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REKONSTRUKCJA I KREACJA W ODNOWIE ZAMKU NA WAWELU

100%

Stępien P. M.

Ochrona Zabytków

2007

issue 2

27-50

The damage incurred by the partitioning authorities meant that in 1905 the condition of Wawel Castle was that of advanced devastation. Consequently, its restoration entailed the permanent question whether to recreate the historical form of the damaged elements or rather to introduce new ones, proposed by the designer? In the first restoration (1881-1882) architect Tomasz Pryliƒski referred to the shape of the Castle from the first half of the seventeenth century. Due to the degree of its devastation and gaps in the documents, a number of elements resembled more design creation than reconstruction. The study served as a base for a restoration project proposed in 1907-1908 by Zygmunt Hendel, which, in turn, became the topic of a controversy involving the Cracow conservators and Max Dvofiák, who opposed the reconstruction of the damaged components and even the removal of the walled up parts of the gallery. The discussion produced a compromise, which proved to be conducive for Wawel Castle. In work completed up to 1914 the recreation of the historical state remained predominant and corresponded to the premises of the scientific restoration of this monument of national history. This was also the time of several unrealised projects relating to Wawel, in which artistic creation prevailed over conservation principles. The two most important are Acropolis by Stanisław Wyspiański and Władysław Ekielski, and Pochód Królów (Royal Procession) by Wacław Szymanowski. Adolf Szyszko-Bohusz, supervisor of the Castle’s restoration in 1916-1939 and 1945-1946, proposed more moderate solutions. He achieved, i. a. the recreation of the majority of the Castle interiors, a new composition of the main entrance, and a number of elements in the Castle elevations. The archaeological reservations around the relics of the rotunda of St. Felix and St. Adauctus, and in the western wing of the Castle, comprised truly pioneering proposals. Both contain a creative element, albeit of a new variety, i.e. the conservation arrangement. In the four conceptions concerning the whole Hill, the realised elements were those of greatest value, while the rejected ones were contrary to Wawel’s historical character. Wawel Hill managed to survive the German occupation unscathed, but was subjected to a number of harmful redesigning ventures. The ensuing damage of the historical complex called either for the recreation of its earlier state or creative reconstruction. The post-war resignation from stately functions in favour of purely museum ones contributed to a new trend. Prof. Witold Minkiewicz negated the conception of monumental buildings, and recognised adaptation to a historical environment to be the suitable solution. It is precisely this current which is represented by the restoration of Złodziejska (Thieves) Tower and the adjoining newly erected administrative building no. 8. The restoration of the western wing of the palace (Prof. Alfred Majewski) attempted to make use of the “reconstruction” trend combined with partial recreation referring to the general character of the Renaissance interiors. On the other hand, the gate wing interiors have been granted the nature of an architectural reservation. Successive realisations within the range of archaeologicalarchitectural reservations include the so-called inner courtyard featuring a display of the foundations of mediaeval edifices and “The Lost Wawel” exhibition. The author of the shows in the Treasury and the Armoury (Prof. Młodzianowski) applied simple modernistic forms. The reconstruction encompasses the southern section of the mediaeval walls, re-created only to a certain height. The next stage in the restoration of Wawel Castle has been determined by the realisation of a complex conservation programme, conducted since 1990 under the supervision of Prof. Jan Ostrowski, the present-day Director of the Royal Castle on Wawel Hill. Its premises foresee the inclusion not only of the historical strata of assorted buildings on Wawel Hill but also previous conservation. This approach does not exclude a number of corrections, as long as the essential elements of the historical assumptions had been recreated incorrectly. The recreation of the Royal Gardens complex remains an important task within the whole programme. Pertinent studies made it possible to precisely reconstruct various architectural elements (design by P. Stępień, J. Smólski, S. Karczmarczyk). A discovered fragment of brick paths from the sixteenth century proved decisive for the future trend of recreating the garden composition, The restoration of the paved surface of the Arcaded Courtyard (design: J. Kisielewski, Z. K. Baster) and the reconstruction of the roof of Senatorska (Senators’) Tower (design: P. Stępień, S. Karczmarczyk) have been treated as a necessary supplement of the Castle’s restoration. For the purposes of the conservation of Sandomierska Tower (authors: vide supra) use has been made of certain elements of the reconstruction of historical forms and contemporary creation, with the assumption of full harmony between the latter and the tower’s architecture. The authors of the restoration of building no. 5, redesigned upon several occasions in the nineteenth and twentieth century, have opted for correcting the elevation architecture by adapting this building to the entire complex. In the course of the century-long restoration of Wawel Castle artistic creation gradually made way for conservation arrangement. Today, reconstruction and creation are applied cautiously, and are predominated by undertakings of a preserving, securing and museum nature. The revival of Wawel Castle was impossible, however, without the recreation of historical elements and the installation of newly designed ones. The author believes that such solutions should be used with moderation and responsibility as measures serving for the reintegration of the historical monument, and not as a goal in itself.

Konserwacja Wawelu w świetle doktryn konserwatorskich

80%

Stępień P. M.

Ochrona Zabytków

2009

issue 1

83-100

The article analyses the conservation and restoration conducted from the third quarter of the nineteenth century on Wawel Hill, both within the royal residence complex and the cathedral, from the viewpoint of the then prevailing and present-day conservation doctrines. The first pioneering study of the restoration of the royal castle, prepared by Tomasz Pryliński in 1881-1882, must be highly assessed also as regards the current conservation method. On the other hand, the project of the restoration of the cathedral proposed by Sławomir Odrzywolski in 1886 still contained numerous elements of stylistic purism. In the course of its realisation it was considerably modified by a limitation of the re-Gothicisation, a preservation of the majority of the historical strata and an introduction of modern elements (Art Nouveau). The project of the restoration of the castle presented by Zygmunt Hendel in 1908 became the topic of a discussion in which diverse stands were represented by Max Dvořak, the chief conservator of historical monuments in the Austro-Hungarian monarchy, and Professor Stanislaw Tomkowicz, chairman of the Castle Restoration Committee. Continuing the ideas launched by Alois Riegel, Dvořak was in favour of strictly comprehended conservation, while Tomkowicz defended the idea of scientific restoration. The outcome of the discussion was a compromise favourable for Wawel Hill, entailing a resignation from controversial reconstruction proposals but not from the actual restoration of the royal residence. In 1916-1939 the restoration of the castle was continued by Adolf Szyszko-Bohusz, whose specific approach was based more on artistic creation. Today, his realisations already possess a certain historical value and deserve to be subjected to conservation protection on their own merit. Their essential novelty consisted of arranging two archaeological- -architectural reservations. Out of for four conceptions pertaining to the whole Hill (1917, 1919, 1939, 1946) Szyszko-Bohusz or his successors implemented the best elements. Fortunately for Wawel Hill, they did not realise plans for a Pantheon and an amphitheatre, which cannot be favourably judged from the viewpoint of conservation doctrine. After the Second World War conservators resigned from these plans and under the supervision of Witold Minkiewicz and Alfred Majewski initiated, i.a. work on mediaeval walls in the western and southern part of Wawel Hill. The range of the reconstruction was distinctly limited in comparison with the conceptions expounded by Szyszko-Bohusz, thus expressing the transformations of the conservation doctrine of the period. In 2008 a positive opinion about those realisations was reflected in its entry into a register of historical monuments as a “conservation document”. Modern elements of exposition arrangements introduced into the Treasury, the Armoury and the exhibition “The lost Wawel” are distinct from the authentic substance, a solution that reflects a clear-cut impact of the doctrine recorded in the Charter of Venice. Complex conservation, comprising the next stage of work conducted on Wawel Hill, had been initiated in 1990 by the present-day Director of the Royal Castle on Wawel Hill and Conservator of Historical Monuments on Wawel Hill – Professor Jan Ostrowski. The basic premises of these undertakings are contained in the Statute of the Royal Castle on Wawel Hill, which defines both the function of the Castle complex as a museum- -historical residence and the trend of conservation: “the preservation of the historical substance of monuments belonging to the Castle”. “Conservation” should, however, be comprehended as “conservation- -restoration”, since present-day activities should supplement those of the predecessors and not negate them. Such a continuation of earlier initiatives included the recreation of the surface of the arcade courtyard, the recreation of the historical crowing of Lubranka, the completion of the conservation- -restoration of the Sandomierz bastion, the architectural correction of the elevation of the Royal Kitchens (no. 5), the recreation of the royal gardens and the revalorisation of the complex of Gothic houses, i.e. building no. 7. An essential element in embarking upon conservation decisions is a valorisation of the historical strata, which includes also the results of earlier conservation. The negative opinion about the nineteenth- century introduction of barracks in the royal palace complex is maintained, but Austrian fortifications extant up to this day have been recognised as an element subjected to protection. Redesigning introduced during the Nazi occupation, fortunately not extensive, has also been negatively assessed. The principles applied in reference to the outcome of previous conservation assumed their preservation as historical values unless they collide with the fundamental purpose of the presentation of a historical royal residence, i.e. falsify its image or damage its historical substance. In such cases, corrections are advised, as exemplified by the exit from the castle to the royal gardens and a new arrangement of the reservation in the west wing of the castle.

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2 Ochrona Zabytków

1 Stępien P. M.

1 Stępień P. M.

1 2009

1 2007

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REKONSTRUKCJA I KREACJA W ODNOWIE ZAMKU NA WAWELU

Konserwacja Wawelu w świetle doktryn konserwatorskich