The conservation of two, late Baroque, semi-circularly closed images of nearly identical size, located in the Reformed Franciscan monastery of St. Anthony in Przemyśl, which were thought to present the ... więcej

The conservation of two, late Baroque, semi-circularly closed images of nearly identical size, located in the Reformed Franciscan monastery of St. Anthony in Przemyśl, which were thought to present the Communion of Saint Francis and the Veneration of the Cross by Saint Francis, brought about interesting outcomes. It turned out that the images were previously interpreted mistakenly, as they actually present the Communion of Saint Bonaventure and the vision of Saint Francis in Vicalvi ( Vision of an angel with an ampoule ), typical of the Franciscan postTrent iconography. The pattern for the image Communion of Saint Bonaventure in the Przemyśl monastery was an engraved reproduction of a painting by A. van Dyck, which was to be created by Pieter Bailliu, an engraver from Antwerp (Balliu; around 1613- after 1660). The creation referred to the Last Communion of Saint Francis by Rubens. According to Carl Justi, the main idea of the presentation was a feeling of humility and a particular dignity of Saint Bonaventure towards the Blessed Sacrament. As a young monk, he attended a mass, but felt too unworthy to receive Holy Communion every day. During the mass, an angel appeared who, after taking a particle of a Host from the hands of a priest celebrating the mass, put it into Bon aventura’s mouth, so that “he knew that it was better to receive the Eucharist with love than to refrain from it for fear”. That pattern was common in Reformed Franciscan churches. The Communion of Saint Bonaventure was created to decorate the sacristy of the church in Pińczów (signature A. N. W. and the date 1717) and as a modello stored in the monastery in Kraków for an uncreated altar picture or sacristy decoration. That scene is also presented in the sacristy of the former Bernardine (now Dominican) church in Św. Anna near Przyrów. The second picture, Vision of an angel with an ampoule , was a reproduction of an engravery by Giovanni Francesco Barbieri called Guercino, presenting the vision of Saint Francis of Vicalvi, referred to as Vision of priestly dignity. The composition, popularized by, among others, the engraveries by Giovanni Battista Pasqualini (1630), was a pattern for painted decora tions in the sacristies of Reformed churches in Pińczów, Wielic zka, Kęty and Biecz. According to Raffaell Colace in the article San Francesco e l’angelo con l’ampolla, the image of the saint by Guercino can be interpreted in two ways. On the one hand, in the context of underlining the humility of the saint who considered himself unworthy of being a priest and, on the other hand – the “spotlessness” of priesthood, the value particularly emphasized by the Catholic doctrine after the Council of Trent. The discussed pictures are a typical element of equipment of the sacristies of Reformed churches in the former Lesser Poland province. They were probably connected with the function of that place, in which the liturgical celebration was prepared. It can be presumed that, in the past, the pictures could have been the equipment of the sacristy of the Przemyśl church. It seems to be confirmed by the archival files kept at Reformed Franciscan Province Archives from the 19th century, reporting “great images over the mensa in the sacristy”. The images, created by a local guild artist or an artist from the Order do not manifest significant artistic values. However, they are interesting from the point of view of iconographic values, as a reproduction – through graphic patterns – of renowned works of Guercino and van Dyck, who are among the great est European painters. Presenting both legendary events from the life of the patriarch of the Order and the main theorist of Franciscan thought was supposed to emphasize the new, postTrent form of devotion – veneration of Eucharistic Christ and an exceptional dignity of celebrating the Holy Mass. Perhaps the humble attitude of the monks had a moralizing significance in a form of an example for the priesthood in the Reformed Franciscan order. Thus, the presentations are of high historical and cultural importance for the research on the history of the order.

późny barok, krużganki klasztoru oo. Franciszkanów reformatów pw. św. Antoniego w Przemyślu, sztuka sakralna, sztuka klasztorna, płótna, olej na płótnie, sztych, rycina, fresk, malarstwo, półkoliście ... więcej

późny barok, krużganki klasztoru oo. Franciszkanów reformatów pw. św. Antoniego w Przemyślu, sztuka sakralna, sztuka klasztorna, płótna, olej na płótnie, sztych, rycina, fresk, malarstwo, półkoliście zamknięty obraz, ołtarz, występ skalny, obraz przemyski, putta, krzyż, sakrament, anioł, płyta miedziana, św. Anna k. Przyrowa, franciszkanie reformaci, klasztor reformacki, reflektarz, św. Franciszek z Asyżu - ikonografia, św. Bonawentura - ikonografia, Giovanni Francesco Barbieri zwany Guercino, Antoni van Dyck, Adam Swach, Przemyśl, Biecz, Wieliczka, Kęty, Pińczów, Kraków, Kazimierz Dolny