The Fourteenth-Century Frescoes of Lad

Author(s): Andrzej Abramowicz and Tadeusz Poklewski

Source: World Archaeology, Vol. 3, No. 3, Art and Design (Feb., 1972), pp. 293-300
Published by: Taylor & Francis, Ltd.
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The

frescoes
of
fourteenth-century

Lad

AndrzejAbramowiczand Tadeusz Poklewski

The village of Lad lies on the river Warta in Great Poland, roughly midway between
Konin and Sroda. The Cistercian abbey situated there owes its origin to Mieszko the
Old. According to local tradition, the foundation of the abbey took place in I45. It has
been proved, however, that the document which served as a basis for this date was false.
Today it is assumed that Lqd was originally a grange of the Lekno abbey; about I I75 it
gained independence and became an abbey in its own right. Threatened with decline, it
was additionally endowed by Mieszko the Old in I 93 and then given to German monks
from the monastery at Altenberg near Cologne, a daughter-house of Morimond Abbey.
The monastery, which maintained lively relations with Cologne, preserved its German
character until the mid-sixteenth century.
The abbey at Lad was dedicated to the Virgin Mary and St Nicholas. Although it was
growing in wealth, until the mid-fourteenth century all its buildings - apart from the
church - were probably of timber.
The chapel which contains the murals under discussion is unusually-placed for a
Cistercian monastery, in the east wing of the building between the chapter-house and the
passage leading to the garden. This suggests that Cistercian architectural rules were
becoming less strict in the fourteenth century, although according to the local tradition
this siting of the chapel is connected with the fact that this was the site of the earliest
oratory. The chapel is small, 4 by 5'3 metres, without any inner divisions, with a rib
vault. The keystone, which is at the height of 4-3 metres, bears the coat of arms of
Niesobia. The only window is in an ogival niche in the east wall. A low corridor with a
barrel vault joins the chapel with the cloister (Biallowicz-Krygierowa 1957: 9-II).
The murals of Lad have attracted the attention of scholars since the middle of the
nineteenth century. The earliest comprehensive account of the frescoes was written by
Wl. Luszczkiewicz in I888, and reviewed by S. Laguna. In I9I4 they were described by
W. Podlacha, in I923 by N. Pajzderski, in 1927 and I936 by T. Dobrowolski, in I925 and
I927 by W. Kopera and in 1929 and 1934 by J. Starzyniskiand M. Walicki. After the war,
in 1957, an excellent treatise on the subject was written by Zofia Biallowicz-Krygierowa.
The author had this advantage over her predecessors that the murals were then clean, all
subsequent overlying paintings having been removed by Anna Busch in 1944 (BiallowiczKrygierowa I957: I2-I 5). Biallowicz-Krygierowa's treatise was highly praised by Alicja
Karlowska who reviewed it in I962 (Karlowska i962).
We shall describe the murals beginning with the ceiling (figs 20 and 21). The painting
in the eastern section represents the Lamb of God surrounded by a rainbow circle and
medallions with symbols of the Evangelists, all on the background of a starry sky. The

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294

Andrzej Abramowicz and Tadeusz Poklewski

Figure20 Schematicdrawingof the muralsat Lad: east wall, south wall with the corridorand
the north wall of the corridor.After Bialtowicz-Krygierowa

Figure 21 Schematic drawing of the murals at Lad: west and north walls. After BiallowiczKrygierowa
painting in the western section represents Christ as Judge in a rainbow circle with two
swords emerging from his mouth. Sun, moon and stars are shining nearby. The scene on
the right side of Christ in the northern section represents the Resurrection of the Dead
with the Angel calling the Just to the Last Judgement, whereas on the left side of Christ
the Condemned are called in an analogous scene.

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The fourteenth-centuryfrescoes of Lqd

295

On the east wall on either side of the window are designs of two bishops, and on the
side walls of the niche (not visible on fig. 20) are two abbots, that on the right side, in a
Benedictine habit, representing probably St Benedict, and that on the left, in a Cistercian
habit, representing probably St Bernard of Clairvaux. Beyond the niche, on the left,
there is St Peter, and, on the right, St Paul. Below the bishops and St Peter, are coats of
arms, and, still lower, traces of drapery are visible. The central scene on the south wall
depicts the foundation of the chapel. In the centre, we see a saint dressed as a pilgrim and
with a shell in his hand, identified as St James the Older. On the left, a kneeling knight
offers him a model of the chapel (plate 23). Behind the knight, three women, obviously
belonging to his family, are kneeling. On the right, a group of Cistercian monks, headed
by the abbot, accepts the gift through the mediation of the saint (plate 24). Above, there
is a scene depicting the Wise Virgins. Below, there is a frieze consisting of coats of arms,
continued on the south and north wall of the corridor. The murals of the north wall of the
chapel are divided by a niche in their central and lower part. On the left, St George slays
the dragon (plate 25); on the right, St Martin gives half his coat to a beggar. The bottom
part of the composition is framed by coats of arms with traces of drapery below. The
upper part of the wall represents the second part of the Parable of the Wise and Foolish
Virgins, namely the scene in which the Foolish Virgins, having lost their crowns and
dropped their lamps, are worried by devils (plate 29). The Adoration of the Magi,
shown against rich scenery, takes up a considerable part of the west wall (plate 26).
Below, is the figure of St John the Baptist, in front of whom a Cistercian monk is
kneeling. On the right, are coats of arms. The whole composition of the murals is adapted
to the design of twelve red-painted crosses, inscribed in circles, which were associated
with the consecration of the chapel and were engraved in the still-wet plaster.
The murals of L4d are subordinated to an iconographical programme, reflected in the
composition as well. For instance, the eschatological content of the murals on the ceiling
is continued by the Parable of the Wise and Foolish Virgins; that is, the scene where the
Angel calls the Just to the Last Judgement adjoins that showing the Wise Virgins, whereas the scene depicting the Condemned is next to that showing the Foolish Virgins.
However, a closer examination of the murals shows that their interpretation is not
completely satisfactory. Moreover, the conception itself seems to be dual. Let us reexamine the murals beginning with the east wall. Because of the lack of attributes, it is
difficult to identify the two bishops depicted near the window. One of them could be
St Nicholas who, together with the Virgin Mary, is the patron of the abbey, but in this
case the identification of the second bishop would be still more difficult. It seems more
feasible to accept that the bishops represent the patrons of Poland, namely St Adalbert
and St Stanislas. Fortunately, two calendars used at Lqd have survived, one dating from
the twelfth and the other from the fourteenth century (Zakrzewski 1906: 3-13, Wierzbowski i888: 462-8). Both calendars have entries suggesting a long use. They supply us
with information about the sequence of services celebrated on a given day, and consequently about the hierarchy of saints worshipped by the local Cistercians. As it is, in the
older calendar we find the following entry for 23 April, dating from the thirteenth century: 'Adalberti episcopi et martiris'. The services prescribed for this day were 'XII
lectiones, II misse'. The same services are prescribed for 8 May, St Stanislas's day. On
the other hand, on St Nicolas's day (6 December) only 'XII lectiones' were celebrated.

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296

Andrzej Abramowicz and Tadeusz Poklewski

The two abbots depicted in the niche were also particularly revered: on xo August,
St Bernard's day, there were 'XII lectiones, II misse, Sermo', and on the eighth day
'XII lectiones'. St Benedict's day, 21 March, was celebrated with 'XII lectiones' and the
translatio on i I July with 'XII lectiones, Ia missa' ('missa' was added in the fourteenth
century). As concerns St Peter and St Paul, the relevant entries in the older calendar
read: on 28 June 'Vigilia apostolorum', on 29 June 'Natale sanctorum apostolorum Petri
et Pauli' with 'XII lectiones', and eight days later 'Octava Sanctorum apostolorum' likewise with 'XII lectiones'. If we accept the local tradition that the stained-glass window
bore a representation of the Virgin Mary, it becomes apparent that the east wall was
decorated in accordance with the local monastic routine of services and customs.
The main scene on the south wall represents a different set of ideas. The scene depicts
the foundation of the chapel. In the older literature doubts were expressed as to the
identity of the saint who is offered the chapel. It was believed for the most part that this
was St Alexis, popular in the Polish church. However, the recent cleaning and conservation of the murals has revealed the shell which the pilgrim holds in his hand. As a result, it
has been possible to identify him. He is St James the Older, worshipped particularly at
Santiago de Compostella. In the older calendar, the entry for 25 July, 'Jacobi apostoli',
reads 'XII lectiones' which does not suggest a particularly ardent worship. But the later
calendar has not yet been thoroughly studied, and it is not possible to check this matter.
It seems, therefore, that the patron of the chapel is the founder's choice. The founder
himself has been already identified by Wl. Luszczkiewicz (i888: I33), and this identification still holds good. He is Wierzbieta of Paniewice, who used the arms of Niesobia, who
was a high royal official, 'Poloniae capitaneus generalis', in the years 1352-69, and who
was dead before I375. In a late copy of the Liber Mortuorum Monasterii Landensis his
death is recorded on I2 January (although without the year) among the benefactors of the
monastery: 'Item obiit dominus Wierzbi~ta capitaneus Poloniae' (K~trzynski I888:
472). Very helpful in the identification was the coat of arms of Niesobia, depicted above
the donor, as well as on the east wall below the bishop on the left side of the window, and
also engraved on the keystone. An identical design is represented on the seal attached to a
document drawn-up by Wierzbi~ta in 1352. The slightly damaged inscription on the seal
reads: s. VIRSBIENT(Piekosinski I899: 237-8). The inscription on a series of other seals
is somewhat longer and reads: S. Wyrbante d'Panevic (Codex I879: nos 1480, 1501,
1503, 1564). The founder is represented as a knight dressed in a suit of armour covered
by a coat. His tournament helmet, with a crest in the shape of a plume, is depicted above,
beside the coat of arms. Behind him three women, obviously of his family, are kneeling.
They are excellently characterized by dress and by different facial expressions. The first,
dressed as a married woman, is evidently the knight's wife, whereas the other two, of
which one is dressed as a nun, are probably his daughters (plate 23).
No one who has so far studied the murals from L4d has tried to explain the choice of
St James as the chapel's patron. It is true that his name was fairly popular in medieval
Poland, and this could be a sufficient explanation. Yet the shell in the saint's hand and his
pilgrim dress seem to be an allusion to the pilgrimage to Santiago de Compostella. According to A. Grabski, following Jeanne Vielliard and Helena Polaczkowna, some iz20 Poles
visited Spain at the turn of the fourteenth and fifteenth centuries (Grabski I968: 65-6).
There is no evidence that Wierzbiqta of Paniewice ever made the pilgrimage, yet perhaps

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The fourteenth-centuryfrescoes of Lqd

297

his foundation recalls a dream or an unfulfilled pledge. The pilgrimage to Spain was
undertaken by one of the Niesobia family in I380 (Polaczkowna i937: I26), namely by
Paszko Ziodziej of Biskupice, named by Dlugosz 'miles hispanicus' (1864: 2: 24I).
The emblem of the White Eagle (plate 24), depicted on the other side of St James and
on the east wall on the right of the window, seems to suggest that the foundation took
place under royal patronage; it is also possible that the emblem is linked with the function
of Wierzbieta as a royal official. The abbot John who then ruled the monastery was a
faithful executor of Casimir the Great's orders. On the king's order, he took part in
driving away the abbot of Lekno and in installing there the royal candidate, leading to
his own conflict with Pope Urban V (Luszczkiewicz i888: 113).
Reverting to the north wall, attention should be called to the fact that the representation of St George (plate 25) and St Martin, the patrons of knighthood, is more in keeping
with the donation scene than with Cistercian strictness. Although as concerns St George,
his day (23 April) was solemnly celebrated at Lad, since it coincided with St Adalbert's
day. In contrast, St Martin's day was celebrated rather modestly, as shown by the entry
on i November in the older calendar, which reads: 'Sancti Martini episcopi XII
lectiones'.
Of particular significance is the large scene showing the Adoration of the Magi
(plates 26-8), depicted on the west wall, since it reflects the relations maintained by Lad
with Cologne. In both Lad calendars on 23 July we find notes (commemoratio)which
mention the translation of the relics of the Magi to Cologne. The note in the older
calendar reads, 'Translatio trium regum ad Coloniam', and in the later, 'Translatio trium
regum beatorum quum venerunt ad Coloniam'. Unfortunately, we do not know which
services were celebrated on Epiphany, as both calendars are missing the entries for
January. However, it is interesting to note that excavations conducted in Wroclaw yielded,
in layers dating from the thirteenth century, a pilgrim's badge which, on stylistic grounds,
has been assigned to the second half of the twelfth century and which bears a design of
the Adoration of the Magi, suggesting that an inhabitant of Wroclaw made the pilgrimage
to Cologne (Poklewski I967: 132-3). Evidently, the cult of the Magi was of longstanding in Poland.
Below this scene is the figure of St John the Baptist, with a Cistercian monk kneeling
in front. According to the earlier calendar, the 'Vigilia Sancti Johannis baptiste' was
celebrated on 23 July, the 'Nativitas eiusdem' was celebrated next day (with XII
lectiones) and 'Octava Sancti Johannis baptiste' eight days later also with 'XII lectiones'.
The 'Decollacio sancti Johannis baptiste' was celebrated separately on 29 August, also
with 'XII lectiones'. The special cult of Saint John the Baptist may in this case be
linked with the missionary activity of this branch of the Cistercians, which in the
thirteenth century tried to convert the pagan Prussians (Wojciechowski I925: 96-8). It is
accepted that the kneeling figure represents the abbot John, who ruled the monastery in
It is believed that the murals under discussion were painted during his rule.
1357-72.
The years of his activity combined with those of Wierzbi~ta of Paniewice and, with the
evidence of dress, suggest that the wall-paintings of L4d originated, probably, in the
seventies of the fourteenth century, perhaps about 1372 (Biallowicz-Krygierowa I957:
43-55). Certain obscurities in the interpretation might have been clarified by the
inscriptions which once filled the ribbons still visible in certain places among the murals.

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298

Andrzej Abramowicz and Tadeusz Poklewski

Unfortunately, the inscriptions are illegible, only single letters, or occasionally groups of
letters, being recognizable.
Another problem deserving attention is the gallery of coats of arms which forms a
frieze, framing the murals from below, and is continued on the wall of the corridor. The
meaning of the Niesobia and White Eagle arms, which are depicted not only on the frieze of
the east wall but also in the donation scene on the south wall where they are particularly
notable, has been discussed above. Apart from these two, the east wall bears the Odrowqz
arms depicted beneath the figure of St Peter. On the south wall, the following arms are
displayed: Grzymala, undetermined - perhaps an old form of Zadora, Poraj, Pomian,
Godziemba, with, in the corridor, undetermined, variation of Przosna, variation of Bylina
and undetermined (last in the series). On the north wall, there are two coats of arms on
the left, Dryja and Doliwa, and two on the right, Zareba and Leszczyc. Variations of
Bogoria and Rogala are depicted on the west wall. Finally, on the north wall of the
corridor, there are (from the left), undetermined, variation of Borysowie, variation of
Jelita, and undetermined (Luszczkiewicz I888: 137-9).
Although the set of coats of arms at L4d is one of the earliest sources in the history of
Polish heraldry, it has not yet been thoroughly examined. Consequently, it is difficult to
link particular coats of arms with definite historical personages. The Bogoria coat of arms
is the least in doubt. The archbishop of Gniezno, Jaroslaw Bogoria of Skotniki (d. 1376)
is known to have spent his last years at Ltd. In the local Liber Mortuorum Monasterii
Landensis, the entry dated 2I September mentions him as 'dominus Gereslaus quondam
archiepiscopus Gnesnensis' (KQtrzynski i888: 495). It is possible that his coat of arms
was placed among the murals to honour him as the patron and benefactor of the monastery.
It is the coats of arms in the corridor which present the greatest difficulties, since they
are either unknown in Polish heraldry or represent variations that were not subsequently
continued. It has been suggested that the former were used by German abbots, or by the
benefactors of the abbey from Cologne. Only the coat of arms on the extreme right on
the north wall of the corridor has an analogy, found by S. Laguna (i888: 588-9) on a seal
used by Jesco, advocatus of Pyzdry, and preserved on a document of 1322. What is more,
the entry on 7 January in the Liber Mortuorum reads: 'Item obiit lesco advocatus de
Pyzdry confrater noster' (KQtrzynski I888: 472). On this evidence, the set of coats of
arms at Lqd doubtless belongs to the patrons and benefactors of the abbey.
If we survey again the whole iconographical programme of the murals, the duality of
their conception becomes apparent. One source of inspiration was the monks themselves,
who quietly revered the patron saints painted on the east wall of the chapel and who were
responsible for the eschatological content of the paintings on the ceiling and of the scene
depicting the Parable of the Wise and Foolish Virgins (plate 29). The other source of
inspiration was the lay circles composed of patrons, benefactors, donors and friends of
the abbey. Hence the great donation scene; hence the representations of St George and
St Martin, illustrating two principal virtues of a knight, courage and readiness to help the
weak (Karlowska-Kamzowa 1969: 426); and hence also the magnificient series of coats of
arms. Even the scene representing the Adoration of the Magi suggests the feelings of the
court. All this demonstrates a decline of the former Cistercian strictness and submission
to the demands of the lay life and of the chivalrous culture which was then vigorously
developing in Great Poland.

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The fourteenth-centuryfrescoes of Lqd

299

The years during which these murals were conceived were marked by considerable
political activity among the nobility of Great Poland. Macko Borkowic who, as royal
official, preceded Wierzbieta of Paniewice and was dismissed in 1352, organized, with
Przeclaw of Gultowy, a confederation the aim of which was to protect its eighty-four
members from the abuses of the royal administration. His further rebellions were crushed
and he himself put to death in 1358 (Labuda I969: 306-8). After the death of Casimir
the Great, several groups of Great Polish nobles opposed the succession of Louis of
Anjou to the Polish throne, supporting either Kaiko, of Slupsk, or Ladislas the White, of
Gniewkowo. G. Labuda describes these events (1370-86) as an anarchy of the nobles
(Labuda I969: 309-II). It was thus that the growing importance of the nobles found a
reflection even on the walls of a quiet Cistercian abbey.
Being not historians of art but archaeologists primarily interested in the history of
culture, we shall refrain from discussing the aesthetic value of the murals, their colours,
composition and style. Following Z. Biallowicz-Krygierowa, we can only state that they
show close links with the art of Cologne and betray Bohemain influence (BiallowiczKrygierowa I957: 62). On the other hand, as medievalists we want to stress their
significance as a document of the period.
However, we should like to confess to our English-speaking readers - and we hope to
meet with understanding - that, in choosing the subject, we were to some extent influenced by the very nice dog watching near the nodding St Joseph in the scene of the
Adoration of the Magi (plate 27), and by the very strange camels depicted on the
opposite side (plate 28), as well as by the devil who teases the Foolish Virgins (plate 29).
We were even tempted to give our paper the following title: 'Knights, imps and beasts on
the medieval frescoes of Lad'.
7.viii. I971

Institute of the History of Material Culture,

Polish Academy of Sciences

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Abstract
Abramowicz, Andrzej and Poklewski, Tadeusz
The fourteenth-century

frescoes of L,d

The frescoesfrom the chapel of the Cistercianabbey at Lad, GreatPoland, are described.They
date to the seventies of the fourteenthcentury,and are said to show stylistic links with the art of
Cologneand of Bohemia.An examinationof the iconographyof the frescoes shows that they can
be used both to illustratethe decline of Cistercianstrictnessin the relaxingof architecturalrules
and to demonstratethe contemporaryexpansionof lay chivalricculture.It is arguedthat whereas
eschatologicalscenes such as the Last Judgement or the Parableof the Wise and the Foolish
Virgins were inspiredby the teaching of the Church,it is to the influence of the lay benefactors
of the abbey that the donationscene, the figuresof St George and St Martin and the decorative
frieze of coats of arms may be attributed.

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