Książe, „co krajowi byt swój poświęcił”. Portrety IX ordynata Ołyckiego, pułkownika Dominika Hieronima Radziwiłła (1786–1813)

THE PRINCE, “WHO DEDICATED HIS LIFE FOR THE HOMELAND”. PORTRAITS OF COLONEL DOMINIK HIERONIM RADZIWIŁŁ (1786–1813) – THE IX ORDYNAT OF OLYKA. Dominik Hieronim Radziwiłł (1786–1813) was the last Ordynat of Olyka from the Nesvizh line. He was the son of Hieronim Wincenty Radziwiłł (1759-1786) and the nephew of Karol Stanisław „Panie Kochanku” Radziwiłł (1734–1790). Despite the fact, that in his period family residences had deteriorated or became derelict, the estimation about his owner behaviour cannot be negative. It is not denying that this nobleman was a patriot who dedicated his life for the homeland. In 1812, Prince joined Napoleon Army and died in 1813 after the Battle of Hanau. In consequence his name became famous and respected by such an influential generals as Józef Załuski and Zygmunt Krasiński. The symbols of Radziwiłł’s heroism were presented in archival documents, graphics and paintings (for example in pictures from the collections stored in the National Museum in Warsaw and in Schillingsfürst residence). The selected aspects of his life and interpretations of portraits were presented in that paper

Kaplica Świętej Anny w kościele pobernardyńskim koło Przyrowa. Program ideowy wystroju

CHAPEL OF ST. ANNE IN THE POST-BERNARDINE CHURCH NEAR PRZYRÓW. CONCEPTUAL PROGRAMME OF THE INTERIOR DESIGN. The architecture, artistic and conceptual program of the sanctuary near Przyrów were determined by the cult of St. Anne. The Bernardine church, donated in 1609, was built as frame for the miraculous figure and relics. The rich iconographical program of the north chapel, where the sculpture was located, was inspired by biblical exegesis as well as by the Christian tradition and the Biblical Apocrypha (the Gospel of Pseudo-Matthew, the Protoevangelium of James). Moreover, the religious motifs represented the Counter-Reformation philosophy. The important sign of these tendencies was altar with vera effigies – the foundation of the province governor of Łęczyca, Tomasz Sołtyk. That masterpiece presents architectural forms and inscriptions connected with the donator. Figures of saints in altar retable might be interpreted in the theological context of the sanctuary. The role of St. Anne in Jesus’ childhood was confirmed by Biblical apocryphal scenes in the cupola. The dome was adorned with frescoes – representative for the quadri riportati convention and “three-dimensional painting” – and stucco works. Deep meaning of this decoration is presented in the last part of the article. The paper discusses conceptual program of the interior design in reference to the Litany of St. Anne, the great work of the Council of Trent, theological and artistic context of baroque art

„Akacyja biała z Łazienek (…), Thuja occidentalis z Królikarni”. Założenie pałacowo-ogrodowe w Dęblinie w drugiej połowie XVIII stulecia

The Mniszech palace-garden layout in Dęblin was modified in the last two decades of XVIII century. Archival drawings from the National Museum in Warsaw allow the reconstruction of architectural forms and composition of garden pavilions – especially of the mausoleum inspired by the Tomb of Cecilia Metella. Tree and flower species were imported to the residence from Łozy, the Rabbit House and the Baths Park. Such significant gardeners as Jan Chrystian Schuch and Dionizy Mc Claire (Mikler) participated in establishing a landscape layout in Dęblin. The effect of their’s work was documented by Zygmunt Vogel in 1796. The watercolour shows the garden with the irregular lake coastline and – in the background - classical facade of the palace. There is not denying, that the owner of Dęblin – the Grand Marshal Michał Jerzy Mniszech – was bright magnate, connosseur of European art and culture. In consequence, his estheticism reflected in the new composition, style and forms of the residence. The article presents the palace-garden layout in that context

Rokokowe rzeźby z ogrodzenia pałacu Mniszchów w Gdańsku. Autorstwo – styl – program ikonograficzny

In 1751, Jerzy August Mniszech purchased a plot in Długie Ogrody Street: the area where a large -scale residence was erected Its designer was most probably Pierre Ricaud de Tirregaille An important element in shaping the spatial composition of the entire palace and garden ensemble was formed by the main gate, characterized by an extremely dynamic, sculptural form, typical of Rococo art At the top of the gate and on the fence posts there were figures: personifications of Minerva and Ceres, four putti representing the seasons and vases At the beginning, the article presents the history and style of the sculptures Then the question of attribution is discussed In literature, Johann Heinrich Meissner is the most frequently indicated creator of the entire sculptural ensemble This attribution, in view of the shortage of sources, requires confrontation with other, preserved works of the artist Johann Heinrich Meissner (1701–1770) was born in Królewiec He was present in Gdańsk, where from 1726 he owned a valued workshop Having lived in the Old Town, near the Church of St Catherine, in 1755 he moved to Długie Ogrody where he located his studio, so he was a direct witness to the project carried out for Jerzy August Mniszech Meissner’s workshop created, among other things, garden sculptures and elements of temple decorations Among the sacred implementations, mention should be made of the decoration of the main altar in the Cathedral in Frombork, which includes four full -figure angelic figures, vases, flames and garlands made of pine wood Meissner was also responsible for the statues of angels from the organ front in Gdańsk’s Church of St Mary, expanded in 1757–60 The soft modelling of forms precisely emphasizes the anatomy Figures’ gestures are naturalistic The sculptures in front of the Mniszech Palace are stylistically different from them: strongly stylized, exaggerated, they feature vibrating surface characteristic of the Rococo Their authorship should therefore be associated with another sculpture workshop operating in Gdańsk in the mid -18th century Another thread is the symbolic diagram of the fence decoration In order to understand the ideological meaning of the figures in question, it is necessary to juxtapose them with the iconography found in Gdańsk’s art (e g Minerva decorated the façade of the Great Armory and the hall of the Main Town Hall, while the statues of Ceres were placed at the tops of tenement houses) and with European trends

„Wizyja pałacu w Warszawie na ulicy Miodowej”. Architektura i wyposażenie rezydencji w czasach Jana Karola Mniszcha

In 1757 the palace at Miodowa St. (the registration of a mortgage in the central mortgage register no. 484) became the property of Jan Karol Mniszech (died 1759), who rebuilt it. The transformations included, among others, delivery to the main body the side wing, located along Kapitulna St. The location of the palace at the representative stage deserves to be emphasized. The „Vision” prepared post fata chamberlain (łac. subcamerarius) of Grand Lithuania allows the reconstruction of the introduced functional and ideological programme. At the moment of the magnate's death some of the rooms were not yet completed. Information on the decor is specified by the “Regestr” coming from the same period, which the place of exhibition of selected objects was given in. The above documents show the character of the building, in which you can specify the sequences of functional, representative rooms, apartments of the lady and the master of the house. The analysis of rooms available to guests indicates the manner of manifesting property status and knowledge of current artistic trends. The owners` splendour was expressed in a layout and interior design parade, covering the entire first floor. The oak stairs „wschody prycypalne” with 28 degrees had the representative character. In the „room for the guests` reception” that preceded the bedroom of Katarzyna Mniszech (born Zamoyska), an oval portrait of August III was visible above the fireplace. References to the kings of the Saxon dynasty were visible, among others, on handicraft. In the goblets and tablecloths` decoration the Mniszech coat of arms could not be missing

Projekty Giovanniego Battisty Gisleniego dla warszawskiej jurydyki Leszczyńskich w zbiorach drezdeńskich

W kolekcji Staatliche Kunstsammlungen w Dreźnie znajdują się projekty autorstwa Giovanniego Battisty Gisleniego dla warszawskiej jurydyki Bogusława Leszczyńskiego, datowane na lata 1650-55. Leszno (Nowe Leszno), założone na prawie chełmińskim w 1648 r., było pierwszą świecką jurydyką w Warszawie. W artykule przybliżone zostały formy architektoniczne poszczególnych obiektów, zaproponowane przez Gisleniego. Ratusz zaprojektowano jako budynek murowany, dwukondygnacyjny, na planie prostokąta, z ryzalitem wieżowym na osi. Szczególnie interesująco prezentują się dwie wersje drewnianego szpitala bonifratrów, którzy zostali sprowadzeni z Krakowa przez założyciela Leszna. Warto podkreślić, że Gisleni zaprojektował również rezydencję Bogusława Leszczyńskiego, wzniesioną od strony ulicy Rymarskiej. Układ zabudowy Nowego Leszna silnie wpłynął na rozwój urbanistyczny tej części Warszawy. Omówione w artykule projekty są zarówno dokumentem związanym z historią jurydyki, jak i świadectwem ambicji jej właściciela