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1

Stan i potrzeba badań nad zabytkowymi dzwonami w Polsce

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Pokora J.

Ochrona Zabytków

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1972

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issue 4

285-290

EN

The article constitutes a review of publications and investigations on the ancient bells in Poland. In its both parts, i.e. this discussing the extremely poor Polish literature of the subject and that presenting the state of inventorying of the ancient bells this review points to alarming situation. Nor the satisfactory scientific literature devoted to problems of bell founding neither a comprehensive inventory of ancient bells exist. Hitherto no atelier or workshop carrying out the restoration of metalwork is dealing with objects of this kind. The need to undertake extended investigations on this group of specimens of the Polish artistic handicraft forms both obvious and urgent problem. It is proposed by the author that the investigations be conducted by art historians in cooperation with musicologists as the bells are both musical and artistic objects.

2

Stan zachowania kamienno-metalowych płyt nagrobnych na Śląsku

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Pokora J.

Ochrona Zabytków

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1974

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issue 1

45-56

EN

The report presented by the author deals with the tomb effigies made of stone and metal that may be still found within the area of Lower Silesia. Such effigies have, for example, survived to our days in Lubiąż and Wroclaw. The effigies of Lubiąż, executed ca. 1312 are depicting the princes of the Piast family, namely Bolesław the Tall (died in 1201), Przemko of Ścinawa (died in 1289), Konrad of Żegań (died in 1304) and also the knight Marcin Buzwoy (recte: Bożywoj; died ca. 1315). The apitaphial sculptures of Wroclaw are exclusively effigies of clergymen, and among them of Bishop Nanker (died in 1341), Stefan of Lubusza (died in 1345), the abbess Anna Piast (died in 1343) and the nun Margareth (died in 1343). Of the above effigies the first two coming from Wrocław Cathedral are at present kept in the Holy Cross Church whereas the other two, forming a double-effigy in St. Clara Church, Wrocław. The author of the present report quotes the results of the recent investigations supplying a basis for assumption that the effigies from Lubiąż are to be counted to those most early in their class on the Continent and are quite negligibly later than the first known European monument of that kind, namely the effigy of Sir John d’Abernon (died in 1277) in Stoke d’Abernon Church, Surrey. Apart from that fact alone the Silesian effigies have their quite particular place in the history of the Polish mediaeval art, among the others, due to the techniques applied in their execution. All they have been executed in the way described below. The effigy of a person buried and the architectural framing with an inscription on it was formed of the flat metallic plates (auricalcum) finished by the engraver’s work and then inserted in the suitably shaped hollows in a rectangular sandstone plate. Thus, quite a specific kind of incrustation was obtained, namely stone with metallic applications. In the whole Europe, the British Isles excluded, up to our times were preserved no more than a dozen or so of such mediaeval effigies. After the above remarks and a more detailed discussion of technique applied for execution of the Silesian tomb effigies the author deals in detail with their state of preservation. Here he finds the place to point to highly artificial separation of the individual parts of that monuments composed of both metal and stone. Some metallic applications from the effigies of Lubiąż are kept in the National Museum, Wroclaw whereas the remaining preserved elements in their original positions in Lubiąż. Much the same is the case with the effigy of Bishop Stefan of Lubusza whose metallic effigy is kept in the Archidiocesal Museum, Wrocław and the remaining parts of the tomb in the Holy Cross Church. It is the author 's proposal to integrate the preserved fragments into the wholes. To make his conclusions still more convincing the author expressed a view that the stone and metallic effigies, and in particular in the event of Silesian tombs, cannot be handled correctly enough until the metallic parts will remain separated from those made of stone. According to his opinion the integrated and properly restored relics should be located in their original positions, i.e. in Cistercian Church in Lubiąż and in Wrocław Cathedral. When dealing with the state of preservation of the Silesian effigies the author forwarded some proposals as to conservation of each of their seven specimens at the same time emphasising the necessity to investigate both stone material and metal parts in these tombs.

3

Manus Dureri: The role of gesture in Albrecht Dürer’s self portrait of 1500

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Pokora J.

Biuletyn Historii Sztuki

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2012

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vol. 74

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issue 1

33-43

EN

The article, published in English, proposes new interpretation of gesture of benediction in Albrecht Dürer’s self-portrait of 1500 (Alte Pinakothek, Munich).

4

"Rzeźba lat 1560-1650 na Śląsku Opolskim", Tadeusz Chrzanowski, Warszawa 1974 : [recenzja]

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Pokora J.

Ochrona Zabytków

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1975

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issue 3-4

283-285

5

Stan prac nad "Katalogiem zabytków sztuki w Polsce"

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Pokora J.

Ochrona Zabytków

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1988

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issue 4

228-229

EN

Introductory principles of a series entitled "The Catalogue of Art Monuments in Poland” were set out in 1945. At the beginning it was meant as a publication prepared pa ra I lei ly with a detailed topographic register. Still, contrary to the register, its aim was the possibly soonest rendering of the possessed cultural property, rescued from the war havoc. In compliance with these principles the catalogue was to be simply a profesionally elaborated register of preserved monuments (except for museum objects). Therefore, the adopted mode of recording was very concise. The information contained in it was based on the basic literature on the subject (without archival sources). The illustrative part concerned only major works. Such a catalogue did not have its equivalent in Europe, although it derived from a classical "Handbuch der deutschen Kunstdenkmaler" by Georg Dehio. When it became necessary to give up the edition of the register, the catalogue became a basic source of scientific information on the Polish artistic and cultural heritage. The minimalisation of the adopted assumptions became then particularly obvious and it was necessary to depart from it in favour of completeness and greater accuracy in preparing the material. The process was being accomplished gradually in the sixties and assumed finally a present form of the catalogue which is something intermediate between a detailed topographic register and a concise catalogue similar to Dehio’s "H a n d b u ch .............” . A factual and formal arrangement as well as a printing get-up of the catalogue have remained unchanged. However, the scope of the work has been markedly extended. A top limit, originally set at ca 1850, has been shifted to include the 20th century. Descriptions of monuments have also been expanded. Historic information has been based on the comprehensive literature on the subject and on archival documents. Introductory notes and indexes have been introduced and the number of illustrations has got increased. The work on each subsequent edition of the catalogue is a team and multi-stage work. It is carried out in the Department for Monuments’ Cataloguing of the Institute of Fine Arts attached to the Polish Academy of Science in Warsaw and in three field workshops in Cracow, Gdansk and Poznań. 176 issues of the catalogue have been published since 1951. They covered nearly ca 60 per cent of the territory of Poland. After the restructuring of the administrative division of the country (1975) the edition of the New Series of the catalogue has been taken up. It corresponded to newly created districts. At the same time it was decided to complete the Old Series according to the earlier administrative division. In 1965 catalogues which presented monuments found in big towns (Cracow and then Poznań) began to appear. At present preliminary work is being carried out on Toruń, while work on Częstochowa, Warsaw and Gdańsk is already much more advanced. At the same time the work has been undertaken to verify the old minimalistic model (former Cracow voivodship). The pace of work on the catalogue depends mainly on a technical and financial base (it is necessary to travel frequently into the country) and on staff possibilities. The shortage of manpower has an inhibitory effect upon this pace. If it is not sped up then, as can be supposed, the series entitled "The Catalogue of Art Monuments in Poland” will not be completed earier than in 20 years’ time.

6

Ambony śląskie z lat 1550-1650 : stan zachowania

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Pokora J.

Ochrona Zabytków

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1975

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issue 3-4

198-216

EN

The author deals with a number of problems connected with the state of preservation of historical monuments which played and important part in the history of art of the Renaissance and Mannerism Pediod, namely the church pulpits. The pulpits erected within the period of 1550—1650 in Silesia were, as a rule, built for Protestant churches and constituted extremely essential component parts of their furniture, It is therefore easily understandable that they were the elements of ecclesiastic fittings that required artistic forms adequate to their particular position inside the temple. The author quotes a series of statistical data concerning the number of the preserved pulpits. He states that within the area of Silesia about 100 historic pulpits of which 11 are built of stone and one of brick can be found. This number constitutes more than one-third of all historic pulpits in Polish churches. Then the author proceeds to the discussion of considered materials of which the Silesian pulpits were executed; wood is to. be the most frequently applied material — decorated either with polychrome paintings or ornamental carvings. On some pulpits there are also decorations in the form of canvas paintings. About 10 per cent of the pulpits preserved were built of stone, e.g. sandstone, alabaster, serpentine, but those which were constructed of both stone and timber may also be found. No cataloque of the historic church pulpits still existent in the province of Wrocław and in part by of Zielona Góra, where 85 per cent of a total amount of those coming from the period of 1550—1650 are grouped, no later than that prepared by H. Lutch at the end of the 19th centrury is avaibable at present. A journey made by the author in 1974 during which he visited more than 80 localities within the area in question enabled him to find out that the conditions of preservation of the prevailing number of pulpits are satisfactory. However, the original polychrome paintings on wooden pulpits are considered to be most decayed. In many of them baldaquins and some details of carved decorations are missing. During the last 15 years a couple of pulpits got lost. Another problem with which the author deals concerns hazards associated with incompetent renovation or restoration of pulpits carried out without the knowledge of conservaton authorities. To, some up the above remarks he gives a list ot objects requiring urgent treatment by restorers. Still another problem that he discusses regards re storations of the objects existing in our days that have been carried out during the past centuries or are being carried out in our times. Critical comments has been made by the author with concern to restoration of some pulpits an/d the repeateng failures emphasised as, for instance, the overpainting of original inscriptions or applying an improper palette and the like. In conclusion of his article the author advanced a suggestion that a wide action of inventorying of historical monuments should be started in Silesia and expresses his hope that the present article has sufficiently proved the urgent need to introduce a new organizational model for the field conservation authorities. According to his view it is indispensable that with conservation of each movable historical monument a t least two experts i.e. an art historian and a practicizing restorer should be entrused.

7

Pomnik psa w Szczawnie-Zdroju

100%

Pokora J.

Ochrona Zabytków

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1974

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issue 4

305-308

EN

In the spa park at Szczawno-Zdrój near Wałbrzych stands a forgotten and uncared-for today sculpture representing a dog in actual size that has been hewn in sandstone. It is a portrait of the beloved great Dane that belonged to Prince George II who himself was a great patron of artists owning the Castle at Brzeg upon the Odra River. The sculpture in question constitutes a rather rare example of a Renaissance monument devoted to an animal. It was created prior to 1586 and according to every probability is the work of the Prince’s court sculptor, Michael Kramer. Unfortunately, to this sculpture none Polish scientific or poularizing publication has until now been devoted. The author reminds the long and lively history of that monument which after the year 1741 and prior to 1757 was transferred to Wszechświęta near Oleśnica. In the early 1840’s it has been moved to Szczawno but was situated in anther place. After the year 1918 the sculpture was placed within the rosary where it is standing still today. In view of extensive restoration carried out in the Castle of Brzeg in connection with the forthcoming 300th anniversary of death of the last Silesian ruler, a descendent of the Pyast family, which will be celebrated in 1975, the author advanced the proposal that the sculpture, after indispensable restoration, be transferred to its original localization, i.e. that in the corner of the first floor loggia of the rebuilt residence of princes at Brzeg.

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6 Ochrona Zabytków

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7 Pokora J.

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Stan i potrzeba badań nad zabytkowymi dzwonami w Polsce

Stan zachowania kamienno-metalowych płyt nagrobnych na Śląsku

Manus Dureri: The role of gesture in Albrecht Dürer’s self portrait of 1500

"Rzeźba lat 1560-1650 na Śląsku Opolskim", Tadeusz Chrzanowski, Warszawa 1974 : [recenzja]

Stan prac nad "Katalogiem zabytków sztuki w Polsce"

Ambony śląskie z lat 1550-1650 : stan zachowania

Pomnik psa w Szczawnie-Zdroju