Renesans w Polsce, „Odrodzenie” to złoty wiek kultury polskiej, to czasy króla Zygmunta I Starego, patrona wielu artystów, który zatrudnił architekta Bartolomeo Berrecci z Florencji, do czasu panowania syna, króla Zygmunta Augusta, następnie do czasów króla Stefana Batorego i kanclerza Jana Zamoyskiego. Wówczas Miasto Zamość zostało zaplanowane na prawach i na wzorach włoskich miast handlowych, słynnej renesansowej koncepcji miasta idealnego „città ideale” w określonej sytuacji.
After moving to Italy in 1856, Teofil Lenartowicz, inspired by the great Italian art and supported by the best Florentine artists of the time Giovanni Dupré and Enrico Pazzi, began studying sculpture. Lenartowicz’s sculptures were always connected with literature: his work shows howone influenced the other. It is no accident that his style as a sculptor has been called ‘poetic’ by the critics. The Polish immigrant was fascinated by the Italian Renaissance, and especially by the art of Lorenzo Ghiberti. At the same time, he never forgot about Polish folklore, which played a significant role in his artistic vision. One of the most impressive examples of this intersection of influences is the bas-relief The Holy Workers, complemented by a poem bearing the same name.
The article deals with two issues: (1) the research method of father Georges Florovsky used in his study entitled The Ways of Russian Theology (1937), which is regarded a classic in its genre, and (2) the practice of scientific research conducted with the use of this method. The article is supplemented with Florovsky’s opinions, expressed in letters to his brother Anton, a professor at the Charles University in Prague, concerning the scientific achievements of the authors and scholars whom he met with or whom he came to work with after his departure to the USA (1948). The content of this correspondence has remained hitherto unpublished.