Lorentz, Stanisław; Rottermund, Andrzej: Neoclassicism in Poland (Warsaw, 1986)

the twenties of the 19th century typical designs of the few
most necessary kinds of urban building: inns, post offices,
schools, butcher’s shops, town halls, administration edi-
fices, breweries, guardhouses, prisons, town toll-houses
and bridges. Their architecture was austere, with decora-
tive motifs of classical origin. The post office at Łowicz
is a very characteristic example of the use of a typical
design, one that was propagated by publications and the
elaborations of typical designs which we know from
the arehives of the Government Commission on Interna!
Affairs.
Bibliography: Katalog zabytków sztuki w Polsce (A CataJogue of Art
Monuments in Polarni), vol. II, woj. łódzkie (Łódź District), no 5, pow.
łowicki (Łowicz County - in Polish), edited by S. Kozakiewicz, J.A.
Miłobędzki, Warsaw 1953, p. 46
Unknown architect
173 [173] Płock, one of the toll-houses on the Dobrzyń
road, c. 1830
The broad-scale planning project at the time of the King-
dom of Poland involved about 140 towns. Its results
included the regulation of the pointsat which roadsentered
towns and the correct situation of toll-houses. Apart from
Warsaw, the toll-houses at Płock and Kalisz were most
noteworthy. Those smali buildings were always given
interesting architectural forms.
Unknown architect
174 [172] Radziejowice (Skierniewice District), manor,
front elevation, c. 1830
The pillared portico in the front, the essential element of
composition in neoclassical architecture, was employed in
hundreds of country mansions built in the first half of the
19th century. These smali single-storey mansions were
usually designed in austere, very restrained form, whereas
the pillared portico or porch gave them a presentable
character, distinguishing them from the other manor
buildings. The manor at Radziejowice was such a typical
design of a smali mansion.
Bibliography: Katalog zabytków sztuki w Polsce (A Catalogue of Art
Monuments in Poland), vol. X, woj. warszawskie (Warsaw District), no
4, pow. grodzisko-mazowiecki (Grodzisk Mazowiecki County - in Pol-
ish), edited by 1. Galicka, H. Sygietyńska, Warsaw 1967, p. 14
Unknown architect
175 [171] Kaleń (Skierniewice District), granary and sta-
bles, generał view, c. 1830
The out-buildings, such as granaries, stables, coach-houses
etc., were a major part of all large pałace or mansion
complexes. Since they were in the direct vicinity of the
main building, they had to be in harmony with the latter,
whereas their modest, austere architectural form indicated
their secondary status in the complex. Ouite frequently,
this architecture had serious artistic value. It seems neces-
sary to point particularly to the complexes of neoclassical
out-buildings at Kaleń, Babsk, Wrząca and Łęgonice, all
from the first half of the 19th century.

Alfons Kropiwnicki (1803-1881)
176 [171] Warsaw, 2/4 Bednarska Street, Bath-house, front
elevation, 1831
The building was erected to house the Chamber of Water
Management, sińce it was on the road to a bridge over the
Vistula River. From 1839 in turn it housed “Majewski’s
Bath-house”.
Kropiwnicki’s design is an example of a late neoclassical,
simple composition of the overall shape. Its sculpted
decoration was reduced to a relief filling the fronton of the
building, “The Abduction of Proserpine by Poseidon” by
P. Maliński.
Peter von Nobile (1774-1854)
177 [174] Cracow, Wawel Cathedral, chapel of the Potocki
family (also of the Różyc family and Padniewski), of the
Exculpation of the Most Blessed Mary, view of the dome,
1830-1840
The old Renaissance chapel of Bishop Padniewski was fully
reconstructed by Peter von Nobile (a Swiss architect
working in Vienna and Trieste), at the reąuest of Zofia
Potocka, wife of Artur Potocki. The walls of the chapel
were given new facing in which were set tali, semi-circular
niches. The old Renaissance decoration was replaced by
neoclassical motifs in stucco and bronze. Essential changes
were also introduced to the composition of Padniewski’s
Renaissance tombstone itself. In his designs von Nobile
drew on his excellent knowledge of the history of architec-
ture, particularly ancient architecture, both Greek and
Roman.
Bibliography: J. Szabłowski (ed.), Katalog zabytków sztuki w Polsce
(Catalogue of An Monuments in Poland), vol. IV, miasto Kraków
(Cracow Town), part I, Wawel (in Polish), Warsaw 1965, p. 79;
A. Rottermund, Nowe przekazy ikonograficzne do kaplicy Potockich
(d. Padniewskiego) w katedrze na Wawelu (New Iconographic Sources
for the Chapel of the Potocki Family, Preyiously Padniewski’s, at Wawel
Cathedral - in Polish), BAH, XXXII, 1970, no 2, pp. 199-201
Henryk Marconi
178 [176] Warsaw-Natolin, Doric Tempie in the park,
1834-1838
Situated in the north part of the park, not far from the side
entrance from Wilanów, amidst densely spaced trees. It
was a typical pavilion in the disguise of an ancient tempie.
The distant pattern for the Natolin building was the Doric
Tempie of Poseidon at Paestum, which the then owner of
Wilanów, Aleksander Potocki, and Marconi may have
known from numerous graphic publications. The choice of
Doric forms was a reflection of a movement in the architec-
ture of the end of the 18th century which madę reference to
Doric architecture in its Greek form. This movement,
termed the Greek Revival, had supporters in England. In
Poland, the tempie at Natolin was one of the few, very late,
examples of this trend.
Bibliography: Lorentz, Natolin, pp. 268-274

275