Modus: Prace z historii sztuki (19.2019)

describing the monumental station complex.152 It can therefore be assumed that
the changed power plant design was inspired by faęades of the Lviv railway sta-
tion, composed by Sadłowski.
The composition of the faęade of the tram depot at Gabrielivka refers to ab-
stract late-Art Noveau motifs. In this case, the structure and the decorative motifs
on the faęade were determined by the metal supporting structure of the build-
ing. This is indicated by the beliefs of professor Bogucki, who considered that
for iron structures no “current style forms” are suitable, but instead “straight
forms, moulded from rolled bars, and as created as if under the influence of ma-
chines” should be chosen.153 Hence the characteristic grips, square plaques, and
wavy profiled fragments of plasterwork. These motifs can be related to similar
forms, found on the tenement house of Michał Stoff (1906-1907). On its faęade,
Sadłowski introduced, at the height of the first and second floors, a particular
kind of lesene-pylons, which he connected with a segmental arch above the Win-
dows of the first floor. Attention is drawn to identical grips and square plaques
placed on them (see: Figurę 19).154 Sadłowski also used this motif on the faęade
of the buildings of the Galician Musie Society (1906-1907) and the Industrial
School (1907-1909).155 In the body of the latter building, as in the tram depot
at Gabrielivka, the faęade is no longer an indifferent background for the orna-
ment, but has been subjected to the plastic moulding of the entire surface, which,
following the models from Vienna, brings associations with the architecture
of the ancient Middle Fast.156 However, the prominent archivolt, closing the blind
arcade, on the axis of which a rectangular entrance to the balcony was placed,
has no analogies in Lviv architecture. I believe that inspiration for such shaping
of the faęade should also be sought in Wagners work. The latter used massive
archivolts, blended into the structure of the elevation, enclosing sizeable, glazed
arcades - for instance, in his designs for the Moderne Galerie (1899) and the
headquarters of Wiener Gesellschaft (1902).157
The second half of the nineteenth century was a period of implementing hitherto
unknown technical and infrastructural Solutions in the Capital of Galicia. For
this reason, the municipal authorities preferred to entrust the implementation
of such projects to private investors. At the time, complexes of municipal indus-
trial plants were built on the north-eastern outskirts of the Krakivsky district
of Lviv. It was a poorly developed area with smali, usually one-story residential
houses and one of the first industrial plants - the brewery at Kleparivska Street.
For this reason, the gasworks complex was built slightly north of the brewery.
Seventeen years later, the city built a municipal slaughterhouse on the eastern
bank of Poltva river, northeast of the gasworks. In the area, on the banks of Poltva,
152 J. Lewicki, Między tradycją, pp. 47-49, 244; K). BipionbOB, ApximeKmypa, pp. 455-457; I. >KyK,
Jlboio JleeucbKoco, pp. 71-72; Ż. Komar, J. Bohdanova, Secesja we Lwowie, Kraków 2014, pp. 42-46;
K). BipionbOB, Mucmeąmoo, pp. 86-88. The aforementioned studies feature references to pub-
lications of the time.
153 J. Bogucki, Rozwój budownictwa, p. 311; also compare: T. Pękala, Secesja, pp. 144-145.
154 J. Biriulow, Secesja, p. 122; idem, ApximeKmypa, p. 479; idem, Mucmeąmoo, p. 59 (fig. 112).
155 J. Lewicki, Między tradycją, pp. 244-248; K). BipionbOB, ApximeKmypa, pp. 443-444.
156 T. Pękala, Secesja, pp. 122-123; Ż. Komar, J. Bohdanova, Secesja, pp. 47-48.
157 O.A. Graf, Otto Wagner, pp. 172-173; A. Nierhaus, A. Senarclens de Grancy, E.-M. Orosz, L. Schu-
bert, Katalog der Bauten, p. 338.


Figurę 19. Fragment
of the elevation of Michał
Stoff’s tenement house,
status as of 2019. Photo by
Tomasz Dywan
-> see p. 209

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