Danzig

Jeremias Falck (c. 1605/09–1677) is considered to be the greatest engraver of early modern times working in the Polish-Lithuanian Commonwealth. Graphical representa- tions of  ower forms constitute a signi cant part of his oeuvre. So far they have not been of special interest to researchers, therefore it is worth giving them more attention now. It seems necessary to look at the existing attributions to estimate the real number of Falck’s works on this subject, and to formally analyse various prints. It is also necessary to critically approach the questions of the original prints, later editions, and copies.
Up to date researchers have recorded selected  ower representations, without referring to the information in the only catalogue raisonné of Falck’s works by Block, who attributed to him up to 98 compositions on the subject. Only by compar- ing prints from the Polish museums with various collections abroad the answer to the question how many  ower arrangements were actually created by Jeremias Falck can be provided.
Falck’s authorship of the series Novae et exquisitae FLORUM ICONES has been con rmed. It is also highly likely that he elaborated most of the plates of the series Verscheyde Nieuwe TULPEN.
From the frontispiece of the series Novae et exquisitae FLORUM ICONES we can
conclude that Falck was not only the engraver, but also the author of the composition (inventor). Flowers in his works do not map a particular set of a botanical collection, but are a recommendation for an artistic representation of the plant.  ey could have been a kind of a template for painters, and at the same time objects d’art for collectors.  anks to their artistic qualities, perfect workmanship, and attention to the highest editorial standards, Falck’s  ower engravings became desirable works in the art mar- ket, copied by other designers and reprinted by other publishers.
e analysis of the preserved prints linked to Falck can also lead to a number of general conclusions on the functioning of the market for graphic art in the 17th cen- tury. Florilegia were usually formed in series containing a few to a dozen composi- tions. Herbaria’s cards could circulate in the form of a compact collection of a few series together, but also in smaller folders or even as loose cards.  e study shows that they were particularly popular in 17th-century France and the Netherlands.  e increase in production, mainly of the copies of previous cycles, occurred in the 1670s and lasted until the early 18th century. Falck and Vauquer were copied by Gerard Valck, Nicolaes Visscher and many others.

This article examines two Dutch diplomatic missions, in 1627-28 and 1635, by which the United Provinces intervened in a Polish-Swedish armed conflict in Prussia. The focus is on 'diplomatic poetics': the ways in which literature functioned within diplomatic practice, and how that practice (or the 'diplomatic moment') was in turn envisioned in literature. The Polish-Swedish conflict was of great interest to the United Provinces, and was elaborately discussed in various Dutch media, as well as in the correspondences of merchants and politicians. The Dutch embassies to Polish territories themselves, meanwhile, inspired a number of literary works, published mostly in the Republic, but also in for example Danzig and Königsberg. These sources demonstrate how early modern literary and diplomatic practices in Europe overlapped and influenced each other. Firstly, German, French and Dutch poems by Johannes Plavius, Simon van Beaumont and Joost van den Vondel illustrate the blurring of the lines between the realms of diplomacy and literature. Poems could function as diplomatic gifts, enabling both personal, intellectual communication and the widespread transmission of political messages. Moreover, Latin and German plays by Johannes Narssius and Simon Dach, and more importantly Latin poems by Simon van Beaumont and Caspar Barlaeus, as well as an illustrated Dutch account of the first mission by Abraham Booth, reveal that the Dutch envoys featured in literary narratives as both wise peace bringers and travelling poets, and their missions to Poland as both arduous ordeals and epic adventures. Much like poetic gifts, these literary reflections on 'the diplomatic moment' had public diplomatic agency, simultaneously voicing political opinions and crafting artistic images of the diplomats themselves.

Von 1684 bis 1697 entbrannte im westpreussischen Danzig ein Streit zwischen dem Maler Enoch I. Seemann und dem mennonitischen Ältesten der Flamischen Gemeinde Georg Hansen über die Geltung des biblischen Bilderverbots. Anhand von bisher ungenutzten Quellen wird die ‹Causa Seemann› mit ihren täuferkundlichen und kunsttheoretischen Bezügen neu dargestellt und gewürdigt. Anhang I enthält Elemente zu einer künftigen Geschichte der Künstlerdynastie Seemann, Anhang II bietet die kommentierte Rekonstruktion von Seemanns verschollener Streitschrift ‹Offenbahrung und Bestraffung des Gergen Hannßens Thorheit 1697› sowie die Edition von drei komplementören Dokumenten aus dem, Staatsarchiv Danzig

O uwarunkowaniach kluczowej roli Gdanska w utrwaleniu pot?gi Rzeczypospolitej w XVI i XVII w. pisano wielokrotnie, o specyfice powstaj^cych tam dziel sztuki, zwlaszcza malarstwa, traktuje coraz wi?cej publikacji^. Na tym tie szczegolnie ostro rysuje si? niedostatek badah nad zlotnictwem. Wiemy dzis o nim bardzo malo i niniejszy zarys w duzym stopniu wskaze rozlegle obszary naszej niewiedzy, spowodowanej nie tyle nieistnieniem co rozproszeniem danych potrzebnych do charakterystyki najwazniejszego w XVII stuleciu osrodka zlotniczego w srodkowej Europie.

Ältere volkstums- und später landesgeschichtlich orientierte Forschungen zum Polnischen Preußen im 17. und 18. Jahrhundert scheiterten aus heutiger Sicht an dem Postulat eines jahrhundertelangen Selbstbehauptungskampfes des „Deutschtums im Osten“ (Schieder), womit das vermeintliche Ergebnis der Untersuchungen den Fragestellungen schon zugrunde gelegt war. Diese Sichtweise erklärt das Ausklammern anderer Siedlungszentren, beispielsweise in Groß- Polen, wo sich kaum Abgrenzungstendenzen von Polen finden lassen, und die vergleichsweise geringe Beschäftigung mit der Assimilierung deutscher Bürger in Warschau. Die Sonderstellung der großen Städte im Polnischen Preußen wird allerdings auch durch neuere struktur- und konfessionsgeschichtliche Forschungsansätze nicht prinzipiell in Frage gestellt. Auf der Grundlage altdeutsch- hanseatischer kultureller und sprachlicher Traditionen sowie einer strengen lutherisch- orthodoxen Konfession waren hier die ständisch- rechtlichen und machtpolitischen Voraussetzungen für eine besondere Form der Herrschaftsintensivierung gegeben, die – nach dem Befund von Michael G. Müller – auf stadtgesellschaftlicher Grundlage zu einer Staatsbildung nach Art der „Territorialisierung“ (Müller) führten. Da sich dieser Prozess seit etwa Mitte des 16. Jahrhunderts parallel und in Konkurrenz zu entgegengesetzten Bestrebungen einer Integration in die polnisch- litauische Adelsrepublik vollzog, provozierte die Bedrohung sich souverän wähnender Stadtstaaten die Entwicklung eines eigenständigen „Sonderbewusstseins“ (Małłek). Hier werden bereits frühzeitig Züge eines nationalen Gefühls erkennbar, das sich gegen äußere Aggression, aber – ähnlich der Konfessionalisierung und im Zusammenspiel mit dieser – auch gegen Tendenzen innerer Desintegration wendet. Bestätigt werden so Auffassungen Immanuel Wallersteins, dass in den meisten Fällen Tendenzen der Staatenbildung solchen der nationalen Bewusstwerdung vorausgehen.

Nicolaus Zangius: The Musician at the Turn of the 16th and 17th Centuries (Monograph in Czech)

Nicolaus Zangius (ca. 1568–1617) was a musician with a rather restless character, always seeking a more ideal patron. His life and travels are best illustrated by a brief look at his published compositions.

The complete book including an English summary and the premiere recording of some of his motets is available on the web page of the Faculty of Arts, Masaryk University.
https://digilib.phil.muni.cz/handle/11222.digilib/143685

Warszawa-Kraków 1 995 (tam wcześniejsza literatura)' ' Stan badań podsumował P. Mrozowski, Polskie nagrobki gotyckie' Warszawa 1994. 'Ętułem przykładu wymienić trzeba mocno niedoskonałe, Iecz całoś.io*" op.*.owanie H. Kozakiewiczowej, Rzeźbą XW wieku w Polsce,Warszawa 1984 (tam wcześniejsza literatura) oraz monografi e artystów: A. F i s c h i n g e r a, S anti Gucci architekt i rzeźbiarz króIewski xil wieku,Kraków 1969 fBiblioteka Wawelska 3]; A' Markham Schultz, Gianmaria Moscą called Padovano. A Renaissance Sculptor in ltaĘ and Poland, Pennsylvania 1998. 'M. Rożek, Katedrawawelskaw XVll wieku, Kraków 1980 [Biblioteka Krakowska 121], s. 1z7-I59 (kaplica Wazów); A' Badach, IAonografia osiemnastowiecznych pomników w katedrze wawelskiej _ próba podsumowania, lw:] Katedra krakowska w czasach nowoz'ytnych (XW-XWII w.), Kraków 1999, s. l09-I20. u A. Bochnak, Eksport z miast pruskich w głqb Polski w zakresie rzemio

The authorship of The Book of Margery Kempe has been the subject of much debate ever since the sole manuscript copy of the text was identified by Hope Emily Allen in 1934. My paper presents two pieces of new evidence relating to Margery Kempe’s son and to Robert Spryngolde, her confessor. The first item, a letter prepared for her son in Danzig (modern Gdańsk) in 1431, discloses the son’s name and the reasons for his journey to Lynn. This information, in turn, sheds new light on the account of The Book’s production as given in the Proem. As a result, the discovery of the letter corroborates the theory that the son was Kempe’s first scribe. A second previously unknown document shows the extent of Robert Spryngolde’s ties to Margery Kempe’s family, strengthening his role as the clerical scribe behind much of The Book. Both findings help to anchor the supposedly autobiographical narrative in its immediate historical situation, thereby strengthening the historicity of the work. Finally, I offer a revised explanation for the collaborative model behind the production of this text.

Amber Metamorphoses | Bursztynowe przemiany is a book published on the occasion of the 20th anniversary of the International Amber Association. My idea was  to launch the book, that includes a brief history of the IAA and presents objects by twenty remarkable artists connected with the Association. We endeavoured to make it a comprehensive catalogue, showing the work of both individual artists and larger companies employing designers. To capture the metamorphoses which took place in the work of each person over the past twenty years, we publish an older and the most recent piece, the well known, as well as unknown examples of jewellery and objects. Hence the title of this publication—to focus your attention on the change which Baltic amber and the design of amber items have undergone since the final years of the 20th century until the present.

The following text concerns the collection of the Gdansk family Breyne, assemblet since the second half of the 17th century, thanks to Jacob Breyne (1637–1607). The father’s passion was continued by Johann Philipp Breyne (1680–1764). In his youth, the junior Breyne lived in an impressive house at ul. Długa 30, and, since 1707, in a house at Brabank 7, which was brought in dowry by his wife, Johanna Constantia. The dwelling had a gar- den, in which many plants, often exotic ones, such as bananas and pineapples, were grown. Although Johann Philipp himself was a doctor, he inherited his father’s fascination with botany; he also supplemented his collection of naturalia and the family book collection, which included the most important compendia on natural history, as well as many drawings and prints.
A portion of the Breynes’ collections, including their amber collection, was purchased by Catherine II in 1766. The other objects, including the numerous drawings, unknown to a broader public, by Johann Philipp’s three daughters: Constantia Philip- pina (1708–?), Anna Renata (1713–1759) and Johanna Henrietta (1714–1797), made their way, together with the book collection, to the castle in Gotha.
Each sister specialised in slightly different topics. The largest number of drawings of plants and birds were left by Anna Rena- ta, and many fewer by Constantia Philippina. Johanna Henrietta specialised in the images of marine creatures. The sisters were inspired by works by Samuel Niedenthal, Andreas Stech and Ma- ria Sybilla Merian, which were available in Gdansk collections. They also had their teacher of drawing – David Schultz. Some of the Breyne sisters’ drawings are marked by a good level of execution, considering they were amateurs. They were also used in contemporary scientific publications. The works surviving in Gotha are testimony to attempts at women’s emancipation in Gdansk in the period of the Enlightenment, in particular in families with scholarly and collectorship traditions (the Breynes, the Kleins), where they received support, including in the area of artistic education.
The collections of Forschungsbibliothek in Gotha include an extensive legacy of the Breyne family from Gdansk, which was acquired by way of purchase in 1799. The first scholar and collector in the dynasty was Jacob Breyne (1637–1697), a botanist recognised throughout Europe, who considerably contributed to the development of knowledge on exotic plants. Jacob’s son, Johann Philipp (1680–1764), continued the family’s scientific and collectorship traditions. He developed his inherited collection, conducted his own paleontological and botanical research, and made sure his father’s works were popularised. Until recently, the activity of the younger Breyne’s daughters, who considerably diversified the family’s collections, remained largely unknown. It is the artistic activity of the three sisters: Constantia Philippina (1708–?), Anna Renata (1713–1759) and Johanna Henrietta (1714– 1797), which will be the main topic of this paper.

W zbiorach Forschungsbibliothek w Gotha znajduje się obszerna spuścizna po gdańskiej rodzinie Breyne, która trafiła tam w drodze zakupu w roku 1799. Pierwszym w dynastii uczonym i zbieraczem był Jacob Breyne (1637–1697), ceniony w całej Europie botanik, który znacząco przyczynił się do rozwoju wiedzy na temat roślin egzotycznych". Badaczem kontynuującym rodzinne tradycje naukowe i kolekcjonerskie był syn Jacoba – Johann Philipp (1680–1764). Rozwijał on odziedziczoną kolekcję, prowadził własne badania paleontologiczne i botaniczne, jak również dbał o upowszechnianie prac ojca. Dotąd bliżej nieznana pozostawała działalność córek młodszego z Breynów, które w sposób znaczący urozmaiciły rodzinne zbiory. To właśnie omówienie artystycznej aktywności trzech sióstr: Constantii Philippiny (1708–?), Anny Re- naty (1713–1759) i Johanny Henrietty (1714–1797) będą głównym tematem niniejszego artykułu.
Rodzina Breynów pochodziła z Brabancji i osiadła w Gdańsku pod koniec XVI w. Ojciec Jacoba był kupcem, a pozycja społeczna i sytuacja finansowa rodziny były w połowie XVII w. na tyle dobre, że mógł on wysłać syna na praktyki kupieckie do Lejdy, gdzie ten jako wolny słuchacz uczęszczał na zajęcia z botaniki. Po powrocie do rodzinnego miasta Jacob poślubił córkę medaliera – Sarę Rogge i prowadził swą działalność naukową, współpracując z artystami, zakładając także prywatną oficynę wydawniczą.
Johann Philipp po studiach w Królewcu wybrał się w 1699 r. do Lejdy, gdzie w 1702 r. uzyskał tytuł doktora medycyny. Po obronie odbył dwuletnią peregrynację po Euro- pie#. W młodości mieszkał w reprezentacyjnej kamienicy przy ul. Długiej 30, gdzie z pewnością znajdowała się przynajmniej część kolekcji jego ojca. W roku 1707 wszedł w posiadanie posesji z rozległym ogrodem na Brabanku 7 (obecnie Stara Stocznia), którą w wianie wniosła jego żona Johanna Constan- tia, z domu Ludewig (1687–1742)$. Para miała ośmioro dzieci, z których większość nie przeżyła rodziców. W jego posiadaniu było także kilka innych domów na terenie Głównego Miasta.

Philipp Sauerland (1677–ok.1760) to malarz aktywny w I połowie XVIII wieku w Gdańsku i Wrocławiu. Jego dzieła cieszyły się pewnym zainteresowaniem w wiekach XVIII i XIX, czego przykładem jest kilka wzmianek w ówczesnym piśmiennictwie o sztuce. Jeszcze za życia artysty pisał o Sauerlandzie Christian Ludwig von Hagedorn, podając podstawowe informacje na temat jego losów i podejmowanej przezeń tematyki, co ważne, chwaląc jego talent.  W ostatnich latach na rynku antykwarycznym pojawiły się nieznane dotąd obrazy Sauerlanda omówione szczegółowo w niniejszym artykule (Martwa natura z muszlami; Jeż, kapusta i jabłka; Martwa natura z zającem). Po raz pierwszy opublikowany został tu też obraz ze zbiorów norweskich - Głuszec, srebrny bażant i drobne ptactwo. Rosnąca liczba znanych dzieł autorstwa Sauerlanda pozwala na wysuwanie wniosków nie tylko odnośnie jego twórczości, ale także uzupełnia wiedzę na temat malarstwa w dwóch znaczących ośrodkach, jakimi były Gdańsk i Wrocław. Przeważającą część oeuvre Sauerlanda stanowią martwe natury. Był to wówczas gatunek malarstwa na ziemiach związanych z Rzeczpospolitą wyjątkowo rzadko uprawiany, choć w różnych kolekcjach obecny. Nieprzypadkowe wydaje się zatem owo przeniesienie Sauerlanda z Gdańska do Wrocławia. To tam właśnie, podobnie jak w jego rodzinnym mieście, rozwijało się kolekcjonerstwo, które sprzyjało zainteresowaniu młodymi gatunkami malarskimi.

hab. Andrzej Groth (redaktor tematycznyhistoria nowożytna) CZŁONKOWIE: prof. dr hab. Wiesław Długokęcki (redaktor tematycznyhistoria średniowieczna) prof. dr hab. Andrzej Romanow (redaktor tematycznyhistoria najnowsza i prasoznawstwo) ks. prof. dr hab. Wojciech Zawadzki (redaktor tematycznyhistoria nowożytna, historia Kościoła) dr Dieter Heckmann (redaktor językowyteksty w języku niemieckim) dr Grażyna Nawrolska (redaktor tematycznyarcheologia i dziedziny pokrewne) Jacek Nowiński (redaktor tematycznyarchiwistyka i dziedziny pokrewne) Wiesława Rynkiewicz-Domino (redaktor tematycznyhistoria sztuki i dziedziny pokrewne) Sekretarz redakcji-Magdalena Kwiatkowska RADA NAUKOWA: prof. dr hab. Bolesław Hajduk (Uniwersytet Szczeciński) prof. dr hab. Edmund Kizik (Uniwersytet Gdański) dr hab. Józef Arno Włodarski (Uniwersytet Gdański) dr Peter Letkemann (Geheimes Staatsarchiv Preußischer Kulturbesitz-Berlin-Dahlem) Recenzenci zewnętrzni w latach 2015-2021: prof. dr hab. Roman Czaja prof. dr hab. Elżbieta Jabłońska prof. dr hab. Beata Możejko prof. dr hab. Andrzej Romanow ks. prof. dr hab. Wojciech Zawadzki dr hab. Rafał Kubicki dr hab. Marek Smoliński dr Anna Weronika Brzezińska dr Jerzy Domino dr Tomasz Gliniecki dr Marek Jagodziński dr Elżbieta Paprocka dr Ryszard Tomczyk dr Joanna Szkolnicka mgr Ewa Chlebus mgr Wiesława Rynkiewicz-Domino Tłumaczenie (j. angielski): Katarzyna Gentkowska; Lucyna Szaniawska (str. 49

The article shows the reasons for the building of the airfield in Pruszcz Gdański during the Second World War. Presents detailed on the scope of construction works carried out for the needs the Danziger Luftwaffe-School. Describes the usage of prisoners, mainly women of Jewish origin from the Stutthof camp. Shows the sufferings and sacrifices of people forced to slave labor.

Artykuł przedstawia przyczyny powstania lotniska w Pruszczu Gdańskim w okresie II wojny. Przybliża szczegółowe dane dotyczące zakresu prowadzonych prac budowlanych na potrzeby gdańskiej szkoły pilotów Luftwaffe. Opisuje kwestie wykorzystania więźniów, głównie kobiet pochodzenia żydowskiego z obozu Stutthof. Ukazuje, trud i ofiary osób zmuszonych do niewolniczej pracy.

German Merchants and a Witch in Cracow in 1642
Witchcraft beliefs were widespread in late medieval and early modern Cracow. Like elsewhere, the confidence in the effectiveness of magic was shared by people of various ethnic and religious denominations. The source edition that supplements this article is a testimony the Cracow merchant Adam Fister gave at the local justice at the behest of John Minen, a Danzig patrician, on 25 October 1642. Fister confirmed the account of the Cracovians: John Brauer, Mathew Erfort, Peter Rotenstein, and of the Viennese merchant Daniel Frans, that Casper Bekman, a merchant of  Lübeck had taken personal effects from Erfort that belonged to the Danzig tradesman. Then Bekman was putting a spell on Minen with the help of a hag whom he visited at the Spital Garden behind the city walls, near St Florian’s Gate. Bekman intended to make Minen return to Cracow. Brauer, who was a witness to those practices, implored Bekman to give up magic because it was an offence to God. He was successful in his persuasion.
The discussed source excerpt bears notice for several reasons. The witch demanded a relatively high fee of 200 florins, which shows a firm trust in her abilities. Deep into the eighteenth century, the Spital Garden was also known as the Lutheran Garden. Graves that were discovered there in 1837 were identified as Arian, that is of the local followers of Socinianism, although there were no grounds for such an interpretation. Thus, the nineteenth-century tradition of Arian Square, whose continuation today is Arian Street, is unjustified. In light of the discussed report, there is no doubt that the graves were part of the Cracow Lutherans’ cemetery, and, as often in such cases, the congregation had their spital, that is an almshouse, there. The Cracow merchants that are listed in the source must have belonged to the local Lutheran parish. Its members, we know next to nothing about, from 1636 met for services at the Calvinists’ chapel near Cracow. Fister mentioned Suzanne Mayerhöfer, the wife of an elder of the Reformed congregation, as one of the women who had seen Bekman and his German companion at the spital.

Monogramista FVA Cyna, srebro, drewno, odlewanie, cyzelowanie, malowanie, złocenie; wysokość 68 cm, długośĆ2I4 cm, szerokość 86 cm; sygnowany monogramem wiązanyrn FVA oraz gmerkiem (na tarczy półksiężyc z zębatą koroną i krzyż równoramienny) w kwaterze z personifikacją Słuchu Kraków, katedra na Wawelu

В этой статье описаны подделки монет, прототипами для изготовления которых послужили гроши польского короля Сигизмунда І Старого, чеканенные на монетном дворе в Гданське

This article tells about the counterfeits of the groats of the king Sigismund I the Old of the Gdansk mint

THE FIRST YEARS OF THE POLISH MILITARY INTELLIGENCE IN THE FREE CITY OF GDANSK (1920-1925)
(Summary)
The Free City of Gdansk was as attractive for special intelligence services of Central and Eastern Europe, as Switzerland was for Western Europe. In Gdansk the German, Soviet and Lithuanian intelligences were very active and almost disclosed. Different active Ukrainian organizations were also of interest to the above mentioned special intelligence services. Such a situation was facilitated by a specific neutrality and geographical location as well as transport facilities. The most important factor was, however, the fact that the legislation of the City there were no sanctions for espionage, which is an obvious reason for the much attention given to Gdansk by both Polish and German intelligence. It was not only the symbol of the conflict between the two countries, which were in the center of the public interest, but also a convenient area to get familiarized with the northern forces of the opponent. Paradoxically, in Polish historiography the activity of the German intelligence in the Pomerania region has been much better examined than the one of the Polish intelligence.
The Polish intelligence site in Gdansk was the center of the Polish intelligence for the area of North-East Germany up to 1925. It was created in March in 1920 when one of the most talented secret agents of those times, captain Karol Dubicz-Penther, arrived in Gdansk.
He created the so-called Intelligence Agency, which consisted of three departments: the offensive, the media and the analysis. To keep them secret they were located in different parts of the city. In May 1920, due organizational changes in Polish offices, Karol Dubicz’s subordinates became part of the headquarters the General Office of the Republic of Poland. In this way the secret agency became part of the office which was under the authority of the Foreign Ministry. Twenty people worked there at that time (in 1922 the number of workers was halved due to the re-organization in the Polish army). They received 50,000 Polish marks and 120,000 German marks monthly for their activities. In August 1921 Dubicz’s unit was transformed into one of the six national intelligence agencies. It was given the name: Intelligence Agency number 2, the Second Detachment of the Polish Army’s headquarters. It must be emphasized that it was the only agency of this kind based out of the Polish sovereignty. U was still camouflaged as a part of the Polish General Office. Comparing the budgets of all the agencies, the conclusion is that Germany was not the main target of the Polish secret forces.
The Gdańsk unit received the lowest funds in spite of having a similar number of employers. The year 1925 was a breakthrough for them as Eastern Prussia started to be examined by the Warsaw agency. It was then that the activities conducted by the Gdansk unit (changed into Agency number 7) became supplementary.
The main task of the Gdansk unit was to examine the German forces in the Baltic Sea, the dislocation and general condition of land army in Eastern Prussia. The secondary aim was to examine the German intelligence’s activities against Poland and to learn about the political situation in the Reich and in Gdansk. Those directives were in force to 1925. In June 1920 the unit was made to send weekly military and press reports as well as two political reports a month. During the Polish-Russian war the priority was to follow the moves of the Red Army and its contacts with the Reichswehr and Lithuanians. Dubicz’s subordinates made daily reports about political and social life in the Free City. Once a week they prepared a compiled report. Before plebiscites in the Warmia, Mazury and Powiśle the headquarters required reports concerning German preparations in Gdansk. From 1923 the area of the Prussian province — Pomorze (Pomerania) started to be investigated.
Collecting secret information was conducted in two basic ways. The first one, typical of the Polish shallow secret forces in the first years of independence, was based on sending abroad groups of secret agents or employing permanent collaborators there, who worked under the officer of the national agency. There worked between ten and nineteen agents for the agency. The second way, employed from the time of transforming the Intelligence Office into the Intelligence Agency number 2, was based on setting up the so-called officers’ units abroad, which means placing there intelligence residents employed as officials of the Polish Foreign Ministry. They were based in Polish consulates in Konigsberg and Olsztyn. In consulates in Elk and Kwidzyn there worked employers of the foreign office who were not connected with the army.

DIE ERSTEN JAHRE DER AKTIVITÄT DES POLNISCHEN MILITÄRGEHEIMDIENSTES IN DER FREIEN STADT DANZIG (1920-1925)

Die Vorzüge des Systems Schütte-Lanz gegenüber den Konstruktionsprinzipien des Grafen Zeppelin überzeugten auch die Militärführung, die diese Luftschiffe im I. Weltkrieg einsetzte, so dass sich auch Zeppelin gezwungen sah, wesent- liche Komponenten zu übernehmen. Charakteristisch für Schüttes Konstruk- tion waren außer der Form des Schiffskörpers die Aufhängung der Motorgondeln, der durchgehende Kiel und die Verwendung von Holz statt Aluminium.

Niniejsza praca magisterska jest wynikiem zainteresowania problematyką możliwości przekształceń post-industrialnych zdegradowanych obszarów śródmiejskich, będących nieużytkami miejskim, a w szczególności terenów w pobliżu linii kolejowych. Celem przekształceń jest wieloaspektowa rewitalizacja przestrzeni miejskich w odniesieniu do idei miasta zwartego i innych nurtów myśli urbanistycznej propagujących zrównoważoną, harmonijną urbanistykę, przyjazną mieszkańcom
i środowisku naturalnemu.
Rozbudowane powierzchniowo tereny kolejowe i pokolejowe stanowią znaczną część obszarów śródmieść miast polskich. Z powodu gwałtownych przemian polityczno-gospodarczych w latach 90. XX wieku oraz w wyniku postępu technologicznego transportu ich znaczenie i funkcja ulegają zmianie.
Brak odpowiedniego zarządzania i zagospodarowania powoduje negatywne oddziaływanie terenów kolejowych i pokolejowych na urbanistyczną tkankę śródmieść. Często stanowią one przestrzenną i funkcjonalną barierę w rozwoju i powiązaniu obszarów miejskich oraz stają się obszarami problemowymi.
Celem części projektowej jest zaproponowanie koncepcji spójnej zabudowy poprzemysłowych i pokolejowych terenów śródmiejskich, a w szczególności terenów wzdłuż linii kolejowej w centrum Gdańska (Targ Sienny i Rakowy oraz tereny przyległe). Przestrzeń położona na południe od dworca Gdańsk Główny charakteryzuje
się fragmentaryczną i nieuporządkowaną zabudową. Opracowywany obszar jest barierą funkcjonalną oddzielającą zachodnią część miasta od dzielnicy Śródmieście.

BERNT STEGMANN, A CITIZEN OF GDANSK,
AND HIS MORALISING COMPILATION OF 1528
The Gdansk chronicle by Bernt Stegmann was written in the East Central German language (Ostmitteldeutsch) in 1528 and is the oldest surviving historiographic artefact concerning Gdansk. The article sums up the author’s latest findings concerning the circumstances in which the chronicle was written and the probable addressee of the work. She also puts forward some hypotheses regarding the origin of the compiler, discusses the structure of the manuscript and the manner of its production. The chronicle is a compilation of some older historiographic sources, which place the history of the Main City of Gdansk in world history: the Jerusalem rulers and the history of the Teutonic Order. It is a type of a universal town chronicle. The content is moralizing – the
compilation is a collection of historical examples teaching how to rule the town properly. It was probably written for didactic purposes for young Hans Kremer, the future mayor of Gdansk.
Bernt Stegmann was a merchant trading in such places as Stockholm and Reval. The toponymic criterion indicates that his family could originate from the area of Brandenburg or Braniewo, while the dialect in which he wrote the chronicle as well as the numerous Silesian threads in the content also make it possible to be open to the hypothesis that Stegmann’s family could have come from Silesia. This question remains unresolved. The manuscript was written and made personally by Bernt Stegmann, as indicated by the atypical arrangement of its sections
and non-professional binding.

From the Germans of Danzig (now Gdansk, in Poland) to the Turks of Rhodes: the «Europa etnografica» map (1:6.000.000) of the Atlante internazionale del TCI (1st ed., 1927). For a later version of this map (3rd ed., 1929) you can see www.davidrumsey.com

In der Frühen Neuzeit war Danzig das bedeutendste Kultur-und Wissenschaftszentrum des Königreichs Polen, auch außerhalb seiner Grenzen sehr bekannt. Georgius Braun nannte es in seiner Beschrei-bung vnd Contrafactur der vornembster Stät der Welt "ein Herrliche / gewaltige vnd reiche Statt in Preussen von weitläuffiger Schiffart / grossem gewerb vnd Kauffhandel / vnd gelegenheit deß beylauffen-den fluß der Vistel berhümbt vnd namhafft",1 Martin Zeiller dagegen die "gewaltige / vnd hochberühmte Statt" und den "Schlüssel deß gantzen Königreichs Polen" (Topographia Prussiae et Pomerelliae).2 Diesen Rang Danzigs hebt aber nicht nur sein Reichtum, sondern 1 Georgius Braun, Beschreibung vnd Contrafactur der vornembster Stät der Welt, Köln: Godfrid von Kempen, 1576, S. 46. 2 Sebastian Münster, Cosmographia, Das ist: Beschreibung der gantzen Welt, Basel: Heinrich Petri, 1628, S. 1300.

W. Skóra, Działania wywiadu polskiego a plany zbrojnego zajęcia Wolnego Miasta Gdańska przez II RP w latach 20. XX wieku [w:] Si vis pacem, para bellum. Bezpieczeństwo i polityka Polski. Księga jubileuszowa ofiarowana profesorowi Tadeuszowi Dubickiemu, red. R. Majzner, Częstochowa - Włocławek 2013, s. 449-470.

Ethnographic shows existed as peculiar projects in a specific time and space. Correspondingly, entertainment played a specific role in the life of modernizing cities. This article aims at reconstructing the circumstances and places of entertainment in Gdańsk, where representatives of 'exotic' peoples from distant continents performed on stage. The stage was not only that of ethnic shows (Völkerschauen), where the program of the performance was entirely devoted to one group, but also circuses, where 'exotic others' performed alongside other artists, as well as theaters with a light repertoire of variétés that were operating in Gdańsk at the time. The specificity of shows performed by people from distant lands seemed to reside in emphasizing differences: cultural, ethnic and civilizational. Questions emerge concerning what these shows were like, how 'wildness' was perceived and how 'exotic' daily life was presented? The presented materials have been gathered from the accounts and press advertisements of the Gdańsk press at the time. If meaning in shows was embodied in form, technique, and place, the question at hand, is what precisely we can ascertain about entertainment institutions in urban landscape from this kind of data. "The passion for close visual observation on the spot had transformed how landscapes were experienced and described during the eighteenth century and shaped how specimens brought into galleries were exhibited, to the point that the experience of travel became the model of exhibitions about other places. Visitors were offered the display as a surrogate for travel, and displays in turn participated in the discourse of travel" (Kirschenblatt-Gimblett 1998:43).

The conference sets its focus on the cultural and artistic effects and consequences of the two major conflicts of the XVII c. in Central Europe – the Thirty Years‘ War and the Northern Wars, intertwined by the powers and personalities involved and influenced by each other. Especially the German territories of the Holy Roman Empire (including Bohemia) and Poland were confronted with a huge extent of destruction, looting, migration and targeted theft of art and culture. The topics are military architecture, artistic representation in war, political iconography, war and peace as a theme of art, protagonists and victims, roles and fates, paths of artlootings and processes of cultural transfer.