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Bieliny nad Sanem. Założenie dworskie w czasach Elżbiety z Wiśniowieckich Zamoyskiej i jej spadkobierców
Full text linkUroczystość wręczenia księgi jubileuszowej Profesorowi Tadeuszowi Bernatowiczowi, Łódź, Pałac Biedermanna, 26 listopada 2021 r.
Full text link„Akacyja biała z Łazienek (…), Thuja occidentalis z Królikarni”. Założenie pałacowo-ogrodowe w Dęblinie w drugiej połowie XVIII stulecia
Full text linkThe Mniszech palace-garden layout in Dęblin was modified in the last two decades of XVIII century. Archival drawings from the National Museum in Warsaw allow the reconstruction of architectural forms and composition of garden pavilions – especially of the mausoleum inspired by the Tomb of Cecilia Metella. Tree and flower species were imported to the residence from Łozy, the Rabbit House and the Baths Park. Such significant gardeners as Jan Chrystian Schuch and Dionizy Mc Claire (Mikler) participated in establishing a landscape layout in Dęblin. The effect of their’s work was documented by Zygmunt Vogel in 1796. The watercolour shows the garden with the irregular lake coastline and – in the background - classical facade of the palace.
There is not denying, that the owner of Dęblin – the Grand Marshal Michał Jerzy Mniszech – was bright magnate, connosseur of European art and culture. In consequence, his estheticism reflected in the new composition, style and forms of the residence. The article presents the palace-garden layout in that context
Jurydyka Leszczyńskich w Warszawie. Wpływ siedemnastowiecznej inwestycji na kształtowanie się stołecznego układu przestrzennego w kolejnych stuleciach
Full text linkArchitecture of the Post-Bernardine church in Święta Anna near Przyrów. Composition of forms and internal structure
No full textA 17th-century church in Święta Anna is distinguished by its layout, combining longitudinality with a tendency towards centralisation. Archival queries together with architectural form analysis resulted in advancing a thesis about primary character of club-shape finial of the eastern part, created by dome-vaulted chapels in modum crucis. This exceptionally innovative solution was previously considered to have resulted from later modifications.
What should be emphasized is a multifaceted character of the sanctuary. A northern chapel itself combines functions of a nobility mausoleum, a place of exhibition of the famous for grace figure and safekeeping for sacred relics, whose cult became particularly significant in the post-Trent reform period.
Architecture of the place should be examined in comparison with sacred buildings of historical Małopolska and European tradition of Italian provenance. An important issue is a way of perceiving internal space. Relative perception of forms depends on an observation point and changes when approaching the main altar. Artistic mastery is reflected by conscious usage of luministic effects
Warsaw and Łowicz. Two collegiate chapels of Christ Crucified in the eighteenth century
No full textIn the collegiate churches in Warsaw and Łowicz (two particularly important residential cities of the Republic of Poland in the modern era), in the 18th century, chapels were erected for the exhibition of late Gothic crucifixes, famous for their graces. The chapels were distinguished by remarkable architectural forms and innovative artistic programs. Both were built on the extensions of the northern aisles and were under the care of chapters, although their creation was financed from funds provided by powerful patrons. In the case of Łowicz, the construction was the fulfillment of the volition expressed in the will of Primate Adam Ignacy Komorowski, who assigned this part of the temple for his mausoleum. In Warsaw, the the right to patronage was passed on to successive families – the patronage was granted to the Szembek and Branicki families, among others. The features connecting both investments were also: the connections of both collegiate chapters and the special status of said churches, associated with the most important people in the Republic of Poland – the king (and, in a broader sense, the Seym and court circles) and the primate, i.e. the interrex. Although the chapels’ architecture was developed almost half a century apart, one can see the mutual dependence of the forms used. The interiors boast even more analogies because the Warsaw chapel, built in the second decade of the 18th century, was transformed at the initiative of Jan Klemens Branicki in the early 1860s – while the mausoleum in Łowicz was being built. Probably both buildings employed the workshop of the Warsaw architect Jakub Fontana. In both chapels, influences of palace architecture are visible, manifested in the lightness of forms, rococo style and colors based on combining white with gold. The connection to residential interiors was enhanced especially by crimson wall coverings introduced by Fontana in the present St. John cathedral. The presented analysis, based on archival queries and in situ observations, made it possible to clarify the findings so far, as well as to show the construction process and transformations of the discussed objects. A look at their architectural form and decor details made it possible to identify sources of inspiration, probable contractors and to confirm the relationship between two particularly important examples of 18th-century collegiate chapels.Dwie kaplice wzniesione przy kolegiatach w Warszawie i w Łowiczu, mieszczące słynące łaskami krucyfiksy, wykazują liczne analogie, do których należą: lokalizacja na przedłużeniu północnych naw, powiązania obu kapituł kolegiackich oraz szczególny status świątyń kojarzonych z najważniejszymi osobami w Rzeczypospolitej – królem (a także, w szerszym ujęciu, Sejmem i kręgiem dworskim) oraz prymasem, czyli interrexem. Mimo że powstanie architektury kaplic dzieliło blisko pół wieku, dostrzec można wzajemne zależności zastosowanych form. Wnętrza posiadają tym więcej analogii, że kaplicę warszawską przekształcono z inicjatywy Jana Klemensa Branickiego w na początku lat 60. XVIII wieku – gdy powstawało mauzoleum w Łowiczu. Zaprezentowania analiza, oparta na kwerendach archiwalnych i obserwacjach in situ, pozwoliła na doprecyzowanie dotychczasowych ustaleń, ukazanie procesu budowy oraz przekształceń omawianych obiektów, a także poświadczenie zależności artystycznych pomiędzy kaplicami
Chronicle of speeches as part of the scientific seminar of the Institute of Art History of the University of Lodz in the academic year 2021/2022
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