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1
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Z dziejów zjazdów konserwatorskich w Polsce. W stulecie I Zjazdu Miłośników Zabytków Ojczystych

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Dettloff P.
Ochrona Zabytków
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2010
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issue 1-4
279-287
EN
Modern restoration views in Europe on the turn of 19th and 20th century were to a significant degree shaped by meetings of specialists: summits, congresses, and conferences. Similarly as in other fields, until the end of 19th century they became a method of determination of uniform standards of conduct. First most important meetings in the Polish lands included: 1st Restoration Conference in Warsaw in 1909, and in particular 1st Summit of Homeland Monuments Lovers in Cracow 3–4.07.1911. Both conferences were of all-Polish character, and their aim was to consolidate restorer environments and determine uniform principles of conduct with monuments, on the model of other European countries. After Poland regained independence in 1918, state restoration authorities were established, and also the Restorers Council was appointed. The latter played an important role in shaping opinions and developing restoration methods in the interwar period. It was the most important discussion forum in Poland concerning preservation and restoration of monuments. The model for it was provided by German Monuments Protection Days, which have been organised nearly every year since the beginning of 20th century in the form of conferences and “working meetings”. The Council, which usually convened once a year, each time in another town and region of Poland, expressed its collegial opinions on current matters and difficult restoration issues. In the times of the so-called People’s Poland, irregular, but over time more and more numerous conferences were organised, including conferences of “all-Polish” status, and other, local symposiums, sessions, seminars, workshops, etc. All-Polish restorers’ conferences have dealt with current issues and were very alike the interwar Summits of Restorers Council. Presently, as of political transformations on the turn of 1980s and 1990s, this practice is being successfully continued. Diverse subject matters of symposiums, conferences, and summits gather both scientists of various fields related with monuments protection, as well as representatives of restoration authorities. The custom of organising substantive meetings of restorer environment in Poland, similarly as in the Western Europe, is a continuation of an already proven way chosen more than hundred years ago.
2
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Tak zwany Zajazd Kościuszkowski w Krakowie. Burzliwe dzieje jednego zabytku

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Dettloff P.
Ochrona Zabytków
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2013
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issue 1-4
5-22
EN
The theme of this article is the history of the inn known as the Kosciuszko Inn - the former country inn now located within the boundaries of Krakow. Built in 1752, it used to belong to the historical complex of Krakow bishops’ mansion buildings in Bialy Pradnik. Together with the opposite building, it is one of the few remaining elements of the impressive Late Baroque mansion project. The building survived until the 20th century without any major alterations, preserving its 18th-century-style architectural shape. After World War II, its fate was typical of historical sites in the People’s Republic of Poland. Confiscated from private owners, it was used for residential purposes and gradually fell into decline. The building’s condition temporarily improved after the major restoration that took place between 1951 and 1953. Some of the elements and details of the original style, lost over the centuries, were restored. Since 1970s, it had been planned to once again overhaul the building and adapt it to new functions, but the plans never materialised. In 2000, the vacated and devastated building burnt down. Before the fire, the building’s new owner had obtained approval for the concept of the overhaul and adaptation, but he failed to take any further actions. Neither did he comply with the order to secure the building after the fire. Given the situation, at the initiative of the Historic Preservation Unit of the Krakow City Office, the site was expropriated by the gmina. The legal basis for administrative actions was Article 37.1 of the Cultural Heritage Protection Act of 15 February 1962. Expropriation by the gmina enabled reconstruction of the destroyed historical building in 2006. Unfortunately, due to the high degree of destruction of the stone walls, it was decided to dismantle them almost entirely and reconstruct using new materials (only the middle part of the front wall was left). The site, even though devoid of most of its original substance, was restored to the landscape and, what is important, still plays the role of a vital component of the historical complex of palace buildings. The exterior architectural shape and details were reconstructed to resemble those of the original 18th century building. Inside, a part of the former layout was preserved, while the rest of the building was adapted to suit the new functions. Currently, the building is used by the District Cultural Centre.
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Gmach Komisji Obwodowej w Olkuszu. Przykład powstawania i funkcjonowania gmachów rządowych w Królestwie Kongresowym

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Dettloff P.
Kwartalnik Historii Kultury Materialnej
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2012
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vol. 60
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issue 1
55-72
EN
The building of the District Committee in Olkusz, erected in 1827-28, provides important historical evidence, being also a valuable piece of architectural heritage. As a seat of government offices, functioning uninterruptedly since its erection to the 1990s, it is a testimony to the political and economic changes in the history of the town, region and state. First of all, it is connected with the important period of change after 1815, when the devastated town gained new opportunities to develop, as did other towns of the Kingdom of Poland (called the Congress Kingdom). The building is classicist, perfectly representing the style dominant in the Congress Kingdom. The best known illustrations of Congress Kingdom classicism are located in Warsaw and central Poland, therefore the Olkusz edifice is a rare token of this style in Little Poland, as well as an example of public buildings from the 1820s testifying to the high quality of architectural, administrative and economic undertakings in the Kingdom. The documents concerning the financial problems connected with its construction provide a good illustration of state building investment in the Kingdom and its being influenced by the need to economize. The exterior of the edifice has remained in its original shape, and the interior has only been slightly changes since the 2nd quarter of the 19th c. The classicist body of the building with its stylish, stately facade, is an important and consciously composed element of the market square. Due to its location, it has played a vital role in the layout of the historic town of Olkusz until today. It should be stressed that it is counted among the oldest surviving buildings in Olkusz, together with the parish church and a few burgher houses. The building has also many original stylish and valuable interior decorations. Relics under the edifice include fragments of mediaeval stone cellars and interesting remains of the royal mint, which functioned here in 1578-1601.
4
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„Obraz srebrny” z kościoła kanoników regularnych w Mstowie

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Dettloff P.
Biuletyn Historii Sztuki
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2019
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vol. 81
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issue 4
559-581
EN
The silver robe covering the miraculous painting of Our Lady of Mstów in the church of the Canons Regular in Mstów (at present currently Wancerzów) near Częstochowa is discussed. The oldest written record referring to this artifact dates back to 1704, defining it as a ‘silver painting’. Actually, the silver appliqué design on the miraculous effigy covers almost the whole of its surface (except for the faces), while the shape of the cover resembles the representation underneath. The robe was made of silver, partially gilded embossed sheet, engraved in parts. The upper part of figural elements are almost solid realistically rendered, made as a cast. An interesting and precious piece of goldsmithery, encompassed within the tradition of adorning miraculous images with metal applications, it ranks among the robes put upon sacral pictures so numerous in the Polish-Lithuanian Commonwealth, representing, however, its less typical variety. Covering the whole of the painting showing Our Lady, it is actually bigger (48 x 38 cm) than the small picture itself (25 x 30 cm). The silver sheet, namely the application with a full-bodied presentation of the figure, has practically taken over the role of the original. In this way, it has become its visual transformation and a ‘new picture’. This is the version the faithful have seen until today. Furthermore, the dependence of the depictions on the robe on the print popularizing the miraculous effigy of Our Lady of Częstochowa is interesting. Neither the circumstances nor the exact date of the piece’s foundation are known. However, based on the above analysis, it can be assumed that the dress was executed in the last decade of the 17th century or in the early 18th century, most likely before 1704. What strikes in the work is a genuine design composition and ‘compiled’ ornamental decoration, as well as high quality of craftsmanship. Among the applied ornaments, acanthus and auricular motifs, the latter resembling schweifwerk ornament, can be found. Although stylistically retarded, the Mstów robe remains a precious work of artistic craftsmanship; an anonymous piece produced possibly by a Częstochowa workshop; it demonstrated its high technical and artistic capacity. An important set, integrally connected with the discussed artifact, can be seen in the 17th-century pieces of jewellery adorning the silver sheet of the robe.
PL
Tematem artykułu jest srebrna sukienka nałożona na cudowny obraz Matki Boskiej Mstowskiej w kościele kanoników regularnych w Mstowie (ob. Wancerzowie) koło Częstochowy. Najstarszy przekaz pisany odnoszący się do tego artefaktu, pochodzący z 1704 r., określa go jako „obraz srebrny”. W istocie srebrna aplikacja na cudownym wizerunku zakrywa niemal całą jego powierzchnię (z wyjątkiem twarzy), a sposób uformowania okrywy przypomina wizerunek znajdujący się pod spodem. Sukienkę sporządzono ze srebrnej i częściowo złoconej blachy repusowanej, miejscami rytowanej. Elementy figuralne w górnej części są niemal pełnoplastyczne i wykonane w technice odlewu. Jest to interesujące i cenne dzieło sztuki złotniczej, wpisujące się w tradycję zdobienia cudownych wizerunków metalowymi aplikacjami. Należy do bardzo licznie występujących na terenie Rzeczypospolitej sukienek nakładanych na obrazy sakralne. Prezentuje jednak mniej typową odmianę. Zakrywa niemal w całości rycinę z wyobrażeniem Bogarodzicy. Ma przy tym rozmiary (48×38 cm) wykraczające poza niewielkie rozmiary samego obrazu (25×30 cm). Ta srebrna blacha – aplikacja z plastycznym przedstawieniem postaci przejęła w praktyce rolę oryginału. Stała się bowiem jego wizualnym przetworzeniem i niejako „nowym obrazem”. W tej właśnie postaci widoczna jest do dziś dla wiernych. Interesująca jest także zależność przedstawień na sukience z odbitką graficzną popularyzującą cudowny wizerunek Matki Boskiej Częstochowskiej. Okoliczności fundacji i dokładna data powstania dzieła pozostają nieznane. Na podstawie przedstawionej powyżej analizy możemy jednak zakładać, że sukienkę wykonano w ostatnim dziesięcioleciu XVII w. lub na początku następnego stulecia, zapewne przed rokiem 1704. Dzieło zwraca uwagę oryginalnie zaprojektowaną kompozycją i „kompilowaną” dekoracją ornamentalną, a także dobrym poziomem wykonania. Wśród użytych ornamentów znajdują się motywy akantowe oraz małżowinowe, przypominające miejscami formy schweifwerkowe. Choć pod względem stylowym pozostaje dość zapóźniona, mstowska sukienka jest jednak bardzo cennym dziełem rzemiosła artystycznego – tworem anonimowego, zapewne częstochowskiego warsztatu, dowodzącym jego technicznych i artystycznych możliwości. Ważnym zespołem, integralnie związanym z omawianym zabytkiem są XVII-wieczne elementy biżuterii zdobiące srebrną blachę sukienki.
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