Nowożytny prospekt organowy i jego twórcy:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Warszawa
Instytut Sztuki Polskiej Akademii Nauk
2012
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Early modern organ-case and its creators |
| Beschreibung: | 678 S. zahlr. Ill. |
| ISBN: | 9788363877170 |
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| 100 | 1 | |a Zgliński, Marcin |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Nowożytny prospekt organowy i jego twórcy |c Marcin Zgliński |
| 246 | 1 | 3 | |a Early modern organ-case and its creators |
| 264 | 1 | |a Warszawa |b Instytut Sztuki Polskiej Akademii Nauk |c 2012 | |
| 300 | |a 678 S. |b zahlr. Ill. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Zsfassung in engl. Sprache u.d.T.: Early modern organ-case and its creators | ||
| 648 | 7 | |a Geschichte 1450-1820 |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Orgelprospekt |0 (DE-588)4130664-8 |2 gnd |9 rswk-swf |
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| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026121035&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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Datensatz im Suchindex
| _version_ | 1804150545161650176 |
|---|---|
| adam_text | SPIS TREŚCI
WSTĘP
7
I. OMÓWIENIE LITERATURY PRZEDMIOTU
1
STANU BADAŃ
12
II.
DEFINICJA I FUNKCJA PROSPEKTU ORGANOWEGO
22
II.
1.
Definicja oprawy artystycznej organów jako wyznacznik pola badawczego
23
II.
2.
Funkcje prospektu organowego
31
III. PROJEKT
38
111.1. Projekty autorstwa architektów, rzeźbiarzy i malarzy
39
111.
2.
Wzory graficzne i ich recepcja
110
111.3. Modele prospektów organowych
221
111.4. Organmistrz twórcą projektu prospektu organowego
225
111.
5.
Poszukiwanie nowej formy w
1.
poł.
XIX
w.
-
projekty architektów i organmistrzów
304
111.
6.
Gotowe katalogi projektów i WerkHattbiicher
320
IV.
PROGRAM IDEOWY A PROJEKT STRUKTURY I DEKORACJI
PROSPEKTU ORGANOWEGO
338
IV.
1.
Prospekty organowe jako wyraz rywalizacji i polemiki pomiędzy konfesjami
340
IV.2.
Prospekty organowe jako narzędzie propagandy politycznej i religijnej
379
V.
PROCES WYTWARZANIA PROSPEKTÓW ORGANOWYCH
410
V.l.
Szczególny status organmistrza i jego warsztat
411
V.2.
Warsztaty organmistrzowskie a struktury cechowe
445
V.3.
Organmistrz przedsiębiorcą i koordynatorem prac nad strukturą i dekoracją
457
V.3.I.
Podwykonawcy na stałe utrzymywani w warsztacie
478
V.3.2.
Stała współpraca organmistrza z jednym warsztatem snycerskim
479
V.3.3.
Jednorazowe kontrakty zawierane przez organmistrzów ze snycerzami
481
V.3.4.
Organmistrz wykonawcą prac snycerskich
482
V.4.
Dekoracja prospektu zlecona przez inwestora artystom i rzemieślnikom niezależnym
od organmistrza
484
V.4.I.
Sytuacja do ok.
1700
(dominacja zleceń dla dekoratorów niezależnych od organmistrza)
484
V.4.2.
Sytuacja w
XVIII
i
1.
połowie
XIX
w.
495
V.4.3.
Negatywne skutki podziału pracy
504
V.4.4.
Złożone prace nad późnobarokowymi
Gesamtkunfřwerke
w kościołach klasztornych
i pielgrzymkowych
509
V.5.
Wykonawcy dekoracji malarskiej prospektów organowych
519
V.5.I.
Zwykła polichromia i złocenie struktury szafy organowej oraz dekoracji ornamentalnej
i figuralnej
519
V.5.2.
Figuralne i ornamentalne dekoracje malarskie szafy organowej
529
V.5.3.
Dekoracje malarskie i pozłotnicze piszczałek prospektowych
533
V.5.4.
Dekoracje malarskie na ruchomych skrzydłach
534
V.5.5.
Iluzjonistyczne malowidła kompozycyjnie powiązane z prospektami
548
V.5.6.
Iluzjonistyczne „facjatki pozytywów szkatulnych
551
VI.
ZAMIAST ZAKOŃCZENIA: ARTYŚCI, RZEMIEŚLNICY I FUNDATORZY
A TYPOLOGIA I GEOGRAFIA ARTYSTYCZNA PROSPEKTÓW ORGANOWYCH
592
VI.
1.
Złożone uwarunkowania systematyzacji
593
VI.
2.
Geografia artystyczna
596
Summary
618
Bibliografia
628
Wykaz skrótów nazw instytucji
651
Indeks osobowy i nazw geograficznych
652
The present book is an attempt at answering who was most commonly responsible for the
final shape of the organ-case, its architectural form, decoration, and ideological programme.
For that very purpose a reconstruction of working procedures of the then organ-builders
was made; reconstructed were also their relations with woodcarvers, carpenters, and painters, as
well as their communication with investors, all these taking into account artistic, social, religious,
economic, and geographic conditionings.
The chronology of the investigated material spans from the High Middle Ages, when the first
organ-cases of architectural character appeared, to the initial decades of the 19th century, namely the
moment when organ-building gradually stopped losing its until then character of a craft and tended
to become a standardized mass production of increasingly larger workshops, or almost factories. The
process of structural changes in organ-building was long-lasting and smooth, and actually only after the
mid-19th century it was dominated by the trend of manufacturing organs of standardized organ-cases
dressed in historicizing neo-style costumes. One of the goals of the present dissertation will be, however,
also to display certain tendencies, heralding already in the 18th century this unification of organ-cases,
The territorial extent of the present research is not limited to a single country or region, covering
European organ-building. Restricting the geographical scope of the dissertation to a definite area would
result in too modest material not allowing for any well-grounded general conclusions. Moreover, despite
local artistic traditions, determining different organ construction, tonal quality, and decoration, the
procedures applied in the course of instrument building were in many ways quite universal.
Chapter
1
discusses thestateofresearchintothetopicandliteratureonthesubjea.Chapterzintroduces
the systematics of terminology related to architectural and artistic organ design. The formulation of the
terms referring to the outside case of the instrument as well as their evolution have been followed, with the
dual character of the terms enhanced: some emphasizing the flat and two-dimensional
façade
(Germ.
Prospekt)
and others cubic casing {Organ-case, Orgelkaslen,
casa,
buffet, etc.). Various relations between
the architectural structure of the organ-case and its structural, acoustic, ideological, and other funftions
have been analyzed, as well as the relation of the form with its location within the church interior space.
Finally, the following basic functions of the organ-case have been identified:
•
acoustic
•
mechanical, practical, and operational
•
aesthetical (visual)
•
representative and symbolic.
619
SUMMARY
AU
the above functions: starting with the most pragmatic, material, mechanical and
operational, to the refined tonal nuances, and finally the complex semantics of the meaning
of the artistic casing, were to harmoniously form a single whole. The organ-case shape far
from autonomous, was the resultant of all the above conditionings. Prior to being built, the
instrument first had to be designed. The organ-builder was to initially agree with the investor
on the number and composition of stops; decide on the amount and quality of necessary
materials; calculate the pipe scales, design the arrangement of windchests, channels,
actions,
etc. Hence a therein deriving question decisive for an art historian: who actually designed
the organ-case? To what extent can it be considered the work of the organ-builder, to what
that of the architect, and to what degree was it shaped by the craftsmen or artists working on
the decoration? What was the role played by the investor and what was his influence on the
shape of the organ structure and its decoration with its
iconographie
programme? What were
the interconnections among all those individuals and were they permanent or whether they
differed in the case of each project? All these are the topics tackled respectively by subsequent
chapters of the present book.
In the discussed chapter, the first stage of the organ-case creation, namely its designing
is analyzed. It was not rare for professional architects to design organ
façades,
although this
happened most often with more prestigious projects, churches of prominence, or when the
founder was a conscious patron with his strictly specified concept of the whole church interior
decoration. Selected examples of such designs have been studied, these including works by leading
architects, sculptors, and painters (e.g. Peter
Flötner, Gianlorenzo
Bernini, Jacob van
Campen,
Jules Hardouin-Mansart, Christopher Wren, Robert Adam, Hendrick
Frans
Verbrugghen, Carl
Fredrik
Adelcrantz, Georg Bahr, Karl Friedrich Pöppelmann
etc.), as well as unusual or almost
bizarre concepts (Jan Aichel-Santini). The
façades
of organ-cases not exposing the pipes are also
analyzed as a peculiar example of designs (e.g. Saint-Jacques Church in Luneville). Moreover, the
question is put forth to what extent designs by artists not directly related to the very process of
organ-building were correct in view of the instruments structure and functions and in what ways
and under which circumstances they were executed by artists and craftsmen.
Particular attention has been paid to the extent in which graphic patterns were used in
designing organ-cases and their decoration. In the 16th and 17h centuries, they were first of all
universal1 architectural and ornamental pattern books for carpenters, sculptors, and cabinet
makers, also containing patterns essential for organ decoration. It was rare for a modern artist
or craftsman to literary copy them, more strictly applying them in a loose way, adapting ready
patterns for the purpose of a given design, or compiling them. Graphic works with views of
organ
façades
appeared in the modern period in various publications (often in frontispieces),
in treatises dedicated to the theory of music, monographic or topographic studies, or even in
emblem books: apart from those analyzed in the text of the present study, an extensive material
has been included in the illustrative section of the book. Moreover, a varied selection of leaflets,
often released to celebrate the completion of organ building, also instigated by organ-builders
themselves (who additionally even designed them) has been discussed. Furthermore, attention
has been paid to plates from architectural treatises (by Paul Decker,
Jacques-François
Blondei,
Pierre Michel d lxnard, Jean-Charles Delafosse etc.); publications dealing with cabinet-making
620
(The Gentelman and Cabinet-Maker s
Direãor
by Thomas Chippendale; One Hundred and Fifty
New Designs by Thomas Johnson,
ĽArtdu
menuisier
by
André-Jacques
Roubo;
Réunion depUnches
de menuiserie
by
François Cornille etc.);
and church ornaments
{Nuove inventioni d ornamenti
d architettura
by
Filippo
Passarini)
from treatises on organ-building
(ĽArt
du
faãeur
d orgues
by
François
Dom
Bédos de Celles). A
particularly extensive set of
Neo-CIassicíst
organ
façade
patterns has been found in
Recueil Elémentaire
d Architeaure by
Jean-François de Neufforge.
Starting from the 1720s, there also appeared pattern-books or series of prints showing exclusively
organ-cases; it is for the first time in the literature on the subject that such a varied range of
them has been analyzed. These were mainly published in Augsburg (sets of prints by Anton
Berger, Johann
Jacob
Schübler, Johann
Andreas
Bergmüller, Georg Michael Röscher, Franz
Joseph Habermann, Johann Martin Will).
Moreover, examples of the use of graphic patterns in
specific works have been presented; although numerous, they constituted merely a fraction of the
preserved monuments. This resulting from the
faci
that most often graphic models created by
architects or sculptors constituted genuine, in certain cases some unusual creations, technically
too complicated, requiring substantial resources. Only Habermann s pattern-book shows
solutions perfectly balanced between the practical and functional aspects, genuine character, and
appropriateness of compositional and decorative solutions, therefore it was used relatively often.
Additionally, unique examples of 3-dimensional designs of organ-cases, namely their models,
have been analyzed. Apart from two monuments of this type known from their looks, also the
role of such models in organ-building projects has been presented on the grounds of archival
records. Finally, the last part of Chapter
3
analyzes the designs of organ-cases created by the
organ-builders themselves, most frequently enclosed with the offer, cost estimates, or contracts
for instrument-building. Among the set of some hundred designs of the kind (reproduced in the
illustrative section of the book), apart from the largest group of works of mediocre artistic quality,
there are also plans that strike with schematism and
primitivism,
as well as some successfully
rivalling the works of professional architects and sculptors. What also stands out is a substantial
group of drawings of technical character, most frequently characterized by schematism of the
presentation, without drawn decoration, yet featuring structural elements of the instrument itself.
Moreover, the focus has been put on the so-called
Werksrattbücher
frequently containing design
variants of organ-cases meant for instruments of various sizes as well as of different structural
compositions; and serving for the presentation to investors, as a kind of a catalogue to be reused.
Of particular interest is the set of designs related to the
18th-century
Vilnius workshops
(Scheel,
Jentzen)
which has been successfully attributed to a number of works preserved until today on the
vast territory of the former Grand Duchy of Lithuania.
In order to identify the ways in which the relations between the founder and the executors
of organ-cases determined the shape of the design and its accomplishment, it was essential to
focus (Chapter
4)
on the issue of ideological programmes contained both in the architectural
struaures of organ casings as well as in their decoration. In the majority of examples, the
founders commissioning the organs relied on the experience and expertise of the craftsmen
and artists as for preparing the design and executing the architectural and artistic decoration
of the case. Even in the situations when the founders were more interested in those issues,
they most frequently limited themselves to the selection of one of the submitted variants, in
621
SUMMARY
compliance with their taste, yet first and foremost with their financial capacity. Seemingly
routine decorative motifs: both ornamental (lateral ornamental wings, corbels, consoles,
motifs of foliage scrolls, grotesque, etc.), as well as
figurai
(preferably angels and
putti,
angelical
orchestra, King David, St. Cecilia) were sanctioned by tradition and as if mechanically copied.
Against the whole domineering mediocre production, however, quite a small organ group
stands out
-
those organ-cases were executed in compliance with some specific wishes of the
founders who sometimes expressed their desire in such a specific and decisive manner that
next to the employed artists and craftsmen, they can be regarded as co-authors of the work.
Such organ-cases, most often in their decorative layer, but also in some separate cases through
the architectural arrangement, are often conveyors of highly intricate and genuine ideological
programmes, occasionally also becoming as if elements of political and religious propaganda.
They adopted appropriate forms, depending on the exerted ideological functions: as a tool of
strengthening the royal power and promoting the state propaganda (e.g.
Vor
Freisers Kirke
in Copenhagen; Garnison-Church in Berlin); as monuments to good and just governance
in towns; as apotheosis of respective religious orders and their doctrine. On the territories
where various denominations met, organ
façades
sometimes feature ideological motifs which
were a polemic with the competing denominations, both in the dogmatic and political sense.
Occasionally, religious symbolism was subdued to an overriding political message. Such was
the case of e.g. the
Leżajsk
organ-case (where the Counter-Reformation decoration programmes
additionally make reference to the Eastern policy of the Polish-Lithuanian Commonwealth,
the defender of Christianity against the pagan hydra of the Turkish threat); or in the case of
the Church of Grace
(Gnadenkirche) in
Jelenia Góra
(where Protestant founders, manifesting
their loyalty towards the Catholic emperor, magnanimously allowing them to keep their
denomination, emphasized the subordination of lay power and emperor s mercy to superior
Divine prerogatives). Such disputes related to the role of music in liturgy had an impact on the
shape and ideological contents of organ-cases, which was particularly clearly reflected in the
confrontation with Calvin and Luther at the turn of the 16th and 17th centuries.
Chapter
5
is an attempt at reconstructing the process of organ-case building. Much attention
is also paid to the status organ-builders enjoyed among representatives of various arts and crafts:
this profession required mastering particularly hard and varied skills, so an organ-builder had
to be possibly far more versatile that in other professions, forming a combination of a scientist,
craftsman, and artist. Additionally, organ-builders were grouped together with representatives of
other noble sciences and crafts due to the high mediaeval astrological tradition where among the
so-called Planetenkinder, planets children, they were ranked among Mercury s
oŕfspring,
together
with e.g. painters, sculptors, dockmakers, and bachelors. The organ itself was perceived as a
metaphor of cosmic order and Divine creation, whereas its complex mechanisms were admired
for their intricacy as one of the peak accomplishments of European, Christian civilization.
The purpose of guild regulations was to divide competence among specialized crafts in view
of the carried out adivity and applied materials, yet organ-builders had to master numerous
technologies of processing various materials necessary for the construction of the instrument.
Thus their workshops featured a wide range of instruments and tools: not merely for instrument
making, but also for carpentry and casting (the Chapter quotes several lists of tools recorded
622
in specific workshops). The widest range of works included carpentry, therefore organ-builders
apart from journeymen training in their profession, employed carpentry ones. Some of the latter
turned out to be unfulfilled carpenters: having become acquainted with the secrets of instrument-
building, they would begin working as organ-builders themselves, remaining faithful to this noble
and far more demanding profession for good. On the other hand, on some occasions, instrument
builders also undertook purely carpentry works, making a living in two professions. Much
attention has been paid to the relations between organ-builders and guild
structures,
particularly
to the question of conflicts with carpenters and woodcarvers guilds, and to the role played by
journeymen and their participation in the execution of organ-cases and their decoration. The
numerous quoted examples clearly show that it was quite a permanent and universal procedure
for organ-builders to execute all the works with their own means, these including carpentry,
woodcarving, and painting, and that continuous complaints from the affected guilds were most
commonly ignored. Moreover, conditionings, different for different countries with respect to
membership in guild organizations, have been presented; almost in all the cases they were features
linking together representatives of various crafts (this mainly due to the fact that the majority
of centres had too few organ-builders for them to establish their own organization). Another
category was formed by organ-builders boasting of privileges or titles conferred by monarchs,
which allowed them to continue working to a greater or lesser degree independently of the guilds
claims, and also in many a case, guaranteed a monopoly over a given territory (the latter, as a
matter of fact, resulting in standardizing of organ-cases within such a territory).
An analysis of hundreds of contracts and cost estimates for organ building allowed to
ascertain that it was until the late lTh century that organ-builders mainly constructed the
instrument, sometimes together with the organ-case, yet devoid of any ornaments while the
decoration execution was provided for with a separate contract. In the 18th century, when the
model of the organ-builder
-
entrepreneur, using all the possible means to avoid the imposed
inconvenient limitations and regulations was established, in the majority of cases organ-builders
would agree with the investor to provide him with a finished work, including all the decoration
jobs, and coordination of the activity of subcontractors, satisfying the latter s financial demands
and taking on the responsibility for possible shortcomings or work delays. Such an arrangement
was convenient for the investor and in the case of larger, more complex instruments, when in the
course of works it was necessary to introduce some modifications into the design, and therefore
changes in the form and arrangement of the sculpture decoration, it was the organ-builder who
consulted all the changes with his own woodcarver, while the investor could avoid potentially
arduous negotiations or some generating additional costs. Many organ-builders had sculptors
(most commonly journeymen) employed in their workshops permanently; quite frequently, they
would also cooperate with one woodcarving workshop on a regular basis. Additionally, if both
masters enjoyed good reputation, it as if summed up, which allowed to win better commissions.
This also lowered the risk of employing an unreliable subcontraftor, facing delays in the provision
of woodcarving or decorative elements, as well as poor-quality materials and poor execution
quality. A woodcarver, familiar with the peculiarities of the decoration of organ-cases was possibly
more likely to grasp the organ-builder s intention implied in the design better and faster. In some
exceptional cases, organ-builders executed woodcarving jobs themselves.
623
SUMMARY
The relations between the organ-builder and woodcarver and other decorators were
usually different in the case of a routine project in a provincial town, rural church, or even an
unexposed parish church or a convent one in a larger centre, than in the case of projects in a
much more prominent church. In the latter case the decoration was most commonly executed by
artists of wide-spread reputation. A good example could be seen in large late-Baroque churches
in the major Flemish cities or in convent and pilgrimage centres of Central Europe
(Habsburg
countries, southern Germany, Polish-Lithuanian Commonwealth, etc.). When forming those
GesamtkunBwerke: some of them quite theatrically combining extended architectural-stage
setting structures with sculptural elements, illusionistic polychromes, and even clocks, it was
necessary to commission works to many artists and craftsmen. This, however, in some cases
instigated conflicts and misunderstandings; in others, also lack of good synchronization in the
work schedule, causing mutual disturbances, stoppages, making parties face financial losses.
Next to the architectural structure and sculpture ornament, also painterly decoration was
a vital, though not necessarily an indispensible element of the organ-case decoration. Quite
commonly the finalizing element of the jobs finishing orTthe organ was painting its structure,
and frequently also gilding it. However, in the majority of cases, polychrome was not regarded
as an element
consubstanţial
with the instrument and the structure that contained it. Organ
casings and organ-cases were frequently repainted, practically even once every some dozen
years. Painting and gilding were not as a matter of fact related to the actual activity of organ-
builders, though whenever they committed themselves to making a ready-to-use instrument,
they would also take care of this type of decoration. In the decoration of certain instruments,
however, painting plays an equally important role as architectural forms and sculpture; in some
almost a dominating one. Hence the need to classify painterly decoration of organ-cases in view
of their specificity and range. Most commonly polychromes on the organ casing were limited
to covering its elements with colour-homogenous painterly layers, most frequently enhancing
architectural divisions; at times woodgrain painting, or the texture of stone facing or marble
were applied. The investigated archival sources reveal that the cost of such works was relatively
low, yet as an unpainted instrument could fulfil its function just as well, it sometimes happened
that the polychrome of the organ-case was executed several or even a dozen or so years later,
and in some cases even after a period longer than that. A substantial cost, due to the price of
the material, was in turn connected with the gilding of the structure, and in certain cases it
could even exceed the price of the building of the instrument.
Figurai or
ornamental paintings,
regardless of the sculptural decorations, were relatively rare: most often they occurred in the
preserved mediaeval monuments or those from the period known from
iconographie
sources.
It seems possible that this type of polychrome was most frequently treated as a completion of
the architectural-sculptural composition meant to add even greater glamour and splendour
to the work. In some situations the reason could have been even far more prosaic: due to
financing shortages preventing a sculptural ornament of the organ-case, the investor would
opt for a cheaper painterly imitation. Organ-case pipes were sometimes decorated with various
embossed ornaments on the front surface (which ranked among the organ-builder s scope of
responsibilities) or by covering them with polychrome, gilding, or a combination of both kinds
of decoration (particularly masks in the section of organ pipe lips). In the latter case the most
624
frequent procedure would be to employ a painter and commission him also to polychrome the
organ-casing.
An extensive chapter has been dedicated to the wings closing the organ casing, most
commonly covered with painterly decoration. Right now very rare in Central Europe, they
were, however, frequent until the 17th century. A greater number of them were preserved in
Italy, but also in Spain and Holland. Initially, in the place of wood-carved wings textile curtains
were used to
proteći:
the instrument, however in the 14th century a type of an architectural
towered organ-case, with the front closed up with wings, resembling
retables,
was formed. In
Italy, the question of defining the character of the paintings on the organ wings was tackled
by the Milan painter and art theoretician Giovanni Paolo Lomazzo who in his
Trattato della
arte della pittura
(1584)
spoke first ofall of the issue of the decorum, thus the appropriateness of
topics of painterly presentations on organ wings in view of their function and location. In the
15th-17h centuries, numerous organ wings were executed by leading painters, e.g. Cosimo
Tura,
Hans Holbein, Giovanni Bellini, Tintoretto, Veronese, etc. However, particular importance
was attributed to the wings in 17th-century Holland where in the interiors of Calvin churches
the organ was one of the main and most sumptuous furnishing elements. An akin topic, dealt
with more extensively, are trompe-l oeil frescos, optical broadening of the organ-case, as well as
painterly imitations of organ fronts behind which small positives were often placed.
The last Chapter, summing up the present study, serves at the same time as an attempt at ordering
the complex conditionings of the organ-case systematization. Organ-building was an intricate and
a very complicated undertaking in the course of which many varied factors, occasionally accidental,
had an impact on the final aesthetical effect: both in the primary acoustic and tonal aspects, as
well as in the secondary, visual one. Organ-cases are in a sense added value to the functional and
acoustic conditionings of the instrument, being in essence a complex machinery. Therefore they
cannot be treated analogically with other elements of the so-called small architecture: altars, pulpits,
or confessionals. Moreover, one must bear in mind the fact that their architectural form was most
frequently decided upon by organ-builders, who actually were neither architects nor sculptors, but
more likely some sort of engineers, very strongly rooted in definite constructional and functional
solutions determined by the workshop tradition. Organ-builders were extremely mobile: they often
worked permeating the borders of territories dominated by local artistic traditions, additionally
crossing the borderlines of denominations, most frequently completing commissions for investors
representing different ones. Standardization of construction models caused that certain permanent
formal solutions, also within the sphere of the organ-case architecture, became universal and went
beyond the limits of eras and territories representing definite artistic traditions. On the other hand,
however, even if a definite organ-builder implemented the same designs on many occasions, each
time he may have worked with different subcontractors: sculptors and painters. Therefore, the
design, at least as for the decoration, was interpreted in various ways, determined both by the creative
personalities of the artists, as well as the craftsmanship tradition they derived from, or more broadly:
by the circle or artistic territory they came from. This was topped with the practise of using ready-
made graphic patterns, gradually increasing in the modern period, to adually become universal
in the 18th century. All the above conditionings thus impose cautiousness when formulating the
typology of old organ-cases.
625
SUMMARY
It can therefore be assumed that actually every organ-case was a resultant of the following
factors, each time contributing in slightly different proportions:
a. an individual style of the organ-builder determined by the craftsmanship tradition or
school he represented, as well as all kinds of influences he was exposed to during his
training and independent professional practise;
b. an individual style of the artist
-
decorator, also the resultants of the tradition they
represented and their own artistic personalities: in the case of the contribution to
designing the architectural-artistic casing by the architect, also the artistic personality
and the style of the latter;
с
the current style or stylistic phase, another words: taste and fashion valid at the
moment of building the organ (actually, an essential role in spreading the ideas was
played by graphic patterns);
d. the local tradition, namely the type of construction and compositional solutions
dominating in a definite region, sometimes also dependent on tonal quality desired in
a given tradition; in other cases also determined by the denomination s specificity;
e. special conditioning resulting from an unusual location of the instrument, namely
necessity to fit the organ and the organ-case to unique spatial or acoustic conditions
and other practical needs:
f. investor s individual special wishes, inspired most commonly by the desire to express
definite ideological contents, though at times also by his whim or imagination.
It seems that the first three categories are basic, indispensable, and present in every case. They
are dynamic, mobile, and related to organ-builders travels beyond the borders marking artistic
territories and local schools. Apart from graphic patterns, as mobile as the human factor, they
constituted the most important in whole Europe cause for the increasing peculiar unification or
universalization of organ forms, and therefore also of their cases. The remaining factors do not
have to necessarily play any role at all in the process or are even (e and f) exceptional.
The network of family and workshop relations among organ-builders was very dense
and in many a case a definite artist would become as if a heir to several local or workshop
traditions. However, it was not always a factor determining the form of the instrument he
would build or its architectural and artistic design, as also other, afore-mentioned premises
were of certain importance: taste and skills of the cooperating decorators, taste of the
investor who would often impose the implementation of a ready design created either by an
architect or derived from a graphic pattern-book, local tradition, liturgy conditionings, and
different in each case: conditions of location, acoustics, not to mention the financial capacity,
etc. Thus every opus organicum would finally become a derivative of a clash of different
personalities, while the dynamics and sequence of those clashes was often, just like with
many other developments in this world, determined not so much by a conscious intention,
but often by a stroke a luck. However, it was this variability that contributed to such a great
richness of European organ-building in its peak which took place in the modern era. It is
also the reason why the old organs and their organ-cases constitute such a fascinating and
practically inexhaustible research topic.
Translated by
Magdalena
¡wińska
626
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| id | DE-604.BV041145481 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:40:37Z |
| institution | BVB |
| isbn | 9788363877170 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026121035 |
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| spelling | Zgliński, Marcin Verfasser aut Nowożytny prospekt organowy i jego twórcy Marcin Zgliński Early modern organ-case and its creators Warszawa Instytut Sztuki Polskiej Akademii Nauk 2012 678 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: Early modern organ-case and its creators Geschichte 1450-1820 gnd rswk-swf Orgelprospekt (DE-588)4130664-8 gnd rswk-swf Orgelprospekt (DE-588)4130664-8 s Geschichte 1450-1820 z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026121035&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026121035&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Zgliński, Marcin Nowożytny prospekt organowy i jego twórcy Orgelprospekt (DE-588)4130664-8 gnd |
| subject_GND | (DE-588)4130664-8 |
| title | Nowożytny prospekt organowy i jego twórcy |
| title_alt | Early modern organ-case and its creators |
| title_auth | Nowożytny prospekt organowy i jego twórcy |
| title_exact_search | Nowożytny prospekt organowy i jego twórcy |
| title_full | Nowożytny prospekt organowy i jego twórcy Marcin Zgliński |
| title_fullStr | Nowożytny prospekt organowy i jego twórcy Marcin Zgliński |
| title_full_unstemmed | Nowożytny prospekt organowy i jego twórcy Marcin Zgliński |
| title_short | Nowożytny prospekt organowy i jego twórcy |
| title_sort | nowozytny prospekt organowy i jego tworcy |
| topic | Orgelprospekt (DE-588)4130664-8 gnd |
| topic_facet | Orgelprospekt |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026121035&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026121035&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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