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Tytuł:
Kościół opactwa de Fontelle w świetle problemu rekompozycji zabytków
THE CHURCH OF DE FONTELLE ABBEY AS EXAMPLE OF PROBLEMS INVOLVED IN REARRANGEMENT OF ANCIENT ARCHITECTURE
Autorzy:
Łysiak, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/537882.pdf
Data publikacji:
1973
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
rekompozycja zabytku
kościół opactwa de Fontelle
zdemontowanie obiektu
przesunięcie obiektu
rodzaje rekompozycji
łuk dei Gavi w Weronie
Opis:
Reviewing the example of the Fontelle Abbey, Saint- Wandrille, France the author devoted his considerations to the problem of rearrangement of ancient architectural objects from the viewpoint of the present tendencies in conservation. To a thorough analysis and assessment were subjected two kinds of such rearrangements, namely this called „positive” a rising, for instance, from objective necessities as, e.g. a decay of a building being a consequence of earthquake, and that „negative”, i.e. the need to move it to another place in view of the townplanning or spatial development requirements. The old Gothic temple of the Fontelle Abbey has been demolished during the French Revolution. After the World War II the architect Paul Tournon specializing in the rebuilding of the sacred architecture has been entrusted with the task of its reconstruction; however, it was the lack of adequate financial means that has caused the stoppage of the whole project. After the death of P. Tournon his daughter Marion has, in collaboration with A. le Donne, realized an entirely different solution of the problem. An abandoned thirteenth-century stone-built barn in Eure District was acquired by the Abbey that, according to plans, had to be demolished. This ancient building was stripped into the separate stone-masonry and timber elements which in turn were moved to Saint-Wandrille where they have been reassembled retaining a large proportion of those original including the old rafter framing. The barn interior of some 9.000 m* space has been adapted to the function of a monastery church. As a result of the above adaptation it proved necessary to reshape some portions of the barn’s walls which the remaking was forced by the new function; so, for instance, the front entrance had to be extended by an addition of a new gate span. These alterations did not, however, too strongly affect the original beauty or the character of the building. While summarizing his review the author comes to conclusion that both rearrangement and adaptation to a new function in the case of de Fontelle Abbey may be considered as a positive example of safequarding of an ancient building through its adjusting to requirements of the present-day life.
Źródło:
Ochrona Zabytków; 1973, 2; 117-122
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Drewniany kościół w Gąsawie - przykład nierozpoznanej konstrukcji w architekturze sakralnej
The Wooden Church in G¹sawa — an Example of Unidentified Construction in Sacral Architecture
Autorzy:
Jankowski, Aleksander
Powiązania:
https://bibliotekanauki.pl/articles/537282.pdf
Data publikacji:
2001
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
drewniany kościół w Gąsawie
architektura sakralna
Gąsawa
dziedzictwo Pałuk
Pałuki
konstrukcja zrębowo-szkieletowa
zrąb ścian
konstrukcja szkieletowa
konstrukcja więźby
więźba
konstrukcja storczykowa
Opis:
The seventeenth-century wooden church of St. Nicholas in G¹sawa is one of the most important testimonies of the cultural heritage of the Pa³uki region. Alongside the church in Tarnów Pa³ucki it is the oldest extant wooden church in Pa³uki and one of the oldest within the range of historical Greater Poland. The tower-less, single-nave object with a small distinct sacristy and porch, with boarding on the outside and plaster inside, and a solid slightly deformed at the beginning of the nineteenth century by the addition to the nave of an unproportionately large, brick cylindrical chapel, did not meet with greater interest on the part of researchers. Recorded in catalogues of monuments and locally issued publications concerning the history of the region the church was discussed laconically as an edifice with a uniform construction, erected in 1674 (as evidenced by the date inscribed on the bell of the rood arch beam), and founded by Kazimierz Brzechwa, the abbot of Trzemeszno. Recent thorough repairs revealed the heretofore concealed original appearance of the church. The removal of nineteenth–century boarding and plaster showed that the church in G¹sawa has a double, frame supporting structure of the roof, while the interior walls are covered by at least three layers of painted decoration. An analysis of the architectonic structure, dendrochronological examinations, an archival survey, and an initial analysis of the arrangement programmes of particular phases of the painted decoration permitted the assumption that the gable walls, the frame and the rafter framing date back to the seventeenth century, but do not share a joint origin. The oldest are the frame walls, probably a remnant of a church raised at the end of the first quarter of the seventeenth century. The date on the rood arch beam — 1674 — commemorates not the construction but the reconstruction of the object, partially destroyed during the Swedish wars. Up to the 1690s the church was a frame construction. From 1697 to 1699 the frame became encircled on the outside by a skeletal structure (without nogging). The most likely reason for this solution was the enlargement of the nave windows. The skeletal construction relieved the weakened frame and guaranteed stability to the static configuration of the edifice. The organic union of the frame and skeletal structure and the rafter framing made it possible to recognise the carrying systemof the roof as the effect of a well–devised architectonic conception. Up to now, literature concerning wooden churches has not distinguished the double, frame–skeletal, construction of the walls. Similar solutions have been recorded only among non–extant examples of the architecture of wooden synagogues in the former Commonwealth. On–the–spot investigations, albeit for the time limited to select objects in historical Greater Poland, have demonstrated that churches with a double carrying roof construction are not as exceptional as it might be assumed upon the basis of pertinent literature. Solutions similar to the “G¹sawa” model have been discovered in both seventeenth– and eighteenth– century churches. At the present stage it is still difficult to draw concrete conclusions concerning the origin and evolution of wooden churches with a double, frame–skeletal wall construction, which calls for further studies. Today, the most important is the very fact that this type of construction has been classified in sacral architecture of the Christian cultural range.
Źródło:
Ochrona Zabytków; 2001, 1; 19-29
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Jezuickie intrygi” a problem stylu w ukraińskiej architekturze cerkiewnej drugiej połowy XIX wieku
„Jesuit Plots” and the Problem of Style in the Ukrainian Orthodox Church Architecture of the Second Half of the 19th Century
Autorzy:
Krasny, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/1954622.pdf
Data publikacji:
2002
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
One of the main elements of the Ukrainian national identity in Galicia was the attachment to the Greek-Catholic Church. From the time of the Spring of the Nations the Uniate priests became the main animators of the Ukrainian ‘national awakening’. They were involved in this activity also when performing their pastoral duties, or even liturgical ones. One cannot then wonder that looking for the Ukranian national style in architecture was done almost exclusively within Orthodox church building, and the choice of forms used in Greek-Catholic churches was a peculiar reflection of the discussion by the Church elites, in which the debate on the character of the Greek rite was interwoven with attempts at defining the vision of the Ukrainian nation and its place in Europe. In the sixties of the 19th century the pro-Moscow fraction had a strong influence among priests; it tried to prove close ethnical ties between the Ukrainians and Russians and wanted to ‘purify’ the Uniate rite from elements borrowed from Roman-Catholic liturgy owing to – as they said – ‘a Jesuit plot’. However, one of the most ardent Moscow-phils, Rev. Jan Naumowicz, admired the activity of the Russian Ivan Martynov, a member of the Society of Jesus and consultor of the congregation Propaganda Fide for eastern rites. Rev. Martynov wanted to reform the Uniate Church in such a way that it would serve first of all the idea of converting Russia to Catholicism. The idea of building an orthodox church in Lvov in the ‘purely Byzantine’ style, where Jesuits were to say the Holy Mass in the Greek rite, was an interesting element of the programme, especially praised by Rev. Naumowicz. It is almost certain that the structure was to be kept in the forms of the official Russian Orthodox church style worked out in the forties of the 19th century by Konstantin Thon. Opponents of the pro-Moscow fraction considered the clergymen belonging to it clandestine advocates of the Orthodox Church. Hence the neo-Byzantine stylistic solutions suggested by the Russian and propagated by the fervent adherent to a kind of Russification of the Uniate Church could be seen by them as ‘schismatic’. The neo-Byzantine forms given to the dome of the Przemyśl Greek-Catholic cathedral in 1866 met a lot of criticism and resulted in pulling it down soon. The basic tendency in Greek-Catholic church architecture in Galicia was looking for models for Orthodox and Uniate churches ‘in the many centuries old tradition of the Ukrainian architecture’. From it first the model of tripartite, three-domed church was derived, and a little later – the cross-shaped church with one dome. From the eighties of the 19th century the architect Vasil Nahirnyi started decorating the churches in the neo-Byzantine costume, however, looking for models in the cosmopolitic neo-Byzantinism of Theophil Hansen and avoiding all connections with the ‘schismatic’ style of Russian Orthodox churches. Nahirnyi’s neo-Byzantinism was accepted by Ukrainians as their national Uniate church style, which was probably connected with the provisions of the Lvov Synod (1891) that officially granted the Greek-Catholic rite the character of the Ukrainian national denomination. The Lvov initiative of Father Martynov proved to be only an interesting episode in the history of Greek- Catholic church architecture in Galicia.
Źródło:
Roczniki Humanistyczne; 2002, 50, 4 Special Issue; 575-587
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Architektura kościoła i kolegium jezuitów w Witebsku
The Architecture of the Jesuit Church and College in Witebsk
Autorzy:
Boberski, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/1954596.pdf
Data publikacji:
2002
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
In the lands of White Ruthenia, beyond the rivers Dźwina and Berezyna, Jesuit colleges marked the routes of the victorious campaigns against Moscow; in their course the areas lost by the Grand Duchy of Lithuania in the 16th century were regained. The invincible commander and clever diplomat, the Smolensk voivode, Alexander Korwin Gosiewski was the founder of the college in Witebsk (1637). A perspective plan of Witebsk made in 1664, when the town was occupied by Moscow troops, shows the order’s first wooden buildings with the one-spire St Joseph church (built in 1643-1644). After the return of the monks new wooden buildings were raised (the chemist’s, school, boarding house). The Witebsk chamberlain Adam Franciszek Kisiel turned the church into a family mausoleum and an animated centre of the cult of Blessed Jozafat Kuncewicz, the Uniate archbishop murdered in Witebsk in 1623. All the wooden buildings were burnt by Russian troops in 1708. In 1691 foundations were built for two wings of a stone college. The eastern one, with a vast refectory, was completed (1713-1714) by an architect brought from the Inflants. The northern one, along the River Witba, was built in the years 1737-1759. In 1713 approval was received from Rome for delineation of the church. Architects brought from Vilnius managed its construction (1714-1731). In decorating the interior the painter Jakub Bretzer SJ took part. It was furnished with 11 wooden altars. The church, whose main founder was the Witebsk voivode Marcjan Ogiń ski, in the 18th century played the role of the family mausoleum. The two-spire basilica with a transept and a dome followed in its shape the Jesuits’ most magnificent Lithuanian churches – in Vilnius (St Casimirus church), and especially in Grodno. Composition of the facade was similar to the elevations of the missionaries’ churches in Vilnius and Franciscans in Pinsk. The bipartite elevations of the transept – characteristic of most Jesuit churches in the Grand Duchy of Lithuania – directly followed the architecture of the Jesuit church in Nieśwież, where they may have been an echo of the Crusaders Facade of the Ressurection Basilica in Jerusalem. Compared to the oversimplified, and sometimes indeed primitive divisions and details characteristic of the architecture of the Grand Duchy of Lithuania in the first thirty years of the 18th century the careful articulation of the Witebsk church presented a suprisingly high standard that speaks well not only for the classical (Italian) education of the author of the design but also about the masons’ qualifications. This inclines one to assume that a design prepared earlier, perhaps as soon as 1684, to which year the later inspector dated (unjustly) the beginning of construction, was used. Works conducted in the years 1761-1767 introduced late baroque elements to the architecture of the college, that were characteristic of its ‘Vilnius’ variety. Among others, the elegant western frontage of the college with the towered structure of the gate was built then; as also was the new picturesque dome of the church. In autumn 1760, probably for designing the buildings, the Jesuits paid Johann Christoph Glaubitz (died in 1767), although a Mr Mackiewicz was called “the architect of the church dome and the spire” (1765-1767). At the same time modernization of the decoration was under way: in 1767 the altar painting of the Immaculate Conception by Szymon Czechowicz was bought; the painter was employed in the Polock college at that time. In the years 1794-1796 and 1800-1801 the architecture professor, Father Gaetano Angiolini SJ having brought from Verona pictures painted by Saverino della Rosa (1743-1821) decorated the church with confessionals and altars. In 1799-1808, perhaps according to his design, a new school building was constructed in the style of ascetic classicism that was called ‘the house with the dome’. After the Jesuits were expelled from Russia (1820) the buildings belonged to the Basilians (1822-1839). In 1841 they were turned over to the authorities of the Orthodox Archdiocese. The church’s adaptation into St Nicolaus’ Orthodox church that was conducted by the architect Bettini (1842-1843) had the character of a superficial classicisation. Eclectic and pseudo- Ruthenian motifs were only brought by the thorough restructuring (1868-1872) according to Mikołaj Czagin’s design. The belfry over the gate was pulled down then. The interior of the Orthodox church was decorated by neo-Byzantine frescos (painted by Winogradow) and a wooden iconostasis (Paweł Warfołomiew from Moscow, the painter Rozanow). In 1893 a domed vestibule was introduced that preceeded the facade. The church, closed in 1929, was blown up on 12 April 1957. The Jesuit college and church in Witebsk had an important place in the panorama of baroque architecture of the north-east borderland of the Polish Republic. After the Middle Ages scarce stone Orthodox churches and ruins of princes’ castles remained. In the 17th century in the vast areas beyond the rivers Dźwina and Berezyna seven stone Orthodox churches, one Uniate, only one (!) Catholic and one Jewish synagogue were built. Two major lordly castles, a town-hall, an armoury, a few town gates and tenement houses were built. A decided majority of those stone buildings were located in Mohylew. The Witebsk fabrica ecclesiae preceeded the enlivening of building activity in other centres of White Ruthenia, as it happened only in the second third of the 18th century, due to the Societatis investments: in Mścisław (1730-48), Polock (1733-45, rebuilt 1762-65), Faszczówka (1738-57) and Orsza (1741-57). The churches in the three latter places (pulled down about 1960) repeated – with slight modifications – the space solution of St Joseph church in Witebsk, and in Faszczówka also the articulation of the outside followed it.
Źródło:
Roczniki Humanistyczne; 2002, 50, 4 Special Issue; 323-366
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Architektura Kościoła Pojezuickiego w Chojnicach
The Architecture of the Post-Jesuit Church in Chojnice
Autorzy:
Rogólski, Piotr P.
Powiązania:
https://bibliotekanauki.pl/articles/1954591.pdf
Data publikacji:
2002
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The former Jesuit church in Chojnice together with the college building forms a baroque complex, one of the most precious in East Pomerania. The history of the Chojnice Jesuits and the history of the construction of their monastery church may be reconstructed on the basis of the Jesuit chronicles: “Historia Residentiae Conecensi Societatis Jesu” of the years 1620- 1773 (ARSI). The present article presents an analysis of the style of the Chojnice church architecture, defines its artistic origin and gives a precise account of the Jesuits’ role. Bringing Jesuits to Chojnice resulted from the denomination rivalry in the town that had unfavourable results for the Catholics. From the middle of the 16th century, when the Protestant denomination was accepted officially, in King’s Prussia Reformation tendencies became more intensive. Protestantism was also a sign of the Prussian towns-people’s separatism; however, political dependence of that province from the Crown gave a good opportunity for a counter-Reformation action. At the beginning of the 18th century the Jesuits decided to build a new brick church; however, initially Primate Stanisław Szembek did not allow it because of the close neighbourhood of the big Gothic parish church and the cemetary. It should be thought that a change in this attitude was influenced by the denomination rivalry in the town. The construction of the church was begun in 1718, but because of shortage of money the work was stopped. Only in the years 1730-1733 construction was started again, according to a new design, and the work was finished in 1744. The Chojnice church is a single nave, two-span building, with rows of side chapels that are connected with narrow passages. The interior of the wide nave is divided into two spans by massive wall pillars with pairs of pilasters that suppport the żaglaste vaults. The space between the pillars is formed by chapel-gallery anexes, the gallery vaults being as tall as the nave. The pillars’ quoins are cut, which visually stresses centralization of space. Illusionistic polychromies and a rich stucco decoration are a significant complementation of the interior. In the subject literature defining the architectonic type of the Chojnice church is the basic research problem, as well as finding out about its origin and architect. According to some researchers it is a halowy building with two aisles (among others, G. Chmarzyń ski, B. Makowski, E. Dehio and E. Gall); other authors say it is a halowo-emporowy building (e.g. T. Chrzanowski and M. Kornecki) or a halowy one (A. J. Baranowski). Most researchers assume that the Jesuit builder, Jan Zelmer, was the architect of the church. The post-Jesuit church in Chojnice is the type of wall-pillar building with galleries, and with respect to its form it is a longitudinal-central solution where within the frames of the traditional longitudinal arrangement, here limited to two spans, centralization of the interior is strongly stressed compositionally. The region closest to Chojnice where this model of church occurs is Silesia where this type of buildings was especially popular in the baroque period. The question appears if the Chojnice church was an architectonic transfer from the Silesian circle and if its design is based on a particular model. On the basis of comparative analysis we may state that the Chojnice church reveals a general resemblance to Silesian ones only in the architectonic system. From the point of view of disposition of the plan we cannot find a similar building in Silesia, whereas the pilgrimage church in Trautmannshofen (Upper Palatinate) built in 1683-1686 reveals closer analogies. A similar architectonic system is found in the circle of Czech architecture in the Visitation of the Virgin Mary church in Hejnice (1722-1729). We also do not find the motif of double windows in the span system in the circle of Silesian architecture, but such an arrangement was popular in south Germany (e.g. the Benedictine church in Weingarten, 1715-1725). In the case of the Jesuit church in Chojnice the unknown architect created another version of a nave interior with chapel-gallery annexes and with a developed wall-pillar system; the whole was composed in the system of a two-span interior. One of the building inspectors of that church on behalf of the Jesuit order was Jan Zelner who came to Chojnice from the Poznań college. The Chojnice church, in its interior solution, is a remote architectonic import from the Czech circles and it was the Jesuits who made the decision about the import and its realization. Researchers stress the fact that the order adjusted its building foundations to the local tradition and needs as well as to the function and importance of a given centre. The area where wall-pillar churches with galleries occurred is limited mainly to the Habsburg monarchy provinces and to south Germany, that is to where there was strong rivalry between Catholics and Protestants, also in the field of architecture. In the area Jesuits propagated a defined kind of church architecture and their models from Munich, Dillingen, Prague, Olomouc and Legnica played an important role in development of baroque church architecture in Central Europe. The architectonic programme of these buildings responded to the order’s preaching needs and religious-propaganda tasks. On the basis of our findings we may state that Jesuits brought to Chojnice an architect, may be a Jesuit, just from the circle of the Catholic provinces of Germany. The innovatory architectonic programme of the church responded to the local needs, which was connected with denomination rivalry in the town itself and the Jesuits’ counter-Reformation tasks. The church fulfilled an important identification and prestige function that was transferred to the founders and the local Catholic society. The Jesuit church in Chojnice significantly influenced the development of the local architecture and its architectonic programme is repeated in the churches in Wysoka (the Wyrzysk district), Zamarte (a Bernardine one) and in Kcynia (a shod Carmelites’ one).
Źródło:
Roczniki Humanistyczne; 2002, 50, 4 Special Issue; 261-282
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wpływ rozwiązań architektonicznych i konstrukcyjnych na stan zachowania więźb dachowych w obiektach zabytkowych, na przykładzie dachu w kościele św. Doroty we Wrocławiu
Autorzy:
Engel, L. J.
Jasieńko, J.
Miśków, R.
Powiązania:
https://bibliotekanauki.pl/articles/217982.pdf
Data publikacji:
2004
Wydawca:
Stowarzyszenie Konserwatorów Zabytków
Tematy:
obiekt zabytkowy
Kościół Św. Doroty we Wrocławiu
architektura
konstrukcja
więźba dachowa
historic building
Church of the Holy Dorothy in Wroclaw
architecture
construction
rafter
Źródło:
Wiadomości Konserwatorskie; 2004, 16; 54-62
0860-2395
2544-8870
Pojawia się w:
Wiadomości Konserwatorskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wybrane realizacje sakralne architekta i budowniczego jezuickiego Jana Marii Bernardoniego działającego w Polsce w końcu XVI w. i początku XVII w.
Autorzy:
Sobol, L.
Powiązania:
https://bibliotekanauki.pl/articles/217680.pdf
Data publikacji:
2005
Wydawca:
Stowarzyszenie Konserwatorów Zabytków
Tematy:
fundacja Mikołaja Zebrzydowskiego
wspólnota oo. Bernardynów w Kalwarii Zebrzydowskiej
Sanktuarium Kalwaryjskie
Bernardoni Jan Maria
obiekt sakralny
architektura sakralna
Nicholas foundation Zebrzydowski
oo community. Bernardine in Kalwaria
sanctuary of Kalwaria
sacral
church architecture
Źródło:
Wiadomości Konserwatorskie; 2005, 18; 58-62
0860-2395
2544-8870
Pojawia się w:
Wiadomości Konserwatorskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Analiza stylistyczno-porównawcza karpackich obiektów sakralnych ze szczególnym uwzględnieniem greckokatolickiej świątyni w Łosiu
A stylistic comparison of Carpathian religious objects particularly with regard to the Greco-Catholic Church in Łosiu
Autorzy:
Wójtowicz, Bernadetta
Powiązania:
https://bibliotekanauki.pl/articles/1817963.pdf
Data publikacji:
2006-12-31
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Kościół obrządku ukraińsko-bizantyjskiego
architektura cerkiewna
krajobraz
Ukrainian Greek Catholic Church
Eastern Orthodox church architecture
landscape
Opis:
The article contains a stylistic comparison of the analysis of religious objects and their description of the landscape of the Carpathian region. 
Źródło:
Studia Ecologiae et Bioethicae; 2006, 4, 1; 91-102
1733-1218
Pojawia się w:
Studia Ecologiae et Bioethicae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
GOTYCKIE DEKORACJE MALARSKIE ELEWACJI KOŚCIOŁA PARAFIALNEGO P.W. ŚW. KATARZYNY ALEKSANDRYJSKIEJ W GOLUBIU Przyczynek do badań nad dekoracją maswerkową w architekturze Państwa Zakonnego w Prusach
GOTHIC PAINTED DECORATIONS ON THE ELEVATION OF THE CHURCH OF ST. CATHERINE OF ALEXANDRIA IN GOLUB. A Contribution to Studies about Tracery Decoration in the Architecture of the Teutonic Order State in Prussia
Autorzy:
Tuliszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/536670.pdf
Data publikacji:
2006
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
CHURCH OF ST. CATHERINE OF ALEXANDRIA (GOLUB)
GOTHIC DECORATIONS
POLYCHROME
TEUTONIC ORDER STATE
Opis:
The Gothic painted decorations of the plastered blind windows and friezes on the elevation of the parish church in Golub have been mentioned at the end of the nineteenth century by German conservators and historians of East Prussian architecture (J. Heise, A. Boetticher) in the catalogues of historical monuments written by them. Nonetheless, it was not until the research, drawings and measurements of the roof truss construction were carried out in December 2004 by the employees of ROBiDZ (Torun), that the presence of the titular painted decorations was unearthed. The discoveries were made in a rather inaccessible spot, i. e. under the roof of the chapel of the Holy Cross, covering part of the eastern axes of the northern elevation. The second stage of the measurements performed next to the bell tower disclosed remnants of identical engraved tracery decorations at the level of the fourth storey of the southern tower elevation. The excellent condition of the preserved compositions engraved on a thin layer of lime plaster made it possible to reconstruct their original form. This material, together with photographic documentation, was used for making inventory drawings based on a CAD-type programme. The documentation produced by ROBiDZ (Torun) classified four types of the originally polychromed tracery decoration. With the exception of a plastered band on the cornice, the other compositions share an identical tripartite division of the lower lancet sphere as well as a band above it, featuring a carpet pattern with a recurring four-leaf motif. Moreover, a characteristic feature of the Golub tracery is the fact that the classical three-, four- and five-leaf motifs occur next to each other, and have been executed both from petals cut out of a circle and those which are enclosed within a lancet. The presented article embarks upon an attempt at defining the provenance of the forms of the discovered compositions. A formal analysis has been unquestionably facilitated by the studies conducted by specialists as well as the conservation documentation of similar objects by, i. a. M. Poksinska and E. Pilecka. Golub, located in the territory of the Teutonic Order state, only 40 kms from Torun, must have found itself within the range of the impact exerted by this cultural centre, the second largest in Pomerania, a fact decisive for a search for analogous decorations in the buildings of Golub and its environs. We cannot exclude the probability that the described tracery should be attributed to a group of artists working not only Toruń but also in the provinces. They included representatives of various nationalities and assorted West European trends, influencing art in the region of Chełmno, Kujawy and Varmia. It must be added that the imposing number of architectural solutions and decorative motifs in the land of Chełmno makes it impossible to indicate a concrete source of inspiration for the solutions encountered in Golub. Cited analogies prove that fourteenth-century ornamental motifs were popularised in Toruń and the neighbouring regions by means of the pattern books and construction complexes which appeared in these terrains as part of a cultural exchange augmented by the intensive trade contacts maintained by the Baltic towns. The presented study does not propose an ultimate classification of all types of the tracery decorations originally executed on the elevation of the parish church in Golub. Within this context, the documented examples comprise only part of the whole repertoire of the ornamental blind windows in the church. Initial results of the examination of the chemical composition of lime mortar in the blind windows and tower cornice made it possible to identify the pigments used in the decorations, i. a. iron oxide red, ochre and plant black. The execution technology of the painted tracery could be ultimately explained after complex conservation studies. With all certainty, the tracery discovered in Golub in 2005, both engraved in plaster and painted, confirms the great popularity of this decoration technique in the state of the Teutonic Knights, used not only on sacral edifices but also on secular and town buildings. In turn, the immense variety of the types of compositions attests to the fact that the basic purpose of such ornaments was to enhance the decorativeness and prestige of the embellished objects.
Źródło:
Ochrona Zabytków; 2006, 1; 39-51
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
PROBLEMATYKA IKONOGRAFICZNA I KONSERWATORSKA DREWNIANEGO KOŚCIOŁA W BOGUSZYCACH KOŁO RAWY MAZOWIECKIEJ
THE ICONOGRAPHY AND CONSERVATION OF THE WOODEN CHURCH IN BOGUSZYCE NEAR RAWA MAZOWIECKA
Autorzy:
Lubryczyńska, Maria
Powiązania:
https://bibliotekanauki.pl/articles/535572.pdf
Data publikacji:
2006
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
POLICHROME
WOOD CONSERVATION
WOODEN ARCHITECTURE
WOODEN CHURCH IN BOGUSZYCE
Opis:
The intention of this study is to present the complex question of the painted decorations of the interior of the wooden church of St. Stanislaw the Bishop in Boguszyce near Rawa Mazowiecka. The founder of the object, built and decorated in 1558, was Wojciech Boguski of the Rawicz coat of arms, at the time the steward of the Mazovian royal estates belonging to Queen Bona. The Renaissance murals on the walls and ceiling of the discussed church are an imitation of a brick church interior with lavish architectural details, monumental murals and vast areas covered with inscriptions. The ceiling is an illusionistic image of a stucco or brick Renaissance counterpart derived from Serlian motifs. The painted ceiling decorations in the Boguszyce church demonstrate considerable formal and stylistic analogies to the solutions applied in the collegiate church in Pultusk. The Boguszyce polychromes are an outstanding and totally unique work, insufficiently recognised and deserving more extensive popularisation. Their merit is even greater considering that the authors presumably originated from a still little-recognised sixteenth-century milieu of Warsaw-based artists. At the end of the twentieth century the valuable monument was in a catastrophic condition. A leaky roof and a permanent displacement of the construction elements threatened with a collapse of the building and total damage to the paintings. Complex conservation and restoration of both the object and the celling polychrome were initiated in 1997. The work was preceded by specialist studies intent on determining the techniques of the execution of the polychrome and its state of preservation. The foremost task involved halting the damage incurred to the wooden underpainting and the painted decoration as well as the removal of secondary layers deforming the polychrome. The aim of the restoration was to recreate the lost aesthetic merits of the paintings. The causes of the damage were diagnosed, and an optimal selection of conservation methods and material was based on current knowledge.
Źródło:
Ochrona Zabytków; 2006, 3; 29-54
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nowe życie średniowiecznych kościołów z Maastricht
New life of medieval churches in Maastricht
Autorzy:
Kuśnierz-Krupa, D.
Krupa, M.
Powiązania:
https://bibliotekanauki.pl/articles/218585.pdf
Data publikacji:
2008
Wydawca:
Stowarzyszenie Konserwatorów Zabytków
Tematy:
architektura
kościół średniowieczny
Maastricht
architecture
medieval church
Opis:
W artykule poruszono problem rewaloryzacji i adaptacji do nowych funkcji zabytkowych obiekt ów sakralnych. Większość krajów Europy Zachodniej, np. Holandia, Niemcy, Francja czy Norwegia boryka się z problemem stale rosnącej liczby nieużytkowanych kaplic, kościołów i klasztorów, z których większość jest obiektami zabytkowymi o wysokich wartościach kulturowych. Szczególnie jaskrawo problem ten jawi się w Holandii, której mieszkańcy są w sporej mierze niepraktykujący, w wyniku czego w ciągu ostatnich lat wiele zabytkowych kościołów popadło w ruinę. Receptą i ratunkiem dla tego typu obiektów stały się ich adaptacje do nowych, często komercyjnych funkcji. Szczególnie interesujące wydają się być dwa projekty - adaptacji średniowiecznych kościołów w Maastricht. Pierwszy zakłada zlokalizowanie w murach XV-wiecznej, gotyckiej "świątyni funkcji hotelowej, drugi za" w średniowiecznych wnętrzach kościoła i klasztoru Dominikanów adaptuje współczesną księgarnię z kawiarnią i czytelnią.
The article discusses the issue of revalorisation and adaptation of church monuments for new functions. The majority of Western European countries such as: Holland, Germany, France or Norway have to deal with the problem of the growing number of unused chapels, churches and cloisters, the majority of which are objects representing high cultural value. The issue is particularly urgent in Holland, whose inhabitants are to a great extent nonpractising due to which many churches of historic value have fallen into disrepair in recent years. The solution, and a way to save such buildings, is adapting them to fulfil new, frequently commercial, functions. Two projects of adaptation of medieval churches in Maastricht seem to be of particular interest. The first assumes locating a hotel within the walls of the 15th- century Gothic church, while the other adapts the medieval interiors of a Dominican church and monastery to the function of a modern bookshop with a coffee bar and a reading room.
Źródło:
Wiadomości Konserwatorskie; 2008, 24; 103-106
0860-2395
2544-8870
Pojawia się w:
Wiadomości Konserwatorskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The architectural traces of christianisation on Silesia in IX-X c.
Autorzy:
Małachowicz, Edmund
Powiązania:
https://bibliotekanauki.pl/articles/704434.pdf
Data publikacji:
2008
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
architecture
church
christianisation
Silesia
Opis:
The discovery of older buildings relics under Wrocław Cathedral in 1997 and 1998, initiated investigations of early mediaeval architecture in Silesia, which took place until the year 2007. As a result not only the processes of development of main strongholds – Niemcza and Wrocław – were examined but also the remains of hitherto unknown sanctuaries were discovered – stone churches in Niemcza and Gilów (late 9th c.), in Wrocław (early 10th c.) and on the hill of Gromnik (c. mid. – 10th c.). Three of them are similar to Moravian churches, hall like with a choir annex, and the fourth is a gable roof rotunda. Most likely these were sanctuaries of oldest slavonic rites (of Cyrillic-Methodian type). One of them, in Wrocław was rebuilt and enlarged to the cross scheme like the church in Libica (Czech) about 965 and changed into the Latin one. In this church the mission bishopric for christianisation of Silesia and south part of Poland was organised. Later, in 1000 the church became the first cathedral of Wrocław bishopric, in the new created Polish Church – Metropolis. Many discoveries were made by use of georadar.
Źródło:
Nauka; 2008, 3
1231-8515
Pojawia się w:
Nauka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wokół Forum
Around Forum
Autorzy:
Bieńkowska, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/1535382.pdf
Data publikacji:
2009-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Christian church
architecture
city of Rome
old town
diary
guide book
essay
Opis:
The essay is excerpted from a chapter of a book that is currently being written by the author. The working title of the book is Spacery po kościołach rzymskich [Walks through historical churches and temples of Rome] (Wydawnictwo Zeszytów Literackich). The present essay aims at discussing the specific character of the Christian church architecture of the city of Rome that constitutes nodes of a network that has been developing throughout one and a half millennia. Each of the chapters of the book is centered around a particular walk of the town that includes on its way the described churches. The walks cover virtually the whole of the old town and some of the adjacent palaces. The adopted method of presentation is purely personal and has a character of a “Roman diary” — to some extent, the author has been inspired by Promenades das Rome by Stendhal. The diary is, however, a particular guide book on the town for those who want to experience something else that the offer presented by standard guidebooks. Notwithstanding it subjective angle, the book does not interfere in passing the essential historical and artistic knowledge to the reader. Rome appears here to be a singular place, as a personification of one of the most important stages of Western civilization.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2009, 16; 111-121
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kościół w Prószkowie na Opolszczyźnie jako przykład powtarzalnych wyzwań przy ratowaniu historycznych obiektów budownictwa sakralnego - badania, wytyczne konstrukcyjno-konserwatorskie
The church in Prószkow in the Opole region as an example of repetitive challenges while saving historical church objects - research, construction and conservation guidelines
Autorzy:
Bajno, D.
Bednarz, Ł.
Powiązania:
https://bibliotekanauki.pl/articles/217524.pdf
Data publikacji:
2010
Wydawca:
Stowarzyszenie Konserwatorów Zabytków
Tematy:
architektura sakralna
obiekt sakralny
kościół pw. św. Jerzego w Prószkowie
church object
church architecture
church of St. George in Proszkow
Opis:
Wiele zabytkowych budynków sakralnych oraz świeckich boryka się z trudnościami, wśród których dominują problemy związane z utrzymaniem ich, nie tylko jako zabytków, ale przede wszystkim jako nadal w pełni funkcjonalnych i eksploatowanych obiektów. Praca opisuje wyzwania, przed jakimi stają użytkownicy tego typu obiektów. Przedstawiono zakres i rodzaj prac proponowanych do wykonania w zabytkowym kościele pw. św. Jerzego w Prószkowie na Opolszczyźnie.
Many historical church and lay buildings encounter difficulties among which problems connected with their maintenance, not only as historical buildings but primarily as still fully functional and utilized objects, are predominant. This work describes the challenges faced by the users of this type of buildings. It also presents the range and kinds of work proposed to be carried out in the historical church of St. George in Prószkow in the Opole region.
Źródło:
Wiadomości Konserwatorskie; 2010, 28; 49-60
0860-2395
2544-8870
Pojawia się w:
Wiadomości Konserwatorskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Poreformacki kościół pw. św. Michała Archanioła w Choczu.Dzieje, architektura i organizacja przestrzeni sakralnej, problematyka konserwatorska
The Former Reformed Franciscan Church of St. Michael the Archangel in Chocz. History, Architecture and Organization of Sacral Space - Restoration Issues
Autorzy:
Dąbkowska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/1040363.pdf
Data publikacji:
2010-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Chocz
Reformed Franciscans
bishop Andrzej Lipski
sacral architecture of the 17th and 18th centuries
wall-pillar architecture
Opis:
The Order of Reformed Franciscans, a conservative and strict branch of Franciscans, flourished in Poland mainly on the territory of Wielkopolska and Małopolska. The convent in Chocz was chronologically the third foundation in the Wielkopolska custody. Its founder was bishop Andrzej Lipski, who in order to strengthen Catholicism not only brought the Reformed Franciscans to the place but also built a collegiate church, thereby creating a complex of religious institutions in one part of the  town.In the years 1636-1639 there was a conflict between the Reformed Franciscans and the Bernardines. As a result the former were made to leave Chocz for a time. Upon return they began the construction of a new, brick church and convent (1699-1725 r.) It is worth noting that among others, Brother Mateusz Osiecki participated in the realization of the convent buildings. The church was erected in the recessed variant of the wall-pillar system and shows affinity to the Reformed Franciscan Church in Kalisz. Moreover, it is an important example of the sacral buildings of the Wielkopolska province of Reformed Franciscans. The convent was secularized in 1864 by decree of emperor Alexander II. The monks regained their right of ownership only in 1920. First, the convent buildings were used by the Order of Sisters the Shepherdesses of Divine Providence, and only later again by the Franciscans. At present the whole complex is under major restoration works.
Źródło:
Ecclesia. Studia z Dziejów Wielkopolski; 2010, 5; 53-65
1731-0679
Pojawia się w:
Ecclesia. Studia z Dziejów Wielkopolski
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 183

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