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1

[W 1948 r. ukazał się...]

100%

Krzyżanowski L.

Ochrona Zabytków

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1978

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issue 1

3-4

2

Prace rewaloryzacyjne w klasztorze i nowe wyposażenie wnętrza kościoła św. Józefa karmelitów bosych w Poznaniu w latach 1984–1990

87%

Wanat B. J.

Folia Historica Cracoviensia

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2011

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vol. 17

EN

The Discalced Camaldolese arrived in Poznań in 1618. In a garden purchased from Elżbieta Michanówna they built the original wooden monastery dedicated to St Joseph. In 1635–1687, on the land of the manor bequeathed by Barbara Orzelska, the Camaldolese built a stone monastery and St Joseph's Church. Among the architects and builders of St Joseph's Church were: Giovanni Catenaci, Krzysztof Bonadura the Older and Krzysztof Bonadura the Younger. After the Second World War, the Discalced Camaldolese regained their property in a state of ruin. It took many years to reconstruct and renovate the heritage site. The present furnishings of the Church were made in the years 1985–1990.

IT

Il convento e la chiesa dei carmelitani scalzi a Poznań costruita nel 1618 è primo e il più antico tempio in Polonia dedicato a San Giuseppe. La chiesa è barocca, progettata dagli architetti Giorgio Catenacci e Cristoforo Bonadura. Nell’altare principale si trovava un tempo l’immagine di San Giuseppe. Nel convento ci fu la facoltà di teologia per i seminaristi. Il 5 luglio 1801 per ordine del re prussiano Federico Guglielmo il convento venne trasformato in una caserma. A partire dal 1831 venne trasformato in un tempio evangelico di guarnigione; ciò provocò il cambiamento dell’arredamento. A partire dal 1919, qundo Polonia riacquistò la sua indipendenza dopo le spartizioni, fu trasformato in una chiesa cattolica per i militari. Subito dopo la seconda guerra mondiale nel 1945, l’edifiio, in stato deplorevole, venne restituito ai carmelitani. La ricostruzione durò molti anni. L’odierno arredamento del tempio fu fatto negli anni 1983-1990. Il 19 marzo 2010 l’arcivescovo di Poznań, Stanisław Gądecki proclamò la chiesa il Santuario di San Giuseppe per la diocesi di Poznań.

PL

Karmelici bosi przybyli do Poznania w 1618 roku. W ogrodzie nabytym od Elżbiety Michanówny zbudowali – początkowo drewniany – klasztor pod wezwaniem św. Józefa. W latach 1635–1687, na gruncie zapisanego im dworu przez Barbarę Orzelską, wybudowali murowany barokowy klasztor i kościół św. Józefa3. Architektami i budowniczymi kościoła św. Józefa byli: Jerzy Catenaci oraz Krzysztof Bonadura starszy i Krzysztof Bonadura młodszy. Karmelici bosi po II wojnie światowej odzyskali swoją własność w stanie ruiny. Odbudowa i rewaloryzacja zabytku sztuki trwała wiele lat. Obecne wyposażenie kościoła wykonane zostało w latach 1985–1990.

3

Wartość autentyzmu w zabytkach

75%

Czerner O.

Ochrona Zabytków

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1974

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issue 3

180-183

EN

The recent dozen or so years have seen in Polish community the loss of feeling of the value of authenticity in historical monuments. More and more supported and promoted is being the creation of illusions and at the same time apologized the indifference toward the need to preserve the authentic objects or even non-interventionism. To meet the natural needs of people to keep in touch with witnesses of the past is proposed the contact with the objects rebuilt. To determine the interrelation between the architectural object and the authenticity the author has subsequently carried out a partial analysis of material, the authenticity of technological and construction methods used in the process of creation, the authenticity of function as well as that of form, the authenticity of effect and associations. While concluding his considerations the author stated that the authenticity by itself represents some value determined by existence of an abject to whom it is ascribed and thus may be regarded as a positive value giving to the object some definite dignity. On the other hand, the authenticity ceases to exist at the moment at Which the existence of the object itself ceased. The authenticity is to be considered, therefore, as an summarized value consisting of the aforementioned partial authenticities. At the same time, however, it is the object’s supreme value having its effect on iboth existence and the amount of its other values. From the essence of an architectural object regarded as some kind of work of art it follows that it is not free from some ineficiencies in its definition which require that a range of definitions be added by an individual looking at it. However, the appropriate concretization of that additional definition may take place on an authentic object only and not on that falsified.

4

Reconstruction and restoration of the architecture and furnishings of the Monastery of Discalced Carmelites in Poznań in the years 1945–1990

63%

Wanat B. J.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2012

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vol. 5

136-153

EN

The convent and church of the Discalced Carmelites in Poznań is the first and oldest temple in Poland which was dedicated to St Joseph (1618). The church erected in the Baroque style was designed by architects Jerzy Catenaci and Krzysztof Bonadura. The latter prepared the construction plans of the convent building taking into consideration the detailed building regulations of the Order, and they also supervised the construction of the temple. On the basis of the decision of the Prussian king Fredrick Wilhelm of 5 July 1801, the convent went into liquidation and its buildings were handed over to the jurisdiction of the Prussian army. Since 1831, the church fulfilled the function of an Evangelical garrison temple (new furnishings and interior decoration of the interior after the renovation). In the year 1919 the church became a garrison temple of the Polish army. The Carmelites recovered their property in 1945 in a state of complete ruin. The reconstruction and restoration of the monument (which also comprised its interior decoration) lasted many years. It was conducted under the supervision of city conservator in accordance with the plans approved by architect Aleksander Holas (church façade), architect Franciszek Morawski (convent) and architect engineer Józef Dutkiewicz from Cracow (church and refectory interior). The reconstruction and restoration tasks have been discussed in detail in the above article.

5

Ochrona i konserwacja zabytków ruchomych w dawnym województwie krakowskim w latach 1945-1975

51%

Kornecki M.

Ochrona Zabytków

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1989

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issue 2

107-128

EN

The subject of this article is a synthetic presentation of the conservation undertakings towards the protection and conservation of paintings, sculptures and artisan works of historical value in the region of the former Cracow voivodeship in the years 1 9 45-19 75. As of June 1, 1975, as part of the government's administrative reforms, the previously existing Cracow voivodeship was dissolved and its territory was divided between 5 newly formed administrative bodies. Apart from a general summing up of the 30-year long activity in the discussed issues on the territory referred to, there was also the great conservation exhibition that took place in Cracow in 1976. It was initiated primarily by the Cracow conservation circles which consisted largely of people who had been educated here, these being mostly graduates of the Department of Art Conservation at the Academy of Fine Arts in Cracow. This article is a slightly updated version of the report delivered at the symposium accompanying the opening of the exhibition. The material presented at the symposium has never been published. The account chiefly refers to the activity conducted and supervised by the conservation office of the former voivodeship and this is its point of view. In retrospect, there is a distinctly clear development of post-war conservation tendencies in the Cracow circles, as well as a crystalization of directions of activities initiated by the conservation authorities, adapted to the changing conditions and possibilitues. The account is inevitably a much abridged one. but it does make an attempt to mirror the efforts, achievements, sometimes even failures in the conservation of cultural property. First, it must be said that the conservation service, established directly after the end of the war, had to begin its work nearly from nothing. There were not enough skilled people, there was not a good enough orientation of the extent of required work, and a lack of the elementary materials and means necessary for work. The initial phase (until 1951) is closely associated with the person of Prof. Jozef Edward Dutkiewicz, conservator of the voivodeship, later one of the founders of the Studio, then Department of Conservation at the Academy of Fine Arts in Cracow. The following animator of the majority of initiatives undertaken was Hanna Pieńkowska, the tireless conservator who enjoys great authority. Also, from 1951 the executors of the conservation work included the professional people associated in the State Ateliers for the Conservation of Cultural Property. The oldest workshop for art conservation in Poland, established in the same year, can boast of great achievements. In recent years, the State Ateliers for the Conservation of Cultural Poperty were strongly supported by individual conservators as well, who came first of all from the graduates of the Cracow Academy. The earliest period was marked by unrest. In the southern corners of the Carpathian mountains, in spite of the fighting still going on, measures were taken to temporarily protect cultural property in areas most severely affected by damages. During this time Mme Pieńkowska saved dozens of Orthodox Church monuments by organizing the beginnings of the collection that was to become the Nowy Sącz Museum collection later on. In Cracow, conservation work was commenced on the famous St Mary's Altar by Wit Stwosz (headed by Prof. M. Słonecki), which had been recovered following its removal by the Nazis. This period was also marked by a series of undertakings to protect valuable objects after damages and neglect that the war and German occupation had brought. At the same time, during the first joost-war years, a general inventory was made of cultural property in the area, undertaken by the Cracow scientific circles. The result of this was the first catalogue of monuments of art for the Cracow voivodeship, published in 1953 (ed. by Prof. J . Szabłowski) The publication contained basic information concerning cultural property, significant for the shaping of the appropriate conservation policy. The next period was a „time of discoveries", which today's state of inventory includes (as does the already mentioned catalogue). First there was the discovery of the oldest easel painting work of historical value — a fragment of the Romanesque front in Dębno, in the Podhale region. Other important findings include numerous wall paintings, primarily in churches. It must be said here that findings of this type, encompassing hitherto unknown works from the 13th to the 18th centuries (by the mid 1960's there were several dozens of items) shed new light on the art history of Cracow and the region. Much of the conservation work, particularly in the sacral objects, was financed by those who utilized the specific objects. However, state allotments, which were distributed by the conservation authorities, were also considerable and showed a rising tendency. Naturally, the conservation credit was generally directed to the most valuable objects that required particularly complicated and accurate work. Therefore, during the entire period under discussion, the number of undertakings financed was between 12 and 24 in the individual years. In the 1960’s significant progress was made in the methods and techniques of conservation work, which was connected with increased interest and the European progress of science. The association between the conservation service and the Academy of Fine Arts assured that the right measures of a high standard were being taken. During this time the first transfers of paintings were made, experimental arrangements were used, new chemical substances were applied etc. Later, apart from the necessary temporary measures, the co n servation office undertook „planned" measures, which were given specific directions. These included: — the already-mentioned work connected with the findings and conservation of wall paintings, — the implementation of a long-range plan for conservation of medieval paintings and sculpture, these being the oldest and in general representing a high artistic standard, — the series of studies and conservation work on Romanesque objects, which was connected with the scientific-investigative program on the breginnings of the Polish State for the Millennium falling on the year 1966. In later years, complex measures were undertaken, which included actions of many specializations, such as complete decoration of interiors. This included work on the decoration of the churches in Dębno, Frydman, Osiek, the Orthodox Church in Powroźnik, the monastries in Imbramowice, Stary Sącz and others. Finally, there was the interesting task of conservation of the monumental organ, an unprecedented undertaking in co nservation efforts at that time. The first professional conservation laboratory for musical instruments of historical value was established in the Cracow branch of the State Ateliers for the Conservation of Cultural Property. In 1968, the Team for Documentation of Historical Monuments was established within the conservation office. On its behalf extensive work was carried out on a new inventory on the conservation of movable objects of historical value, according to the methodology prepared in previous years, by the Historical Property Documentation Centre in Warsaw. By 1975 the Cracow team made out 15,764 scientific inventory cards, which were estimated to include ab. 75% of the resources. In the course of work a series of important scientific discoveries were made. During the period under discussion there were also losses. These were particularly severe in the case of fires, which destroyed a number of wooden churches of historical value, usually along with their entire furnishings. The destruction of objects of historical value due to glaring negligence or ill will were rather sporadic. Many objects fell victim to theft; not all historical monuments lost in this way have been successfully reclaimed. In the end, it must be said that a summing up of the 30-year period of conservation activity in the former Cracow voivodeship produces a colourful picture of the efforts, achievements and scientific findings. Saving art treasures is the achievement above all of those who worked on this, devoting their enthusiasm, knowledge, skills and noble efforts. It is to them in the first place that the discussion of this article is dedicated.

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3 Ochrona Zabytków

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1 Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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1 Kornecki M.

1 Krzyżanowski L.

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[W 1948 r. ukazał się...]

Prace rewaloryzacyjne w klasztorze i nowe wyposażenie wnętrza kościoła św. Józefa karmelitów bosych w Poznaniu w latach 1984–1990

Wartość autentyzmu w zabytkach

Reconstruction and restoration of the architecture and furnishings of the Monastery of Discalced Carmelites in Poznań in the years 1945–1990

Ochrona i konserwacja zabytków ruchomych w dawnym województwie krakowskim w latach 1945-1975