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- by and +1
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- Castle Studies, Frühe Neuzeit, Castles and Fortifications, Archäologie
- by Matthias Conrad
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- Archaeology, Schlösser, Barock Architecture, Barock

Louis XIV. was the most famous King of the Bourbon dynasty in France and his memory remains untouched mostly because of the Versailles palace. For it's construction as for any aspect of the king's representation the kingdom maintained various institutions and a flourishing society of artists who contributed in it. The present work treats some of the most remarkable parts of the building and links them to Louis' interest and intention concerning representation.

- by Fabian Daldrup
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- Baroque art and architecture, Baroque Architecture, Versailles, Louis XIV
- by Ralf Gröninger and +1
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- Dendrochronology, Historische Bauforschung, Niederösterreich, Bauforschung

Publikacja jest próbą ukazania form realizacji baroku na zachodzie Wielkopolski, za sprawą działalności opatów cysterskich klasztorów w Paradyżu i Bledzewie (Michała Józefa Gorczyńskieg i Józafa Loki) . Poszczególne rozdziały mają za zadanie omówić szczególną rolę obu klasztorów w okresie natężenia ruchu kontrreformacji i obu opatów, sprawców rozpowszechnienia stylu barokowego na terenach przynależnych klasztorom w Bledzewie i Paradyżu. W dalszych częściach zaprezentowano poszczególne obiekty ze wskazaniem przypuszczalnej atrybucji. Wymieniono artystów pracujących na zlecenia obu opatów, byli to twórcy pochodzący ze Śląska: architekt Karol Marcin Frantz, rzeźbiarze Johann Caspar, Johann Wilhelm i Christoph Hennevoglowie z Neuzelle oraz malarze Feliks Anton Scheffler i O. Florian Wunsch. Na koniec określono wymowę ideową dzieł oraz omówiono wpływ, jaki spowodowała aktywność obu cystersów, na obszary leżące w sąsiedztwie ziem klasztornych.

- by Bożena Grabowska
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- Cisterciens, Wielkopolska, Barock Architecture, Barockplastik
- by Yves Hoffmann
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- Church History, Church Archaeology, Frühe Neuzeit, Stadtgeschichte
- by Pier Luigi Ciapparelli
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- Barock Architecture, Neapel
- by Christofer Herrmann
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- Art History, Architecture, German History, Architectural History
- by Ruggiero Doronzo
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- Architecture, Purgatory, Purgatorio, Terra di Bari

Il saggio tratta fondamentalmente di due questioni strettamente correlate: 1) il passaggio tra la dimensione plastica e quella figurativa nell'analisi semiotica dell'architettura considerata come forma di “rappresentazione”; 2) il fenomeno dello “esotismo” inteso come fase del processo di sussunzione di forme provenienti da culture altre entro una data sfera culturale. Il caso dell'antropomorfismo nell'architettura di Guarino Guarini – anche per il confronto con la letteratura autografa dell'autore – offre un caso assolutamente esemplare della distinzione tra le tecniche di deformazione plastica e quelle di invenzione figurativa, fornendo del tema una evidenza didattica.

- by Fabrizio Gay
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- Visual Semiotics, Art and image theory, Exotism, Guarino Guarini

Seminární práce ze druhého ročníku. V podstatě především shrnutí pramenů a místy snad i nějaký ten použitelnější postřeh. Tvrzení o dodatečné úpravě voliéry je ale chybné. Obecně je to práce, záslužným a obsáhlým bádáním především Petra... more

- by Martin Šanda
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- Barock Architecture

Bei dem Ensemble des heutigen Bachmann-Museums handelt es sich um die letzten Gebäude des ehemaligen Schlosses Bremervörde. Eine seit dem 13. Jahrhundert belegte Burg wurde durch die Bremer Erzbischöfe systematisch zur ihrer Residenz ausgebaut. Nach einem verheerenden Brand im Jahre 1603 wurde die Anlage als Schloss im Stile der Weserrenaissance wieder aufgebaut. Nach dem Dreißigjährigen Krieg gelangte das Schloss zunächst in den Besitz des schwedischen Generals Wrangel, welcher umfangreiche Baumaßnahmen auf dem Gelände vornahm. Weiter Umbauten erfolgten in der ersten Hälfte des 18. Jahrhunderts sowie im 19. und frühen 20. Jahrhundert.
Durch die Zusammenführung von archäologischen, bauhistorischen und archivalischen Quellen gelang es die Baugeschichte der heutigen Museumsgebäude über 400 Jahre hinweg zu verfolgen und dabei interessante Details von der Fundamentgründung bis zur Dachstuhlkonstruktion nachzuweisen.

- by Torsten Geue
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- Frühe Neuzeit, Historische Bauforschung, Denkmalpflege, Mittelalterarchäologie
- by Andreas Hummel
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- Archaeology, Art History, Medieval Church History, Church History
- by Simon Paulus
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- Wissensgeschichte, Frühe Neuzeit, Architekturgeschichte, Sammlungsgeschichte

The works by the Lvov sculptor Maciej Polejowski that he created for the collegiate church in Sandomierz are relatively well researched thanks to the studies done by Jerzy Kowalczyk. However, in the light of new archival material – mainly bills and the book of expenses – our knowledge about the functioning and the staff of Polejowski’s workshop as well as about the range of the work they did may be complemented. It seems that apart from Archbishop Sierakowski also Rev. Jacek Kochański contributed to the idea of bringing the Lvov master to Sandomierz, as he supervised Polejowski’s work on behalf of the Chapter. Analysis of record office materials as well as of actual works has allowed distinguishing among the Lvov master’s works some original ones by Franz Muller, who seems to have been a member of the staff of Polejowski’s workshop. Also, a recently found order of 1768 for paintings for the new bye-altars is important – it shows that is not true that the issue of the iconography of the Sandomierz altars is a secondary one. Apart from the patterns for the altar structures proposed by Kowalczyk, also prints by F. X. Habermann may be pointed to, as they also influenced the ornamentation used by Polejowski. On the other hand, Georg Christoph Götz’s projects may be here referred to as well. New materials have allowed determining the original colors of the retables, and also defining the range of interventions from the employer (the Chapter) in the general composition directives. Also the throne of the exposition that at present plays the role of the basis of the crucifix should be connected with Polejowski’s workshop, and the adoring angels should be considered a work of the master himself.

- by Agata Dworzak
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- Sculpture, Theory of ornament, Altar, Rococo visual culture

The founding of Bernardine Fathers’ church in Zaslaw in Wołyń (1604, confirmed in 1606) coincided with establishing two most important centres of this convent in the East of Poland – in Lviv (1601) and Sokal (founding in 1599, building of the church in
1604). The duke of Zasław of that time – Janusz na Ostrogu Zasławski – gave the convent the icon of Mother Mary with Child Jesus, which quickly became to be considered as miraculous. During the destruction of the church’s facilities in 1920s, the icon was lost and its image remained unknown. However, in the archives of Bernardine Fathers’ Province in Kraków there is a Miraculum from the 18th century which incorporates the history of the paining and a picture showing the image of the miraculous icon from Zasław. When in 1648 Zasław was invaded and burnt down by Bohdan Chmielnicki, the Bernardine Fathers’ church was also destroyed. It turned out however that the miraculous icon was not destroyed at that time, but secretly brought to the monastery in Rzeszów. The icon was “miraculously found” after a hundred years being kept in the treasury in the monastery, which brought about miraculous recovery of Stanisław Kotficki. Monks put the icon from Zaslaw in the altar of the Miraculous Figure of Saint Mary of Rzeszów and the sanctuary became a temple of two miraculous images of St Mary. Soon after that priest Paweł Karol Sanguszko brought the miraculous icon back to Wołyń, which was celebrated both in Rzeszów and in Zasław. As soon as the icon came back to Wołyń, the duke founder started to build Bernardine Fathers’ monastery in Zasław, which should be treated as an attempt to raise his own status and the signifi cance of his name. Th e interior of the temple was finally renewed in 1775, when the works on the main and side-altars were finished by Maciej Polejowski – a sculptor from Lviv. The culminating point of the church’s renewal was the celebration of putting the icon of St Mary in the main altar. It was accompanied with complex decorations with iconographic programme adapted especially to this ceremony. The history of the miraculous St Mary from Zasław should play an important role while examining the phenomenon of an impact of generally worshipped images on artistic initiatives started
by monks or members of higher orders of clergy.

- by Agata Dworzak
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- Polish Art and Architecture, Representation, Virgin Mary, Rokoko
- by Vittore Pizzone
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- Patronage (History), Restauro, Humboldt-Forum, Architectural reconstruction

Jacek Kowalski On the other side of the mirror. An unearthly altar in the Siege of Jasna Góra The poem Siege of Jasna Góra, probably written in the years 1669–1673, is one of the most outstanding Polish baroque epics. The author modeled... more

- by Jacek Kowalski
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- Barock Architecture, Barock Literature