DOI Artikel:
Małkiewicz, Adam: Teoria architektury w nowożytnym piśmiennictwie polskim
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26754#0135
Vitruvian tradition is also cleary vdsible iin their ideołogical notions: in the con-
cept of anthropomorphism of architecture, resulting in the characterological theory
of the Orders.
Works on the theory of architeoture written in the next phase, i.e. about
mid-18th century, consist of manuals and encyclopaedic publications, the latter
in principłe not greatly differing from the farmer in the extent and treatment
of architectural ąuestions. The fact that they were comnected with teaching led
to a comprehensive though cursory handling of the subject, usually combined
with the logical and lucid styłe of the lecture. Among the most signifkant and
most characteristic are the writings by Bystrzanowski and Zdzański; Rogal:ński’s-
treatise, though close in time, already represents another conceptian of archi-
tecture, characteristic of the latter phase. New trends ąppeared in the views of
Polish authors from the mid-18th century under the influemce of German and,
in a smallrT degree, French theories of the latter half of the 17-th century; the
important role of intermediary was played by a handbook of mathematics written
by Christian Wolff, insignificant as this work was for the theory of archite ture.
It is to Wolf and in part also directly to Claude Perrault that the Polish works.
of this period owe their distinct rationalistic tinge and a certain degree of sceptic-
ism toward the cosmological-theological speculations of the 16th century Vitru-
vianism. In comparisan with the earlier Polish treatises, they did not show any
great difference in opini-ons as to the essence of arohitecture, still considered as.
a branch of matbematics; hawever, its anthropomorphic iinterpretation was in
a large measure given up. There were more changes in the id-ea of b’auty, whioh
was to be realized eąually in the seemiliness and form of the edifice. The emphasis.
laid by Bystrzonowski on the role of eurhythmy, anid, above all, the appealing
by Zdzański to the judgement of the eye and to the physiolagical-psychological
conditioning of sight brought abo-ut a modification of the concept of formal beauty
in which the equipollen.ee of the abjective and subjective factors, of symmeitry
an.d eurhythmy, was maw perceiv.ed. The numerical norms were treated as generał.
directions whdch in practice could be applied with approximate accura y, and
aestheti-c rather than symbolic reas-ans determined the adoptioin of the system of
praprtions.
A more significant cihange was manifested by the writings of the last phase,
falling to the years 1764—1812. Apart from an early treatis-e by Rogaliński, the
most important were written only at the turn of the 18th and 19th centuries.
These writings fotrm two groups of which the first, and largsr, c-omprises the
studies of Warsaw and Cracow authors, the majority of whom had farmerly been
involved in the Commission of National Educati-on (P. Switkowski, C. P. Aigner,
S. Sierakowski, m-ost proibably also the anonymous translator of Vignola’s treatise
from 1791), inspired by the emiment collectar and art connoisseur Stanisław Kostka
Potocki and therefore expr-essing views similar to his own. The ather group of
theoreticians of that time, Whose views were expr-essed in Szulc’s works, was
ass-ociated witth Viln.a Uiniv-ersity and was form-ed as a result of the dida-cti-c acti-
vity of the outstandin-g architec-t Wawrzyniec Gucewicz. In that period the natioms
of the Palish writers toak shape under the predaminan-t influenc-e of the French
Enligihtemment theary of archite-ctur-e. The pr-incipal role was played by the works.
of Laugi-er and his followers; the Vilna group was more influanced by the con-
cepts of Briseux and, apparently, by those of J. F. Blondel and his pupils. From
From the Fre-nch the-ory the Polish theioreticians took over th-e idea of fine arts
inoluding architecture, which had farmerly been ranked among te saiences; ho-
wever, a>t the same tim-e emphasis beg-an to be laid o-n its technical, engineerimg,
character, especially by the Vilma writers. Arohiteoture still -had the task of
imi-tating nature, but realization was imderstood differently owirng to the iintro-
127
cept of anthropomorphism of architecture, resulting in the characterological theory
of the Orders.
Works on the theory of architeoture written in the next phase, i.e. about
mid-18th century, consist of manuals and encyclopaedic publications, the latter
in principłe not greatly differing from the farmer in the extent and treatment
of architectural ąuestions. The fact that they were comnected with teaching led
to a comprehensive though cursory handling of the subject, usually combined
with the logical and lucid styłe of the lecture. Among the most signifkant and
most characteristic are the writings by Bystrzanowski and Zdzański; Rogal:ński’s-
treatise, though close in time, already represents another conceptian of archi-
tecture, characteristic of the latter phase. New trends ąppeared in the views of
Polish authors from the mid-18th century under the influemce of German and,
in a smallrT degree, French theories of the latter half of the 17-th century; the
important role of intermediary was played by a handbook of mathematics written
by Christian Wolff, insignificant as this work was for the theory of archite ture.
It is to Wolf and in part also directly to Claude Perrault that the Polish works.
of this period owe their distinct rationalistic tinge and a certain degree of sceptic-
ism toward the cosmological-theological speculations of the 16th century Vitru-
vianism. In comparisan with the earlier Polish treatises, they did not show any
great difference in opini-ons as to the essence of arohitecture, still considered as.
a branch of matbematics; hawever, its anthropomorphic iinterpretation was in
a large measure given up. There were more changes in the id-ea of b’auty, whioh
was to be realized eąually in the seemiliness and form of the edifice. The emphasis.
laid by Bystrzonowski on the role of eurhythmy, anid, above all, the appealing
by Zdzański to the judgement of the eye and to the physiolagical-psychological
conditioning of sight brought abo-ut a modification of the concept of formal beauty
in which the equipollen.ee of the abjective and subjective factors, of symmeitry
an.d eurhythmy, was maw perceiv.ed. The numerical norms were treated as generał.
directions whdch in practice could be applied with approximate accura y, and
aestheti-c rather than symbolic reas-ans determined the adoptioin of the system of
praprtions.
A more significant cihange was manifested by the writings of the last phase,
falling to the years 1764—1812. Apart from an early treatis-e by Rogaliński, the
most important were written only at the turn of the 18th and 19th centuries.
These writings fotrm two groups of which the first, and largsr, c-omprises the
studies of Warsaw and Cracow authors, the majority of whom had farmerly been
involved in the Commission of National Educati-on (P. Switkowski, C. P. Aigner,
S. Sierakowski, m-ost proibably also the anonymous translator of Vignola’s treatise
from 1791), inspired by the emiment collectar and art connoisseur Stanisław Kostka
Potocki and therefore expr-essing views similar to his own. The ather group of
theoreticians of that time, Whose views were expr-essed in Szulc’s works, was
ass-ociated witth Viln.a Uiniv-ersity and was form-ed as a result of the dida-cti-c acti-
vity of the outstandin-g architec-t Wawrzyniec Gucewicz. In that period the natioms
of the Palish writers toak shape under the predaminan-t influenc-e of the French
Enligihtemment theary of archite-ctur-e. The pr-incipal role was played by the works.
of Laugi-er and his followers; the Vilna group was more influanced by the con-
cepts of Briseux and, apparently, by those of J. F. Blondel and his pupils. From
From the Fre-nch the-ory the Polish theioreticians took over th-e idea of fine arts
inoluding architecture, which had farmerly been ranked among te saiences; ho-
wever, a>t the same tim-e emphasis beg-an to be laid o-n its technical, engineerimg,
character, especially by the Vilma writers. Arohiteoture still -had the task of
imi-tating nature, but realization was imderstood differently owirng to the iintro-
127