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1

Natolin

100%

Lorentz S.

Ochrona Zabytków

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1948

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issue 1

27-31

XX

Le pa la is de N a t o l i n , dans la lo ca lité de ce nom, près de Varsovie, fut é le v é par la princesse Isabelle Lubomirska, en 1780, d’après les projets de l’arch ite c te Simon Bogumił Zug, en s ty le classique. En 1806, on entreprit la reconstruction du p a la is d’après les projets du nouveau propriétaire, célèbre connaisseur en architecture, Stan islas Kostka -P o to cki e t tde l’arch ite cte Pierre Aigner. Le stuc des intérieurs est dû à Virginius Bauman. D e 1805 à 1815, on construisit l ’an n ex e , la remise et les é cu ries, une terrasse à amphitéâtre devant le p a la is et un e ferme hollandaise, — on dessina le parc à l’ang la ise et on y pla ça quantité de sta tu es et de pierres commémoratives. Vers 1823, on é lev a des m a isons empire pour les concierges. D e 1834 à 1838, on orna la façade du p a la is de sculptures, on é rigea la sta tu e empire de Na th a lie Sanguszko dans le parc, on construisit le pon t et la porte mauresque, ainsi que le temple dorique et l’aqu educ su iv an t le projet de lien ri Marconi. Vers la fin du XlX -e s., le p a la is commença à tomber en ruines. D é v a sté et p illé par les Allemande, en 1944, il fut occupé l’an n é e su iv an te et devint la résid en ce d’é t é du Président de la R ép u blique. Les tr a v a u x de conservation ont assuré, dans leur première étape, le p a lais contre un e ruine plus grande. On f it de n ou v eau x toits, on mit des vitres a u x fenêtres et l’on combla les fo ssés de tireurs dans le parc. Dan s la seconde étape, on r estaura les intérieurs, on n e tto y a , entre autres, la frise en stu c de 1808, qui représente les fêtes de D y o n y so s , on f ix a la p o ly chrom ie —• n ou v e lle ment découverte, de 1840—45, des chambres „étrusques“. Pour décorer et meubler l ’intérieu r on obtint des meubles empire et d ’autres objets historiques du temps où le p a la is fut construit. D an s le salon demi-ouvert du cô té de la terrasse on a d é couv e rt et restauré au p la fo n d la p o ly chrom ie de Brenne, de 1780. Les tra v au x dé conservation ont ég a lem en t englobé les ann ex e s et le parc. 11 faut encore restaurer les sculptures de décoration et les monuments architectoniques du parc. Un e tâche sp é c ia le c ’est la mise en ordre et la reconstruction du parc à l’ang la ise , un des plus p r é c ieu x de Pologne.

2

Kościół w Różance. Historia - architektura – wystrój

100%

Uchowicz K.

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2012

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vol. 74

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issue 3-4

621-639

EN

Tracing the history of the Parish Church of SS. Apostles Peter and Paul in Różanka (Belarus) resulted in discovering and clarifying a number of previously unknown facts shedding new light on the magnate patronage in the Grand Duchy of Lithuania. The relations of the described building with the Pac family are quite obvious, noticeable at first glance as confirmed by the Gozdawa coat-of-arms impressed like a stamp under the count’s crown in the façade gable. The design to alter the Baroque church in the Neo-Gothic style by the architect Henryk Marconi, commissioned by the last heir of the locality General Ludwik Pac served as a departure point for the analysis of the architectural form of the church and its history. In the architecture of the Różanka Church inspiration in late-mediaeval Italian architecture composed on the grounds of the local building tradition with the application of innovatory materials such as Portland cement, were clearly visible. The artistic prestige of the church is additionally enhanced by furnishing elements created with the contribution of sculptors from Antonio Canova’s circle. The painterly decoration of the interior was executed in the inter-war period by the artists associated with the Wilno Society of Fine Arts.

3

Nieznane listy Henryka i Karola Marconich ze zbiorów The Getty Research Institute

94%

Betlej A.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2014

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vol. 7

136-146

PL

Komunikat dotyczy przechowywanych w zbiorach The Getty Reserach Institute w Los Angeles listów miedzy warszawskimi artystami Henrykiem i Karolem Marconimi a Luką Cariminim, rzeźbiarzem i architektem działającym w Rzymie. Te niepublikowana dotąd źródła pozwalają uściślić dzieje powstania kaplicy Sobieskiego w pałacu w Wilanowie, zrealizowanej pomiędzy 1852 a 1863 rokiem z inicjatywy właścicieli rezydencji – Augusta i Aleksandry Potockich. Identyfikacja dzieł wykonanych dla Potockich przez włoskiego dekoratora pozwoliła na wskazanie odwołań do jego innych, włoskich prac nawiązujących z jednej strony do dzieł mistrzów Quattrocenta, a jednocześnie wykorzystujących repertuar dekoracyjnych form klasycystycznych. Zachowane listy pozwalają także prześledzić proces zamawiania przez arystokrację importowanych dzieł włoskich na ziemie polskie.

EN

The purpose of the article is to discuss the correspondence between Warsaw artists Henryk and Karol Marconi, and a Roman sculptor and architect, Luca Carimini. Found at the Getty Research Institute in Los Angeles, the previously unpublished sources allow a more detailed history of the Sobieski Chapel, which was built at the Wilanów Palace between 1852 and 1863 on the initiative of its owners, August and Aleksandra Potocki, to be traced. The identification of the elements produced by the Italian designer is helpful in identifying references to his Italian works, which allude to the masterpieces of the Quattrocento on the one hand, and, on the other, heavily draw from the repertoire of classicist decorative forms. The correspondence also allows the process by which Polish aristocracy commissioned Italian artwork for import to Polish lands to be trace.

4

Antonii Messing twórca pomnika Panny Marii przed kościołem Reformatów i serii wzorowanych na nim nagrobków wzniesionych na cmentarzach Warszawy

84%

Wiraszka M.

Saeculum Christianum. Pismo Historyczne

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2016

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vol. 1

181-190

EN

Antoni Messing (ca. 1821-1867) the owner of the stone workshop located in Warsaw on 6 Powązkowska Street (mtge. 27C) is currently most famous for one monument- the Statue of the Virgin Mary of Immaculate Conception which was placed in front of the Church of St Antony of Padua on Senatorska Street (1851). What made this monument different from other independently standing monuments was the use of lanterns which at evening time illuminated the statue of the Virgin (1853). The innovative idea spread not only around Warsaw, but also outside the city boundaries. References to the monument elevated by Messing were not limited to the way and form of illuminating the statue. The inventory research conducted on Warsaw cemeteries ena-ble the extraction of a group of tombstones imitating the shape and the decor of the plinth of the statue of the Virgin. The number of examples of this collection of tombstones numbers 19. Their execution dates back to the period 1853-1874 - with one exception only, all of them were elevated during the period of Antoni Messing’s ownership of the stone workshop. All of them represent the same commemoration in the form of a crucifix located on a plinth. Exam-ples can be separated into two groups. One, comprising 8 tombstones, the closest to the origi-nal, the other, comprising 11 examples preserves the architectural structure without the sculp-tural decor. The origin of the formal concept is to be traced in the project of Henryk Marconi’s garden vase designed for Wilanowski Park (ca. 1845-1851) as well as the finishing elements of the Stanisław and Antoni Potocki’s tombstones. Consequently, the contribution of Messing consists in the creation of the series of tombstones modeled on the statue of the Virgin Mary rather than the originality of the project.

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Natolin

Kościół w Różance. Historia - architektura – wystrój

Nieznane listy Henryka i Karola Marconich ze zbiorów The Getty Research Institute

Antonii Messing twórca pomnika Panny Marii przed kościołem Reformatów i serii wzorowanych na nim nagrobków wzniesionych na cmentarzach Warszawy