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PROBLEMATYKA IKONOGRAFICZNA I KONSERWATORSKA DREWNIANEGO KOŚCIOŁA W BOGUSZYCACH KOŁO RAWY MAZOWIECKIEJ

100%

Lubryczyńska M.

Ochrona Zabytków

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2006

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issue 3

29-54

EN

The intention of this study is to present the complex question of the painted decorations of the interior of the wooden church of St. Stanislaw the Bishop in Boguszyce near Rawa Mazowiecka. The founder of the object, built and decorated in 1558, was Wojciech Boguski of the Rawicz coat of arms, at the time the steward of the Mazovian royal estates belonging to Queen Bona. The Renaissance murals on the walls and ceiling of the discussed church are an imitation of a brick church interior with lavish architectural details, monumental murals and vast areas covered with inscriptions. The ceiling is an illusionistic image of a stucco or brick Renaissance counterpart derived from Serlian motifs. The painted ceiling decorations in the Boguszyce church demonstrate considerable formal and stylistic analogies to the solutions applied in the collegiate church in Pultusk. The Boguszyce polychromes are an outstanding and totally unique work, insufficiently recognised and deserving more extensive popularisation. Their merit is even greater considering that the authors presumably originated from a still little-recognised sixteenth-century milieu of Warsaw-based artists. At the end of the twentieth century the valuable monument was in a catastrophic condition. A leaky roof and a permanent displacement of the construction elements threatened with a collapse of the building and total damage to the paintings. Complex conservation and restoration of both the object and the celling polychrome were initiated in 1997. The work was preceded by specialist studies intent on determining the techniques of the execution of the polychrome and its state of preservation. The foremost task involved halting the damage incurred to the wooden underpainting and the painted decoration as well as the removal of secondary layers deforming the polychrome. The aim of the restoration was to recreate the lost aesthetic merits of the paintings. The causes of the damage were diagnosed, and an optimal selection of conservation methods and material was based on current knowledge.

2

THE ARCHITECTURE OF WOODEN ORTHODOX CHURCHES IN 19TH CENTURY LATGALE (Pareizticigo koka baznicu arhitektura Latgale 19. gadsimta)

100%

Bistere A.

Makslas Vesture un Teorija

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2004

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vol. 2

29-38

EN

Wooden Orthodox churches, built in Latgale during the 19th century, combine both ethnographic building traditions such as horizontal beam structures and other traditionally Latvian means of construction with influences of Russian church architecture. This is especially evident in the architectonic layout of buildings, the decorative finish of facades, and the architecturally plastic design of towers as well as in the spatial arrangement of interiors, especially iconostases. We should also remember the features of the architectural styles predominant in 19th century Latvia. These are particularly pronounced in the Neo-Classicism influenced architectonic solution of the Skeltova Church; other churches feature eclectic combinations of forms representing different architectural styles. Wooden Orthodox churches in 19th century Latgale have mostly a prolonged type of planning. The belfry, narthex and catholicon are most commonly completed by an apse at the eastern end and placed on a longitudinal axis. There are exceptions; the Skeltova Church and the Alexander Nevsky Church in Daugavpils feature central square-type planning. On the other hand, the layout of the Tilza Church was influenced by the fact that the building had previously been used as a school prior to its adaptation for the needs of a church. Three types of spatial layout can be distinguished in the exteriors of Latgale's wooden Orthodox churches. The first type is represented by the Skeltova and Daugavpils Alexander Nevsky churches, which feature central planning; this resulted in a square layout covered by a dome in Skeltova but by a four-pitched roof with small towers in Daugavpils. The Orthodox churches in Goliseva, Pudinava and Vjortulova, chronologically later than the Skeltova Church, feature a rectangular layout with a prolonged catholicon covered by an octagonal structure making up about 1/5 of the building's height.

3

Alfrēda Ašenkampfa projektētās koka ēkas Āgenskalnā

75%

Plūmiņa L.

Makslas Vesture un Teorija

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2018

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vol. 21

33-48

EN

There is little information on the life and works of Riga architect Alfred Aschenkampff; however, his name features in almost all art history books dealing with Riga’s Art Nouveau buildings or the city’s history on the threshold of the 20th century. He designed one of the first Art Nouveau buildings in Riga – the apartment house at 7 Audēju Street – as well as pavilions for the 1901 Industry and Crafts Exhibition that was very significant in the history of Riga. When dealing with the Aschenkampff’s output in Riga, the wooden architecture of Āgenskalns in particular, new and important objects can be added to his few known works. In the late 19th – early 20th century, Riga saw economic growth and a booming number of inhabitants; as a result, the city spread out and the density of buildings increased too. In Āgenskalns at the time, several developmental trends are evident, both continuing the building tradition of previous centuries and reflecting the 19th century Western tendencies of urban planning. Buildings designed by Aschenkampff are situated along the old trade routes – Slokas and Kalnciema Streets – as well as in completely new quarters – on Kristapa, Sabiles, Melnsila and other streets. In the ten-year period from 1895 to 1905, nine buildings were constructed to Aschenkampff’s designs in Āgenskalns; eight of them have survived up to the present in various technical conditions. Comparing earlier designs with the buildings constructed after the turn of the century, transformations related to the advent of Art Nouveau in Riga are brightly evident. It has been assumed so far that Art Nouveau was very modest in Riga’s wooden architecture but Aschenkampff’s case proves that this statement cannot be applied to at least some architects. The wooden houses examined in the article show various possible scenarios for the buildings of this type – one had burned down, some are maintained in good condition and carefully repaired or restored while others are reconstructed beyond recognition. Therefore, Riga’s wooden architecture cannot be always assessed from the buildings’ present image, and original construction designs have to be consulted to grasp the architect’s ideas.

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ZNACZENIE OZDOBNEGO DESKOWANIA W PERIODYZACJI DREWNIANEJ ARCHITEKTURY W PAŚMIE OTWOCKIM PROBLEMATYKA BADAWCZA I KONSERWATORSKA0

51%

Cichy A.

Ochrona Zabytków

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2007

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issue 3

35-58

EN

The article presents the outcome of an analysis of decorative boarding in buildings originating from 1881-1939, with special attention paid to the applied composition solutions, board patterns and the basic sizes of the boards' cross-section - width and thickness. The author also determined the period of the occurrence of particular solutions and the degree of their popularity. Decorative boarding in architecture from the region on the Swider featured vertical, horizontal and diagonal patterns, as well as mixed arrangements with the boards following assorted directions. The vertical pattern was used rarely, mainly in the nineteenth century. Horizontal and mixed (basic) patterns were encountered in all periods, but a variant of the mixed arrangement with a herringbone or rhomboidal pattern took place only in the 1920s and 1930s. The examined technique resorted to more than ten variants of moulded and moulded-canted boards as well as canted boards. The edges were decorated with simple or halfround moulding, with the former appearing up to about 1910, parallel with the half-round moulding solutions. Subsequently, they were used only sporadically, and were replaced by half-round moulding. Canted boards occurred only in the nineteenth century. Studies of the width and thickness of both types of boards indicate that in the nineteenth century and the early twentieth century their characteristic features included larger cross-sections than in the 1920s and 1930s. The obtained results also demonstrate the usefulness of an analysis of decorative boarding for the process of dating. Owing to the considerable historical and aesthetic assets of the boarding (elevation boarding, the board patterns and widths) this element of wooden architecture certainly deserves to be protected.

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PROBLEMATYKA IKONOGRAFICZNA I KONSERWATORSKA DREWNIANEGO KOŚCIOŁA W BOGUSZYCACH KOŁO RAWY MAZOWIECKIEJ

THE ARCHITECTURE OF WOODEN ORTHODOX CHURCHES IN 19TH CENTURY LATGALE (Pareizticigo koka baznicu arhitektura Latgale 19. gadsimta)

Alfrēda Ašenkampfa projektētās koka ēkas Āgenskalnā

ZNACZENIE OZDOBNEGO DESKOWANIA W PERIODYZACJI DREWNIANEJ ARCHITEKTURY W PAŚMIE OTWOCKIM PROBLEMATYKA BADAWCZA I KONSERWATORSKA0