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DOI Artikel:Kusztelski, Andrzej: Dekoracja przęsła na skryżowaniu naw kościoła pojezuickiego (farnego) w Poznaniu - początki kwadratury w Polsce
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.49350#0194
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Andrzej Kusztelski
by the ceiling. Archival sources reveal that a painting
was composed forthis ceiling in 1701 which depicted
an imagined perspective of the cupola that was never
to be carried out. It is likely that this work, by the
Silesian painter, Karol Dankwart, who was brought in
from Cracow, represents the oldest, and until now an
unknown example of applying ąuadratura in pre-
partition Poland. The essential complement to this
decoration was the introducing of a techniąue
imitating the vault and cupola decoration in the Gesu
church in Romę, where the architectural painting was
supported by the sculpted decoration, being treated as
an eąually important component and executed in
stucco. The ąuadratura painting, which was
technically conceived by Andrea Pozza, was a novelty
in this part of Europę. The techniąue of creating
artistic compositions through the use of various
branches of the fine arts, as worked out by Bernini,
would have been known earlier in the Polish and
Lithuanian Commonwealth from what was an
admittedly smali number of examples. Simultaneous
with the decoration of the Poznań Jesuits, one of the
largest and most extensive works in which the so-
called Bernini techniąue was applied may be seen in
the Collegiate Church of St. Anne’s of Cracow
University, designed by the distinguished Italo-Swiss
stucco interior designer, Baltazar Fontana and the
same Karol Dankwart, who had interrupted his work
in Cracow in order to compose his frescoes in Poznań.
The decoration in the Crossing of the Poznań Jesuits’
Church was already destroyed in the 18th century; for
unexplained reasons parts of the composition began
to fali away, threatening the faithful who came to the
church. It was for this reason that the pnests decided
to remove the decoration altogether and replace it
with a new composition. Following the religious
order ’s suppression and the building’s adaptation into
a parish church, moves were madę on a number of
occasions to carry out the new decoration in the nave
Crossing. In 1873 the decoration by Ignacy Prager was
composed, but this was destroyed towards the end of
the Second World War. During reconstruction, even
though the possibility of raising a domed cupola
above the nave Crossing, the finał decision was to
recreate a ąuandratura to harmonise with the church ’s
interior decor. The restored ąuadratura is an echo of
the architectural painting contained in the city’s
Conventual Franciscan Church of St. Anthony. The
very good relations exisitng between the two religious
orders are likely to have ensured that Pozzo’s treatise
was madę available during the reconstruction. The
wali painting in the Franciscan church was carried out
by Adam Swach in 1702, and as such it enjoys the
status of being the oldest preseiwed ąuadratura in
Poland.
Translated by Peter Martyn
Andrzej Kusztelski
by the ceiling. Archival sources reveal that a painting
was composed forthis ceiling in 1701 which depicted
an imagined perspective of the cupola that was never
to be carried out. It is likely that this work, by the
Silesian painter, Karol Dankwart, who was brought in
from Cracow, represents the oldest, and until now an
unknown example of applying ąuadratura in pre-
partition Poland. The essential complement to this
decoration was the introducing of a techniąue
imitating the vault and cupola decoration in the Gesu
church in Romę, where the architectural painting was
supported by the sculpted decoration, being treated as
an eąually important component and executed in
stucco. The ąuadratura painting, which was
technically conceived by Andrea Pozza, was a novelty
in this part of Europę. The techniąue of creating
artistic compositions through the use of various
branches of the fine arts, as worked out by Bernini,
would have been known earlier in the Polish and
Lithuanian Commonwealth from what was an
admittedly smali number of examples. Simultaneous
with the decoration of the Poznań Jesuits, one of the
largest and most extensive works in which the so-
called Bernini techniąue was applied may be seen in
the Collegiate Church of St. Anne’s of Cracow
University, designed by the distinguished Italo-Swiss
stucco interior designer, Baltazar Fontana and the
same Karol Dankwart, who had interrupted his work
in Cracow in order to compose his frescoes in Poznań.
The decoration in the Crossing of the Poznań Jesuits’
Church was already destroyed in the 18th century; for
unexplained reasons parts of the composition began
to fali away, threatening the faithful who came to the
church. It was for this reason that the pnests decided
to remove the decoration altogether and replace it
with a new composition. Following the religious
order ’s suppression and the building’s adaptation into
a parish church, moves were madę on a number of
occasions to carry out the new decoration in the nave
Crossing. In 1873 the decoration by Ignacy Prager was
composed, but this was destroyed towards the end of
the Second World War. During reconstruction, even
though the possibility of raising a domed cupola
above the nave Crossing, the finał decision was to
recreate a ąuandratura to harmonise with the church ’s
interior decor. The restored ąuadratura is an echo of
the architectural painting contained in the city’s
Conventual Franciscan Church of St. Anthony. The
very good relations exisitng between the two religious
orders are likely to have ensured that Pozzo’s treatise
was madę available during the reconstruction. The
wali painting in the Franciscan church was carried out
by Adam Swach in 1702, and as such it enjoys the
status of being the oldest preseiwed ąuadratura in
Poland.
Translated by Peter Martyn