The Multi­Layered Nature of Aleksander Tarasewicz’s Engraving Series in Fulgentius Dryjacki’s Prayer Book (1682)

Acta Academiae Artium Vilnensis

Abstract

The article delves into an intricate analysis of the prayer book entitled Thesaurus sacratissimae vitae passionis pretiosissimi sanguinis D. n. Iesu Christi in augustissimo Missae sacrificio depositus superiorum permissu, prepared by the Augustinian monk Fulgentius Dryjacki for the Catholic Church’s usage. Published in 1682 in Vilnius, this prayer book was issued in both Latin and Polish versions. It comprises 43 copper engravings, 39 of which form a liturgical allegorical series depicting the Holy Mass, crafted by the artist Aleksander Tarasewicz. Through these engravings, the interior of the church comes to life, portraying a priest’s celebration of the Mass at the altar, while the illustrations intertwine scenes from Christ’s life and suffering with events from the Old Testament.

In exploring analogues in the history of European printing, several prints have emerged from Amsterdam and Paris that follow a similar principle, belonging to a graphic series interlacing Christ’s suffering with the progression of the Mass. However, the series from Vilnius stands out for its theological depth. Unlike its counterparts, the Vilnius series not only connects the Mass with episodes from Christ’s life and death but also integrates illustrated readings from the Old Testament, expanding its theological scope significantly. The engravings by Aleksander Tarasewicz in the Vilnius series prominently feature the fusion of text and image, employing emblematic (allegorical) depictions of the liturgy. Many of these motifs draw inspiration from engraving masters in Antwerp, particularly those from liturgical books printed in the first half of the 17th century at the Plantin printing house. These works garnered widespread popularity and dissemination throughout Europe, including the Polish-Lithuanian Commonwealth, exerting a significant influence on local artists. Beyond their use in liturgy, these books served as creative prototypes for imagery, enriching the visual landscape of the region.

Based on the table presented in the appendix of the article “Explication of the motifs, inscriptions, and prototype images of the illustrations of Aleksander Tarasewicz’s engraving series (1682)” and the discussion of a significant portion of the engravings within this series in terms of their content and compositional structure, it becomes evident that many of them draw upon prototype images or their distinct fragments to construct their theological content. Through the identification of these prototypes, it is apparent that a majority of the engravings in the series incorporate borrowed elements. Hieronymus Natalis’s work, in particular, emerges as a prominent source for both compositions and architectural details, which were instrumental in shaping the narratives depicting the life of Christ. Moreover, to illustrate events from the Old Testament, a considerable number of images are adapted from Jan David’s book Paradisus Sponsi et Sponsae, skilfully transposing them into a new contextual framework. Select elements were borrowed from the engravings of other Dutch artists, indicating how Aleksander Tarasewicz creatively integrated and recontextualized their prototypes into his own illustrations. The identification of these prototype images has facilitated a clearer understanding or reidentification of several iconographic scenes within this series. Furthermore, this research has elucidated the creative approach of the artist Alexander Tarasevich himself, revealing instances where he employed similar compositions, interior fragments, architectural details (such as columns), or individual scenes from existing imagery, thereby enriching Lithuanian Baroque graphics with canonical biblical representations originating from Western Europe and seamlessly integrating them into his work.