Święty Józef patronem dobrej śmierci w kulturze staropolskiej na przykładzie popularnej kompozycji Carlo Marattiego
Saint Joseph as the patron saint of good death in Old Polish culture on the example of a popular composition by Carlo Maratti

Summary/Abstract: The article aims to demonstrate the manifestations of the veneration of St Joseph of Nazareth as the patron saint of a good death, whose intercession should be invoked by dying persons at the moment of transition from mortal to eternal life. Support for the title can be found in theology, with its arguments disseminated by preaching works and songs. In addition to fostering devotion to St Joseph with words, attention should also be paid to works of art. The text shows examples from Old Polish writing, as well as modern painting. The depictions in Polish art are discussed against the background of European art, with particular emphasis on the popular model composition of the death of St Joseph by Carlo Maratti. Baroque examples of its use can be found both in Warmia (Krosno, Stoczek Klasztorny or Pluty), as well as in two different churches in Lublin (the former Jesuit temple and now archcathedral, and the Church of the Holy Spirit) or Lviv (from the castle in Pidhirtsi). The list is completed by a depiction of the good death from Przedwojewo in the Mazovia Region, using a fragment of a composition by C. Maratti, where St Joseph appears as an intercessor for a dying Christian. The authors of the paintings on display were well-known painters – Szymon Czechowicz and Piotr Kolberg – both resided in Italy and had the opportunity to personally study the works of the Roman master, but also anonymous local artists. In addition to discussing native images, the article lists selected examples of reference to the indicated pattern occurring in other European countries (Italy, Austria or France). Such a wide-ranging background testifies to the strong influence of the paintings of Maratti, who, being a long-time director of the Academy of St Luke in Rome, enjoyed great recognition and popularity during his lifetime, although over time he was forgotten, and one of his (or his imitator’s) works was sought to be attributed to Raphael, who was more famous than him.

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