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DOI Artikel:Piramidowicz, Dorota: Wpływy baroku wileńskiego na architekturę i wyposażenie kościoła bernardynów w Grodnie
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34475#0462
452
DOROTA PlRAMIDOWICZ
Grodno bed tower. Marian Morelowski, followed by
Tamara Gabmś claimed that it was designed by the
Dominican Ludwik Hiyncewicz. Stanisław Lorentz
attributed it to Johann Christopher Glaubitz, while
Stanisław Szymański attributed the design to Daniel
Johann Jauch, supposedly simultaneously working
on the reconstruction of the convent whose part
burnt down in 1753. None of these attributions has
been continued by the available sources, while the
closest analogy can be found in the towers of the
Dominican Church in Posiń (Pasiene, Latvia) raised
in 1753-61. The building, up to now attributed like
many others to Glaubitz, is related by Mariusz
Karpowicz to the architect Antonio Paracca (1722-
before 1790).
Inside the church forms of Wilno Baroque are
reflected in the stylistically unifonu set of 13 false
marble altars, created in ca. 1788. The openwork
high altar standing out for being so sumptuous and
spacious, fills in the semi-circular closing of the
chancel, while its stucco flnial decoration seamlessly
flows onto the vaulting. Side altars, in their majority
dedicated in accordance with tradition, are
architecturally identical in pairs. The closer they are
to the chancel, the more complicated forms they
feature and the ampler the decoration, while the four
placed on the closing of the aisles and by the rood-
screen were enriched with sculptures of Bemardine
saints and putti. Their upper storeys have been
solved in a special way: vertical rectangular panels
are filled with scenes on high relief and most likely
following some graphic art cycle and showing
subsequent Stations of the Cross. This genuine
solution has given a total new meaning to all the side
altars - apart from their basic liturgical function,
they have been included in the Passion rituals.
Formally speaking, the panels filled with white
stucco bas relief shown against a blue background
make one recall the upper storeys of Rococo side
altars of the Wilno Church of the Holy Spirit
executed in 1753-60 by Franz Ignaz Hoffer after his
own design. The next Wilno church in which a
similar type of upper storey decoration of side altars
was applied is the Calced Carmelites Church of All
Saints.
Compared to all the above quoted examples, the
Grodno Stations of the Cross in their contents layers
rank the highest: the presentation of the Crucifixion
which indirectly refers to the dedication of the
church, was exposed in the high altar, while all the
stations bond the side altars. Formal relations of the
Grodno altars with the Wilno works by Hoffer allow
one to think that the genesis of their origins should
be sought among the accomplishments of south-
German artistic groups and the circles of stucco
altars created there. It is quite naturally assumed that
the author of the Grodno complex must have been
familiar with the buildings raised in ca. mid-18*
century in Wilno, at the time filled with German
stuccoists coming from Silesia, Saxony, and
Bavaria. Individualized sculpture elements of the
Grodno altars bring forth associations with the
oeuvre of Tomasz Podhajski (1741- after 1794). A
similar repertory of forms can be found in the
previous works of the Jesuit artist defined as
jcu/pto7Wuń/<37i'e.s'.' in St. Peter and Paul's Church in
Kaunas, in the Samogitian churches in Szydłów
(Siluva, Lithuania), Cytowiany (Tytuvenai,
Lithuania), and Telsze (Telsiai, Lithuania), as well
as in his own order church in Grodno.
Another example of the so called 'small
architecture', unquestionably inspired by light, free,
lively, and dynamic Wilno Baroque was the
elaborate organ front, created most likely before
mid-18* century. Unknown remains the name of the
builder of the impressive organ front, one can
however be tempted to state that its compositional
scheme and decoration system are representative of
organ master centres in the north. Despite excessive
verticalisation, the design was based on the same
models that were used for the building of the 18*-
century organ fronts in the Grand Duchy of
Lithuania, the latter distinguishing themselves in an
exceptional typological form coherence.
DOROTA PlRAMIDOWICZ
Grodno bed tower. Marian Morelowski, followed by
Tamara Gabmś claimed that it was designed by the
Dominican Ludwik Hiyncewicz. Stanisław Lorentz
attributed it to Johann Christopher Glaubitz, while
Stanisław Szymański attributed the design to Daniel
Johann Jauch, supposedly simultaneously working
on the reconstruction of the convent whose part
burnt down in 1753. None of these attributions has
been continued by the available sources, while the
closest analogy can be found in the towers of the
Dominican Church in Posiń (Pasiene, Latvia) raised
in 1753-61. The building, up to now attributed like
many others to Glaubitz, is related by Mariusz
Karpowicz to the architect Antonio Paracca (1722-
before 1790).
Inside the church forms of Wilno Baroque are
reflected in the stylistically unifonu set of 13 false
marble altars, created in ca. 1788. The openwork
high altar standing out for being so sumptuous and
spacious, fills in the semi-circular closing of the
chancel, while its stucco flnial decoration seamlessly
flows onto the vaulting. Side altars, in their majority
dedicated in accordance with tradition, are
architecturally identical in pairs. The closer they are
to the chancel, the more complicated forms they
feature and the ampler the decoration, while the four
placed on the closing of the aisles and by the rood-
screen were enriched with sculptures of Bemardine
saints and putti. Their upper storeys have been
solved in a special way: vertical rectangular panels
are filled with scenes on high relief and most likely
following some graphic art cycle and showing
subsequent Stations of the Cross. This genuine
solution has given a total new meaning to all the side
altars - apart from their basic liturgical function,
they have been included in the Passion rituals.
Formally speaking, the panels filled with white
stucco bas relief shown against a blue background
make one recall the upper storeys of Rococo side
altars of the Wilno Church of the Holy Spirit
executed in 1753-60 by Franz Ignaz Hoffer after his
own design. The next Wilno church in which a
similar type of upper storey decoration of side altars
was applied is the Calced Carmelites Church of All
Saints.
Compared to all the above quoted examples, the
Grodno Stations of the Cross in their contents layers
rank the highest: the presentation of the Crucifixion
which indirectly refers to the dedication of the
church, was exposed in the high altar, while all the
stations bond the side altars. Formal relations of the
Grodno altars with the Wilno works by Hoffer allow
one to think that the genesis of their origins should
be sought among the accomplishments of south-
German artistic groups and the circles of stucco
altars created there. It is quite naturally assumed that
the author of the Grodno complex must have been
familiar with the buildings raised in ca. mid-18*
century in Wilno, at the time filled with German
stuccoists coming from Silesia, Saxony, and
Bavaria. Individualized sculpture elements of the
Grodno altars bring forth associations with the
oeuvre of Tomasz Podhajski (1741- after 1794). A
similar repertory of forms can be found in the
previous works of the Jesuit artist defined as
jcu/pto7Wuń/<37i'e.s'.' in St. Peter and Paul's Church in
Kaunas, in the Samogitian churches in Szydłów
(Siluva, Lithuania), Cytowiany (Tytuvenai,
Lithuania), and Telsze (Telsiai, Lithuania), as well
as in his own order church in Grodno.
Another example of the so called 'small
architecture', unquestionably inspired by light, free,
lively, and dynamic Wilno Baroque was the
elaborate organ front, created most likely before
mid-18* century. Unknown remains the name of the
builder of the impressive organ front, one can
however be tempted to state that its compositional
scheme and decoration system are representative of
organ master centres in the north. Despite excessive
verticalisation, the design was based on the same
models that were used for the building of the 18*-
century organ fronts in the Grand Duchy of
Lithuania, the latter distinguishing themselves in an
exceptional typological form coherence.