Analecta Cracoviensia, 1979, T. 11
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Pozycja Dookoła sprawy św. Stanisława. Studium źródłoznawczePlezia, Marian (Wydawnictwo Naukowe Papieskiej Akademii Teologicznej w Krakowie, 1979)Pozycja Monolog króla Bolesława Śmiałego. Z problematyki badań nad sprawą św. StanisławaPrzybyszewski, Bolesław (Wydawnictwo Naukowe Papieskiej Akademii Teologicznej w Krakowie, 1979)Pozycja Św. Stanisław – biskup męczennik i patron PolskiDobrzeniecki, Tadeusz (Wydawnictwo Naukowe Papieskiej Akademii Teologicznej w Krakowie, 1979)The present article is devoted to the problem of the canonization and cult of St Stanislaus in Poland. The cult of this Saint is reflected by numerous preserved works of art. The liturgy of the canonization of St Stanislaus consisted of four elements: missa, sermo, formula, Te Deum. It was described by Vincenitius of Kielce in his Vita Maior and repeated also by Jan Długosz in his Annales Seu Chronicae Incliti Regni Poloniae (and here supplemented with the account of the healing of the youth, an event mentioned also in the Franciscan Annals and the Chronicle of Little Poland). Drawing inspiration from the same source, Miechowita explained why the canonization had taken place in Assissi. From the quoted texts it appears that already at its very beginnings the liturgical cult of St Stanislaus was connected with pictorial representations of the martyrdom. The earliest preserved work of art connected with Stanislaus is the banner used at the canonization, with the image of the Saint that was most probably brought by the Polish delegation to Assissi. Since its first appearance at the canonization ceremony, the banner has been in regular use at processions. It was mentioned by Vincentius of Kielce who was the first interpreter of the iconography of St Stanislaus and mentioned the image of this Saint above the altar-table. There are numerous works of art in Poland of the cult of St Stanislaus, the patron of Cracow and later of the whole of Poland. In the history of the cult an important role was played by the solemn elevation of the relics of the Saint from his grave to the altar of Wawel Cathedral in Cracow on May 8th, 1254, as recorded by Długosz. In the development of the iconography of St Stanislaus an important role was played by the separate representation of the Saint. He appears also in the company of other saints. His individual attribute, Piotrowin called back to this world, is an indication of the importance attributed to this miracle, rather than to the martyrdom itself. The article deals with the representations on the wings of the triptychs and the pentaptychs (in which St Stanislaus appears with another saint) as well as those on the central parts of the triptychs (most often with the patron of a local church or the Virgin with the Child in a three-figure symmetrical composition). In the previous research moist attention was given to the cyclical representations of the legend of St Stanislaus, the fullest containing seven or eight events: the Purchase of the village of Piotrowin, the Resuscitation of Piotrowin, the Testimony before the King Boleslauis the Bold, the Murder of St Stanislaus, the Dismembering of the body of the Saint, Guarding the limbs, the Funeral. Some episodes of the Childhood, the Healing of Cardinal Reginald, the scenes of Canonization were sometimes added. Subsequently, the theological intention of hagiographers writing the biography of the Saint is explained. His legend had to be an edifying representation of the main idea of a martyr’s suffering and death, an offering given to Christ of the Saint’s own life, an offering that is described as a victory and not as a defeat. As the most important events of the legend of St Stanislaus two were chosen by the artists: 1° the Resuscitation of Piotrowin and his testimony before the King and 2° the martyr’s death of the Saint in St Michael’s Church on Skałka in Cracow. They were conceived as central in the cycles of the retables. The present article describes the altarpieces in which the central scene is the Introduction of Piotrowin by St Stanislaus to the King’s court of justice and also the main loca sancta in Poland (Cracow Cathedral, the Church on Skałka, Szczepanów and Piotrowin). The problem of the concealed portrait (of Bishop Jan Konarski, the clergyman merited for spreading the cult, represented as St Stanislaus) is here presented and special attention is given to the altarpieces at Kobylin and Piotrowin where the man Piotrowin was called back to life. The author of the article explains the Zie existing between Konarski and his patron saint of the basis of invitatio defuncti. The deceased namesake is an exemplum, he shows the way to glory. Eschatological thought on the spiritual union of the living and the dead is latent in the picture of the Calling Back of Piotrowin in Sandomierz. The article describes those works in which the main subject is the Murder of the Saint by the King (the triptychs in St Mary’s in Cracow, at Kobylin, the pentaptych at Wieniawa). The triptych at Pławno has two horizontal scenes in the central part with the culmination of the drama and the person of Piotrowin is probably the concealed portrait of Jan Boner, the donor of the triptych. The Pławno triptych was destined for the chapel of St Mary’s in Cracow. The result of the research is verification of the possibility of survival of an old pictorial tradition. The author discusses the reasons for the cult of St Stanislaus – heroic virtues and merits, the imitatio Christi. The Saint was victoriosus per iustitiam and the sign of sanctity was a miraculum – the Calling Back of Piotrowin. It was an object of interest and the subject of works of art through many centuries. There is a description of the customary adoration of St Stanislaus at Skałka and in the Cathedral in Cracow by Polish kings on the eve of their coronation – a manifestation of the tradition connecting the restoration of the Crown of Poland with the expiation for the murder of the Saint. The author also discusses the miniatures with the representation of the Saint and the Kings of Poland, dignitaries and clergy assembled in the collective cult. St Stanislaus was also the patron of victorious battles and it may be traced in Polish art up to the famous „Battle of Grunwald” by Jan Matejko.Pozycja Zabytki średniowiecznej liryki liturgicznej o św. StanisławieKowalewicz, Henryk (Wydawnictwo Naukowe Papieskiej Akademii Teologicznej w Krakowie, 1979)