Folia Historiæ Artium
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FOLIA HISTORIÆ ARTIUM 17 Seria Nowa POLSKA AKADEMIA UMIEJĘTNOŚCI KOMISJA HISTORII SZTUKI KRAKÓW 2019 Seria pierwsza (tomy I–XXX) wydawana była przez Polską Akademię Nauk – Oddział w Krakowie Komitet Redakcyjny Tim Ayers (University of York, Wielka Brytania) Arnold Bartetzky (Leibniz-Institut für Geschichte und Kultur des östlichen Europa, Leipzig, Niemcy) David Crowley (Royal College of Art, London, Wielka Brytania) Thomas DaCosta Kaufmann (Princeton University, USA) Marcin Fabiański (Uniwersytet Jagielloński, Kraków) Adam Małkiewicz (Polska Akademia Umiejętności, Kraków) Sergiusz Michalski (Eberhard Karls Universität Tübingen, Niemcy) Jan Ostrowski (Polska Akademia Umiejętności, Kraków) Redakcja Wojciech Bałus (redaktor naczelny) Dobrosława Horzela (redaktor prowadzący) Joanna Utzig (redaktor tomu) Wojciech Walanus (sekretarz redakcji) Recenzenci tomu: Brigitte Kurmann-Schwarz Joanna Sosnowska Adres redakcji: Instytut Historii Sztuki UJ ul. Grodzka 53, 31-001 Kraków e-mail: [email protected] Redakcja językowa David Schauffler Ian Upchurch Korekta Barbara Turnau Odpowiedzialność za przestrzeganie praw autorskich do materiału ilustracyjnego ponoszą autorzy tekstów Publikacja sfinansowana przez Fundację Lanckorońskich ISSN 0071-6723 Publikacja jest udostępniona na licencji Creative Commons (CC BY-NC-ND 3.0 PL) Projekt: iMEDIUS agencja reklamowa sp. z o.o. ul. Mogilska 69, 31-545 Kraków Skład: Agencja Reklamowa NOVUM ul. Krowoderska 66/8, 31-158 Kraków Dystrybucja Polska Akademia Umiejętności ul. Sławkowska 17, 31-016 Kraków e-mail: [email protected] www.pau.krakow.pl SPIS TREŚCI CONTENTS ARTYKUŁY/ARTICLES Cornelia Aman Middle Ages and Nineteenth Century The Significance of Historical Interventions Tomasz Szybisty in the Documentation of and Research Between Light and Shadows: Reflecting on Varied on Stained Glass – a Short Working Report Conceptual Perspectives on the Peculiar Lambency from CVMA Potsdam 103 Suffusing Gothic Churches as Evidenced by German Literature from the Latter Decades of the Eighteenth Century and the Beginning of the Nineteenth Century 5 Daniel Parello, Tomasz Szybisty A Fourteenth-Century Panel of Heraldic Stained Glass from Annesley Old Church (Nottinghamshire) Virginia Raguin in a Private Collection in Cracow 117 Old Imagery for a New Century 13 Martin Crampin RECENZJE/REVIEWS The Gothic Revival Character of Ecclesiastical Stained Glass in Britain 25 Joanna Utzig Michael Burger, Fenestrae non historiatae. Daniel Parello Ornamentale Glasmalerei der Hochgotik ’From the Period of the Deepest Decline of German in den Regionen am Rhein (1250–1350), Ecclesiastical Art’ – Should Artistic Quality Become Berlin: Deutscher Kunstverlag für Kunstwissenschaft, a Criterion for an Inventory of Stained Glass 45 2018 (Corpus Vitrearum Medii Aevi Deutschland, Studien, 3), 256 Pages, Black-and-White and Full-Colour Illustrations 121 Valérie Sauterel, Camille Noverraz The Functioning and Development of Kirsch & Fleckner’s Workshop in Fribourg during the First Half of the Kronika Komisji Historii Sztuki Polskiej Twentieth Century 59 Akademii Umiejętności za rok 2018/ Reports of proceedings at the meetings of the Commission on Art History of the Polish Sílvia Cañellas, Núria Gil Academy of Arts and Sciences in 2018 133 Foreign Contributions to Early Twentieth Century Stained Glass Windows of Catalonia 73 Christina Wais-Wolf Research Project Corpus Vitrearum – Medieval and Modern Stained Glass in Austria Investigations into Austrian Stained Glass after 1800 as Part of a Pilot Project at the Austrian Academy of Sciences 87 Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 TOMASZ SZYBISTY Pedagogical University Corpus Vitrearum Poland BETWEEN LIGHT AND SHADOWS: REFLECTING ON VARIED CONCEPTUAL PERSPECTIVES ON THE PECULIAR LAMBENCY SUFFUSING GOTHIC CHURCHES AS EVIDENCED BY GERMAN LITERATURE FROM THE LATTER DECADES OF THE EIGHTEENTH CENTURY AND THE BEGINNING OF THE NINETEENTH CENTURY* What seems to emanate from the dominant tenor per- the fascination at the time with that kind of ambient inte- meating the scholarship dedicated to exploring the early rior illumination, nor has there been any serious discus- nineteenth century resurgence of stained-glass ornamen- sion of the conceptual associations triggered by that kind tation is the significant function ascribed to the varie- of twilight. gated ‘mystical’ twilight, which is thought to have played Therefore it behooves any thorough art-historical in- a pivotal role in the expansion of the renewed interest vestigation to comprehensively address the full spectrum in this form of art.1 However, within the compass of this of aspects underpinning this phenomenon, chief among artistic genre, no efforts have hitherto been taken to at- them being aesthetic, religious and social matters as well tempt comprehensive research into the reasons behind as issues bound up with specific cultural idiosyncrasies and regional character. This article undertakes to out- * A few passages from this article appeared in: T. Szybisty, ‘Rola line, albeit in a preliminary and incomplete way, a hand- światła w percepcji gotyku pod koniec XVIII i na początku XIX ful of conclusions regarding the diversified perception of wieku – na przykładzie wybranych utworów z literatury niemiec- the ambient light inside Gothic churches. In addition, the kiej’, in Światło i ciemność w literaturze, kulturze i sztuce Od an- remit of this paper is confined to the years at the turn of tyku do współczesności, ed. by D. Szymonik, E. Kozak, A. Pogoda- the nineteenth century, as well as being focused exclusive- -Kołodziejak, Siedlce, 2015, pp. 15–23. ly on publications in the German language; little wonder 1 D. Parello, ‘Anspruch und Wirklichkeit in der religiösen Kunst- that with these self-imposed limitations, the contribution industrie am Beispiel der rheinischen Glasmalereiwerkstätten made by the ideas presented below can be but humble. Baudri und Oidtmann’, in Renaissance der Gotik Widerstand ge- Seen through the eyes of Suger, Abbot of the French gen die Staatsgewalt? Kolloquium zur Kunst der Neugotik, ed. by Abbey of Saint-Denis and the spiritus movens behind the U. Schubert, S. Mann, Goch, 2003, p. 172. See, for example, also: early Gothic reconstruction of that church, as well as for D. Hess, ‘Romantic Atmosphere and the Invocation of the Past. some medieval authors singing the praises of the magnifi- Motifs and Functions of Early Stained Glass Collections around cence of churches of the medieval era, such interiors were 2 1800’, Revista de História da Arte, 3: Collecting through Connec- literally awash with ambient resplendence. Of course, one tions Glass and Stained-glass Collectors and Their Networks in the will justifiably call into question the absolute veracity or Nineteenth Century, 2015, pp. 9–10; E. Vaassen, Bilder auf Glas relevance of such depictions. This is because even though Glasgemälde zwischen 1780 und 1870, Munich and Berlin, 1997, p. 28; D. Parello, ‘Helmle – Merzweiler – Geiges. Die Glasmale- 2 Numerous medieval texts on this subject are compiled and com- rei des 19. Jahrhunderts in Freiburg’, in Aufleuchten des Mittelal- mented on by G. Binding, Die Bedeutung von Licht und Farbe für ters Glasmalerei des 19 Jahrhunderts in Freiburg, exh. cat., Augu- den mittelalterlichen Kirchenbau, Stuttgart, 2003 (Sitzungsberich- stinermuseum Freiburg, 26. Mai bis 3. September 2000, Freiburg te der wissenschaftlichen Gesellschaft an der Johann Wolfgang im Breisgau, 2000, p. 7. Goethe-Universität Frankfurt am Main, 41, no. 3), pp. 129–171. Publikacja jest udostępniona na licencji Creative Commons (CC BY-NC-ND 3.0 PL). 6 on the one hand the accounts may have reflected the actual responsible for the obfuscation of the interior and stultifi- first-hand impressionistic observations of the writers, on cation of the faithful. The latter opinion can be found, for the other hand, such witnesses could very well have been example, in a statement delivered in 1790 by Rev. Joseph swayed by contemporaneous prevailing rhetorical tropes Felician Geissinger from Freiburg im Breisgau.7 and turns of phrase employed for the sake of verbalizing By the same token, however, the metaphoric invest- culturally recognizable associations. The provenance of ment of the Gothic style with darkness turned out to be an such conceptual or cognitive mannerisms may have been exceptionally efficacious strategy for the evocation of that bound up, for example, with the description of the Divine frisson of emotion which underpinned the eighteenth Jerusalem in the Book of Revelation, or it may even have century aesthetics of sublimity.8 That fashion was trans- lain in the metaphysics of light propounded by St Augus- planted from British literature, and the trend is exempli- tine or Dionysios Areopagitis,3 with such hypotheses ac- fied by the local emulation of British ‘graveyard poetry’, quiring much plausibility given that a couple of centuries where Gothic buildings or ruins were pressed into service later the very same interiors inspired different character- with the express brief of affording that eerily atmospher- izations, dominated rather by references to paucity of light. ic backdrop. A work that perfectly illustrates this lyrical Admittedly, that later perception of Gothic architec- bandwagon in Germany is the elegy Wo bin ich? – in Ein- ture may have been conditioned by developments in Re- siedeleyen written by the young Herder, probably after his naissance and Baroque architecture, with a simultaneous father