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#0235
SUMMARY
heaven (ecc/asia %rw7npAo7M) and earth (eccJesia wr^^a,7M). The teaching of the
Church on the Communion of Saints and the City of God is its doctrinal basis.
The singing of the "Te Deum" at the end of the coronation ceremony of the king
of Poland had a definite legal sense, similar to the function of the hzadas regiae in
the early medieval Western European orAnas coroMtmA; it marked the acclamation
of the king by the Church, i. e. his solemn public recognition as the Lord's Anointed
(v. note 124).
This dual act of acclamation, of God the Ruler of the World and of the earthly king,
typifies the bond between God and the king, which had found expression in art for
centuries in various cultures. In the culture of the medieval West two formulae de-
fined the relation between God and the king: rax — wearies De: and rax — rmagr?
Dei. The coronation ceremony, which transformed the king into the Lord's Anointed
(cArMtas Do77M7M) and so into a persona mixta was longest to remain evidence of the
vital awareness of the bond between the Ruler of the World and the earthly ruler by
reason of the stable form of liturgical services in general. During the singing of the
"Te Deum" in the presence of the king seated in majesty in the cathedral, this bond
was made manifest in a very evident manner, and certainly the creator of the mono-
graphic programme of Ciolek's Pontifical had this in mind. Including the text of the jgp
"The Deum" in the picture resulted in a confrontation of the king and the hierarch-
ically arranged terrestrial society with God and the celestial community summoned
up by the words of the hymn. Besides the text of the hymn, the two choirs — that
of men and that of angels — form a visible link between the two worlds. They demon-
strate the unity of the terrestrial and celestial liturgy (as in the miniature accompany-
ing the text of the &mctMs in John Albert's Gradual). The singing of the scAcda can-
torHm, accompanied by the sound of triumphal instruments, the trumpet and the organ,
is borne by the angels not only up to the star-studded vault but also to the metaphy-
sical heaven where, as the words of the hymn suggest, it is added to the song of the
whole celestial choir ("Afasica ecc^esia7H t7aM.7HpAan.ti asst77MZat", J. Tinc-
toris, Co7np/exM6 e^"eciM7H THMstces). The ceremony represented reveals the unity of
the various zones of reality. The scene shown in the miniature, like the corresponding
scene in reality, takes place in two simultaneous aspects of time: in temporal time
(cnrsMS te77!poris), denoted by the fact of the coronation of the definite ruler of a con-
crete State, and in the sacral time included in the infinity of eternity (.statMS aetg7*7M-
tatis), in which the celestial community adores God.
It was certainly this very fact that dictated the form of the picture. It is characterized
by a full view of the scene, resulting from the choice of the central point of vision;
by a symmetrical arrangement of the elements of the composition, a zonal disposition
of the groups and the use of an architectonic framework; and finally by a solemn im-
mobility, the absence of any action except that of singing the hymn. All these features
are appropriate to the conception of the Heavenly Kingdom which in the history of
medieval art took form in such subjects as the O7H77.M .Srmcti, the Heavenly Court,
or the Ciuitcn Dei (ills. 128—132).
The miniature representing the Enthronement of a king of Poland originated from
the assimilation and partial thematic reinterpretation of two iconographic types, which
might have been known to the illuminators of the Pontifical. These were 1) the rea-
listic representation of a liturgical ceremony celebrated in the interior of a church seen
through a "diaphragm arch" in such a form as was established in the fifteenth century
in French and Netherlandish illuminations; 2) the representation of the Co777H7M7MO
-Sa.72.ct07'M7M and the Kingdom of God which had been developing for many centuries
in Christian art. Analysis of the relation of the miniature to the text of the ceremony
heaven (ecc/asia %rw7npAo7M) and earth (eccJesia wr^^a,7M). The teaching of the
Church on the Communion of Saints and the City of God is its doctrinal basis.
The singing of the "Te Deum" at the end of the coronation ceremony of the king
of Poland had a definite legal sense, similar to the function of the hzadas regiae in
the early medieval Western European orAnas coroMtmA; it marked the acclamation
of the king by the Church, i. e. his solemn public recognition as the Lord's Anointed
(v. note 124).
This dual act of acclamation, of God the Ruler of the World and of the earthly king,
typifies the bond between God and the king, which had found expression in art for
centuries in various cultures. In the culture of the medieval West two formulae de-
fined the relation between God and the king: rax — wearies De: and rax — rmagr?
Dei. The coronation ceremony, which transformed the king into the Lord's Anointed
(cArMtas Do77M7M) and so into a persona mixta was longest to remain evidence of the
vital awareness of the bond between the Ruler of the World and the earthly ruler by
reason of the stable form of liturgical services in general. During the singing of the
"Te Deum" in the presence of the king seated in majesty in the cathedral, this bond
was made manifest in a very evident manner, and certainly the creator of the mono-
graphic programme of Ciolek's Pontifical had this in mind. Including the text of the jgp
"The Deum" in the picture resulted in a confrontation of the king and the hierarch-
ically arranged terrestrial society with God and the celestial community summoned
up by the words of the hymn. Besides the text of the hymn, the two choirs — that
of men and that of angels — form a visible link between the two worlds. They demon-
strate the unity of the terrestrial and celestial liturgy (as in the miniature accompany-
ing the text of the &mctMs in John Albert's Gradual). The singing of the scAcda can-
torHm, accompanied by the sound of triumphal instruments, the trumpet and the organ,
is borne by the angels not only up to the star-studded vault but also to the metaphy-
sical heaven where, as the words of the hymn suggest, it is added to the song of the
whole celestial choir ("Afasica ecc^esia7H t7aM.7HpAan.ti asst77MZat", J. Tinc-
toris, Co7np/exM6 e^"eciM7H THMstces). The ceremony represented reveals the unity of
the various zones of reality. The scene shown in the miniature, like the corresponding
scene in reality, takes place in two simultaneous aspects of time: in temporal time
(cnrsMS te77!poris), denoted by the fact of the coronation of the definite ruler of a con-
crete State, and in the sacral time included in the infinity of eternity (.statMS aetg7*7M-
tatis), in which the celestial community adores God.
It was certainly this very fact that dictated the form of the picture. It is characterized
by a full view of the scene, resulting from the choice of the central point of vision;
by a symmetrical arrangement of the elements of the composition, a zonal disposition
of the groups and the use of an architectonic framework; and finally by a solemn im-
mobility, the absence of any action except that of singing the hymn. All these features
are appropriate to the conception of the Heavenly Kingdom which in the history of
medieval art took form in such subjects as the O7H77.M .Srmcti, the Heavenly Court,
or the Ciuitcn Dei (ills. 128—132).
The miniature representing the Enthronement of a king of Poland originated from
the assimilation and partial thematic reinterpretation of two iconographic types, which
might have been known to the illuminators of the Pontifical. These were 1) the rea-
listic representation of a liturgical ceremony celebrated in the interior of a church seen
through a "diaphragm arch" in such a form as was established in the fifteenth century
in French and Netherlandish illuminations; 2) the representation of the Co777H7M7MO
-Sa.72.ct07'M7M and the Kingdom of God which had been developing for many centuries
in Christian art. Analysis of the relation of the miniature to the text of the ceremony