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Wileńska odmiana architektury XVIII wieku

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Karpowicz M.
Biuletyn Historii Sztuki
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2011
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vol. 73
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issue 3-4
371-414
EN
The Wilno variety is characterized by very simple church layouts, usually just rectangular, with only optionally a chancel apse and a transept. The very beauty and the very complexity, as well as the genuine quality of this character consists in a special elaboration of generally two-towered façades, in the use of undulating openings in windows, portals, tower spans, and in placing extremely elaborate altars inside the churches. According to the author there are two major creators of this particular variety - their works served as models for the whole array of followers and local architects: Guido Antonio Longhi (1691-1751) and Antonio Paracca (1722-ca.1790).
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O niektórych figurach w polskich nagrobkach XVI-XVII wieku

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Karpowicz M.
Biuletyn Historii Sztuki
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2010
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vol. 72
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issue 1-2
31-60
EN
The author summaries his article on the basis of the following four parts: 1. The semi-reclining form of representational sculpture was introduced in the territories of preparation Poland by the somewhat secretive Italian sculptor “Johannes Piaentinus”. It possible to confirm his presence in Poland during the years 1555-65. Piaentinus exerted an essential influence on Cracovian sculpture in the second half of the 16th century. 2.The Bernardine church in Lublin contains a tombstone mistakenly identified as well as dated, to the year 1598. In actual fact, it was created by Gerolamo Canavesi in 1565. 3. The most beautiful Polish tombstone figure is to be found in the town of Czarnków (Poznań voivodeship), which dates back to around 1570-80 and represents the magnate Maciej Czarnkowski. 4. The figures from the church at Kórnik near Poznań have been associated with the Flemish sculptor, Hendrik Horst, when in actual fact just one of these was a work of his, while the other two would have been created by other sculptors.
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Kościół świętych Piotra i Pawła na Antokolu. Kilka uzupełnień

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Karpowicz M.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 3
475-496
EN
The inside of the Church of Sts Peter and Paul at Wilno’s Antokol features one of the richest stucco decorations in Europe executed in the last quarter of the 18 th c. Its ideological programme is unique in Europe, since the clue to its understanding can be found in the ship model made of glass crystals and suspended in the church’s dome, generally known to symbolize the Church. Archival records inform that the church’s founder Hetman Michał Kazimierz Pac was also planning to make the high altar of crystals. Unfortunately, he passed away in 1682, failing to implement this exceptionally ambitious concept. What remains of the planned altar is the figure of Risen Christ, moved to a niche in a chancel wall. The statute is a stucco version of Giambologna’s magnificent ‘flying’ Mercury, which the Antokol stuccatore Piotr Perti must have seen in Rome. The second statue moved to a niche in a chancel wall is the Madonna on a Dragon modelled on the painting by Pietro da Cortona and Cirro Ferri. Moreover, four pendentives with the Evangelists follow Italian paintings: two repeat Giovanni Lanfranco’s compositions from Rome’s Church of S. Agostino, the other two copy Mattia Preti’s drawing designs, currently kept at Naple’s Capodimonte
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