Katarina Elizabeta baronica Raumschüssl, rojena Sauer, in njena loretska kapela pri celjskih minoritih

On 30 June 1692, the widowed Baroness Katharina Elisabeth Raumschüssl from the family of Counts Sauer of Borl established the sung Litany of the Blessed Virgin Mary in the Celje Minorite monastery. This previously overlooked deed of gift is important not only as a testimony to the Baroness's pious intentions and the connections between the Sauers and the Celje Minorites but also because of its reference to the Loreto chapel in the monastery church, whose extension and furnishing the Baroness financed as well, according to the deed. The chapel is another in a series of copies of the Holy House of Loreto, Mary's house from Nazareth, many of which were also constructed in Styria by the end of the 17th century, especially by noble patrons. The article presents the Baroness's family background, related to the veneration of Our Lady of Loreto, and discusses the most probable location and reconstruction of the chapel. Based on the interpretation of Ignacij Orožen's record and the 1813 plan of the monastery, the present article presents a well-argued thesis that the Loreto chapel was once located on the site nowadays occupied by the chapel of Our Lady of Lourdes in the succursal (formerly Minorite) Church of the Assumption of Mary in Celje.

Leonardo da Vinci

This paper presents a hitherto unpublished essay by the Danish symbolist poet Sophus Claussen (1865-1931). The essay entitled ‘Leonardo da Vinci’ was intended for the collection Løvetandsfnug (‘dandelion fluff’), 1918, but was for unknown reasons omitted in the final edition. In the essay, Claussen recalls when, at the Uffizi Gallery in Florence in 1902–03, he saw a painting (perhaps by Leonardo da Vinci) depicting the Annunciation to the Blessed Virgin Mary. At the time, the Virgin Mary of the painting reminded Claussen of a young Danish girl with whom he had been hopelessly in love some ten years prior. The remembrance of this past experience, at the time of writing the essay in early or mid 1918, causes him to contemplate not only the artistic method of Leonardo, but also, more generally, the relationship between chastity and lust, nature and imitation, and art and science. ‘Leonardo da Vinci’ has never been described in the secondary sources on Claussen’s work. It is, however, arguably both interesting and exemplary for its dual role as both a biographical and poetological lead in his essays and in his oeuvre as a whole.

Zakład zdrojowy diecezji przemyskiej w Brzozowie 1927-1948

The purpose of this article is to present aspects related to building and maintaining health and leisure centre of the Przemyśl Diocese in Brzozów - largely based on voluntary taxation. The Diocese was the most successful in this area of health prevention in the interwar period. Within several months, the faithful of the Church and the clergy of this region - under the aegis of Bishop Anatol Nowak - managed to open in summer 1927 the magnificent spa facility with its own brine and baths accessible for clergy and seminarians. No Polish professional community recorded such success in the interwar period. The health and leisure centre was manager under the authority of the bishopric by the Congregation of the Sisters Servants of the Blessed Virgin Mary Immaculate from Nowa Wieś. During the occupation The Przemyśl Seminary was placed in the centre. In parallel, both German and Soviet soldiers used the spa facility. After the war, the spa did not manage to return to its pre-war splendor. It definitively ceased to exist in 1948.

Traces of the History of One Painting of the Sacred Heart of Jesus

Kazimierz and Ewa (of Uwoyni) Burba, the wojskis (officials attending to the needs of soldiers’ families during wars) of Šiauliai and collators of the Church of St Peter and St Paul in Apytalaukis, donated the painting “The Sacred Heart of Jesus” to the high altar of the church in 1817. From 1755, when a fraternity of the Sacred Heart of Jesus was established, this altar had been decorated with an earlier painting of the same name. The painting donated by the Burba decorated the first tier of a new high altar erected after 1817 and the existing high altar that was built before 1920s (?). It is believed that due to its poor condition, the old painting was replaced with a copy during repairs in 1964, and it is this copy that is on the altar to date. In 2019, the painting was restored as it had lost many fragments of the paint layer, especially at the bottom. The prototype of this painting is the painting “The Sacred Heart of Jesus and the Eucharist” by Pietro Tedeschi (the Church of the Blessed Virgin Mary of Mount Carmel, Imola, 1780). It is believed that the painter used an engraving of this image, presumably by Lorenzo Capponi. The painting in the church in Apytalaukis is narrower and therefore the baroque composition created by Pietro Tedeschi is somewhat reduced and adjusted. In addition, the drawing, rhythm, and colours of the painting of 1817 are characteristic of the features of the classicist style and paintings of the Vilnius School of Art. Due to the analogies of stylistics and the wellknown fact of Kazimierz Burba’s acquaintance with the painter Jan Rustem, the painting is hypothetically attributed to this artist. The face of Jesus in the painting in Apytalaukis can be compared to Burba’s portrait by Jan Rustem (unfortunately, only a copy has survived). We propose the title “The Eucharistic Sacred Heart of Jesus” as it defines the iconography of the painting more precisely.

An Abbey as a Stronghold

The main goal of this paper is to analyze the strategic role of Cistercian abbey of Blessed Virgin Mary in Topusko (medieval Toplica) in anti-Ottoman defense during 16th century, especially because it is rather exceptional of usage sacral complex in anti-Ottoman defense system in rather long period. In order to do so it is determined and analyzed strategic importance of the monastic complex in anti-Ottoman defense line and the change of it according to ever going Ottoman conquest of new territories, i.e. approaching of the bordering line. Furthermore, the organization of defense of the rather large estate of Topusko abbey as well as the changes of the monastic fortifications are addressed. Even more, the role of the commendatory abbots of the abbey, as well the serves of the abbey, in the larger efforts in composing and functioning of the anti-Ottoman defense line are analyzed. Finally, the proximate time and context of the final abandoning of the former Cistercian abbey is determined.

Sekwencja Stabat Mater we włoskich interpretacjach muzycznych doby XVIII wieku

The Stabat Mater sequence in Italian musical interpretations of the 18th-century The Stabat Mater poem, which describes the suffering of Blessed Virgin Mary under the cross on which Jesus – her Son – is dying, has become a universal theme which inspired composers of various ages and origins and found its expression in numerous musical interpretations. From among over 400 compositions which set the text of the sequence to music, a large proportion are 18th-century works (mostly – late baroque) of Italian provenience. Attempting to interpret a musical composition with text of the 18th century, one has to take into account the theory of affects and musical rhetoric, which make the text dependent on music both on the emotive and symbolic level. The paper will examine the Stabat Mater compositions in the rhetoric context, referring to three main levels: inventio, dispositio and decoratio. The common and individual tendencies will be articulated, evident by the appropriate choice of the key, tempo and rhetorical figures, as well as by some melodic and rhythmic motives or harmonic structure having function of the special illustrative-symbolic signs. The nodal points of the work will be presented as well as the requests of man directed at the Mother (the second part of the sequence) assuming varying intonations of supplication. The function and the message of the compositions are advisable. In contemporary times Stabat Mater of the great composers resound mainly as concert masterpieces in church and secular interiors. The vitality of these interpretations after three hundred years from their creation most certainly bears witness to the composers’ artistry in their works and proves their significance not only for the music of the 18th century but also for the culture and faith of today. Abstrakt Treść poematu Stabat Mater, opisującego postać Matki Bożej cierpiącej pod krzyżem, na którym umiera Jezus – Jej Syn, stała się jednym z uniwersalnych tematów sztuki, zainspirowała kompozytorów różnych wieków i ośrodków, co znalazło swój wyraz w bardzo licznych interpretacjach muzycznych. Spośród ponad 4000 kompozycji do tekstu sekwencji znaczna część to dzieła XVIII-wieczne (najczęściej późnobarokowe), pochodzące z kręgu włoskiego. Chcąc zinterpretować utwór słowno-muzyczny XVIII wieku, nie sposób czynić tego w oderwaniu od teorii afektów i retoryki muzycznej, które uzależniają tekst od muzyki zarówno na poziomie emotywnym, jak i symbolicznym. Referat stanowi próbę oglądu kompozycji Stabat Mater w kontekście retoryki na trzech odpowiadających jej poziomach: inventio, dispositio i decoratio. Wyartykułowane są tendencje wspólne oraz indywidualne, przejawiające się w odpowiednim doborze tonacji, tempa i figur retorycznych, a także pewnych motywów melodycznych, rytmicznych lub struktur harmonicznych funkcjonujących w roli znaku ilustracyjno-symbolicznego. Zaprezentowane zostają punkty węzłowe dzieł oraz prośby człowieka skierowane do Matki (druga część sekwencji) o różnorakiej intonacji błagalnej. Wskazana jest funkcja i przesłanie kompozycji. W czasach współczesnych Stabat Mater wielkich twórców rozbrzmiewają głównie jako dzieła koncertowe we wnętrzach kościelnych lub świeckich. Żywotność tych interpretacji 300 lat od ich powstania świadczy niewątpliwie o kompozytorskim kunszcie utworów oraz o ich znaczeniu nie tylko dla muzyki XVIII wieku, ale i dla dzisiejszej kultury i wiary.