DOI Heft:
Nr. 4
DOI Artikel:Rozprawy
DOI Artikel:Mossakowski, Stanisław: Kościół sakramentek w Warszawie: charakterystyka i geneza architektury
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.45622#0271
KOŚCIÓŁ SAKRAMENTEK W WARSZAWIE
reaching the finał conception of the artisfs work
exclude the existence of one prewously accepted
archetype.
Searching the genesis of the formation of the
church of Benedictines of Perpetual Adoration of the
Holy Sacrament it is necessary to take into considera-
tion a special architectural topie namely the altan ta-
bernacle in the form of a tempietto. Among numerous
different forms of architectural tabernacle-tempiettos,
which appeared about the middle of the fifteenth
century among the Florentine and Sienese sculptors,
there appears from time to time the form of the Greek
cross interwoven with an octagon and crowned by
a slender multilateral dome placed on a drum of
several secti-ons (fig. 27). Close analogies occurring
between this form of altar tabernacle and the Warsaw
church allow the supposition that one of the sources
of the form of the church of Benedictines was this
topie of socalled little architecture, especially as
Tilman knew it well and even applied it himself
(fig. 29). The idea of iso composing the church that it
would give the impression of a monumental taber-
nacle was probably suggested to Tilman by the cha-
racter of the order itself, being a sub-order of Bene-
dictines devoted to constant adoration of the Blessed
Sacrament especially as this newly formed order had
no architectural tradition.
Another extremely interesting point is the genesis
and ideological sence of the modern tabernacle in the
form of a tempietto. This problem, though it is only
loosely connected with the theme of the present
article, is worth -considering as, to the authoFs
knowledge, it has not yet been isolved. The term ta-
bernacle applied to the place where the consecrated
Host is kept, appeared only towards the end of the
twelfth century as a typological reference to the tent
in the Old Testament (’oheł in Hebrew and taberna-
culum in the Vulgata) in which the Jews kept the
Ark of the Covenant during their wanderings in
the desert. The term, fuli of typological expression,
was spread in modem times by the work of the me-
dieval writer William Duranda Rationale dwinorum
officiorum, which in the epoch of Renaissance had
some scores of editions.
The tabernacle of the Old Testament had also
a special cosmic sense. Ancient tradition coming from
Philo of Alexandria and Josephus Flavius asked to
see in it the image of the universe. It received a new
kind of cosmological interpretation in the epoch of
Renaissance when in connection with the revival of
Pythagorean symbolism of numbers there began to
be found in the size of the tabernacle given by the
Bibie the ideał proportions obligatory also in the
cosmos (Francesco Zorza vel Giorgi). The cosmological
interpretation of the Old Testament tabernacle revived
in the epoch of Renaissance became the source of
the new type of Eucharistic tabernacle. It was no
accident that the Eucharistic tabernacle was given the
form of tempietto when the central form of the church
recieved a distinctly defined cosmic sense. Built in
accordance with the basie geometrical figures, i.e.
circle and spuare, the church with a central plan
formed in the minds of people of the Renaissance —
as was determined by Rudolf Wittkower — a reflexion
of uniformity, perfect proportions, and the harmony
of the universe. Hence, this deep cosmological inter-
pretation connected the Eucharistic tabernacle, whose
figurę was the Old Testament tabernacle, with the
central form of the church and led to the formation
of a new theme for little architecture and together
with it for many eminent works of art.
Whether Tilman realized the cosmic sense of the
tabernacle in the form of a tempietto and to- what
degree when he designed the church of Benedictines
of Perpetual Adoration of the Holy Sacrament it is
impossible to determine; we may only suppose that
he knew its Old Testament genesis at least from the
popular book Ezplication des termes d’architecture
by A. d’Aviler (Paris 1691) which he had in his library
and where this genesis was presented clearly under
the entry „tabernacle”.
(Tłum. Mary Filippi)
reaching the finał conception of the artisfs work
exclude the existence of one prewously accepted
archetype.
Searching the genesis of the formation of the
church of Benedictines of Perpetual Adoration of the
Holy Sacrament it is necessary to take into considera-
tion a special architectural topie namely the altan ta-
bernacle in the form of a tempietto. Among numerous
different forms of architectural tabernacle-tempiettos,
which appeared about the middle of the fifteenth
century among the Florentine and Sienese sculptors,
there appears from time to time the form of the Greek
cross interwoven with an octagon and crowned by
a slender multilateral dome placed on a drum of
several secti-ons (fig. 27). Close analogies occurring
between this form of altar tabernacle and the Warsaw
church allow the supposition that one of the sources
of the form of the church of Benedictines was this
topie of socalled little architecture, especially as
Tilman knew it well and even applied it himself
(fig. 29). The idea of iso composing the church that it
would give the impression of a monumental taber-
nacle was probably suggested to Tilman by the cha-
racter of the order itself, being a sub-order of Bene-
dictines devoted to constant adoration of the Blessed
Sacrament especially as this newly formed order had
no architectural tradition.
Another extremely interesting point is the genesis
and ideological sence of the modern tabernacle in the
form of a tempietto. This problem, though it is only
loosely connected with the theme of the present
article, is worth -considering as, to the authoFs
knowledge, it has not yet been isolved. The term ta-
bernacle applied to the place where the consecrated
Host is kept, appeared only towards the end of the
twelfth century as a typological reference to the tent
in the Old Testament (’oheł in Hebrew and taberna-
culum in the Vulgata) in which the Jews kept the
Ark of the Covenant during their wanderings in
the desert. The term, fuli of typological expression,
was spread in modem times by the work of the me-
dieval writer William Duranda Rationale dwinorum
officiorum, which in the epoch of Renaissance had
some scores of editions.
The tabernacle of the Old Testament had also
a special cosmic sense. Ancient tradition coming from
Philo of Alexandria and Josephus Flavius asked to
see in it the image of the universe. It received a new
kind of cosmological interpretation in the epoch of
Renaissance when in connection with the revival of
Pythagorean symbolism of numbers there began to
be found in the size of the tabernacle given by the
Bibie the ideał proportions obligatory also in the
cosmos (Francesco Zorza vel Giorgi). The cosmological
interpretation of the Old Testament tabernacle revived
in the epoch of Renaissance became the source of
the new type of Eucharistic tabernacle. It was no
accident that the Eucharistic tabernacle was given the
form of tempietto when the central form of the church
recieved a distinctly defined cosmic sense. Built in
accordance with the basie geometrical figures, i.e.
circle and spuare, the church with a central plan
formed in the minds of people of the Renaissance —
as was determined by Rudolf Wittkower — a reflexion
of uniformity, perfect proportions, and the harmony
of the universe. Hence, this deep cosmological inter-
pretation connected the Eucharistic tabernacle, whose
figurę was the Old Testament tabernacle, with the
central form of the church and led to the formation
of a new theme for little architecture and together
with it for many eminent works of art.
Whether Tilman realized the cosmic sense of the
tabernacle in the form of a tempietto and to- what
degree when he designed the church of Benedictines
of Perpetual Adoration of the Holy Sacrament it is
impossible to determine; we may only suppose that
he knew its Old Testament genesis at least from the
popular book Ezplication des termes d’architecture
by A. d’Aviler (Paris 1691) which he had in his library
and where this genesis was presented clearly under
the entry „tabernacle”.
(Tłum. Mary Filippi)