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Fasada pijarskiego gmachu Collegium Nobilium w Warszawie

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Mączyński R.

Ochrona Zabytków

1994

issue 2

168-184

Until recently, research into the Piarist Collegium Nobilium — the work of Jakub Fontana, initiated in 1743 — has not explained many essential questions concerning the history of the object and its architectonic form. Existing, albeit unexploited, source and iconographie material makes it possible to prove that the facade of the building was not completed in 1754, as was originally presumed but that the Fontana version was never realized. The work was interrupted after the preparation of the building’s solid and prior to its outfitting, while the front elevation, facing Miodowa Street, remained unplastered until the beginning of the 1780s. In its oldest form — which can be reconstructed — the palace of the college was composed of a two-storey and fifteen-axis main corps, with an additional third storey over a central, three-axis projection, and two single-storey and ten-axis side wings, as well as an irregular window pattern (adapted to an unrealized Baroque decoration). The erection of the faccade was initiated as late as 1782 by Michał Stadnicki, rector of the Collegium Nobilium who commissioned Stanisław Zawadzki, one of the most talented architects of the Polish Enlightenment, to prepare a design. Due to the fact that the object was realized several years earlier than it was assumed up to now, the building appears to be extremely important in the accomplishments of the architect, and documents a period of the most dynamic transformations of his artistic profile. Work on the front elevation was conducted in the years 1783- 1785 and the masonry was entrusted to Adam Gering, not a well-known sculptor. There are three project variants prepared by Stanisław Zawadzki: two are authentic and heretofore unpublished (A and В in the article) and a later slightly later and relatively faithful copy of the non-extant original (G). All the drawings shared the general principle accepted by the architect who tried to impose a Classicistic form without disturbing the Baroque solid of the palace; the differences, apart from small details, concerned the degree of intervention into the existing structure of the building. Variant A retained the old irregular window pattern in the side wings, variant G modified it slightly but variant В foresaw the introduction of full regularity under the condition of far reaching modifications. The last project was, however, an ideal version made for the collection of architectonic drawings belonging to Stanisław Kostka Potocki (who should not be regarded as their co-author, despite certain suggestions made in the past). None of the extant variants (A, G) were realized faithfully. It became apparent that although the erected facade was close to solutions proposed in inital projects (a horizontal binding of the ground floor, the application of small balconies supported by pairs of columns framing the entrance gates, the introduction of a wide frieze which divided the first and second storeys, as well as decorations with coat-of-arms cartouches over the projections of the main corps); ultimately, a whole series of innovations was implemented. The most important element was the increased number of windows in the side wings (up to eleven) as well as the retention of the former asymmetric pattern of transit gates, contrary to the initial intention. The facade of the Piarist building, designed by Zawadzki, has not survived and has been subjected to considerable transformations already in the first half of the nineteenth century. The elevation of the corps and right wing, a part of the palace purchased in 1811 for a cadet school, was changed in 1820 according to a project by Wilhelm Henryk Minter. The left wing which after the ousting of the Piarists became the seat of the Russian Orthodox bishop, was rebuilt in 1835-1837; in accordance with designs by Andrzej Gołoński and Antonio Corazzi a third storey was added, the windows were shifted, in this way making the distances between them even, and a three-axis projections, crowned with a triangular gable, framed the gate. After the wartime devastation dating from 1944 the building was reconstructed but it would be difficult to say that it is a faitful copy of the monument. Only the main corps and the right wing refer directly to the form which that part of the palace obtained follwing the transformations inaugurated by Minter.

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1 Ochrona Zabytków

1 Mączyński R.

1 1994

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Fasada pijarskiego gmachu Collegium Nobilium w Warszawie