DOI Page / Citation link:
https://doi.org/10.11588/diglit.23630#0177
5UMMARY
the city played an important role in their redistnbution as resources, prefabncated elements
or finished works of art ordered by the debating Nobility or clergy in Cracow, Pińczów and Chęciny,
Lvov and Dębnik as well as Gdańsk, Elbląg and Toruń from Gniezno, Poznań and Chełmża in
the west as far as Vilnius, Paźaislis, Ołyka and Zółkiew/Zhovkha in the east.
It was here that all the dynamie changes of traditions and style fashions occurrmg at the time
in Central Europę and in the Republic concentrated, associated with numerous modifications
of colourful combmations of masonry and sculpture materials, and radiated from here to other
parts of the country from the 1st quarter of the 17th c. The studies of the subject in Warsaw can
be currently used as a kind of case study, precedmg a futurę comprehensive synthesis concemed
with such processes related to sculpture and masonry occurrmg throughout the historie Republic.
Such a monograph can also be treated as a pars pro toto for the other regions of the country
in the Polish Lowland the historie Mazovia, Podlachia, Kuyavia as well as the distncts of Łęczyca
and Sieradz, where due to the absence of local deposits or independent city or court centres,
the influence of the same masonry and sculpture centres of Central Lesser Poland, Crown
Ruthenia or Royal Prussia permeated.
In prepanng the present book I bore in mind its practical use. The collected information on
the Identification of materials in the preserved or yet to be reconstructed works of art kept
in Warsaws places of worship of palaces can be used as a solid basis for further research and
work of a group of Warsaw experts and art conservators. I hope it will broaden the knowledge
of journalists and Warsaw guides as well as large group of individuals promoting the knowledge
of the Warsaw of the past in traditional and electronic media.
At this point I would like to extend my sincere gratitude to my Honourable Colleagues; Mr Hubert
Kowalski, PhD and Mr Piotr J. Jamski, for their trust and shanng the results of their own re-
search as well as their friendly assistance in prepanng and wnting the study. Without their latest
excellent archaeological, source-related, historie and artistic findings the picture of Warsaw of
the day would be much poorer and would not gam such a broad European context. Futurę archi-
val research will presumably provide Identification of the orcie of Florentme and Italian sculptors
associated with the pre-1637 commission from Ladislaus IV Vasa and will enable a possibly
comprehensive reconstruction of the investment process as well as the artistic background
of sculptural commissions from John III Sobieski in Amsterdam and Antwerp in 1681-94. Thanks
to those and other prestigious commissions from the king or magnates Warsaw turned mto one
of Europes true cultural and artistic metropolises durmg the 16th and 17th centunes.
Translation: Ireneusz Paternoea
175
the city played an important role in their redistnbution as resources, prefabncated elements
or finished works of art ordered by the debating Nobility or clergy in Cracow, Pińczów and Chęciny,
Lvov and Dębnik as well as Gdańsk, Elbląg and Toruń from Gniezno, Poznań and Chełmża in
the west as far as Vilnius, Paźaislis, Ołyka and Zółkiew/Zhovkha in the east.
It was here that all the dynamie changes of traditions and style fashions occurrmg at the time
in Central Europę and in the Republic concentrated, associated with numerous modifications
of colourful combmations of masonry and sculpture materials, and radiated from here to other
parts of the country from the 1st quarter of the 17th c. The studies of the subject in Warsaw can
be currently used as a kind of case study, precedmg a futurę comprehensive synthesis concemed
with such processes related to sculpture and masonry occurrmg throughout the historie Republic.
Such a monograph can also be treated as a pars pro toto for the other regions of the country
in the Polish Lowland the historie Mazovia, Podlachia, Kuyavia as well as the distncts of Łęczyca
and Sieradz, where due to the absence of local deposits or independent city or court centres,
the influence of the same masonry and sculpture centres of Central Lesser Poland, Crown
Ruthenia or Royal Prussia permeated.
In prepanng the present book I bore in mind its practical use. The collected information on
the Identification of materials in the preserved or yet to be reconstructed works of art kept
in Warsaws places of worship of palaces can be used as a solid basis for further research and
work of a group of Warsaw experts and art conservators. I hope it will broaden the knowledge
of journalists and Warsaw guides as well as large group of individuals promoting the knowledge
of the Warsaw of the past in traditional and electronic media.
At this point I would like to extend my sincere gratitude to my Honourable Colleagues; Mr Hubert
Kowalski, PhD and Mr Piotr J. Jamski, for their trust and shanng the results of their own re-
search as well as their friendly assistance in prepanng and wnting the study. Without their latest
excellent archaeological, source-related, historie and artistic findings the picture of Warsaw of
the day would be much poorer and would not gam such a broad European context. Futurę archi-
val research will presumably provide Identification of the orcie of Florentme and Italian sculptors
associated with the pre-1637 commission from Ladislaus IV Vasa and will enable a possibly
comprehensive reconstruction of the investment process as well as the artistic background
of sculptural commissions from John III Sobieski in Amsterdam and Antwerp in 1681-94. Thanks
to those and other prestigious commissions from the king or magnates Warsaw turned mto one
of Europes true cultural and artistic metropolises durmg the 16th and 17th centunes.
Translation: Ireneusz Paternoea
175