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#0231
SUMMARY
(1506) and changes in the retinue of the new ruler, Sigismund I, Ciolek's career
did not advance as splendidly as he had anticipated. His ambitions, for which as the
ambassador of the King of Poland he sought support from the Pope and the Holy
Roman Emperor, and especially the steps he took in Rome in order to achieve the dig-
nity of a cardinal and so reach the summit of the Polish ecclesiastical hierarchy at
once, omitting the usual stages, led to open conflict with the Polish episcopacy and King
Sigismund in 1519.
Ciołek commissioned his pontifical about 1510, after his journeys to the papal
court. His successfully developing diplomatic career gave great hopes for the future,
and the ecclesiastical benefices he had gained together with the emoluments from his
bishopric enabled him to establish a splendid renaissance court and become a patron
of culture and a collector of humanistic books. From every aspect the Pontifical is
a work of art in keeping with the ambitions of its owner and his knowledge of art;
it was doubtless also intended to serve him in the higher positions of his career.
The text of the Pontifical was edited in Cracow and based on the pontificals of
Cracow Cathedral still preserved in the Wawel Chapter Archives (the Pontifical of
Zbigniew Oleśnicki, c. 1430, that of Tomasz Strzempiński, between 1455 and 1460,
and that of Cardinal Frederic Jagiellon, 1494). It is of the "northern" type, and dif-
fers both from the version edited by Wilhelm Durand and from the Roman pontihcal
of Innocent VIII printed in 1485. One of its essential peculiarities is the arrangement
of the texts in the Rrst part. After the 138 benedictions of the Mass there follow rites
connected with the persons of the King and Queen: Or Jo coroTMmJi reg*M PoAuMae,
Pegwae coronutio, and De omugio yd,c:ewJo. These ceremonies' were collected to-
gether and placed before those relating to the priest and the bishop, so differing from
the order in earlier Polish pontiRcals. The text of the OrJo coroTMmJr regfs Po/owne
was most probably copied from a text written in 1501 at the end of the Pontihcal of
Prince Frederic Jagiellon by the notary Jan Gorzycki for the coronation of Alexander
Jagiellon. Frederic performed the ceremony, at which Ciołek was present. The basis
of Gorzycki's text, and so of the text of the OrJo coronoaJ: in Ciolek's Pontihcal,
was according to S. Kutrzeba, editor of the Polish coronation ceremonies, the AfoJMs
cnroaanJ: regem, MS 17 in the Wawel Chapter Archives. This was prepared in 1438
in connection with the coronation of Vladyslas III Jagiellon and used at least
until the end of the sixteenth century. This "order" has some specifically Polish fea-
tures. It was edited on the basis of the Romano-Germanic Pontihcal, the Durand's
Pontihcal (the formula for the king's Coronation Oath), and the OrJo coroaanJ: of
the Bohemian kings from the time of Charles IV.
The text of the OrJo corona.n.Ji used in Poland was thus the outcome of various
epochs of history. Its fundamental ideological content co-mes from the times of the
Ottos, and reflects the conception of a ruler as rex et so.cerJo.s, per.so7U3 yn.:xta, and
Mcar:a.s De:. The form of the ceremony is to a great extent a production of the four-
teenth and fifteenth centuries. Its various characteristics reflect the practice which had
grown up in the Holy Roman Empire, in Prague, and also in Poland, in Cracow, last-
ing with only small changes throughout the ensuing centuries.
The text of the OrJo coroaaa J: regis became the scenario of a splendid spectacle,
the public performance of the royal coronation ceremony. This spectacle constituted
one of the most sumptuous forms of the visual "presentation of the State" (as E. P.
Schramm defined it), and thus the demonstration of its institution through persons
hxed by ritual, their functions, attitudes and gestures, through robes, objects and trap-
pings with symbolical functions, through spoken and chanted texts. Each detail had
a complex symbolical significance, while the functions of the performers of this spec-
15 — Rex regum...
(1506) and changes in the retinue of the new ruler, Sigismund I, Ciolek's career
did not advance as splendidly as he had anticipated. His ambitions, for which as the
ambassador of the King of Poland he sought support from the Pope and the Holy
Roman Emperor, and especially the steps he took in Rome in order to achieve the dig-
nity of a cardinal and so reach the summit of the Polish ecclesiastical hierarchy at
once, omitting the usual stages, led to open conflict with the Polish episcopacy and King
Sigismund in 1519.
Ciołek commissioned his pontifical about 1510, after his journeys to the papal
court. His successfully developing diplomatic career gave great hopes for the future,
and the ecclesiastical benefices he had gained together with the emoluments from his
bishopric enabled him to establish a splendid renaissance court and become a patron
of culture and a collector of humanistic books. From every aspect the Pontifical is
a work of art in keeping with the ambitions of its owner and his knowledge of art;
it was doubtless also intended to serve him in the higher positions of his career.
The text of the Pontifical was edited in Cracow and based on the pontificals of
Cracow Cathedral still preserved in the Wawel Chapter Archives (the Pontifical of
Zbigniew Oleśnicki, c. 1430, that of Tomasz Strzempiński, between 1455 and 1460,
and that of Cardinal Frederic Jagiellon, 1494). It is of the "northern" type, and dif-
fers both from the version edited by Wilhelm Durand and from the Roman pontihcal
of Innocent VIII printed in 1485. One of its essential peculiarities is the arrangement
of the texts in the Rrst part. After the 138 benedictions of the Mass there follow rites
connected with the persons of the King and Queen: Or Jo coroTMmJi reg*M PoAuMae,
Pegwae coronutio, and De omugio yd,c:ewJo. These ceremonies' were collected to-
gether and placed before those relating to the priest and the bishop, so differing from
the order in earlier Polish pontiRcals. The text of the OrJo coroTMmJr regfs Po/owne
was most probably copied from a text written in 1501 at the end of the Pontihcal of
Prince Frederic Jagiellon by the notary Jan Gorzycki for the coronation of Alexander
Jagiellon. Frederic performed the ceremony, at which Ciołek was present. The basis
of Gorzycki's text, and so of the text of the OrJo coronoaJ: in Ciolek's Pontihcal,
was according to S. Kutrzeba, editor of the Polish coronation ceremonies, the AfoJMs
cnroaanJ: regem, MS 17 in the Wawel Chapter Archives. This was prepared in 1438
in connection with the coronation of Vladyslas III Jagiellon and used at least
until the end of the sixteenth century. This "order" has some specifically Polish fea-
tures. It was edited on the basis of the Romano-Germanic Pontihcal, the Durand's
Pontihcal (the formula for the king's Coronation Oath), and the OrJo coroaanJ: of
the Bohemian kings from the time of Charles IV.
The text of the OrJo corona.n.Ji used in Poland was thus the outcome of various
epochs of history. Its fundamental ideological content co-mes from the times of the
Ottos, and reflects the conception of a ruler as rex et so.cerJo.s, per.so7U3 yn.:xta, and
Mcar:a.s De:. The form of the ceremony is to a great extent a production of the four-
teenth and fifteenth centuries. Its various characteristics reflect the practice which had
grown up in the Holy Roman Empire, in Prague, and also in Poland, in Cracow, last-
ing with only small changes throughout the ensuing centuries.
The text of the OrJo coroaaa J: regis became the scenario of a splendid spectacle,
the public performance of the royal coronation ceremony. This spectacle constituted
one of the most sumptuous forms of the visual "presentation of the State" (as E. P.
Schramm defined it), and thus the demonstration of its institution through persons
hxed by ritual, their functions, attitudes and gestures, through robes, objects and trap-
pings with symbolical functions, through spoken and chanted texts. Each detail had
a complex symbolical significance, while the functions of the performers of this spec-
15 — Rex regum...