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Dzieje klasztoru Karmelitów bosych w Nowym Wiśniczu w latach 1630–2009

100%

Gogola Z.

Folia Historica Cracoviensia

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2013

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vol. 19

177–194

PL

Po zwycięskiej bitwie z Turkami pod Chocimiem w 1621 roku Stanisław Lubomirski – właściciel Wiśnicza, jako wotum wdzięczności Bogu ufundował klasztor Karmelitów bosych. Władze zakonne obawiały się lokalizacji klasztoru i kościoła w dobrach prywatnych, ze względu na ewentualny wpływ dworu na życie zakonników. W 1622 roku fundator z wielkim rozmachem przystąpił do budowy, wprowadzając rzesze robotników oraz jeńców wojennych. Budową kierował nadworny architekt Lubomirskiego, Włoch Maciej Trapola. Budowane obiekty odznaczały się nowoczesnym stylem i w dziejach architektury polskiej zajęły wyjątkową pozycję. Obiekt był ufortyfikowany, służył także obronie zamku wiśnickiego. 26 maja 1630 roku odbyło się uroczyste wprowadzenie karmelitów bosych do wiśnickiego klasztoru. Budowę kościoła ukończono w 1635 roku. Jego wnętrze było wyjątkowo bogato wyposażone i w XVII wieku zaliczane do najlepiej uposażonych klasztorów karmelitów bosych. 1 września 1650 roku Szwedzi zajęli zamek i klasztor, niszcząc, plądrując i grabiąc najcenniejsze rzeczy, w tym bibliotekę oraz dzieła sztuki. Klasztor wiśnicki po rozbiorach został wcielony do Austrii. Cesarz Józef II doprowadził swą polityką do kasacji klasztorów, w tym i wiśnickiego. Zagrabił majątki klasztorne, wywiózł skarbiec klasztorny, a dobra ziemskie przeznaczono na fundusz religijny. Najcenniejsze dzieła sztuki wywieziono do Wiednia (dwa wozy obrazów). Budynki klasztorne przeznaczono na więzienie, sąd kryminalny, a także mieszkania dla sędziów. Po odzyskaniu niepodległości w 1918 roku, pomimo protestów karmelitów, w klasztorze nadal istniało więzienie. We wrześniu 1939 roku Niemcy urządzili w nim obóz dla jeńców wojennych, a później obóz koncentracyjny, obrabowali kościół i rozpoczęli rozbiórkę kościelnych murów. Materiał ze świątyni wykorzystali przy budowie rezydencji Hansa Franka w Przegorzałach i w Krzeszowicach. Do chwili obecnej w klasztorze znajduje się więzienie, a ruiny klasztornego kościoła służą jako boisko dla więźniów.

EN

After winning the battle against the Turks at Chocim in 1621, Stanisław Lubomirski, the owner of Wiśnicz, founded the monastery of the Discalced Carmelites as a votive offering to God. Religious authorities feared the location of the monastery and church in private estates due to the potential impact of the court on religious life. In 1622 the founder began the construction at full swing, employing great numbers of labourers and prisoners of war. The process of the construction was supervised by Lubomirski’s court architect, an Italian Maciej Trapola. The buildings were characterized by a modern style of architecture and they occupied a unique position in the history of Polish architecture. The property was fortified and also served as defence for the castle of Wiśnicz. On May 26, 1630 a ceremony was held to introduce the Carmelites to the monastery in Wiśnicz. The construction works were completed in 1635. The interior was very well equipped and, in the seventeenth century, was considered one of the best equipped Discalced Carmelite monasteries. On September 1, 1650 the Swedes captured the castle and monastery destroying, looting and pillaging the most precious things including the library and the works of art. The monastery in Wiśnicz after the partition of Poland was incorporated into Austria. Emperor Joseph II through his policies led to the suppression of monasteries, including the monastery in Wiśnicz. He robbed the monastery, took away the monastic treasury and allocated the church estates to religious funds. The most valuable works of art were taken to Vienna (two wagons of paintings). The buildings of the monastery were converted to perform the functions of a prison, criminal court and housing for judges. After regaining independence in 1918, despite the protests of the Carmelites, the prison in the monastery continued to function. In September 1939, the Germans used it as a camp for prisoners of war and later a concentration camp. They robbed the church and started to demolish the walls of the church. The material from the temple was used in the construction of the residences for Hans Frank in Przegorzały and Krzeszowice. There is still a prison in the monastery buildings and the ruins of the church serve as a playground for the prisoners.

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MUZEUM-ZAMEK W ŁAŃCUCIE PRZEGLĄD WAŻNIEJSZYCH PRAC KONSERWATORSKICH

59%

Brzozowska-Drozdowicz U.

Ochrona Zabytków

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2005

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issue 3

5-18

EN

Łańcut Castle is one of the most beautiful and best preserved aristocratic residences in Poland. Surrounded by an old and picturesque landscape park, it creates, together with the pavilions and outbuildings, an exceptional historical complex of particular significance for Polish culture. The castle was built in about 1631 according to a project by the Italian-born architect Matteo Trapoli. Subsequent redesigning projects involved, i. a. Krzysztof Mieroszewski, who specialised in fortifications and defensive works, and later also Tylman of Gameren. The 1780s brought further essential redesign ventures which produced interiors featuring the then fashionable Oriental – Turkish and Chinese – motifs. The present-day layout and decor of many of the rooms reflect those schemes. Such acclaimed and talented eighteenth-century architects as Vincento Brenna, Szymon Bogumił Zug, Jan Chrystian Kamsetzer, and Chrystian Piotr Aigner worked in Łańcut, where their projects were employed for erecting , i. a. the Theatre, the Glorietta, the Orangery and the Romantic Castle. The owners of Łańcut Castle systematically modernised their residence, attaching considerable attention to ensuring comfortable and outright luxurious living conditions. At the turn of the nineteenth century their undertakings rendered this sophisticated object one of the most modern family seats in Europe. The modernisation of the castle was accompanied by plans concerning the park which was doubled; new gardens: Italian and Rose, were added. A sprawling landscape park was laid out beyond the moat. The Stable and the Carriage House were built to the south of the park. In 1925 the object was added to the state list of historical monuments. The necessary repairs conducted during the postwar period included replacing the vaults and the roof over the whole castle building, the Orangery, the Carriage House, the Menage and the Romantic Castle. The castle interiors were also conserved. The Atelier for the Collection Conservation, established in 1960, has been busy up to this day and is responsible for preventive conservation as well as more extensive realisations relating to the castle. Conservation was conducted in almost all the castle interiors, with each passing year bringing numerous initiatives. The Voivodeship Storehouse of Movable Historical Monuments was opened at the museum in 1961 for the purpose of protecting the outfitting of Eastern rite churches abandoned after 1947, a total of 7 500 historical exhibits. In time, the storehouse was transformed into a Department of Orthodox Church Art, at present the largest contemporary collection of its sort in Poland. The museum objects include the Łańcut synagogue, one of the most magnificent in the country. Built in 1761, it was a typical example of the Oriental variant. Brick and situated on the plan of a square with an architectural bima in the middle, the synagogue displays exceptionally lavish decoration, the oldest going back to the eighteenth century. After conservation, the object was opened to the public. The natural charm of the Łańcut historical complex is accentuated by its park and gardens, recreated as faithfully as possible upon the basis of preserved documents and prewar photographs. Postwar conservation of the Museum-Castle in Łańcut has involved numerous specialists representing assorted domains of science, conservators of works of art, art historians, and members of the technical staff who have contributed to highly effective achievements and discoveries. A total of thirty horsedrawn vehicles, including coupé, landauer, mylord, break, victoria and jagdwagen carriages, sleighs and chaises, many featuring unique historical merits, has been conserved. Work on the only marble statue in Poland by Antonio Canova – a likeness of the young Henryk Lubomirski – was conducted by applying a noninvasive cleaning method using laser beams. The conservation of eighteenth-century interiors was based on the chinolin technique originally used for creating them. For many years the museum conservators and renovators have carried out a task decisive for the survival of a plethora of works of art – paintings, sculptures, icons, old books or artifacts. The outcome of their cooperation has assumed the form of the present-day state of the historical palacepark complex, enabling Łańcut to become not only an extremely valuable research centre and the site of numerous important cultural and scientific events, but predominantly a tourist attraction on a truly worldwide scale.

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Prace remontowo-konserwatorskie w zamku łańcuckim

59%

Kieszkowska-Kotzowa J.

Ochrona Zabytków

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1959

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issue 3-4

269-279

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Dzieje klasztoru Karmelitów bosych w Nowym Wiśniczu w latach 1630–2009

MUZEUM-ZAMEK W ŁAŃCUCIE PRZEGLĄD WAŻNIEJSZYCH PRAC KONSERWATORSKICH

Prace remontowo-konserwatorskie w zamku łańcuckim