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DOI Artikel:Kowalczyk, Jerzy: Wileńskie ołtarze późnobarokowe
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34475#0380
370
JERZY KOWALCZYK
wyspecjalizowanych rzemieślników^. Wykonywanie ołtarzy to proces trudny, kosztowny
i czasochłonny. Należało zdobyć kamień gipsowy do kruszenia i wypalania, nabyć odpo-
wiednie farby, zamówić projekt, wreszcie pokonać trudności techniczne. Trzeba było za-
trudnić sztukatorów-rzeźbiarzy i wielu specjalistów.
Krótki przegląd form wileńskich ołtarzy późnobarokowych wskazuje na ich specyfikę.
Odznaczają się one wysokim poziomem artystycznym i odrębnym obliczem na tle sztuki
późnobarokowej w Rzeczypospolitej.
Wiino (Vilnius, Lithuania) Late Baroque altars as a
phenomenon of high artistic value have for long
been of interest to the scholars: Marian Morelowski
and the architect Piotr Bohdziewicz. Morelowski,
active in the Wilno academic circles, pointed to a
great importance of the models from Andrea Pozzo's
treatise about shaping spatial compositions which
served as the background to religious scenes. He
referred this assumption to the arrangement of the
set of altars in the chancel of the Jesuit Church of St.
John in Wilno from the 1740s. Stanisław Lorentz has
attributed this unusual architectural and spatial
structure to the architect Jan Krzysztof Glaubitz.
The structure of the Wilno altars was more
thoroughly analyzed thanks to the precise inventory
measurements earned out by the architect Piotr
Bohdziewicz. According to Bohdziewicz, it is the
set of altars in the Dominican Church of the Holy
Spirit in Wilno from 1753-60 that is to be regarded
as an outstanding example of such liturgical-
theatrical composition. Moreover, he discovered the
author of the set, namely the architect Franciszek
Hoffer. An inherent element of Wilno late Baroque
altars is to be found in the multiplied groups of
interrelated columns. They fill in the chancel
closings, frequently spreading onto the side walls,
forming side ńats. Wilno Late Baroque altars are
exceptionally colourful and patterned, made from
mock marble. The artists enjoyed great freedom in
shaping the pedestals. In vogue were convex ones,
as if swollen, or angular ones, as if made of lumps of
rock.
Aw/wAvd by Mug&Leuu AtAAA/
^ Elżbieta WELTER, Jerzy KOWALSKI,,,Zapomniana technika szypolen", Cewie, Azce/me, Mtrucone, 2001, nr 5,
s. 10-11.
JERZY KOWALCZYK
wyspecjalizowanych rzemieślników^. Wykonywanie ołtarzy to proces trudny, kosztowny
i czasochłonny. Należało zdobyć kamień gipsowy do kruszenia i wypalania, nabyć odpo-
wiednie farby, zamówić projekt, wreszcie pokonać trudności techniczne. Trzeba było za-
trudnić sztukatorów-rzeźbiarzy i wielu specjalistów.
Krótki przegląd form wileńskich ołtarzy późnobarokowych wskazuje na ich specyfikę.
Odznaczają się one wysokim poziomem artystycznym i odrębnym obliczem na tle sztuki
późnobarokowej w Rzeczypospolitej.
Wiino (Vilnius, Lithuania) Late Baroque altars as a
phenomenon of high artistic value have for long
been of interest to the scholars: Marian Morelowski
and the architect Piotr Bohdziewicz. Morelowski,
active in the Wilno academic circles, pointed to a
great importance of the models from Andrea Pozzo's
treatise about shaping spatial compositions which
served as the background to religious scenes. He
referred this assumption to the arrangement of the
set of altars in the chancel of the Jesuit Church of St.
John in Wilno from the 1740s. Stanisław Lorentz has
attributed this unusual architectural and spatial
structure to the architect Jan Krzysztof Glaubitz.
The structure of the Wilno altars was more
thoroughly analyzed thanks to the precise inventory
measurements earned out by the architect Piotr
Bohdziewicz. According to Bohdziewicz, it is the
set of altars in the Dominican Church of the Holy
Spirit in Wilno from 1753-60 that is to be regarded
as an outstanding example of such liturgical-
theatrical composition. Moreover, he discovered the
author of the set, namely the architect Franciszek
Hoffer. An inherent element of Wilno late Baroque
altars is to be found in the multiplied groups of
interrelated columns. They fill in the chancel
closings, frequently spreading onto the side walls,
forming side ńats. Wilno Late Baroque altars are
exceptionally colourful and patterned, made from
mock marble. The artists enjoyed great freedom in
shaping the pedestals. In vogue were convex ones,
as if swollen, or angular ones, as if made of lumps of
rock.
Aw/wAvd by Mug&Leuu AtAAA/
^ Elżbieta WELTER, Jerzy KOWALSKI,,,Zapomniana technika szypolen", Cewie, Azce/me, Mtrucone, 2001, nr 5,
s. 10-11.