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1

SILVER GARMENT OF THE MADONNA AT LUBORZYCA - AN ARTWORK BY KRAKOW GOLDSMITH JAN MLODZIANOWSKI

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Maczynski R.
Barok. Historia - Literatura - Sztuka (Baroque. History - Literature - Art)
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2007
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vol. 14
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issue 2(28)
75-100
EN
In the parish church at Luborzyca, at the northern side altar there is a picture of Heavenly Mother with Child Jesus, adorned with silver ornaments. This monument - one of many examples of the Marian cult in the Old Poland - is still attractive both as painting subject and goldsmith's work. The latter is documented - which is extremely rare - by a preserved text of the commissioning contract found in the collection of the Jagiellonian University Archives. The picture itself, associated with the activity of the Holy Rosary Fraternity probably founded in 1619, belongs to the representations referring to the picture 'Salus Populi Romani' from the Basilica di Santa Maria Maggiore in Rome, called also Our Lady of the Snows or of the Rosary and Our Lady Victorious. The silver garments of the Heavenly Mother of the Rosary from the church at Luborzyca, being a good example of the passion for adorning pictures and decorating them with votive offerings such characteristic of Baroque Poland, are exceptional for the goldsmithery of Krakow in the second half of the 17th century. Not only they represent a high artistic value, but also are dated with great precision and their author, both of the design and of actual work, is known from a direct source - it was a goldsmith from Krakow, Jan Mlodzianowski Junior. The text of the commissioning contract published in an appendix allowed us to indicate his first, certain work still preserved and supplement his biography with new information, among other things, to extend his professional activity till 1682, which brings us nearer to determining the date of his death.
2

ON HOW HUGO KOLLATAJ COMMISSIONED MASTER TOBIAS HOFFSTAEDTER TO MAKE A MONSTRANCE FOR KRZYZANOWICE

100%
Maczynski R.
Kwartalnik Historii Kultury Materialnej
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2006
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vol. 54
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issue 1
35-60
EN
It is a rare case in Poland, so often devastated and plundered, to find a work of art surviving in its original shape, and coupled with a contract commissioning an artist to produce it. This is the case of a classicistic monstrance, funded by Hugo Kollataj, a Cracow canon and an outstanding philosopher, writer and politician of the Enlightenment Age, for the church in Krzyzanowice near Pinczów, where it survived until today. The recently-found contract not only indicates the date (1787) and the maker (Tobias Hoffstaedter), but also reveals that the monstrance was to be ready in one and a half months, and a delay was to induce a contractual fine. Its cost (together with a protective case) was 890 Polish zloties (excluding the value of precious stones supplied by the customer). The contract was supplemented with a drawing that showed its size and shape and the material was clearly specified as 'copper, generously gilded on all sides'. Hoffstaedter fulfilled all the conditions of the contract and executed the commission excellently. The information on the craftsman is scarce. His home town was Graz in Austria. Since 1777 he was a citizen of Warsaw. He was a brass-smith, not a goldsmith, as his profession was named in the contract, and he was one of the founders of the Warsaw guild of brass-smiths. By accepting the commission from Kollataj, Hoffstaedter exceeded his authorisation, as such contracts were reserved for goldsmiths. The unquestionable identification of Tobias Hoffstaedter as the maker of the monstrance from Krzyzanowice has helped to pinpoint some of his other works. In Krzyzanowice there is a magnificent ciborium, produced by the same craftsman. Another radial monstrance by Hoffstaedter has survived in Sieciechów. In Zaborów there is an almost exact copy of the monstrance from Krzyzanowice, probably commissioned in 1791 by Karolina and Placyd Izbinski. The above-mentioned examples are probably not all the surviving works of Tobias Hoffstaedter. Further research will certainly extend his oeuvre, especially that copper or brass artefacts, less valuable than golden and silver ones, had more chance of escaping confiscation or theft. (12 figures)
3
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ARCHITECT OF THE COMMITTEE FOR NATIONAL EDUCATION. SUPERVISION OF SCHOOL BUILDINGS IN THE YEARS 1777-1793

100%
Maczynski R.
Analecta. Studia i Materiały z Dziejów Nauki
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2006
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vol. 15
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issue 1-2(29-30)
7-88
EN
The paper discusses issues connected with the office of the architect of the Committee for National Education (KEN), focusing on the functioning, objectives and actual projects overseen by the office. The topics have not yet been subject to research, and so the study is based exclusively on source materials. It uses both published documents, but also makes recourse to a wide-ranging library search made at the Central Archives of Historical Records (AGAD) in Warsaw and the Archives of the Jagiellonian University in Kraków. The study has also relied on a compilation and analysis of all the preserved iconographic documentation, consisting of photographs of pictures in a portfolio of post-Jesuit constructions, which was destroyed in 1944. The need to establish the office of architect of KEN stemmed from the fact the Committee was responsible for all kinds of construction work in buildings of the schools in its charge; it also formed part of the wider context, with a state construction service beginning to be organized in the second half of the 18th century. The first and only person to hold the office, for a tenure of sixteen years, was Stanislaw Zawadzki. Educated in Rome, Zawadzki was a laureate of the Clementine Competition and a member of the Academy of St. Luke, and had designed many military, residential and church buildings in the Classicist style. His stint at the post of architect of KEN can be divided into three distinct periods: 1777-1780, which was a period of stock-taking of post-Jesuit property taken over by KEN; 1781-1787, when KEN was responsible for planning and supervision of work to adapt and repair buildings of tertiary schools; 1788-1793 - when KEN had to curtail its activities for political and economic reasons. Most extensive among the projects for which the architect of KEN was responsible were the reconstruction schemes for school buildings at Plock, Luck and Lublin. Other projects - notably those at Kalisz, Leczyca and Sandomierz, as well as in Warsaw and Poznan - were limited to minor adaptations, repairs or alterations. All of the modernization schemes were utilatarian in character, but they provided a good testimony of the ingenuity of their designer. Unfortunately, Zawadzki could not fully display his talent and architectural knowledge within the scope of work commissioned by KEN. This was due to two factors: on the one hand, KEN constantly lacked the necessary resources and had to follow a rigorous austerity programme, and on the other, the system KEN had created was inefficient - one architect was in no position to supervise work conducted simultaneously in a number of cities and towns spread far and wide around the country, with not enough middle-level technical staff to be relied on for that purpose.
4
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Fine-arts education in the Piarist schools of Warsaw (1740-1833)

100%
Maczynski R.
Analecta. Studia i Materiały z Dziejów Nauki
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2004
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vol. 13
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issue 1-2(25-26)
25-65
EN
The topic of fine-arts education in the Piarist schools of Warsaw from 1740 until 1833 (Collegium Nobilium, Collegium Regium) has not yet been subject to adequate analysis. While the Piarist schools did not aim at training artists, the classes in fine arts conducted there had a major impact on the history of art in Poland. The view prevalent at the time saw drawing as the basis of all artistic education. Pupils in the Piarist schools would be introduced into the art of drawing stage by stage, in line with the recommendations of the textbook by Johann Daniel Preissler. Beside learning to 'draw forms, or figures and perspective', i.e. artistic drawing, pupils also learnt technical and cartographic drawing. They also gained a substantial amount of 'knowledge about art'. On one hand, this involved such general concepts as 'taste' or 'style', and on the other, quite specific information on the history of the fine arts: sculpture, painting, and - above all - architecture, which was based on treatises by Vitruvius and Vignola. The Piarist schools also had a wide range of classes that could be termed 'auxiliary' with regard to the practical classes of drawing and the theoretical classes in the history of art (e.g. the study of the nature of light, shade and colour.) The education was facilitated by the rich collections of the Piarist libraries, as well as by excursions to the newly opened museum of art at Wilanów. Among the teachers of 'drawing' there were monks, e.g. Marcin Eysymont, trained in Rome and Paris, author of a treatise on architecture, as well as, more importantly, lay teachers, including some artists from abroad (Johann Zacharias Frey from Austria, or Joseph Richter from Saxony), but mainly from Poland (among them Józef Caczkowski, Marcin Janiszewski, Aleksander Majerski, Kazimierz Okulicki, Józef Paszkiewicz, Jan Sikorski and Maciej Topolski). Irrespective of how we assess their artistic achievements, their professional qualifications were more than sufficient to train the youth in drawing at an elemenatry level. The preserved examples of drawings corroborate the fact that their pupils not only mastered the art of drawing, but were quite ready to make use of it in their adult life. Thus the actual effect of the Piarist schools' education in fine arts is to be seen in the large numbers of art connoisseurs and art lovers.Most of the graduates of the Piarist Collegium Nobilium later became avid art collectors (e.g. Marian Hutten Czapski, Ignacy Miaczynski, Józef Antoni Plater, or Franciszek Ksawery Puslowski), and prime among them were creators of the first publicly available art collections in Poland: Stanislaw Kostka Potocki, who established the museum at Wilanów in 1805, and Józef Kajetan Ossolinski, who launched the art gallery in Warsaw in 1814.
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