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HISTORICIST FORMS IN THE DESIGNS OF A 19 TH CENTURY ARCHITECT AS EXEMPLIFIED BY THE WORKS OF JULIAN ANKIEWICZ 1

IWONA SZUSTAKIEWICZ

Nineteenth century architects used a formal and ideals, 3 and people who had just built their language developed in the course of many centuries fortunes on industry or trade found the idea of a and across many geographical areas – , a city palace, very much to was therefore a that encompassed a variety of their by way of association with the careers of trends and shades. In the early phase, it used historic middle-class Florentine families. It pleased with its patterns in an intuitional and subjective manner to splendour and its ancient (…) 4. merge styles in a syncretic manner and combine One of the earliest examples of the application forms of different origins. Mature Historicism of Renaissance motifs in Ankiewicz’s designs was characterised by pursuing stylistic purity and is the of Aniela B awacka, located in Aleje appropriate use of historic architectural motifs. The Ujazdowskie street in Warsaw (land reg. no. 1714 late phase was eclectic and proposed mixing motifs C/13, Fig. 1), built in the years 1852-1855 and later from various periods in one composition. To a large rebuilt by Leandro Marconi for the Soba Lski family extent representative for the architectural climate of in 1876 5. A genuine element by Julian Ankiewicz, 19 th century’s Warsaw, the work of Julian Ankiewicz which survived to this day more or less untouched, re \ ects the stylistic evolution of Historicism. The is the two-storey main body of the palace. It has objective of the analysis presented below is to a typical early historicist compact cubic shape, describe the solutions used by Ankiewicz and to enriched with slightly projecting avant-corps in the follow the stylistic development of these solutions, middle axes of the ground \ oor in the front and and ultimately to contribute to better understanding garden facades, supporting the balconies. The attic of of the historicist of Warsaw. the building was designed by Leandro Marconi, but a similar solution might as well have been devised Renaissance Revival. Evolution of architectural by Julian Ankiewicz. The façade is decorated with forms in the works of Julian Ankiewicz delicate rustication, more prominent in the corners of the building. Surmounted by segmental , the In the times of Julian Ankiewicz, the predominating openings of the ground \ oor are \ anked by Tuscan style in architecture – especially urban architecture pilasters and crowned by hooded window heads. – was Italian Renaissance Revival. 2 Ankiewicz These motifs are also suggestive of early Renaissance followed the trend, using Italian Renaissance- Revival. Above the rectangular windows of the inspired motifs in most of his designs. The immense [ rst \ oor there are cornices carried by ornamental popularity of the style is by no means surprising. The corbels. Between the openings of the [ rst \ oor, the choice of style was never left to chance or dictated architect placed circular niches. His [ nal touch to by the whims of fashion. At the time, architecture the decorative look of the façade is modest detailing, served as a manifestation of the proprietors’ beliefs which combines Classicist motifs (at the time

1 The article is an excerpt from a doctoral dissertation written XIX w. Na podstawie wiede Lskiego „Heeresgeschichtliches under the supervision of prof. zw. dr hab. in b. . Jadwiga Museum” Theophila Hansena , in: „Czasopismo Techniczne”, Roguska at the Faculty of Architecture, Warsaw University of 2002, issue 1, p.71, W. Ba us, Renesans w wieku XIX i XX: Technology, defended on 15 May 2012. fascynacja i sprzeciw , in: Recepcja renesansu w XIX i XX wieku , 2 K. Stefa Lski, Architektura XIX wieku na ziemiach polskich , ód ` 2003, p. 21. Warsaw 2005, p. 116. 4 S. Herbst, Ulica Marsza kowska , Warsaw 1998, p. 55. 3 P. Krakowski, Fasada dziewi Btnastowieczna. Ze studiów 5 J. Roguska, Zapomniane dzie o Juliana Ankiewicza – willa nad architektur = wieku XIX , P. Zeszyty Naukowe UJ, Prace z Bawackiej, nast Bpnie Soba Lskiej , „Kwartalnik Architektury i Historii Sztuki, Vol. 16, p. 55; Z. To  oczko, Z zagadnie L historii Urbanistyki”, 1988, issue 4, p. 319-320. i historyzmu oraz eklektyzmu w architekturze drugiej po owy

84 losing popularity) and trendy Renaissance Revival 1860 (Fig. 3). Of classicist origin in this realization elements. Compositions made with palmettes, \ oral were wide, three-light windows in the slightly ornaments and acanthus leaves are placed above the projecting avant-corps on both sides of the façade. window cornices and around the circular niches. On the [ rst- \ oor level these were accompanied by They also form small circle ornaments on the wall columns carrying an with small triangular of the [ rst \ oor. 6 gables placed above the middle light. The same Similar stylistic features, characteristic of Italian arrangement was used in the central axis of the [ rst Renaissance Revival but still encompassing some \ oor. Three-light windows with columns on both remnants of the retreating , were visible in sides of the biggest middle light were well known the façade of a tenement house owned by Aleksander in Warsaw architecture, having been introduced to Kruze, built in 1853 at 471 F/8 Rymarska street tenement house façades by Antonio Corazzi (e.g. in (Fig. 2; the building no longer exists). Much in the Kulikiewicz’s house in Aleje Ujazdowskie street or style typical for early Italian Renaissance Revival, Jasi Lski’s house at the intersection of Nowy Uwiat the building had a \ at façade, with an avant-corps and Aleje Jerozolimskie streets 7). This kind of slightly jutting out in the middle part of the front, window composition can be seen as evidence that reaching the height of the [ rst \ oor, and delicately Ankiewicz long remained faithful to the principles framed circular niches above the semi-circular of Classicism. In the late 1850s, the syncretism of the [ rst \ oor’s and the cornices of of the building at Erywa Lska street was already the ground \ oor’s openings – the same decorative rather outdated, since most architects of the period elements Ankiewicz had used in B awacka’s villa. were striving for the stylistic unity of Renaissance One could also notice Classicist palmettes, acanthus Revival. leaves and acroteria based on the stringcourse right above the pilasters – this motif became one of the Pursuing the “stylistic purity” of the mature phase most distinctive elements of the architect’s style of Historicism (understood as keeping faithful to and was repeatedly used by Ankiewicz in his later Renaissance forms and avoiding the confusion of designs. The horizontal composition of the façade mixing different stylistic means of expression, which – with rustication on the ground \ oor level, a was made possible by the progress in the study of piano nobile delicately decorated with Corinthian historical forms of architecture) was [ rst re \ ected in pilasters, and a decorative frieze with low reliefs the works of Julian Ankiewicz in his design of a four- under the crowning cornice – was already clearly in storey tenement house of Aleksander Kruze, built in the style of Renaissance Revival and a reference to the years 1857-1858 at 1065 A/149 Marsza kowska the Renaissance of Rome. street (Fig. 4, the building no longer exists). The The building at Rymarska street was the [ rst of horizontal composition of the façade, crossed with many tenement houses designed by Ankiewicz in cornices at the level of the [ rst and second \ oors, the early 1860s, all sharing \ at, static façades with was emphasized by the monotonous rhythm of the a predomination of horizontal divisions. This was a windows, varying from \ oor to \ oor in size and fairly common composition in the front elevations of decoration. The windows of the piano nobile, placed this type of buildings in Warsaw – the same solutions over balustrades between the ground and [ rst \ oor were used by other architects, such as Aleksander and \ anked by \ at lesenes, were shaped as simpli [ ed Zabierzowski, Wojciech Bobi Lski and Adolf aediculae, with triangular pediments supported Woli Lski. The composition of an early Renaissance by corbels. The openings of the second \ oor were palace, combined with decoration inspired by [ xed on a stringcourse in a manner typical for early Classicist and Renaissance forms, was also applied Renaissance Italian palaces. The entire structure by Julian Ankiewicz in the design of the house at culminated in a crowning cornice. Renaissance Erywa Lska street (presently Kredytowa), land reg. detailing of the house in Marsza kowska street had no. 1066 /16, built for Aleksander Kruze in 1859- been interpreted by Ankiewicz in a \ at, linear way.

6 The [ nal touch to the Neo- of the Villa M.I. Kwiatkowska, Rze `biarze warszawscy XIX wieku, Warsaw was given by placing a marble copy of Donatello’s David in front 1995, p. 272. of the main entrance. According to M.I. Kwiatkowska, the statue 7 M. Kwiatkowski, Architektura mieszkaniowa Warszawy , was made by S awomir Celi Lski in 1870s for Feliks Soba Lski: Warsaw 1989, Fig. 140 and 162.

85 The composition of the elevation and the use of house in Jasna street, land reg. no. 1364 A/17, erected decorative elements bears traces of Roman palace in the years 1864-1865 (Fig. 8). The house was not architecture, such as Palazzo Farnese by Antonio only intended as a comfortable dwelling for the da Sangallo and Michelangelo (Fig. 5). Julian architect’s family and a pro [ table investment, but also Ankiewicz might have known it from architectural as a demonstration of Ankiewicz’s creative potential. publications, e.g. the 18 th -century Palais, maisons The design was a clear evidence of his ability to et autres édi [ ces modernes, dessinés a Rome by create harmonious and elegant compositions drawing Charles Percier or the more recent – and probably on traditional patterns. It also showed the designer’s more easily available – work by Paul Marie willingness to incorporate some new Renaissance- Letarouilly Edi [ ces de Rome moderne , published in inspired ornamental motifs. The aedicula-shaped 1840-1855. Another source of inspiration must have windows of the piano nobile were this time topped also been the 19 th -century re-interpretations of the with bottomless pediments, making room for Roman palace, such as the Reform Club building in elaborate low relief masks surrounded by \ oral , which the architect had had the opportunity garlands. The motif of a triangular gable without to see during his visit there in 1857 (Fig. 6). the bottom edge was [ rst used by Michelangelo in Conceptually close to Kruze’s house in terms the vestibule of the Lurentian Library near the San of composition was the façade of Stanis aw Lorenzo church in Florence (later Michelangelo Bogowolski’s house, land reg. no. 1396 A/122, built introduced the motif in the window decoration by Ankiewicz and Józef Dietrich 8 at the intersection of the last storey of Palazzo Farnese in Rome). of Marsza kowska and Zgody streets (1862-1863, New generations of architects improved the form non-existent). Its most prominent features were by adding a decorative element (e.g. in Palazzo the open composition and additional emphasis of Grazioli erected by Giacomo Della Porta in the horizontal lines through subtle banded rustication 17 th century). Many such late Renaissance or even across all storeys. Here, too, the piano nobile was -ised solutions appeared in architectural accentuated with a rhythmic sequence of identical publications. The mask motif was also used by aediculae, this time more dynamic and properly Ankiewicz in the decoration of the entrance door designed, with pedestal-mounted pilasters supporting where it is placed on a fanciful shield at the keystone triangular pediments 9. Similarities in composition of an arch, surrounded by vines which decorate the could also be seen in the elevations of the two spandrels. The house stands out among the previous neighbouring buildings in Marsza kowska street realizations with differently articulated, much more owned by Moritz Brauman – land reg. no. 1383/115, dynamic detail. The introduction of new motifs and built 1862-1863 and land reg. no. 1382/117, built the chiaroscuro interpretation of the detailing were 1865-1866 (Fig. 7, non-existent). These were equally driven by the presentability of the house and its ascetic in terms of architectural means of expression. prestigious location near Zielony Square (presently In both these houses, Ankiewicz designed slightly D=browskiego). projecting lateral avant-corps framed with lesenes. A different arrangement of structure, and The central and lateral axes of both façades were therefore composition of the façade, can be seen in accentuated by different treatment of the [ rst \ oor the building of the Provincial Government in Lublin openings: in the earlier house at 1383 Marsza kowska (1859-1860, Fig. 9-10) 10 . The building, still standing street, these axes contained aediculae, while in today, consists of a three-storey middle part and two the later one at 1382 Marsza kowska street, the wings, one storey lower. The symmetry of the front aediculae had double pilasters and bigger pediments façade is emphasized by a slightly projecting avant- than those in the other windows of the storey. These corps and lesenes, placed in the lateral axes of the vertical accents did not, however, affect the generally middle part and of the wings. horizontal composition of the two façades. The building’s ground \ oor is covered in The last house of the characteristic early Renais- rustication, reinforced on the lesenes and arranged sance horizontal composition was the architect’s own in voussoirs above the rectangular openings. The

8 The design of the building has been mistakenly attributed 9 S. Herbst, Ulica Marsza kowska , Warsaw 1998, Fig. 84. (e.g. by S. oza) to Józef Dietrich. More about the authorship, 10 Presently seat of the Institute of Psychology UMCS. see Kurjer Warszawski, 1862, no.169, p. 953.

86 higher storeys exhibit the classical order of pilasters the importance of the house. The remaining in superposition, with Ionic pilasters on the [ rst \ oor pilasters were topped with acroteria. On the sides and Corinthian ones on the second. The windows of the piano nobile, over the windows, the architect in the avant-corps of the [ rst storey are Palladian, placed rectangular panels with Renaissance-style while the remaining windows are rectangular, with decoration. The symmetry of the façade was broken moulded frames topped with triangular gables and by balconies situated on the [ rst and second \ oor little corbels at the bottom, on the background of the over the entrance, which marked the sidemost axis inter- \ oor band. The windows of the last \ oor are of the narrow front 11 . rectangular, wider and tripartite in the avant-corps. The motif of a \ at pseudo- over the middle The topmost part of the building is decorated with a axes of the façade, [ rst applied in Kijewski’s house, low wall (attic), which accentuates the symmetry of was re-used by Ankiewicz in many of his later the composition. A similar arrangement, with avant- designs, albeit in a modi [ ed form – with arcade corps and identically shaped openings, is used in the openings. More pronounced vertical symmetry side façades. re \ ected in the use of architectural order and The back façade of the building is more breaking the monotony of rectangular windows by segmented, with prominent three-axis lateral avant- the addition of semicircular openings did not affect corps. In the middle part of the ground \ oor the the overall horizontality of the façade, which still architect had planned to implement a semicircular quali [ ed as Roman Renaissance Revival. The [ rst exedra, covering the entire middle section, yet during design of this kind was the 1864 house of Ludwik the construction process the design was reduced to Natanson, erected at Zielony Square, land reg. no. a three-axis, semicircular avant-corps. Here, too, 1369 (presently D =browskiego Square, Fig. 13, Ankiewicz used Palladian windows, which shows non-existent). Its wide façade facing the square how his technique had developed to include Neo- encompassed 11 axes, 5 of which belonged to a wide, Renaissance motifs typical of the mature historicist \ at portico-like avant corps covering the ground stylistics. In use since Antiquity, the Palladian \ oor and the [ rst \ oor. Side axes of the portico were window became particularly popular in Renaissance enhanced by lesenes on the ground \ oor and double and was also used in palaces such as Palazzo Gaddi Ionic semi-columns on the [ rst \ oor, which carried in Rome, constructed in 1518-1520 to the design the entablature, above which the architect placed of Jacopo Sansovino (Fig. 11), or its contemporary allegorical three-dimensional statues. This part of the Palazzo Primoli. In both these designs Palladian façade was also accentuated by different decoration windows were used as part of corner loggias. In the of windows on the level of piano nobile: the sides Lublin building, the design of the extreme axes of the had rectangular windows with triangular pediments, side and middle façades was a deliberate reference while the windows of the avant-corps were round- to the Roman palaces, motivated by the high pro [ le headed. Five-axis pseudo-porticoes – middle avant- of the building’s intended use. corps with sides highlighted by lesenes – appeared The prestigious location of Jan Kijewski’s house also in the façades of the neighbouring house, land in Nowy Uwiat street in Warsaw (land reg. no. reg. no. 1364, owned by Kazimierz Granzow (1865- 1260 A, Fig. 12, built 1861-1863, after World War 1866, later rebuilt). Its façade facing Zielony Square II reconstructed in an altered form) was the reason had some additional emphasis put by Ankiewicz on why the horizontal arrangement of the tenement the three middle axes of the avant-corps, in the form house was enriched with a \ at pseudo-portico in the of a belvedere and some arcade openings leading middle axes. On the façade, \ at Corinthian pilasters the way to the [ rst \ oor balcony. Round-arched under the entablature separated the [ ve axes of the windows were also placed on the ground \ oor level, [ rst \ oor windows. The two extreme pilasters on in the rusticated part of the building 12 . each side of this pseudo avant-corps were adorned The new composition proved equally useful in with three-dimensional statues, which completed designing other types of buildings. In 1866, the the decoration and at the same time emphasized architect used it in his design of Karol Schneider’s

11 The lateral location of the entrance was due to the narrowness 12 National Digital Archives, [ le no. I-A-2124 of the plot, a trace of the former, 18th century land plotting pattern.

87 distillery in Aleje Ujazdowskie street (Fig. 14). The architecture, a style close to the designer’s heart. facility was surrounded by dwelling houses, which Despite the irregularity of the building, the front meant its external appearance had to be adjusted façade only slightly deviates from the principles of in a way to conceal the two-storey (basement and architectural symmetry. The one-storey main body ground \ oor) production hall equipped with a of the structure was segmented by two slightly steam engine. The façade encompassed a total of projecting side avant-corps. One of them contained 15 axes, with an avant-corps topped with an attic in a portal with a cornice propped up on corbels, above the shape of a low wall over the three middle axes. which a semi-circular window formed a backdrop The ground \ oor is rusticated, with the exemption for a decorative . On the [ rst \ oor, of semi-circular niches surrounding the windows windows alternated with Ionic pilasters, doubled at and the two entrances situated on the sides. The the edges of the avant-corps. The upper edge of the [ rst \ oor is divided by Ionic pilasters alternating [ rst \ oor windows was marked by plain cornices, with rectangular windows topped with semi-circular replaced by triangular pediments in the side axes. niches in the avant-corps and triangular pediments The symmetry of the main body of the structure was supported by corbels on the sides. broken by placing a small belvedere over one of the The same composition principles ruled the designs avant-corps. The other one was topped with a unique of buildings dating back to mid-1870s, housing the gable, made up of three joined pedestals, with the Land Credit Society in Siedlce (1872, Fig. 15) and in middle one serving as a base for an acroterion. The Lublin (1874-1876, Fig. 16). The building in Siedlce main body of the villa was conjoined with a one- is characterised by a middle avant-corps accentuated storey pavilion, while on the other side there was a with a triangular gable containing an allegorical wooded orangery, which could also be seen from the low-relief in the tympanum, topped with a single street. acroterion. This composition re \ ected Ankiewicz’s The same period saw the erection of Aleksander unfailing fondness for Classical tradition. In the Kruze’s villa at Pi Bkna street, land reg. no. 1726 H Lublin design, the architect introduced a 4-column (Fig. 19-20, non-existent), designed in the style of Tuscan porch supporting the balcony on the [ rst Venetian Renaissance. In keeping with the traditional \ oor. Above the avant-corps one can admire an composition of Venetian palaces, the façade was attic adorned with a group of statues depicting the divided into three parts. The central part, wider pleasures of rural life. than the other two, was elevated by a one-storey Roman Renaissance motifs were interpreted quite belvedere. The villa was very [ nely decorated, with differently in the design of the Zamoyski Family an ornamental inter- \ oor band of \ oral garlands and Library erected near the Blue Palace in aabia street a rich decoration of the [ rst \ oor’s central arcade (1866-1868, Fig. 17, rebuilt after World War II in windows placed in a frame of semi-columns. In a slightly altered form). The composition of the the side parts of the house, the architect had used subtly rusticated façade was framed by delicate tripartite windows, rectangular on the ground \ oor enhancement of the rustication in the corners of the and Palladian on the [ rst, both in the front and side building. In the main axis, the architect placed a façade. The windows of the belvedere were two- recessed avant-corps with a triangular gable reaching light, inspired by the tendency of Venetian architects the crowning cornice. Arcade windows of the [ rst to create groups of tall, round-arched openings. \ oor were framed by rectangular panels and topped The designs described above stand out as typical with triangular pediments. examples of Julian Ankiewicz’s characteristic The purity of stylistic form so typical for the economy of detail and austerity of style. A mature phase of Historicism could also be observed somewhat different approach can be seen in in Ankiewicz’s designs of situated in the the design for Maksymilian Fajans’s house in vicinity of Aleje Ujazdowskie. The architect’s own Krakowskie Przedmie Vcie street, land reg. no. 386, villa, located in Instytutowa street, land reg. no. 1726 dated 1865-1866 (Fig. 21, never constructed). The J (presently Matejki street, 1866-1868, Fig. 18, the design, or rather one of its three versions 13 now kept building no longer exists) was inspired by Roman in the National Museum, stipulated a four-storey

13 The other two versions, in two different styles, are described below.

88 Renaissance Revival façade \ anked by two avant- of the Vistula river 15 .” Indeed, the openings were put corps and decorated with elaboration which was in an order typical for Roman architecture – uniform quite unprecedented as compared to the previous rows of a regular rhythm – but their decoration bore a works of the architect. The ground \ oor was to be clear similarity to the Venetian style: the ground and covered in banded rustication; large shop windows in second \ oor window woodwork imitated the detailing the avant-corps were framed by columns supporting of Corner-Spinelli (Fig. 23) or Vendramin-Calergi a cornice decorated with acroteria, and the central palaces. The highest \ oor windows were two-light, portal was topped with a fanciful gable. Arcade much like the ones implemented in the “Venetian” windows of the [ rst \ oor harmonized with the ones villa of Aleksander Kruze in Pi Bkna street (Fig. 19- on the second \ oor, resting on cornices with relief 20). This marked the end of mature Renaissance friezes in the avant-corps and decorative panels with Revival style, which was slowly retreating to garlands in the central part of the façade. The house give way to the eclectic style of late Historicism. was to be crowned with a relief frieze, a cornice and Though stylistic correctness was preserved here and an attic – partly balustraded, partly full. The design in \ uences of different forms of Renaissance were was completed with circular ornaments and relief kept clearly legible, the entire composition and formal plaques between the windows, as well as some busts heterogeneity of the design made it incompatible with mounted on pedestals. the criteria of “stylistic purity”. This design marks the appearance of a new motif Much freedom in shaping the body of the building in the decorative repertoire of Julian Ankiewicz. The and its architectural decoration has been applied in arcade opening in a rectangular panel surmounted the Starze Lski Palace in Ciechanowiec-Nowodwory, by a segmental cornice, used in the piano nobile of built in 1875 (Fig. 24-26), currently owned by the the said design, constitutes the so-called Bramantian Museum of Agriculture. A graphic combination of window, a type of framing applied in the early different heights, separated by avant-corps, walls Renaissance Palazzo della Cancelleria in Rome jutting out or drawn back – all this creates an air of a (1484-1496), whose designer is believed to have landowner’s dwelling which is far from monumental been Donato Bramante 14 . but nevertheless has a vintage look which harmonises The house in Krakowskie Przedmie Vcie land reg. no. with the surrounding greenery. This effect was 386 was never built. However, some of Ankiewicz’s emphasized by Ankiewicz in the asymmetry of the solutions – the arcade openings inscribed in rectangular decoration (still rather sparing): windows of varying panels and surmounted by cornices which at the same width and crowns, spherical niches and an aedicula time formed the bottom of the next storey’s windows; surmounted by a on a broken base. circular ornaments between the openings; fanciful, In designing the main entrance to the building volute gables – must have won a certain appreciation and the frame of the terrace doors, the architect from the investor, since they were later applied in reintroduced the classical motif used in Aleksander Maksymilian Fajans’s house built in the same street Kruze’s house at Erywa Lska (Kredytowa) street in under no. 2673 B (erected in 1866-1867, Fig. 22). The Warsaw: a tripartite composition with a pediment high, [ ve-storey building squeezed into the narrow over the central part (Fig. 26). This return to classical plot was designed in the spirit of Roman Renaissance, forms was not, however, a misguided obsoletism, with horizontal divisions across the façade. The design but a deliberate combination of forms of different did not, however, fully abide by the rules of stylistic origin, which, coupled with the picturesque detail purity. It combined motifs which – though stylistically and the dynamics of the entire structure, was much correct – originated from different regional pro [ les of in sync with the evolution of Historicism towards its Renaissance architecture. This discordance (possibly late eclectic phase. an input from the investor) did not escape the notice of Another eminent work of the architect shows Ankiewicz’s contemporaries: “The architect clothed further additions to his means of artistic expression. this tall, [ ve-storey façade in some kind of Florentine The last documented design of Julian Ankiewicz or Venetian garment, bringing to mind the canals of – the building of the Municipal Credit Society Venice, since the back of the houses faces the banks (then W odzimierska street, land reg. no. 408-409

14 Z. M =cze Lski, Elementy i detale architektoniczne w rozwoju 15 Jana Jaworskiego Kalendarz Illustrowany na rok 1869 , p. 51. historycznym , Warsaw 1956, p. 177 and 181.

89 N), erected in the years 1878-1880 (Fig. 27) and a building by its function, location or status of the extended in 1911 by W adys aw Marconi – exhibited owners. The openings of the piano nobile were as a not only motifs derived from Renaissance, but also rule situated above the downmost inter- \ oor band and incorporated some Baroque Revival elements. The decorated with balustrades or corbels placed against building re \ ected the changing nature of historicist the backdrop of the band, which was a reference to architecture, which was characterised by intensifying the architecture of mature Italian Renaissance. The tendencies towards eclecticism and more and more windows of the other storeys were generally located sculptural and chiaroscuro composition of façades. directly above the stringcourse – an inspiration The same tendencies were followed by Ankiewicz. derived from early Renaissance palaces of Florence The symmetrical façade of the Credit Society’s – or on a segmental cornice crowning the window building was much more dynamic than his previous beneath. Ankiewicz favoured window decorations works. The two side avant-corps of the front with simple top cornices or shaped as aediculae façade, on the ground \ oor level deeply rusticated in a variety of interpretations – from just lesenes to create a contrast with the delicate rustication of without pedestals, with the pediment supported by the central wall, protruded relatively far into the corbels, through an “archaeological” version with the street, in view of the fact that the building was part pediment resting on pedestal-based pilasters placed of an alignment of houses. The decoration of the on the inter- \ oor band, to a frame with a bottomless walls gave a similarly chiaroscuro effect: the ground gable, imitating the creations of Michelangelo. \ oor windows were separated by allegorical statues His pseudo-porticoes usually had round-arched mounted on pedestals, and on the [ rst \ oor the axes openings separated by pilasters. Among the forms of the façade were divided by Corinthian semi- used by Ankiewicz there were also early Renaissance columns. The architect harmoniously combined Bramantian windows, shaped as arcades, inscribed in elements of different origin: the deep rustication rectangular panels topped with a segmental cornice, of the ground \ oor is a reference to Florentine as well as Palladian windows, typical for the mature architecture, the introduction of architectural orders phase of the Renaissance Revival period. Besides – to the Roman style, while the framing of the bull’s forms inspired by Italian Renaissance, the architect eye windows brings to mind the solutions used in was clearly much inclined to use classical elements, Charles Garnier’s eclectic opera house in . such as tripartite openings with the middle part The above analysis of the many designs created by surmounted by a triangular pediment, palmettes and Julian Ankiewicz in the Renaissance Revival phase of most of all acroteria. Historicism allows to distinguish a set of motifs which were most frequently used by the architect. In his Renaissance-inspired arcade style works, Ankiewicz skilfully implemented the forms of Italian Renaissance – Quattrocento and Cinquecento. In January 1859, Kurjer Warszawski published a In terms of composition, this was re \ ected in the note about a house in Nieca a street, designed in a horizontal articulation of his façades, achieved Byzantine style by Julian Ankiewicz. The house in through the use of clear-cut, distinctive inter- \ oor question was a small building, land reg. no. 614 K, bands and stringcourses, as well as uniformity and owned by Wilhelm Goldberg and built in 1855-1857 rhythm of the openings, often decorated differently (Fig. 28). Formal analysis of the design does not from storey to storey. The dominance of horizontal support the above stylistic classi [ cation. The house lines was equally visible in designs where the was rather an adaptation of the so-called arcade style architect introduced \ at side avant-corps or pseudo- in a Renaissance-inspired interpretation. porticoes over the middle axes of the façades. The The fundamentals of the arcade style were created \ at pseudo-portico ( [ rst used in Kijewski’s house in by Jean-Nicolas-Louis Durand. In his writings he 1861-1863), crowned by statues, acroteria or urns, gave numerous examples of arcade compositions was a recurring motif throughout Ankiewicz’s career, used in smooth facades incorporating no classical used as a means to emphasise the prestige given to order 16 . Such solutions became very popular in

16 A. Rottermund, Jean-Nicolas-Louis Durand a polska architektura 1 po owy XIX wieku, Wroc aw-Warszawa-Kraków- Gda Lsk- ód ` 1990, p. 149.

90 Europe, especially in , where arcade style street in Warsaw, land reg. no. 386 (Fig. 30), also () gained theoretical grounds. In his alluding to the architecture of Renaissance. The 1828 brochure entitled In welchem Style sollen wir three-storey façade was segmented by side avant- bauen? , architect and theorist Heinrich Hübsch corps, emphasized by balustraded attics. On the postulated the creation of new architecture, more ground \ oor, the avant-corps contained wide, round- adapted to the needs of modern life and free from arched portals, while the remaining openings were the in \ uence of antiquity. As a source of reference, narrower, and the spaces between them extended the author pointed to the architecture of vaults and and adorned with pedestalled statues. The openings arches – early Christian, Byzantine, Romanesque were positioned in an identical manner in both and Florentine of the early phase of Renaissance. storeys, with single arcades of the three middle axes The style was to be economical, true to the materials and tripartite arcades in the protruding parts of the used, free from unnecessary detail. The arcade style façade. The horizontal composition is emphasized by assumed a number of guises in Europe: Byzantine inter- \ oor bands forming a backdrop for openwork Revival, Romanesque Revival, and Renaissance decorations under the windows, and moulded strips Revival. The latter generally referred to the Florentine stretching across the entire width of the building Quattrocento 17 . In Warsaw, the arcade style never between the springings of the arched window heads. enjoyed as much success as in other partitions of On each of the \ oors the archivolts of the arches were , since the Russian-governed regions were supported by slender semi-columns. The decoration less in \ uenced by German architectural trends. was completed by Renaissance-style tondi with Ankiewicz’s house in Nieca a street could be relief busts and forged candelabra. The decorative classi [ ed as early, syncretic phase of Historicism. [ nish, ignoring the principles of the austere arcade Even though all windows of the façade were style, was due to the intended prestigious location of round-headed, yet the composition of the façade, the building. dominated by horizontal lines and crowned with a The above-described designs by Julian Ankie- prominent cornice, the classical order of the piano wicz are evidence of his absorbing the forms of nobile, the semi-circular balcony on the central axis Rundbogenstil only in their aesthetic aspect, without and the subtle \ oral ornamentation of the acroteria complying with the requirements in terms of crowning the second \ oor windows make the overall structure, material or economics. The Renaissance- appearance of the building very remote from the inspired interpretation of Rundbogenstil was just one model examples of Rundbogenstil originating from of the many stylistic variations, with others being the drawing boards of Friedrich von Gärtner or Karl e.g. Renaissance Revival or Gothic Revival. Friedrich Schinkel. A more determinant feature of Goldberg’s house Gothic Revival was the setting of the [ rst \ oor, with three round- headed windows framed by pilasters and crowned with Designs of Julian Ankiewicz composed in styles an entablature and a cornice, with a central triangular other than Italian Renaissance Revival are scarce. pediment. The same solution had been employed by We know of two examples of Gothic Revival in the the renowned European architect Gottfried Semper work of the architect, namely the Catholic chapel in in the side façade of Gemäldegalerie in the Pu awy palace (1858-1860, Fig. 31-32) and the (1855, Fig. 29). Ankiewicz had used the same motif last of the three designs for the never-built house in even before he travelled to Dresden in 1857, and had Krakowskie Przedmie Vcie street in Warsaw, land reg. interpreted it in a less dynamic way. Inspiration might no. 386 (1865-1866, Fig. 33). Both of them contain have come from printed illustrations presenting the motifs inspired by English , works of the German architect. characteristic for the early phase of Historicism. Closer to the ideas postulated by Hübsch was the Divided into three aisles, the Pu awy chapel second draft of the house in Krakowskie Przedmie Vcie re \ ected a characteristic feature of English Gothic

17 P. Krakowski, Styl arkadowy w architekturze dziewi Btnasto- wiecznego Krakowa , in: Symbolae historiae atrium. Studia z historii sztuki Lechowi Kalinowskiemu dedykowane , Warsaw 1986, p. 457-458.

91 architecture, which was a fondness for elaborate with roof lanterns; similar pillars marked the corners decoration of vaults. In the aisles, Ankiewicz of the building. The vertical effect was enhanced introduced stellar vaults, while the roo [ ng of the nave through the emphasis given to the middle axis of the is bisected by a ridge rib and ornate with additional avant-corps by additional columns and aediculae. ribs and decorative keystones. In his description of Adding to the overall slenderness of the design, the design, the author of a press article published in the windows are tall and rectangular, adorned with Dziennik Polytechniczny wrote that all the bends and traceries and wimpergs. The range of Gothic forms curvatures (…), all the lines are formed by the vault is complete with top crenelations and Tudor arches itself, authentic, without any kind of imitation. The of the ground \ oor openings, pierced quatrefoil stone vaults (…) are truly Gothic, aesthetically as much as balustrades and rectangular cornices over the second structurally 18 . \ oor windows. Linear detailing of the authentic Delicately moulded ribs of the vaults fall down design by Ankiewicz is very subtle and intricate. on \ oral capitals of the compound piers separating Applying English Gothic forms in a façade the nave from the aisles or engaged piers supporting of a tenement house was very rare in Warsaw the walls (Fig. 31). In the arcades between the architecture, the only preserved example being the nave and the aisles the architect used lancet arches. Walusi Lski house at 25 Bednarska street 19 . Similarly shaped, but adorned with tracery, were the Gothic Revival designs by Ankiewicz reveal a shallow niches of the aisles and the windows of the high awareness of historic motifs. His pro [ ciency chapel, placed in a wall with round-headed window in terms of English Gothic Revival was probably openings. The last element of decoration was Tudor gained thanks to Adam Id `kowski, who was arches decorated with wimpergs and crockets, placed probably the most prominent advocate of using over the doors in one of the aisles. Gothic elements in all kinds of architectural When drafting the proportions of the interior, the projects. A strong supporter of syncretism drawing architect’s desired effect was Gothic verticalism. inspiration from different periods and cultures, he This was not an easy goal to achieve, since the chapel frequently expressed his views both in his writings had formerly served the Czartoryski family as a and publications containing various architectural drawing room, and was a wide and rather low-roofed designs 20 , as well as in his own creative work. In the chamber. Dividing the available space into aisles years 1837-1843, he supervised the reconstruction helped Ankiewicz to optically narrow the interior. of the Warsaw cathedral. The renovation was Slender, richly moulded piers, tall arcades and niches necessary due to the poor condition of the structure, work to verticalise the space and build an impression but Id `kowski went as far as to completely transform of height. The result was a spacious and well lighted the appearance of the church by introducing English chapel, which even now – though devoid of its Gothic Gothic forms 21 . Massive, solid walls of the building Revival furnishings such as , confessionals came out slender and aerial as a result of adding and pews – still remains a magni [ cent tribute to the some lancet windows and portals and octagonal architecture of the Middle Ages (Fig. 32). turrets with pinnacles on top. Intricate decorations References to the Perpendicular style of English included traceries, combined with ornamental knots Gothic Revival appeared on occasion in Ankiewicz’s in the topmost parts. Gothic Revival elements designs for dwelling houses. One example is the inspired by English architecture were also used by never-built 1865 design of the house in Krakowskie Id `kowski in the design for the emperor’s palace Przedmie Vcie street (Fig. 33). Its composition was which was planned (but never succeeded) to be vertical, with the central avant-corps heightened by erected in Aleje Ujazdowskie street in Warsaw 22 . one storey and framed by multilateral pillars topped Another source of English Gothic inspiration

18 „Dziennik Polytechniczny”, 1861, sewn [ le 4, p. 84; S. oza 20 Kroje architektury, obejmuj =ce rozmaite jej kszta ty, uwa bane believes the author of the article to have been J. Ankiewicz jako przedmiot pi Bkno Vci , 1832; Ko Vció  arcykatedralny Vw. himself: see: S. oza, Architekci i budowniczowie w Polsce, Jana w Warszawie , 1843; Plany budowli obejmuj =ce rozmaite Warszawa 1954, p. 13. rodzaje domów… w rozmaitych stylach architektury , 1843. 19 J. Roguska, Neogotyk w architekturze warszawskich kamienic , 21 M.I. Kwiatkowska, Katedra Vw. Jana , Warsaw 1978, p. 164- „Kronika Warszawy”, 1987, No. 3-4, p. 103. 175. 22 J. Roguska, op.cit., p. 102.

92 for Julian Ankiewicz was naturally his journey Oriental style to London in 1857, which allowed him to get acquainted with the most monumental secular In 1864, Julian Ankiewicz built a Moorish-style example of Gothic Revival style – the Houses of wooden gazebo to be used as a place to sell soda Parliament designed by Charles Barry and Augustus water in Warsaw’s Saski Garden 25 . The structure Pugin in 1836-1860. was a small rectangular pavilion decorated with horseshoe arches. In the 18 th and 19 th centuries, Baroque Revival the term “Moorish style” referred to any kind of Muslim architecture, not just the of the Arab Baroque Revival style, which developed inhabitants of the Iberian Peninsula 26 . During the in Warsaw architecture in the last quarter of Enlightenment period, the popularity of Oriental the nineteenth century, did not enjoy the same motifs gave rise to a widespread tendency to apply popularity as Renaissance or Gothic Revivals 23 Moorish style in park or garden pavilions. Examples during the years of professional activity of Julian of such erections are Imam’s House and minaret Ankiewicz. Particularly rare were “pure” examples in the Na Ksi =bB cem garden (by Szymon Bogumi  of this ; Baroque forms tended to Zug) 27 or the Turkish House in azienki Park (by be the dominating elements of eclectic compositions Jan Chrystian Kamsetzer) 28 . Ankiewicz’s gazebo in in the phase of late Historicism. Among the works the Saski Garden was another embodiment of this of Julian Ankiewicz, who at that time was about tradition. In 19 th century Warsaw, Oriental style was, to retire from his professional activity, there is however, of marginal signi [ cance. only one design which displays clear references to Baroque style: the Children’s Hospital in Conclusion. Stylistic aspects of the creative Aleksandria street (presently Kopernika, 1874-1875, input of Julian Ankiewicz in the historicist Fig. 34). The composition of the façade is strictly architecture of Warsaw – [ nal conclusions symmetrical, with side and central avant-corps. The composition aside, however, the building was The works of Julian Ankiewicz generally re \ ect practically styleless, with very scarce architectural the tendencies which shaped the architectural climate decoration, and therefore did not [ t with Baroque of Warsaw and other cities of the Kingdom in late . Such a solution was very much in line 19 th century. Even earlier, in 1830s, Polish architects with the then-predominating European trends, came up with their own creative interpretations of the re \ ected in the opinion of the committee approving motifs dating back to the past periods, and adapted the designs for the Lariboisiére hospital in Paris: them to the requirements of new architecture 29 . We do not aim to create a [ ne building, a model The introduction of new forms was driven by the of architectural , a masterly . 1835-1839 upswing in the construction industry 30 . To the contrary, our priority was to fully respond The [ rst phase of Historicism, brought about by to the needs of the patients (…) 24 . With the same architects born in late 18 th and early 19 th centuries – priority in mind, Ankiewicz, too, restricted himself Henryk Marconi, Jan Jakub Gay, Andrzej Go oLski, to applying the colossal order in the three avant- Franciszek Maria Lanci, Alfons Kropiwnicki and corps and giving the windows very modest setting. Adam Id `kowski – lasted in Warsaw roughly The only decorative element was the central portal until mid-1850s (depending on the preferences surmounted with a moulded bottomless pediment of individual architects). It featured intuitive and beneath a large, decorated window. subjective use of historical forms, driven by the

23 T.S. Jaroszewski, Architektura neobarokowa w Polsce , w: 27 J. Putkowska, Warszawskie podmiejskie rezydencje Kazimierza Sztuka 1 po . XVIII wieku , Warsaw 1981, p. 347 Poniatowskiego przy ulicy Ksi =bB cej , „Kwartalnik Architektury i 24 C. Mignot, Architektur des 19. Jahrhundert , Stuttgart 1983, p. Urbanistyki”, vol. LIV: 2009, issue 2, p. 26-27. 232 (own translation). 28 T.S. Jaroszewski, op.cit., p. 100. 25 „Tygodnik Illustrowany”, 1895, No. 22, p. 353; E. Charazi Lska, 29 K. Stefa Lski, op. cit., p. 71. Ogród Saski , Warsaw 1979, p. 106. 30 K. Duma a, Z bada L nad rozwojem przestrzennym i 26 Orient w sztuce polskiej , in: T.S. Jaroszewski, Od klasycyzmu budowlanym Warszawy w latach 1831-1867 , in: Warszawa XIX do nowoczesno Vci , Warsaw 1996, p. 23 and 98-99. wieku. 1795-1918 , vol. 3, Warsaw 1974, p. 143.

93 artist’s own . This approach gave rise Lanci’s design of the market in Sewerynów street. to stylistic syncretism which combined forms of Early Historicism was the [ rst style of the second different origins 31 . The interest in past architecture generation of historicist architects, born around 1820: was a novelty, yet in shaping their façades designers Julian Ankiewicz, Adolf Woli Lski, Józef Or owski, still followed the classical principles of composition. Franciszek Tournelle. This was probably the reason Well-articulated structures, clear-cut repetitive for their long-standing fondness for classical forms divisions, large planes of plain, non-decorated and \ at elevations, which survived well into the later walls dominated over the scarce, subtle, linear years of mature Historicism 33 . historic detail 32 . In Warsaw, long in \ uenced by the Early Historicism in Warsaw coincided with the creative proli [ cacy of Antonio Corazzi, a popular introduction of cast iron elements in construction technique was to combine classical elements with works. Iron was readily used in the construction of those originating from the Renaissance period. Go Vcinny Dwór, a shopping arcade built in 1841 by Column porticoes or colossal order of pilasters J.J. Gay and Alfons Kropiwnicki. Ankiewicz also were combined with Renaissance forms, usually appreciated the utility of the material and used it Quattrocento: horizontal compositions, windows in the form of columns (e.g. in Kijewski’s house in often resting directly on stringcourses, topped with Nowy Uwiat street) or cast-iron stairs (in Pu awy). segmental cornices, or the so-called Bramantian The next phase, which in Warsaw was to last windows. While Renaissance detail gained another two decades 34 , came to be known as mature popularity, it was often used along with classical Historicism. The advances of historical research and palmettes and acroteria. Gothic Revival designs the identi [ cation of the most characteristic elements usually used elements of English Gothic style, most of individual styles and regional variations put notably the Perpendicular phase. an end to the rule of syncretism and subjectivism The most prominent advocate of Italian Renais- of the previous years 35 . Designers, equipped with sance in Warsaw was Italian-born and educated the necessary knowledge, supported by numerous Henryk Marconi, whose designs in this style publications and inventories of past architecture, include e.g. his own house in Aleje Jerozolimskie were now able to choose correct historical motifs street (started in 1843) and the Warsaw-Vienna originating in a given artistic period 36 , thus imitating Railway station (1844). A great enthusiast of Gothic the great architects of the past. Syncretism gave way architecture and the author of many romantic Gothic to the idea of “stylistic purity” 37 . This was the time Revival buildings was Adam Id `kowski. Most marked with a distinctive turn towards the forms of of his designs were never constructed, but it was mature Italian Renaissance – Cinquecento, especially he who managed to introduce forms of medieval in the Roman interpretation. Popular motifs included architecture into the Warsaw skyline through the aedicula window settings, Palladian windows, arcade reconstruction of Saint John cathedral ( [ nished in openings framed by pilasters or semi-columns 1843) in the style of English Gothic Revival. At – though equally common among architects were the same time, Jan Jakub Gay was the driving force openings closed by fragments of cornices, particularly behind the Warsaw applications of the arcade style, on higher storeys. Apart from Italian forms, designers an example of which is the building of the Warsaw were also inspired by Venetian and French motifs. Charity Association in Bednarska street. Elements of This phase marked an evolution of interpretation Rundbogenstil were also visible in Franciszek Maria of detail towards a more dynamic and chiaroscuro

31 P. Krakowski, Fasada dziewi Btnastowieczna , „Zeszyty 34 New phenomena in the architecture of the 1850s which marked Naukowe Uniwersytetu Jagiello Lskiego. Prace z Historii Sztuki”, the transition of Historicism into its mature phase are described vol. 16, 1981, p. 77. by K. Stefa Lski, op. cit., p. 114. 32 op.cit., p. 77-79; J. Roguska, Architektura i budownictwo 35 P. Krakowski, op.cit., p. 82. mieszkaniowe w drugiej po owie XIX i na pocz =tku XX wieku. 36 J. Roguska, op.cit., p. 53; Z.J. Bia kiewicz, Feliks Ksi Bb arski Architektura willowa , op. cit., Warsaw 1986, p. 52; W. Ba us, (1820-1884). Krakowski architekt epoki historyzmu , Krakow Zjawisko historyzmu w architekturze wieku XIX. Próba opisu , in: 2008, p. 126. „Dzie a i interpretacje”, vol. 3, 1995, p.77-78. 37 W. Ba us, op.cit., p. 78. 33 Another reason might have been the fact that most of them had no formal education, since there was no school of architecture in Warsaw at the time they chose their careers.

94 effect 38 , which was characteristic for the period and at approach, which could be seen in Warsaw at the time the same time consistent with the direction followed of construction boom in the late 1870s, and the last by Italian architecture in the 16 th century. On the two decades of the 19 th century saw a transformation other hand, the Gothic Revival style in Historicism of Historicism into its late, decadent phase was enriched by attempts to differentiate and mimic characterised by using a variety of historical motifs the regional variations of . from different periods in one façade. In 1870s and Facilitated by the periods of economic recovery 1880s, Baroque Revival became a popular tendency. in 1852-1854 and – even more so – in 1856-1867, Formal discipline gave way to impressionist developments in construction industry brought about freedom, ornamental [ nish and picturesqueness, a number of projects implementing these ideas in an unprecedented vividness and richness of detail. Warsaw’s skyline 39 . Mixing elements of different origin, recreating A pioneer of stylistic change in Warsaw was motifs and breaking rules were designers’ conscious Henryk Marconi. Warsaw’s public facilities choices. 42 In Warsaw, this phase was represented by of his design – the building of Land Credit Witold Lanci, W adys aw Marconi, Józef Huss, and Society (1853) and the Europejski Hotel (1854) Stefan Szyller, to mention just a few, who created – are perfect examples of how Classicism and bold compositions of motifs of different stylistic and syncretism were gradually abandoned to give way geographical origin, including those that had never to a new, puristically correct approach to historic attracted much interest from historicist architects, architecture. Julian Ankiewicz and his generation such as elements of native architecture. soon joined in introducing new interpretations of historic forms, followed by younger architects: Jan The above-analysed evolution of historicist forms Heurich Sr., Zygmunt Ki Vla Lski, Karol Woyde, can also be traced throughout the professional Leandro Marconi, and Karol Koz owski. They were career of Julian Ankiewicz, though without a clear well versed in the , which is chronological delineation of individual stylistic clearly evidenced by their work, with its intensifying periods. The transition from early Renaissance dynamism and rich detail. Henryk Marconi made a Revival to the mature phase came about gradually great contribution to the Italianising architectural while Ankiewicz worked to improve and perfect his climate of Warsaw not only through his designs craft, enriching his repertoire with new solutions but but also through his teaching: professor Marconi, not abandoning the old. 43 His work does not, however, Italian-born, educated at Italian academies and re \ ect the characteristic transition of Renaissance member of many of them, was a classicist, or Revival from Italian Quattrocento of the early phase to be more precise, a great Italian Renaissance to elements of the Italian architecture of the 16 th enthusiast. All his stunning and grand designs century typical for the late phase. Similarly, in his were styled in beautiful, pure Italian Renaissance, Gothic Revival designs, the architect never ventured and the so-called ‹‹quinque cento›› was his most beyond the English Gothic inspirations of the early favoured style for which he spared no praise. It phase of Historicism. In his career, the advancements was he who gave our School of the feature and of the style were not re \ ected by drawing from orientation of Italian Renaissance 40 . particular regions of Europe or historical periods After the period of stylistic , there appeared but rather by abandoning the classical principles of a sense of longing for more variety of form. 41 The composition and \ at, linear façades and favouring evolution of Historicism headed towards an eclectic more vivid and chiaroscuro arrangements.

38 J. Roguska, Okna i ich oprawa architektoniczna w the stylistic evolution took a different course. The scholar warszawskich kamienicach w drugiej po owie XIX i na pocz =tku distinguishes the Florentine style of the 1840s, the Schinkel style XX wieku , „Kwartalnik Architektury i Urbanistyki”, vol. LVI: of the mid-century and the mature Renaissance of the late 19 th 2011, issue 1, p. 57 century. Z.J. Bia kiewicz, W nurcie neorenesansu w oskiego 39 S. Herbst, op. cit., p. 57; K. Duma a, op.cit. architektury XIX-wiecznego Krakowa , Krakow 2010. 40 J. K. Janowski, op.cit., Warsaw 1930, p. 17. 43 A similar stylistic evolution can be traced in the case of other 41 K. Stefa Lski, op. cit., p. 184-185. architects, such as Julian Ankiewicz’s contemporary, a Krakow- 42 This analysis of the transformations of Historicist architecture based architect Feliks Ksi Bb arski: Z.J. Bia kiewicz, Feliks refers primarily to the regions of Warsaw and the Russian Ksi Bb arski (1820-1884). Krakowski architekt epoki historyzmu , partition. As pointed out by Z.J. Bia kiewicz, in Krakow op. cit., p. 127.

95 Julian Ankiewicz used few historical motifs, but needs of investors and location speci [ cs. His designs those he did, he had mastered to perfection. The exhibited a sense of proportion which gave his limited range of forms was probably due to his having compositions a regularity and balance, emphasised no academic background and learning his craft by skilfully applied architectural detailing. Buildings through self-teaching. Despite these impediments, designed by Julian Ankiewicz, harmonious and Ankiewicz was indisputably a talented architect, who elegant, made a memorable contribution into the displayed great intuition in adjusting his ideas to the skyline of 19 th century Warsaw. Translated by Z. Owczarek

Iwona Szustakiewicz, PhD, lecturer Department of General History of Architecture Faculty of Architecture, Warsaw University of Technology

96