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1
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PIĘKNA STUDNIA W NYSIE

100%
Pawlik K.
Ochrona Zabytków
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2005
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issue 3
31-38
EN
The Beautiful Well in Nysa is one of the most magnificent objects of its sort in Europe. Well gratings representing such a high artistic rank are to be found only in Prague, Nürnberg, Innsbruck and Bruck on the Mur. The titular well was founded by Kaspar Naas, the mayor of Nysa. The boarding was built out of marble from nearby Sławniowice. The iron grating was executed in 1686 by Wilhelm Helleweg, the administrator of the diocesan-ducal mint in Nysa and master locksmith at the court of the local bishop. Although the well dates back to the Baroque, it features an overwhelming Renaissance impact together with a discernible reference to forms characteristic for the Middle Ages. The information at our disposal relates to a number of conservation undertakings conducted at rather small intervals. The first took place in 1889, followed by work carried out in 1935. In 1944 the grating was hidden in the Nysa fortifications to protect it against being damaged by Allied air raids. Found after the war, it was conserved and reinstalled in its former place in 1969. The last conservation was performed in 2001 and 2005. The Beautiful Well, one of the oldest Silesian objects with a water pump, fulfilled its basic functions until the end of the nineteenth century. Its water was used by the bakers and butchers of Nysa, and it ceased being used after the introduction of a municipal water-main at the end of the nineteenth century. The well is one of the most breathtaking monuments of the past in the architecture of Nysa, brimming with historical treasures. It was also the object of interest on the part of graphic artists and photographers as well as men of letters. The circumstances of its origin became the motif of a drama in five acts – “Der Schöne Brunnen in Neisse”, written by a local Verbist, Rev. Alfred Wlotzka (published in Nysa in 1922).
2
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Dzwony wieży ratusza w Nysie.

100%
Pawlik K.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2009
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issue 3(13)
60-73
EN
The town hall tower in Nysa [German: Neisse] was built in the years 1488-1499. It was 89 m high. Four bells were hung in its helm. Three of them were clock bells. The town hall tower clock came into being ca. 1650. The oldest one, the second hour bell, was cast in 1498 by Bartel Lindenrath, a bell- founder from Nysa. Two other – the first hour bell and the quarter bell – were made by Peter Herel, a bellfounder from Nysa, in 1629. The last one, not being a clock bell, was cast in 1749. It bore the name of convicts’ bell, later also an alarm bell or a „Schließglocke” (English: ‘closing bell’), as it used to strike at 9 pm to get city gates closed. This bell was mentioned in the sources in the 16th and 17th centuries. It may be supposed that it was recast in the 18th century. All four bells survived World War I as they were not commandeered. During World War II, in 1942, the convicts’ bell was taken out from the tower and recast for war purposes, while the three clock bells were left in the tower. In March 1945 during Red Army’s attack on Nysa the town hall tower was seriously damaged and collapsed together with the bells, nevertheless they could still be used. After the war, ca. 1947-1948, the preserved bells found their place in catholic parishes. The second hour bell of 1498 was hung in the belfry of St. Jacob church in Nysa and after the war it was recast. The quarter bell of 1629 found its place in Our Mother of Sorrows church in Nysa, and the first hour bell of 1629 was placed in the chapel in Sucha Kamienica [German: Dürrkamitz] in the poviat of Nysa.
3
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Gotycki ołtarz główny kościoła ś. Jakuba w Nysie.

100%
Witkowski J., Szewczyk A.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2007
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issue 1(3)
3-11
4
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Przeobrażenia struktury handlowej miasta średniej wielkości na przykładzie Nysy

89%
Mayer M.
Prace Komisji Geografii Przemysłu Polskiego Towarzystwa Geograficznego
|
2016
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vol. Volume 30, Issue 2
155-170
PL
Artykuł przedstawia przeobrażenia struktury handlu detalicznego w Nysie, mieście średniej wielkości (około 45 tys. mieszkańców), o randze ośrodka powiatowego, w regionie przygranicznym województwa opolskiego. Badania można określić jako wielowymiarowe. Dotyczą aspektu ilościowego (liczba jednostek), przestrzennego (rozmieszczenie usług) oraz czasowego (analiza zmian ilościowych i jakościowych w okresie ostatniego dziesięciolecia). Wzorując się na badaniach M. Palomäkiego (1964) i T. Zipsera (1977, 1979), dokonano analizy macierzy danych, określając zmiany, jakie zachodzą w strukturze usług handlowych w jednym z miast średniej wielkości. Wyniki potwierdzają tendencje ogólnokrajowe: przeobrażenia sieci targowiskowej, słabnącą rolę ulic handlowych (w tym rynku) oraz rosnący potencjał rynku wielkopowierzchniowych obiektów handlowych1 typu dyskonty. Struktura handlu ulega rozproszeniu, a zarazem potęguje skalę wielofunkcyjności (lecz już nie na zasadzie kooperacji kilku jednostek sklepowych obok siebie, ale w jednym budynku).
EN
The paper presents transformation of retail structure in Nysa, medium-sized city (45 000 citizens), the capital of poviat, located on the border part of Opolskie Voivodeship. Research are multivariable. There are quantitative (number of shops), spatial (placement in urban structure) and time (changes of the last decade analysis) data included. Based on the Palomäki (1964) and Zipser T. (1977, 1979) method, databases were constructed and analysed. Trough these detabases was made possible to analyse the evaluation of changes of the city retail structure. Results are confirming countrywide trends: marketplaces transformations, soften share of shopping streets (including main squares) and growing potential of discount stores in the local trade. The retail structure is gradually spilling-over from the centre and consolidating in the functional nodes simultaneously.
5
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The mysterious provenance and uncommon repertoire of the music collection belonging to the Dominican Pius Hancke

88%
Hauptman-Fischer E.
Interdisciplinary Studies in Musicology
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2012
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issue 11
155-168
PL
Father Pius Hancke’s music collection includes numerous pieces written for harp. Its outstanding repertoire and provenance distinguishes it from other monastic collections. Hancke expanded it throughout his life and took it with him when moving home. He spent the last thirty years of his life in the Dominican monastery in Nysa. Music for the liturgy contained in his collection (masses, litanies) was certainly used there and is currently the only testimony of that monastery’s musical culture. Besides liturgical compositions, Hancke’s collection includes a number of instrumental pieces for harp with the accompaniment of other instruments and contrafacta of operatic arias. The latter often include parts arranged for harp, probably by Hancke himself. The scriptors’ names link this collection to a unique manuscript containing a Credo ascribed to Antonio Vivaldi.
6
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Franz (Franciscus Hieronimus) Thomasberger – morawski rzeźbiarz na Śląsku i w Wielkopolsce w pierwszej połowie XVIII wieku

71%
Łyczak B.
Biuletyn Historii Sztuki
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2023
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vol. 85
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issue 2
87-108
EN
In 1934, Alfred Brosig published the contents of a contract for the making of figures for the façade of the church of the Seraphic St Francis in Poznań, concluded in 1729 in Wschowa between the Bernardines and one “Franciszek Domusbergier, woodcarver and stonemason”. This document, now lost, was until recently the only evidence of this artist’s activity. Source queries in Polish and Czech archives have established that Franz (Franciscus Hieronymus) Thomasberger was born in Brno in 1696 and that his father was the sculptor Matthias Thomasberger. In 1721, he settled in Nysa, where he married, soon after obtaining citizenship and the title of a master craftsman. While in Nysa he worked, among others, on the decoration of the fountain (now lost) in the garden of the residence of the bishops of Wrocław. In the late 1720s, he moved to Wschowa, a town located in the Commonwealth of Poland and Lithuania, becoming its citizen in 1729. Two years later he was granted membership in the guild of masons and stonemasons; he died in 1744. Several statues in Wschowa, mainly in the Bernardine church, and a sculpture of St John of Nepomuk in Kościan, originally probably in the local Bernardine monastery, have been attributed to him on the basis of stylistic similarities.
PL
W 1934 r. Alfred Brosig opublikował treść kontraktu na wykonanie figur na fasadę kościoła św. Franciszka Serafickiego w Poznaniu zawartego w 1729 r. we Wschowie między bernardynami a „Franciszkiem Domusbergier, snycerzem i kamieniarzem”. Ten zaginiony obecnie dokument był dotąd jedynym świadectwem działalności tego twórcy. Kwerendy źródłowe w polskich i czeskich archiwach pozwoliły ustalić, że Franz (Franciscus Hieronimus) Thomasberger urodził się w Brnie w 1696 r., a jego ojcem był rzeźbiarz Matthias Thomasberger. W 1721 r. osiadł w Nysie, gdzie ożenił się, uzyskał obywatelstwo i tytuł mistrzowski. Pracował tam m.in. nad dekoracją niezachowanej fontanny w ogrodzie rezydencji biskupów wrocławskich. Pod koniec lat 20. Thomasberger przeniósł się do leżącej w Rzeczypospolitej Wschowy: w 1729 r. został obywatelem miasta, a dwa lata później członkiem cechu murarzy i kamieniarzy, zmarł w 1744 r. Na podstawie analizy stylistyczno-porównawczej można mu przypisać kilka figur na terenie Wschowy, głównie w kościele Bernardynów, oraz rzeźbę św. Jana Nepomucena w Kościanie, zapewne pochodzącą z tamtejszej świątyni bernardyńskiej.
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Rerum patris Pii Hancke. O muzykaliach nyskiego dominikanina

54%
Hauptmn-Fischer E.
Hereditas Monasteriorium
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2013
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vol. 2
81-93
EN
The collection of Pius Hancke’s works includes numerous pieces written for the harp. Its outstanding repertoire and provenance distinguishes it from other monastic collections. The collection belonged to the monk who developed it during his whole life and carried it with him when changing places he lived in. Last 30 years of his life Pius Hancke spent in Dominican monastery in Nysa. Notes used during the liturgy (masses, litanies) certainly were used there and currently are the only testimony of the music culture of this monastery. Next to liturgical pieces Hancke’s collection includes a number of instrumental pieces for the harp with the accompaniment of other instruments and contrafacta of opera arias. The latter often include arrangements of harp parts, most probably made by Hancke himself. Scriptors’ names relate this collection to the unique manuscript containing Antonio Vivaldi’s Credo.
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