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#0233
SUMMARY
within a silver-gilt frame. The colour accents are distributed among those parts of the
picture which are important on account of their content.
The subordination of the apparently realistic means of representation to the hier-
archy of ideological meanings, deliberately advanced into the foreground, is empha-
tically manifested in all the formal elements of the miniature.
A comparison of the miniature with the text of the coronation ceremonial shows
that it represents the ceremony of the king's enthronement, vhich followed the com-
pletion of the ceremony of handing over the insignia of power, and marked the king's
entry into his full rights. The newly consecrated ruler in all the splendour of his cor-
onation robes and insignia is being led to the throne by the bishops. After the arch-
bishop had pronounced the enthronement formula beginning with the words, ",%a
e% retire", the king sat down "in majesty", while the archbishop chanted the "Te
Deum", which was taken up by the cathedral choir. The situation represented in the
miniature corresponds to that outlined in the text of the ceremony, supplementing
this by details not noted in the "Order of the Coronation". Among the elements of the
ceremony not mentioned in the text are the standard bearers with the State banners,
the youths with swords, and the manner in which the individual groups of those tak-
ing part in the coronation are distributed in the cathedral.
The interior of the church in which the coronation is taking place is not a realistic
representation of the architecture of Cracow Cathedral. It is a simplified repetition
of the architectural scheme formed during the hrst half of the fifteenth century in
French and Netherlandish painting (appearing earliest in the miniatures of the Bou-
cicaut Master, ills. 101—104). In this interior the miniaturist accentuated the vault,
giving it the form of a canopy stretched over the pillars and covered with a network
of gilded ribs. This is certainly in connection with its symbolical significance. Another
important architectural element in the picture is the Late Gothic gateway, probably
connected.with some unidentified woodcut or copper engraving of c. 1500. The ar-
chitecture represented in the miniature combines elements of the church (eccłesiu)
and the castle (castraTa), according to the dual character of the royal coronation
ceremonial .
The "living statues" in the gateway fulfil the function of serjeants-at-mace (.ser-
Meates ar7Koram) and at the same time of standard-bearers (fe%Hf(/eri) carrying the
State emblems which, as follows from later sources and iconographic transmissions,
participated in the coronation ceremonies of the ruler of Poland and Lithuania. The
supernatural dimensions of these figures emphasize their symbolical function — the
personification of the secular power of the king's authority guaranteeing the integrity
and safety of the State. The emblems on the banners make evident the territorial range
jof the king's power over the Kingdom of Poland and the Grand Duchy of Lithuania,
oined by a personal union. The motif of the standard-bearer guards is derived from
the iconographic tradition connected with the symbolic function of the arcade, the
gateway of the town or castle, or the balcony where the ruler ceremonially showed
himself to the people. Indications of this tradition almost contemporary with the mi-
niatures of the Pontifical and perhaps known to Ciołek included the iconographic
programme of decorative carving and painting of the buildings connected with the
Emperor Maximilian I in Innsbruck: the "Gateway of the Arms" (1499) and the oriel
of the castle known as Jas CoMeae Dac/J (1497—1500). The same idea was expressed
somewhat later in a woodcut of Maximilian's Triumphal Arch (ills. 105—119).
The king, who is the formal and ideological centre of the scene of the Enthrone-
ment, has been represented according to the iconographic "formula of majesty"
accepted for the imperial and royal seals in the fifteenth century (ills. 89—90). He ap-
within a silver-gilt frame. The colour accents are distributed among those parts of the
picture which are important on account of their content.
The subordination of the apparently realistic means of representation to the hier-
archy of ideological meanings, deliberately advanced into the foreground, is empha-
tically manifested in all the formal elements of the miniature.
A comparison of the miniature with the text of the coronation ceremonial shows
that it represents the ceremony of the king's enthronement, vhich followed the com-
pletion of the ceremony of handing over the insignia of power, and marked the king's
entry into his full rights. The newly consecrated ruler in all the splendour of his cor-
onation robes and insignia is being led to the throne by the bishops. After the arch-
bishop had pronounced the enthronement formula beginning with the words, ",%a
e% retire", the king sat down "in majesty", while the archbishop chanted the "Te
Deum", which was taken up by the cathedral choir. The situation represented in the
miniature corresponds to that outlined in the text of the ceremony, supplementing
this by details not noted in the "Order of the Coronation". Among the elements of the
ceremony not mentioned in the text are the standard bearers with the State banners,
the youths with swords, and the manner in which the individual groups of those tak-
ing part in the coronation are distributed in the cathedral.
The interior of the church in which the coronation is taking place is not a realistic
representation of the architecture of Cracow Cathedral. It is a simplified repetition
of the architectural scheme formed during the hrst half of the fifteenth century in
French and Netherlandish painting (appearing earliest in the miniatures of the Bou-
cicaut Master, ills. 101—104). In this interior the miniaturist accentuated the vault,
giving it the form of a canopy stretched over the pillars and covered with a network
of gilded ribs. This is certainly in connection with its symbolical significance. Another
important architectural element in the picture is the Late Gothic gateway, probably
connected.with some unidentified woodcut or copper engraving of c. 1500. The ar-
chitecture represented in the miniature combines elements of the church (eccłesiu)
and the castle (castraTa), according to the dual character of the royal coronation
ceremonial .
The "living statues" in the gateway fulfil the function of serjeants-at-mace (.ser-
Meates ar7Koram) and at the same time of standard-bearers (fe%Hf(/eri) carrying the
State emblems which, as follows from later sources and iconographic transmissions,
participated in the coronation ceremonies of the ruler of Poland and Lithuania. The
supernatural dimensions of these figures emphasize their symbolical function — the
personification of the secular power of the king's authority guaranteeing the integrity
and safety of the State. The emblems on the banners make evident the territorial range
jof the king's power over the Kingdom of Poland and the Grand Duchy of Lithuania,
oined by a personal union. The motif of the standard-bearer guards is derived from
the iconographic tradition connected with the symbolic function of the arcade, the
gateway of the town or castle, or the balcony where the ruler ceremonially showed
himself to the people. Indications of this tradition almost contemporary with the mi-
niatures of the Pontifical and perhaps known to Ciołek included the iconographic
programme of decorative carving and painting of the buildings connected with the
Emperor Maximilian I in Innsbruck: the "Gateway of the Arms" (1499) and the oriel
of the castle known as Jas CoMeae Dac/J (1497—1500). The same idea was expressed
somewhat later in a woodcut of Maximilian's Triumphal Arch (ills. 105—119).
The king, who is the formal and ideological centre of the scene of the Enthrone-
ment, has been represented according to the iconographic "formula of majesty"
accepted for the imperial and royal seals in the fifteenth century (ills. 89—90). He ap-