DOI Artikel:
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DOI Artikel:Starzewska, Maria: Fundacje artystyczne Andrzeja Jerina, biskupa wrocławskiego 1586-1596
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.13737#0107
Fundacje artystyczne Andrzeja Jerina
85
relating, among others, to Polish affairs. As an envoy
of Emperor Rudolph II, he visited Poland five times,
at first in connection with the policy of the Habsburg
Dynasty, later, with the creation of the anti-Turkish
League by the Emperor.
The bishop's many foundations include almost all
sectors of art and thus render a picture of the level
and stylistic changes at the end of the 16th century.
The significance of these foundations is also based
on the fact that they represent the finał expression
of renaissance art in Wrocław, this stylistic orien-
tation which, reaching for Italian and Netherland
patterns, created an image of art of, above all, Wro-
cław townsmen.
In regard to the art of fortification, Jerin coordi-
nated — at first in 1587 — with the Nysa city council
means of strengthening town fortifications, but not
being contented, he ordered in 1594 at Wrocław's ar-
chitect Hans Schneider, a plan of modern fortifica-
tions of a new-Italian type, which were a noyelty in
Silesia of those times. This plan was not comple-
tely realized. As regards architecture, the expension
of the bishop's castle at Otmuchów — a storey was
added to the north-eastern wing, a two-storey north-
western wing constructed, and all elevations orna-
mented with sgraffito — was one of the most impor-
tant undertakings. The bishop probably intended to
construct a proper residence in the bishop state.
Manors built on Jerin's initiative include the partly
preserved court at Siestrzechowice, constructed in
1593—1594 for the bishop's nephew. Besides sgraffito
ornamented elevations, a Serlio-type portal, a cour-
tyard with galleries, the artist produced a two-tract
division of the principal wing. This represents one
of the earliest examples of such solutions in Silesia.
Other houses — at Maciejowice (1589), Ujazd (1595),
and also St. Roch's Chapel at the parochial church
at Paczków, and the church at Hermanovice (1588),
were completely rebuilt in the 18th and 19th cen-
turies. Foundations concerning architecture also in-
cluded interior changes of the presbytery in Wro-
cław^ Cathedral produced in order to acąuire a set-
ting of the main altar and the bishop's tomb.
Most of Jerin's foundations, however, include
gołdsmith's works, all intended for cult purposes and
produced at the workshop of Paul Nitsch, a Wrocław
goldsmith. The most valuable of these include the
main altar in Wrocław Cathedral (1590). Its polyp-
tych contains silver figures, Passion scenes in the
centrę and holy patrons of Silesia, the cathedral and
the founder, on interior wings. Preserved goldsmith's
works also include two house altars of the bishop
(1586), a chalice (about 1591), their shape showing
clearly gothic reminiscences, and several coins and
medals. Of orders concerning other branches of craft,
we know only that they included church ornaments,
such as a festive chasuble with appliąue work, or
a glass chalice with diamond cut decorations. Painted
works include the external wings of the main altar
in Wrocław Cathedral, produced by Bartholomaus
Fichtenberger. They represent an example of the
classicist current of mannerism in Silesia. Just as
the silver figures on this altar, they are an image
of a conservative trend, referring to earlier renais-
sance canons; the altar represents, therefore, as a
whole a uniform entity. Wall paintings in St. An-
drews chapel situated in the south-eastern tower of
Wrocław Cathedral and three portraits of the bishop
do no longer exist, the latter, however, are known
from reproductions. Two of them, of a representative
type (1587), have probably been painted by one artist,
the third (not an official one), which was in the
possession of the bishop's family, represented a bust
of Jerin. This portrait — considering the skilful ren-
dering of facial expression and a certain softness in
the manner of painting — indicates the brush of an
outstanding painter. In regard to graphic art, we
know of four book-plates and one super-ex-libris,
all of which, despite insignificant stylistic differen-
ces, include motifs of flourished" ornaments. Jerin's
tombstone in the presbytery of Wrocław Cathedral
is the most valuable work among preserved founda-
tions. It was probably produced at the workshops of
Friedrich Gross and Geert Hendrick. Partly destro-
yed during the Second World War, there remained
an intact marble plate with a relief sculpture of the
bishop's bust. Although the setting of the monument
clearly indicates the influence of Netherland art, the
bas-relief is an example of reminiscences of Italian
renaissance art. The foundation (as regards sculpture)
also includes a smali chapel at Siestrzechowice or-
namented with four bas-reliefs (1593—1594). Bishop
Jerin's foundations were chiefly linked with his
endeavours to increase the significance and splendour
of the Catholic Church and strengthen its position in
relation to the Protestant Church. Not the mecenate
but foundations were the most apparent in the
bishop's church activities, and the meaning and va-
lues of art were applied in these directions. Orders
for his foundations were placed by Jerin only with
artists living in Wrocław. Their names, included
among the most eminent, indicate his personal taste,
experience and the level of founder's needs. Works
ordered by Jerin clearly indicate electicism typical
of Wrocław art at the end of 16th century. This
intermingling of styles and, together, a certain con-
servatism which became typical also of Jerin's va-
rious foundations, was undoubtedly, although per-
haps indirectly intended by the bishop as correspon-
ding in the best way with his didactic objectives.
translated by J. Rudzki
ANDREAS JERINS, DES BRESLAUER BISCHOFS
Z u s a m m e
Andreas Jerin, geb. 1540 in Riedlingen in Schwa-
ben, studierte seit 1566 im Collegium Germanicum
et Hungaricum in Rom; 1568 wurde er zum Priester
geweiht, dann erlangt er den Titel des Dr. theol. an
der Universitat in Bologna. Durch den Kaiser no-
(1586—1596), STIFTUNGEN AUS DEM KUNSTGEBIET
nfassung
bilitiert, wurde er 1574 zum Kanonikus am Breslauer
Dom und Seminarrektor, 1585 zum Breslauer Bischof
erwahlt, wurde er am 9.02.1586 konsekriert.
Die vielseitige Tatigkeit des Bischofs hatte sich
in der Organisierung des Kirchenlebens in Schlesien,
85
relating, among others, to Polish affairs. As an envoy
of Emperor Rudolph II, he visited Poland five times,
at first in connection with the policy of the Habsburg
Dynasty, later, with the creation of the anti-Turkish
League by the Emperor.
The bishop's many foundations include almost all
sectors of art and thus render a picture of the level
and stylistic changes at the end of the 16th century.
The significance of these foundations is also based
on the fact that they represent the finał expression
of renaissance art in Wrocław, this stylistic orien-
tation which, reaching for Italian and Netherland
patterns, created an image of art of, above all, Wro-
cław townsmen.
In regard to the art of fortification, Jerin coordi-
nated — at first in 1587 — with the Nysa city council
means of strengthening town fortifications, but not
being contented, he ordered in 1594 at Wrocław's ar-
chitect Hans Schneider, a plan of modern fortifica-
tions of a new-Italian type, which were a noyelty in
Silesia of those times. This plan was not comple-
tely realized. As regards architecture, the expension
of the bishop's castle at Otmuchów — a storey was
added to the north-eastern wing, a two-storey north-
western wing constructed, and all elevations orna-
mented with sgraffito — was one of the most impor-
tant undertakings. The bishop probably intended to
construct a proper residence in the bishop state.
Manors built on Jerin's initiative include the partly
preserved court at Siestrzechowice, constructed in
1593—1594 for the bishop's nephew. Besides sgraffito
ornamented elevations, a Serlio-type portal, a cour-
tyard with galleries, the artist produced a two-tract
division of the principal wing. This represents one
of the earliest examples of such solutions in Silesia.
Other houses — at Maciejowice (1589), Ujazd (1595),
and also St. Roch's Chapel at the parochial church
at Paczków, and the church at Hermanovice (1588),
were completely rebuilt in the 18th and 19th cen-
turies. Foundations concerning architecture also in-
cluded interior changes of the presbytery in Wro-
cław^ Cathedral produced in order to acąuire a set-
ting of the main altar and the bishop's tomb.
Most of Jerin's foundations, however, include
gołdsmith's works, all intended for cult purposes and
produced at the workshop of Paul Nitsch, a Wrocław
goldsmith. The most valuable of these include the
main altar in Wrocław Cathedral (1590). Its polyp-
tych contains silver figures, Passion scenes in the
centrę and holy patrons of Silesia, the cathedral and
the founder, on interior wings. Preserved goldsmith's
works also include two house altars of the bishop
(1586), a chalice (about 1591), their shape showing
clearly gothic reminiscences, and several coins and
medals. Of orders concerning other branches of craft,
we know only that they included church ornaments,
such as a festive chasuble with appliąue work, or
a glass chalice with diamond cut decorations. Painted
works include the external wings of the main altar
in Wrocław Cathedral, produced by Bartholomaus
Fichtenberger. They represent an example of the
classicist current of mannerism in Silesia. Just as
the silver figures on this altar, they are an image
of a conservative trend, referring to earlier renais-
sance canons; the altar represents, therefore, as a
whole a uniform entity. Wall paintings in St. An-
drews chapel situated in the south-eastern tower of
Wrocław Cathedral and three portraits of the bishop
do no longer exist, the latter, however, are known
from reproductions. Two of them, of a representative
type (1587), have probably been painted by one artist,
the third (not an official one), which was in the
possession of the bishop's family, represented a bust
of Jerin. This portrait — considering the skilful ren-
dering of facial expression and a certain softness in
the manner of painting — indicates the brush of an
outstanding painter. In regard to graphic art, we
know of four book-plates and one super-ex-libris,
all of which, despite insignificant stylistic differen-
ces, include motifs of flourished" ornaments. Jerin's
tombstone in the presbytery of Wrocław Cathedral
is the most valuable work among preserved founda-
tions. It was probably produced at the workshops of
Friedrich Gross and Geert Hendrick. Partly destro-
yed during the Second World War, there remained
an intact marble plate with a relief sculpture of the
bishop's bust. Although the setting of the monument
clearly indicates the influence of Netherland art, the
bas-relief is an example of reminiscences of Italian
renaissance art. The foundation (as regards sculpture)
also includes a smali chapel at Siestrzechowice or-
namented with four bas-reliefs (1593—1594). Bishop
Jerin's foundations were chiefly linked with his
endeavours to increase the significance and splendour
of the Catholic Church and strengthen its position in
relation to the Protestant Church. Not the mecenate
but foundations were the most apparent in the
bishop's church activities, and the meaning and va-
lues of art were applied in these directions. Orders
for his foundations were placed by Jerin only with
artists living in Wrocław. Their names, included
among the most eminent, indicate his personal taste,
experience and the level of founder's needs. Works
ordered by Jerin clearly indicate electicism typical
of Wrocław art at the end of 16th century. This
intermingling of styles and, together, a certain con-
servatism which became typical also of Jerin's va-
rious foundations, was undoubtedly, although per-
haps indirectly intended by the bishop as correspon-
ding in the best way with his didactic objectives.
translated by J. Rudzki
ANDREAS JERINS, DES BRESLAUER BISCHOFS
Z u s a m m e
Andreas Jerin, geb. 1540 in Riedlingen in Schwa-
ben, studierte seit 1566 im Collegium Germanicum
et Hungaricum in Rom; 1568 wurde er zum Priester
geweiht, dann erlangt er den Titel des Dr. theol. an
der Universitat in Bologna. Durch den Kaiser no-
(1586—1596), STIFTUNGEN AUS DEM KUNSTGEBIET
nfassung
bilitiert, wurde er 1574 zum Kanonikus am Breslauer
Dom und Seminarrektor, 1585 zum Breslauer Bischof
erwahlt, wurde er am 9.02.1586 konsekriert.
Die vielseitige Tatigkeit des Bischofs hatte sich
in der Organisierung des Kirchenlebens in Schlesien,