (25), 1—3, 4, and the lesson:
St PauTs Eristic żo żAe Romans, 13, 12—14) and the figural motifs of the marginal
decoration, concealing a tropological symbolism. This prayer asks for help in the
.ZSz? choice of the proper path of conduct, a choice of great moment for rulers responsible
for the people entrusted to them by God. The child on the caracoling wooden horse
between the stage — the symbol of Christ and the soul seeking God — and the strug-
gling pairs of men and lizards — the personification of discord and anarchy, symbo-
lize man placed between the alternatives of two extreme and opposed moral attitudes.
The necessity of choosing between good and evil refers to every man.
f. The Introit.
<S<ł!vafol IMMMtłi
(Part II, folio 55) ills. 16 and 68—74
The subject of the Saviour of the World and His mission to mankind, shown in the
cycle of historical illustrations of the Incarnation and Redemption for the Droprmm
missae in Part I of the Gradual, returns in a different conception in Part II. The In-
troit of the Mass for the Eve of St Andrew (Dominas saecM.s) beginning the ProprfMm
cR xoactM and telling of the calling of the hrst disciples opens with a miniature of which
the subject is the .SARc^w mamfi.
Analysis of this iconographic type shows that, although characterized by simpli-
city, it belongs to the genre of images of God as Ruler. While the representations of
God the Father as a celestial emperor, king or pope, distinguished by external splen-
dour and a luxuriance of attributes of secular and spiritual power, mark Him as God
Almighty, the source of all earthly power in its institutional aspect, the iconographic
type of the 6ARa%o?' showing the "true" features of Christ the Man, are con-
nected above all with the conception of the reg%Mm ^pR^zraR. The fourteenth-century
discussions on the character of the reign of Christ afforded a closer definition of this
conception. They define the conceptions of regTmm aetemam ARzaam, regaam
spRAaaR and regaam. temporal. The Saviour of the World represents God Incarnate,
Whose power over the world, symbolized by the royal orb, the zaaaJa^, or by a sphere
surmounted by a cross, comes from two sources. One is the fulfilment of the redemp-
tion of mankind, and the other is the teaching mission conceived as the building of
the Kingdom of God in the souls of men. The .SARażor a:an.cR in Albert's Gradual
precedes the likenesses of saints — representatives of redeemed mankind, who be-
came, following the example of Christ, the builders of the Kingdom of God on earth.
power in God, the division of ecclesiastical and secular power, the statement of their
parity, and the necessity for their harmonious cooperation. The figures of the Pope
and the King do not lose their identity with Gregory and David, but may also be in-
terpreted as representing the spiritual and secular rule, the earthly deputies of God,
Who is the source of all power according to the words of St Paul: "AADo potgstas
nisi a Deo". Their treatment as equals agrees with the political doctrine of the
"two swords". The confrontation of the Pope and the King, and not of the Pope and an
Emperor or the King and a Bishop, may be understood as a deliberate manifestation
of regal sovereignty in the State, marking inter aiia the subordination of the diocesan
hierarchy to the king, which became a fact under the reign of the donor of the Grad-
ual.
The representatives of sacerJotimn and regnnm do not receive the attributes of
power from God, as they usually do in illustrations of legal texts, but beseech their
suzerain in prayer, the tenor of which is revealed both by the texts of the liturgy for
the first Sunday in Advent (the Introit, Gradual; Psalm 24 (25), 1—3, 4, and the lesson:
St PauTs Eristic żo żAe Romans, 13, 12—14) and the figural motifs of the marginal
decoration, concealing a tropological symbolism. This prayer asks for help in the
.ZSz? choice of the proper path of conduct, a choice of great moment for rulers responsible
for the people entrusted to them by God. The child on the caracoling wooden horse
between the stage — the symbol of Christ and the soul seeking God — and the strug-
gling pairs of men and lizards — the personification of discord and anarchy, symbo-
lize man placed between the alternatives of two extreme and opposed moral attitudes.
The necessity of choosing between good and evil refers to every man.
f. The Introit.
<S<ł!vafol IMMMtłi
(Part II, folio 55) ills. 16 and 68—74
The subject of the Saviour of the World and His mission to mankind, shown in the
cycle of historical illustrations of the Incarnation and Redemption for the Droprmm
missae in Part I of the Gradual, returns in a different conception in Part II. The In-
troit of the Mass for the Eve of St Andrew (Dominas saecM.s) beginning the ProprfMm
cR xoactM and telling of the calling of the hrst disciples opens with a miniature of which
the subject is the .SARc^w mamfi.
Analysis of this iconographic type shows that, although characterized by simpli-
city, it belongs to the genre of images of God as Ruler. While the representations of
God the Father as a celestial emperor, king or pope, distinguished by external splen-
dour and a luxuriance of attributes of secular and spiritual power, mark Him as God
Almighty, the source of all earthly power in its institutional aspect, the iconographic
type of the 6ARa%o?' showing the "true" features of Christ the Man, are con-
nected above all with the conception of the reg%Mm ^pR^zraR. The fourteenth-century
discussions on the character of the reign of Christ afforded a closer definition of this
conception. They define the conceptions of regTmm aetemam ARzaam, regaam
spRAaaR and regaam. temporal. The Saviour of the World represents God Incarnate,
Whose power over the world, symbolized by the royal orb, the zaaaJa^, or by a sphere
surmounted by a cross, comes from two sources. One is the fulfilment of the redemp-
tion of mankind, and the other is the teaching mission conceived as the building of
the Kingdom of God in the souls of men. The .SARażor a:an.cR in Albert's Gradual
precedes the likenesses of saints — representatives of redeemed mankind, who be-
came, following the example of Christ, the builders of the Kingdom of God on earth.