Jono Radvilos (Mikalojaus Radvilos (Amor Poloniae) sūnaus) autografas - tarp gotikos ir humanizmo
LTStraipsnyje aptariamas Mikalojaus Radvilos, Vilniaus vaivados ir Lietuvos didžiojo kanclerio sūnaus Jono Radvilos autografas. Svarstoma, kuriuo kursyvu (gotikiniu, humanistiniu) vaivadaitis mokėsi rašyti vaikystėje, kaip jo ranka koreliuoja su jo aplinkos ankstesnės kartos ir jo bendraamžių autografais bei atliepia to laiko lotyniškojo kursyvo raidos tendencijas, kasdieniame gyvenime susiklosčiusias gotikinio kursyvo vartojimo praktikas. Raktiniai žodžiai: Autografas, Jonas Radvila, Stanislovas Radvila, Janas Łaskis, Jeronimas Łaskis, humanistinis kursyvas, gotikinis kursyvas, mišrusis kursyvas. [Iš leidinio]
ENLate in the fifteenth and early in the sixteenth century, a wide variety of Gothic (from the old-fashioned to the one reflecting new modernising trends) and Mixed cursives were used in the Grand Duchy of Lithuania, and the Humanist cursive became widespread. The Lithuanian nobles born in the last thirty years or at the end of the fifteenth century used Mixed cursive, Humanist brush ductus cursive, and Humanist cursive. What remains unclear is the cursive script that Jonas Radvila, the son of Mikalojus Radvila, Grand Chancellor of Lithuania and the palatine of Vilnius, learnt to write before his studies abroad. During his studies in Vienna and Bologna (1514–1515), learning foreign languages (Latin, German, Italian) was of particular importance. In 1515, Radvila wrote three letters, in his hand in Latin, to Archbishop Jan Łaski from Bologna. He used formal Humanist cursive of semi-cursive ductus (cancellaresca italica). The noble’s autograph slightly varies depending on the accuracy and the speed of writing (from the almost calligraphic to a fairly regular version of cancellaresca italica). Jonas Radvila’s cursive is of the semi-cursive, almost brush ductus, when writing very accurately. This was in line with the requirements of Italian calligraphers of the first half of the sixteenth century, and the same trends can be seen in the autographs of his contemporaries at the end of the fifteenth and the first half of the sixteenth century. When the nobleman wrote more hurriedly, his autograph acquired more cursive elements. This is also reflected in the autographs of his fellow students (the archbishop’s nephews Jan and Hieronim Łaski) and his contemporaries. Radvila’s autograph suggests that the nobleman was taught calligraphy in his childhood. It is just not clear where and when.The Humanist cursive used by him contains elements of the Gothic cursive (Gothic or Gothicised forms of the letters a, M, m, p, r, the rounded s, u (v)). The question of how well he had mastered the German Gothic cursive remains unanswered. Bearing in mind the fact that he also learned German during his studies, there is no doubt that he had to write it. The latter question also arises with regard to the autograph of Radvila’s brother, Stanislovas. In 1515, Stanislovas Radvila wrote a letter in Latin to Jan Łaski, Primate of Gniezno, in his own hand, in the Gothic cursive containing the elements of the Humanist cursive. Keywords: autograph, Jonas Radvila, Stanislovas Radvila, Jan Łaski, Hieronim Łaski, Humanist cursive, Gothic cursive, Mixed cursive. [From the publication]
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