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Warszawski pomnik Jana Tarły

100%

Mączyński R.

Ochrona Zabytków

1996

issue 2

159-167

The article deals with an artistically superb Baroque monument typical for the so-called portal sepulchre (containing real doors), commemorating Jan Tarło, the voivode of Sandomierz. The monument, founded by the widow, Zofia nee Krasińska, was executed from coloured marble by the Warsaw- based sculptor Jan Jerzy Plersch in 1752-1753. Originally, it stood in the Warsaw Piarist church in Długa Street but in the nineteenth century it was transferred to the post-Jesuit church in Świętojańska Street. In 1944 the monument was damaged by German bombings. Although the majority of its fragments has survived (today scattered in several places), for over half a century the monument remained, unrestored, an undertaking that deserves to be conducted owing to the fact that this is one of the most magnificent examples of Polish Baroque sculpture from the middle of the eighteenth century. The merit of the Tarło monument does not lie, as has been estimated up to now, exclusively in the masterful execution of the particular sculpture details. It comprised an unusual in Polish art excellent synthesis of various elements — both architectonic (portal-obelesk, arch) and sculpture (hermae- termini, medallion portrait, allegorical figures: Splendor, Fama, Fides) which constituted an exceptionally uniform composition. The all-sided employment of their symbolic meanings made it possible to create an extremely rich, cohesive and reflective ideological programme of the whole which comprises an important statement in the discussion concerning human condition and eschatological problems, conducted for centuries and of particular interest during the Baroque era. „The portals of death” in Tarlo’s monument do not lead into non-being or an infernal abyss but became a triumphal arch towards heavenly eternal happiness, founded on faith, and eternal fame on earth, justified by Christian and civic deeds.

Rekonstrukcja elementów i zespołów rzeźbiarskich dla Zamku Królewskiego

72%

Filarski J. L.

Ochrona Zabytków

1987

issue 1-2

133-137

As soon as the reconstruction of the Royal Castle in Warsaw, destroyed during the 2nd World War, had been initiated work was also undertaken to open a sculptor’s studio attached to the Ateliers for the Conservation of Cultural Property (the PKZ). Its task was to reconstruct rich sculptural decorations made in stone and lime coat. The entire sculptural decor of the Saxon side of the Royal Castle was created in the reign of King Augustus III and comme from Jan Jerzy Plersch's workshop. A number of renowned sculptors, masters in the technology of stone working, took up the job to reconstruct baroque and rococo sculptural complexes in the Castle. They based their work on the rescued parts of the sculptures and preserved photographs. Afte r the modelling in clay and casting in plaster of 17 big sculptures, the artists started forging them in stone (sandstone from Szydłowiec). They used the same k ind of tools th a t were used by artificers of origina l works in the 18th century. The coating technique was employed direct onto the Castle’s elevation to produce two large tympana, each 22 m in length as well as all window bas-reliefs imitating plaster models made earlier in the workshop in the scale of 1:1. The restitution of the Royal Castle gave birth to a new generation of sculptors-restorers and reconstruction, educated under supervision of experienced masters.

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2 Ochrona Zabytków

1 1996

1 1987

1 Filarski J. L.

1 Mączyński R.

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Warszawski pomnik Jana Tarły

Rekonstrukcja elementów i zespołów rzeźbiarskich dla Zamku Królewskiego