DOI Heft:
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DOI Artikel:Nowiński, Janusz: Nagrobek opata-mecenasa Mikołaja Antoniego Łukomskiego w pocysterskim kościele w Lądzie nad Wartą
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35032#0416
406
JANUSZ NOWIŃSKI
o/"<2660? A/lAo/cy' /i/Vcv?I Ł:/Ao/M.s7fI
In lAe /vxsV-CI.s/g/ïIo/; cAnrcA In Ląd noc/ lfh/Vą
In the northern arm of the transept of the post-
Cistercian church in Ląd situated on the River Warta
can be found the stuccowork tomb of the famous
abbot and patron both of learning and the arts,
Mikołaj Antoni Lukomski of the Szelig coat of arms
(b. 1672). In 1697 Lukomski was ordained as the
35th abbey of Ląd, regarded at the time as the oldest
Cistercian abbey in Poland, when he was 25 years
old. In the ambitious abbot's view the ancientness
and primacy of the Abbey of Ląd was supposed to
find external confirmation in the sumptuous form,
grandeur and splendour of the decoration and
furnishings of its church and monastery, which were
due to celebrate their 600 anniversary in 1745. In
order to carry out this idea, the abbot and patron
devoted the rest of his life and greater part of the
Abbey's income, coordinating personally the
programme and artistic level of the works of art
funded for Ląd.
Among the numerous forms of patronage
initiated by abbot Lukomski, known as the second
founder of Ląd Abbey, reference should be made in
the first place to the decor and furnishings of the
eastern end; i.e.: the apse and transept raised in the
final quarter of the 17th century; the frescos of Adam
Swach (1711, 1730) and Łukasz Raedtke ( 1720), the
series of carved wooden altars: by Ernest Broger
(high and one dedicated to St. Ursula, both dating
froml721), <2c<m/o from ca. 1730, as well as one of
marbled stucco dedicated to St. Christopher
(designed by Pompeo Ferrari, 1733). During the
years 1714-1722 Lukomski oversaw the extending
of the monastery and its adaptation to the Baroque
style. The work was directed by Pompeo Ferrari,
while the author of the monastery interiors' painted
decoration was Swach (i.e easel paintings and
frescos). The 0/7^ of Lukomski's
patronage proved to be the Abbey church's nave, the
central composition crowned by a monumental
cupola was designed by Ferrari and executed in the
years 1728-1730. The same architect was
responsible for the two marbled stucco altars
situated in this part of the church. Jerzy Wilhelm
Neunhertz decorated the cupola with frescoes
(1731-1732). In 1734 the church received its organs,
these being the work of the Cistercian organ master,
Józef Koegler, while in 1735, the pulpit was
completed by woodcarvers from the workshop based
in Rydzyna. Four grandiose confessionals decorated
with the figures of penitents were executed by
woodcarvers from a Silesian workshop. On 21 st July
1743 primate Antoni Szembek consecrated the
abbey-church dedicated to the Virgin Mary and St.
Nicolas at Ląd.
The crowning of the long period of Lukomski's
office and patronage is represented by the
celebratory, eight-day festivities in 1745 connected
with the 600th anniversary of the founding and
existence of Ląd Abbey. Ceremonies conducted in
the church were accompanied by the monumental
decoration of a triumphant arch featuring six
columns to symbolise the six centuries of the
Abbey's existence. The columns were accompanied
by emblematic decorations and personifications of
time (Chronos with symbols of the planets, the
ordering of which reflected the ancient counting of
time based on the system of seven planetary ages).
The concluding sixth century of the Moon was
dedicated to Lukomski and his lunar coat of arms.
The dawning seventh century of the Sun was
perceived as an age of fame and brilliance (in point
of fact, this was to prove the final century of the
Abbey's existence prior to its dissolution in 1819).
Following Lukomski's death on 8th May 1750,
the succeeding abbot, Konstanty Ilowiecki funded
his imposing tomb. It depicts the abbot-cum-patron
prostrate on the tomb in a pontificate's robes placed
beneath a baldachin composed in the shape of a wing
and covered in drapery, raised by a putto. Above the
lying figure, placed in the capital of a quasi-pilaster
decorated with five letters 'C sits Chronos in the act
of breaking an arch, also in the shape of a letter 'C.
This gesture was intended as a metaphor of the
ending of Lukomski's life, while the use of the letter
'C six times over is supposed to represent the six
centuries of the Abbey's existence. The breaking of
the sixth Roman numeral for 100 tells of the abbot-
patron's death in that same. The seventh century into
which Lukomski's life entered is fortunate eternity,
as symbolised by the wing of Divine Providence
(cf.: Ps. 91,4-5) and the above-mentioned drapery.
The composition of the tomb of abbot Lukomski
possesses no immediate prototypes - neither in a
formal respect, nor in relation to content. Its
character is an example of Baroque co??ce//o,
relating to the theatrical tombs conceived by Gian
Lorena Bernini. Lukomski's tomb monument was
almost certainly carried out by artists associated with
an Italian stucco workshop brought over to Lądu
from Silesia.
7/Ym.s2me<7 !/;e <?<7i/ors'
JANUSZ NOWIŃSKI
o/"<2660? A/lAo/cy' /i/Vcv?I Ł:/Ao/M.s7fI
In lAe /vxsV-CI.s/g/ïIo/; cAnrcA In Ląd noc/ lfh/Vą
In the northern arm of the transept of the post-
Cistercian church in Ląd situated on the River Warta
can be found the stuccowork tomb of the famous
abbot and patron both of learning and the arts,
Mikołaj Antoni Lukomski of the Szelig coat of arms
(b. 1672). In 1697 Lukomski was ordained as the
35th abbey of Ląd, regarded at the time as the oldest
Cistercian abbey in Poland, when he was 25 years
old. In the ambitious abbot's view the ancientness
and primacy of the Abbey of Ląd was supposed to
find external confirmation in the sumptuous form,
grandeur and splendour of the decoration and
furnishings of its church and monastery, which were
due to celebrate their 600 anniversary in 1745. In
order to carry out this idea, the abbot and patron
devoted the rest of his life and greater part of the
Abbey's income, coordinating personally the
programme and artistic level of the works of art
funded for Ląd.
Among the numerous forms of patronage
initiated by abbot Lukomski, known as the second
founder of Ląd Abbey, reference should be made in
the first place to the decor and furnishings of the
eastern end; i.e.: the apse and transept raised in the
final quarter of the 17th century; the frescos of Adam
Swach (1711, 1730) and Łukasz Raedtke ( 1720), the
series of carved wooden altars: by Ernest Broger
(high and one dedicated to St. Ursula, both dating
froml721), <2c<m/o from ca. 1730, as well as one of
marbled stucco dedicated to St. Christopher
(designed by Pompeo Ferrari, 1733). During the
years 1714-1722 Lukomski oversaw the extending
of the monastery and its adaptation to the Baroque
style. The work was directed by Pompeo Ferrari,
while the author of the monastery interiors' painted
decoration was Swach (i.e easel paintings and
frescos). The 0/7^ of Lukomski's
patronage proved to be the Abbey church's nave, the
central composition crowned by a monumental
cupola was designed by Ferrari and executed in the
years 1728-1730. The same architect was
responsible for the two marbled stucco altars
situated in this part of the church. Jerzy Wilhelm
Neunhertz decorated the cupola with frescoes
(1731-1732). In 1734 the church received its organs,
these being the work of the Cistercian organ master,
Józef Koegler, while in 1735, the pulpit was
completed by woodcarvers from the workshop based
in Rydzyna. Four grandiose confessionals decorated
with the figures of penitents were executed by
woodcarvers from a Silesian workshop. On 21 st July
1743 primate Antoni Szembek consecrated the
abbey-church dedicated to the Virgin Mary and St.
Nicolas at Ląd.
The crowning of the long period of Lukomski's
office and patronage is represented by the
celebratory, eight-day festivities in 1745 connected
with the 600th anniversary of the founding and
existence of Ląd Abbey. Ceremonies conducted in
the church were accompanied by the monumental
decoration of a triumphant arch featuring six
columns to symbolise the six centuries of the
Abbey's existence. The columns were accompanied
by emblematic decorations and personifications of
time (Chronos with symbols of the planets, the
ordering of which reflected the ancient counting of
time based on the system of seven planetary ages).
The concluding sixth century of the Moon was
dedicated to Lukomski and his lunar coat of arms.
The dawning seventh century of the Sun was
perceived as an age of fame and brilliance (in point
of fact, this was to prove the final century of the
Abbey's existence prior to its dissolution in 1819).
Following Lukomski's death on 8th May 1750,
the succeeding abbot, Konstanty Ilowiecki funded
his imposing tomb. It depicts the abbot-cum-patron
prostrate on the tomb in a pontificate's robes placed
beneath a baldachin composed in the shape of a wing
and covered in drapery, raised by a putto. Above the
lying figure, placed in the capital of a quasi-pilaster
decorated with five letters 'C sits Chronos in the act
of breaking an arch, also in the shape of a letter 'C.
This gesture was intended as a metaphor of the
ending of Lukomski's life, while the use of the letter
'C six times over is supposed to represent the six
centuries of the Abbey's existence. The breaking of
the sixth Roman numeral for 100 tells of the abbot-
patron's death in that same. The seventh century into
which Lukomski's life entered is fortunate eternity,
as symbolised by the wing of Divine Providence
(cf.: Ps. 91,4-5) and the above-mentioned drapery.
The composition of the tomb of abbot Lukomski
possesses no immediate prototypes - neither in a
formal respect, nor in relation to content. Its
character is an example of Baroque co??ce//o,
relating to the theatrical tombs conceived by Gian
Lorena Bernini. Lukomski's tomb monument was
almost certainly carried out by artists associated with
an Italian stucco workshop brought over to Lądu
from Silesia.
7/Ym.s2me<7 !/;e <?<7i/ors'