Color in Medieval Castle Architecture in Present-Day Poland and Czech Republic
Round 1
Reviewer 1 Report
The reviewed paper focuses on an interesting and, as the author himself states in the introduction, neglected topic related to the colour of representative medieval buildings. However, the problem is conceived in a problematic fashion. The very definition of the topic of research is questionable. The author does not explain why it would be appropriate to treat Czech and Polish castles simultaneously while neglecting other objects in the wider Central European region, especially those in the territory of present-day Germany, Austria and Slovakia. The concentration on one selected type of building, castle, is also problematic - the text naturally mentions manor houses and burgher houses. Personally, I believe that this is correct; there was no dividing line between the decoration of houses and castles. Therefore, the author’s approach (concentration only on castles) omits without explanation a whole range of decoration that could shed important light on the topic. This applies particularly to wall paintings in burgher houses and on houses in Prague and Toruń, both of which are treated in Czech and Polish literature respectively and are more numerous. However, the article is also not precise as to the location of the decoration within individual buildings. It speaks mainly about interiors, but the author seems to concentrate only on the interiors and rooms with a profane function - or are we to understand that the colourful decoration of chapels was not important? Why is there next to nothing about chapels in the whole article? (The wall paintings of the chapel in the house at the Bell or the triumphal arch of the chapel at Karlštejn are mentioned, which is puzzling because famous chapels at Karlštejn with their sophisticated use of colour are not mentioned).
Moreover, the text also talks about decoration on the exteriors (e.g., in Malbork). In this case, however, the reader will be surprised that the text completely omits, for example, such crucial evidence of painting on the facades as is Žirovnice. While Žirovnice murals are otherwise briefly mentioned and even reproduced, the spectacular façade decoration is not even mentioned even though there is a veduta of the castle in the wall paintings of the “green chamber”.
At this point, we touch on temporal delimitation, which again is not clearly stated in the article. The focus of the text is the older period. However, the author wants to say something about the younger period as well. In particular, he mentions the issue of “green chambers” in a completely haphazard manner and omits many actual examples. BTW the text does not cite important literature here like later contributions by Josef Krása, including the German-language one in the proceedings published in Poznań, and German contributions concerning the issue of the so-called Rankenmalerei are omitted as well). It is conceivable that the topic will be treated based on some selection of cases, but this choice must be justified and communicated to the reader!
Apart from these fundamental problems, the article misses the mark with its initial delineation and the treatment of individual monuments. Here, with a few exceptions (e.g., Kraków, Malbork), it turns entirely to the iconography of the paintings, which it summarises in a summary manner. The actual problem of colour does not come into play here. Superficially, the text also touches on the crucial question of function - which spaces were painted in colour and how? Is there any difference between the colours used in the great representative halls and the rooms referred to as bedrooms? What information do we have about the specific functions of the painted rooms?
With a certain irony, the article on the colours of medieval spaces can be summarised directly in the author’s own words: “Researchers of castles rarely pay attention to colour, focusing mostly on understanding the iconographic message of the preserved representations.” (c.f. l. 950-951). However, even where the text focuses more on colour, its findings are pretty naive. Cf., e.g. the use of blue pigments is discussed in connection with Witków: “This colour was considered a symbol of sacrum and the colour of the Blessed Virgin Mary.” (l. 739-740) There are more meanings of blue in medieval art. Moreover, in this case, the author should address the room’s overall colour, the white background.
It is therefore not surprising that the conclusions of the article are pretty banal: “In our opinion, castle interiors of the time had multicoloured décor.” (l. 921) or “As we have shown on the example of Czech and Polish kings, the world of rulers was colourful, with the walls of both representative interiors and private apartments covered in paintings. (l. 935-936). This could be hardly surprising for anyone who has a basic knowledge of medieval art.
Nevertheless, the problem that the author set out at the beginning would undoubtedly be worth closer examination. What colours were predominantly used in the interiors and exteriors of medieval buildings in the 13th, 14th, and 15th centuries is an interesting one. To what extent, for example, are red-painted halls a general trend? An example is the one at Prague Castle. Incidentally, the author completely ignores the remains of the late 14th-century painting and decor that survived in situ, described recently by Petr Chotěbor. The focus is only on transfers. Red-painted halls appear not only in castles (e.g., Lochstedt) but also in townhouses (Prague, but also Toruń).
Similarly, the author could have discussed the importance of using the colour green, which he touches on rather fleetingly in one of the chapters.
What role could have played here technological issues (the availability of green in connection with the development of mining technology) or social issues (green understood as a relaxing colour, relaxation associated with nature)? Moreover, the article completely omits foreign sources of inspiration, except perhaps Avignon (that these paintings were an essential inspirational model is undoubted, but to refer to such fact based on a single item of literature - Vítovský 2008 - is entirely inadequate!) and Forchheim (although there is a comprehensive monograph on the topic, it is not cited).
One could go on with the criticism in this way. But perhaps this list is enough to reveal the fundamental shortcomings of the article. Although the author is undoubtedly well-read and familiar with both Polish and Czech literature, he failed to formulate a well-structured text. Thus, one can recommend a complete reworking of the text (I would also suggest reducing the ambitions to cover everything and narrowing down the topic somehow) at best.
Author Response
Response to Reviewer 1 Comments
We would like to thank the Reviewer very much for his detailed view of our work.
Point 1. The reviewed paper focuses on an interesting and, as the author himself states in the introduction, neglected topic related to the colour of representative medieval buildings. However, the problem is conceived in a problematic fashion. The very definition of the topic of research is questionable. The author does not explain why it would be appropriate to treat Czech and Polish castles simultaneously while neglecting other objects in the wider Central European region, especially those in the territory of present-day Germany, Austria and Slovakia.
Response 1. The restriction to Poland and the Czech Republic resulted from the established theme for the entire volume (a special issue of “Arts” journal), which is specifically devoted to Poland and the Czech Republic. Certainly, expanding the substantive scope to the entire area of Central Europe would have enriched the analysis, but, as we mentioned, the territorial limitation was imposed on us.
Point 2. The concentration on one selected type of building, castle, is also problematic - the text naturally mentions manor houses and burgher houses. Personally, I believe that this is correct; there was no dividing line between the decoration of houses and castles. Therefore, the author’s approach (concentration only on castles) omits without explanation a whole range of decoration that could shed important light on the topic. This applies particularly to wall paintings in burgher houses and on houses in Prague and Toruń, both of which are treated in Czech and Polish literature respectively and are more numerous.
Response 2. The accepted closed subject of our text was colour in the interiors of castles only. As for the decoration of the burghers' houses - it goes beyond the content of our work (to our knowledge it is also the subject of another text in the special issue of "Arts" magazine). Individual references to the painting decoration of chapels and burghers’ houses resulted from the need to refer to specific analogies, their purpose was not to provide an exhaustive discussion of the phenomenon.
Point 3. However, the article is also not precise as to the location of the decoration within individual buildings. It speaks mainly about interiors, but the author seems to concentrate only on the interiors and rooms with a profane function - or are we to understand that the colourful decoration of chapels was not important? Why is there next to nothing about chapels in the whole article? (The wall paintings of the chapel in the house at the Bell or the triumphal arch of the chapel at Karlštejn are mentioned, which is puzzling because famous chapels at Karlštejn with their sophisticated use of colour are not mentioned).
Response 3. As far as the decoration of castle chapels is concerned - we do agree with the Reviewer, that they are important. However, we deliberately omitted them from the content of the article (as sacral spaces - our topic were profane spaces in the castles - we have now better emphasised the topic during the revision of the text). It would have been a too broad topic anyway - one of the co-authors of our text is the author of a three-volume monograph on mediaeval castle chapels in Bohemia.
Point 4. Moreover, the text also talks about decoration on the exteriors (e.g., in Malbork). In this case, however, the reader will be surprised that the text completely omits, for example, such crucial evidence of painting on the facades as is Žirovnice. While Žirovnice murals are otherwise briefly mentioned and even reproduced, the spectacular façade decoration is not even mentioned even though there is a veduta of the castle in the wall paintings of the “green chamber”.
Response 4. We initially accepted this recommendation. However, due to the later suggestion made also by the Academic Editor (and other Reviewers) to skip the part devoted to exterior decoration and concentrate only on colour in the interiors of mediaeval castles, we had to finally omit discussion of castle facades (as one in Žirovnice).
Point 5. At this point, we touch on temporal delimitation, which again is not clearly stated in the article. The focus of the text is the older period. However, the author wants to say something about the younger period as well. In particular, he mentions the issue of “green chambers” in a completely haphazard manner and omits many actual examples. BTW the text does not cite important literature here like later contributions by Josef Krása, including the German-language one in the proceedings published in Poznań, and German contributions concerning the issue of the so-called Rankenmalerei are omitted as well). It is conceivable that the topic will be treated based on some selection of cases, but this choice must be justified and communicated to the reader!
Response 5. We added a part concerning Josef Krása’s works (3 extra contributions, including the one published in Poznań in 1977 - the other two are from 1978 and 1984). We also added short discussion about terminology (i.e. “Rankenmalerei” and “grünmonochrome Wandmalerei”). The limited size of the text caused that origins, analogies, context, etc. were treated very briefly in favour of the presentation of a the few chosen objects.
Point 6. Apart from these fundamental problems, the article misses the mark with its initial delineation and the treatment of individual monuments. Here, with a few exceptions (e.g., Kraków, Malbork), it turns entirely to the iconography of the paintings, which it summarises in a summary manner. The actual problem of colour does not come into play here. Superficially, the text also touches on the crucial question of function - which spaces were painted in colour and how? Is there any difference between the colours used in the great representative halls and the rooms referred to as bedrooms? What information do we have about the specific functions of the painted rooms?
Response 6. We do agree with the Reviewer's suggestion that this issue should become the subject of in-depth research in the future.
Point 7. With a certain irony, the article on the colours of medieval spaces can be summarised directly in the author’s own words: “Researchers of castles rarely pay attention to colour, focusing mostly on understanding the iconographic message of the preserved representations.” (c.f. l. 950-951). However, even where the text focuses more on colour, its findings are pretty naive. Cf., e.g. the use of blue pigments is discussed in connection with Witków: “This colour was considered a symbol of sacrum and the colour of the Blessed Virgin Mary.” (l. 739-740) There are more meanings of blue in medieval art. Moreover, in this case, the author should address the room’s overall colour, the white background.
Response 7. We hope that this text will initiate further research on mediaeval colour in Central Europe.
Point 8. It is therefore not surprising that the conclusions of the article are pretty banal: “In our opinion, castle interiors of the time had multicoloured décor.” (l. 921) or “As we have shown on the example of Czech and Polish kings, the world of rulers was colourful, with the walls of both representative interiors and private apartments covered in paintings. (l. 935-936). This could be hardly surprising for anyone who has a basic knowledge of medieval art.
Response 8. We hope that this text will initiate research on mediaeval colour in Central Europe.
Point 9. Nevertheless, the problem that the author set out at the beginning would undoubtedly be worth closer examination. What colours were predominantly used in the interiors and exteriors of medieval buildings in the 13th, 14th, and 15th centuries is an interesting one. To what extent, for example, are red-painted halls a general trend? An example is the one at Prague Castle. Incidentally, the author completely ignores the remains of the late 14th-century painting and decor that survived in situ, described recently by Petr Chotěbor. The focus is only on transfers. Red-painted halls appear not only in castles (e.g., Lochstedt) but also in townhouses (Prague, but also Toruń).
Response 9. We do agree that the painted decoration is also documented in the Old Royal Palace at Prague Castle. In 1489 and 1495, there are even references to painters at Prague Castle, but their activities are not specified. It is only in 1502 when the payment of 7 “kopas” of Prague groschen to Master Hanus for painting the upper rooms is mentioned. In 1512, also the first mention was made of the "green room of the king", where the chamber court met, and it was certainly a room on the first floor of the west wing of the palace.
Point 10. What role could have played here technological issues (the availability of green in connection with the development of mining technology) or social issues (green understood as a relaxing colour, relaxation associated with nature)? Moreover, the article completely omits foreign sources of inspiration, except perhaps Avignon (that these paintings were an essential inspirational model is undoubted, but to refer to such fact based on a single item of literature - Vítovský 2008 - is entirely inadequate!) and Forchheim (although there is a comprehensive monograph on the topic, it is not cited).
Response 10. We added more references to important and more recent works on Avignon (Vingtain 2008; Anheim 2008; Anheim 2015) and for Forchheim (Beckett 2007; Machilek 2007). We also extended a part concerning the relaxing meaning of the green colour (extension of the nature/garden outside). As far as we know, the connection with the development of mining technologies can be proved not earlier than in the 16th century.
Point 11. One could go on with the criticism in this way. But perhaps this list is enough to reveal the fundamental shortcomings of the article. Although the author is undoubtedly well-read and familiar with both Polish and Czech literature, he failed to formulate a well-structured text. Thus, one can recommend a complete reworking of the text (I would also suggest reducing the ambitions to cover everything and narrowing down the topic somehow) at best.
Response 11. We accepted this recommendation. Due also to the later suggestion, made by the Academic Editor (and other Reviewers), we skipped the part devoted to exterior decoration, narrowed down the topic and concentrated only on colour in the profane interiors of mediaeval castles.
Reviewer 2 Report
The reviewed article is very interesting and original. Meets the requirements for scientific articles.
The literature quoted by the author is sufficient.
The article contains the results of applied research and the role of color in the interiors of medieval Czech and Polish castles.
The author showed, among others, that color was an important visual tool for social communication in castle architecture.
It is a valuable voice in the discussion of medieval architecture of castles.
The author's original approach to the research topic should also be appreciated.
Author Response
We would like to thank the reviewer very much for the positive and favorable view of our work.
Taking into account that it has been brought to our attention that the paper could be improved, we have once again reviewed it in terms of structure, language and argumentation.
In the absence of other suggestions for possible changes, we take the liberty of concluding our response to the review in this way.
Sincerely.
Authors
Reviewer 3 Report
For the general description of the paper topic I would recommend the Authors to include in the article literature entitled: M. Arszyński , Organizacja i technika średniowiecznego budownictwa ceglanego w Prusach [Organization and technique of medieval brick construction in Prussia], Malbork 2016 and also the bibliography. It is helpful for determining the full spectrum of colored (glazed) building ceramics used in the Middle Ages (bricks, floor and roof tiles, details) and the scope of its application (apart from castles, churches - also inside, public buildings etc). It would also be worth referring to the phenomenon of painting the external surfaces of brick walls and joints ( in general, various methods of aestheticizing joints), polychrome of portals - the results of conservation studies of such objects may be useful.
Also another book may be useful: M. Kilarski, Odbudowa i konserwacja zespołu zamkowego w Malborku w latach 1945- 2000, [Reconstruction and conservation of the castle complex in Malbork in the years 1945-2000], and other items of literature referring to color in terms of the quality and origin of dyes, also general conclusions from conservation research.
A small error on page 13: the text (verse 329) relates to the Great Refectory and Figure 13 actually shows the Summer Refectory.
Author Response
Response to Reviewer 3 Comments
We would like to thank the Reviewer very much for his positive view of our work.
Point 1: For the general description of the paper topic I would recommend the Authors to include in the article literature entitled: M. Arszyński, Organizacja i technika średniowiecznego budownictwa ceglanego w Prusach [Organization and technique of medieval brick construction in Prussia], Malbork 2016 and also the bibliography. It is helpful for determining the full spectrum of colored (glazed) building ceramics used in the Middle Ages (bricks, floor and roof tiles, details) and the scope of its application (apart from castles, churches - also inside, public buildings etc). It would also be worth referring to the phenomenon of painting the external surfaces of brick walls and joints (in general, various methods of aestheticizing joints), polychrome of portals - the results of conservation studies of such objects may be useful.
Response 1. We initially accepted this recommendation. However, due to the later suggestion made by the Academic Editor to skip the part devoted to exterior decoration and concentrate only on colour in the interiors of mediaeval castles, we had to finally omit M. Arszynski's work.
Point 2. Also another book may be useful: M. Kilarski, Odbudowa i konserwacja zespołu zamkowego w Malborku w latach 1945- 2000, [Reconstruction and conservation of the castle complex in Malbork in the years 1945-2000], and other items of literature referring to color in terms of the quality and origin of dyes, also general conclusions from conservation research.
Response 2. For a reason identical to the one described in section 1, we had to abandon the section on exterior decoration and ultimately not use the indicated M. Kilarski’s work. For its indication we once again want to thank the Reviewer.
Point 3. A small error on page 13: the text (verse 329) relates to the Great Refectory and Figure 13 actually shows the Summer Refectory
Response 3. We want to thank the Reviewer for this indication. The picture of the Summer Refectory (Figure 13) was replaced with the picture of the Great Refectory that the text is referring to.
Reviewer 4 Report
Dear Author/ Dear Authors
This is a very interesting text. However according to the reviewer the topic should concern medieval castle interiors only. Unfortunately the part presenting the elevations of Teutonic Order castles has no reference in the form of discussion of examples of castle elevations in Czech Republic and Poland.
The text should be supplemented with a presentation of paintings from the castle in Lidzbark Warmiński, with reference to extensive research conducted during their conservation. This would significantly raise the status of the text (Kozaczewski, Poksińska, Żankowski 2012/ Kozaczewski, Żankowski, Szweda 2016).
In the case of the presentation of the motif of the statue of the Blessed Virgin Mary from the church in Malbork, it would be valuable to show the connections of the workshop in Prague. It would be advisable to supplement the bibliography with items concerning the history of the statue of the Blessed Virgin Mary: (Kilarski 1988 or 1993); and its conservation (Kozaczewski 2015; ). In the context of presentation of polychromy from the tower in Witków, it would be advisable to refer to the findings of Jacek Witkowski (Witkowski )
Kilarski Maciej 1988, Figura matki Boskiej z Dzieciątkiem z kościoła zamkowego w Malborku, [w:] Podług nieba i zwyczaju polskiego. Warszawa pp. 183-194;
or. Kilarski Maciej, 1993, Mozaikowa figura malborskiej Madonny, Malbork pp. 17-19.
Kozaczewski Marcin, Poksińska Maria, Żankowski Ryszard 2012, Gothic painted decorations in the Gallery of the Castle in Lidzbark Warmiński – a Bohemian Track in Northern Poland, Acta Artis Academica pp 35-58;
Kozarzewski Marcin, Żankowski Ryszard, Szweda Adam 2016, Polichromie krużganków zamku w Lidzbarku Warmińskim, Olsztyn;
Kozaczewski Marcin 2017 Rekonstrukce středověké sochy Panny Marie s děťátkem z hradního kostela v Malborku a konzervace mozaiky v katedrále v Kwidzynu / Reconstruction of the medieval statue of the Virgin with Child from the Malbork Castle Church and preservation of the mosaíc at the Kwidzyn Cathedral, ZPRAVY PAMATKOVÉ PÉČE 3, pp 275-285.
Kozaczewski Marcin 2015, Więcej niż oryginał - rekonstrukcja malborskiej Madonny, In: Monumentalna figura Madonny na kościele NMP w Malborku : konteksty historyczne, artystyczne i konserwatorskie edit Janusz Hochleitner, Malbork pp. 131-148;
Witkowski Jacek 1981, Gotyckie malowidła ścienne rycerskiej wieży mieszkalnej w Witkowie In:Z badań trzynastowiecznej architektury na Śląsku i w Czechach edited M. Kloza, Wydawnictwo Politechniki Wrocławskiej: Wrocław
Author Response
Response to Reviewer 4 Comments
We would like to thank the Reviewer very much for his positive view of our work.
Point 1. This is a very interesting text. However according to the reviewer the topic should concern medieval castle interiors only. Unfortunately the part presenting the elevations of Teutonic Order castles has no reference in the form of discussion of examples of castle elevations in Czech Republic and Poland.
Response 1. We initially accepted this recommendation. However, due to the later suggestion made by the Academic Editor (and other Reviewers) to skip the part devoted to exterior decoration and concentrate only on colour in the interiors of mediaeval castles, we had to finally omit discussion of castle elevations.
Point 2. The text should be supplemented with a presentation of paintings from the castle in Lidzbark Warmiński, with reference to extensive research conducted during their conservation. This would significantly raise the status of the text (Kozaczewski, Poksińska, Żankowski 2012/ Kozaczewski, Żankowski, Szweda 2016).
Response 2. For a reason identical to the one described in response 1, we had to abandon the section on exterior decoration and ultimately not use the indicated suggested works. For their indication we once again want to thank the Reviewer.
Point 3. In the case of the presentation of the motif of the statue of the Blessed Virgin Mary from the church in Malbork, it would be valuable to show the connections of the workshop in Prague. It would be advisable to supplement the bibliography with items concerning the history of the statue of the Blessed Virgin Mary: (Kilarski 1988 or 1993); and its conservation (Kozaczewski 2015; ).
Response 3. Again, for the reason identical to the ones described in responses 1 and 2, we had to abandon the section on exterior decoration (including the statue of the Blessed Virgin Mary from Malbork) and ultimately not use the indicated suggested works. For their indication we once again want to thank the Reviewer.
Point 4. In the context of presentation of polychromy from the tower in Witków, it would be advisable to refer to the findings of Jacek Witkowski (Witkowski)
Response 4. Unfortunately, Jacek Witkowski has not yet published any results of his research on the paintings in Witków. The year suggested by the Reviewer (1981) is ahead of the time when J. Witkowski's scientific activity began. Back in 1991, Jakub Kostowski referred to an unpublished text by Jacek Witkowski (Gotyckie malowidła ścienne rycerskiej wieży mieszkalnej w Witkowie) (J. Kostowski, Sztuka śląska wobec husytyzmu. Późnogotyckie świadectwa malarskie. Artium Quaestiones 5: 1991, p. 42).
This manuscript is a resubmission of an earlier submission. The following is a list of the peer review reports and author responses from that submission.
