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The historical layers of the Lower Silesia towns - the investigations based on historical cartography

Eysymontt R.

Geology, Geophysics and Environment

2013

Vol. 39, no. 2

81--93

Studies on the historical layers of historical towns belong to the most important stages of Atlas historyczny miast polskich' volumes' creation. Lower Silesian towns are investigated mainly on a basis of: - written sources, which reference to the real space is often doubtful; - archeological explorations, which results should be confronted with source studies; - metrological studies, claiming the original medieval concepts according to their geometrical modularity, although those studies are often loaded with big doses of idealism; - studies on historical cartography, which were performed however usually a few hundred years after the town's foundation; in this case the basic method is relating newer plan to an earlier situation called retrogression. The last method could regard one of the most mutable, but most important element of a city's historical structure, which is the river. Two examples of this kind of analysis, referring to two of Lower Silesian different size cities of Wrocław and Milicz can be mentioned in this case. Changes of river system in these cities drastically influenced the shaping of cities and their environment. Much more controversial is an issue of reconstruction based on the oldest 18th century cartography of the road system, which was shaping settlements network around Wrocław. The method of using historical cartography as a source of knowledge about a city's changes is giving the best results in a case of wide modern fortifications' analysis, though it is often only confirmed by archeological research.

Barwne projekty z XVIII i początku XIX wieku w archiwum w Legnicy

Eysymontt R.

Architectus

2000

Nr 1(7)

71--80

Kolorystyką barokowych i klasycystycznych elewacji w architekturze Dolnego Śląska dotychczas się nie zajmowano. Przykładem może tu być praca Hansa Junga, poświęcona rozwojowi barokowych fasad Wrocławia, Legnicy i Nysy, w której właściwie autor tego tematu nie poruszył. To samo dotyczy prac Konstantego Kalinowskiego. Jedną z przyczyn takiego stanu rzeczy jest faktyczny brak bezpośrednich przekazów na temat kolorów elewa-cji z czasów, kiedy budowle powstawały, nie ma też właściwych komentarzy do tego problemu w późniejszych opisach. Nasze ustalenia dotyczące barw barokowych budowli opierają się głównie na badaniach warstw powłok malarskich, często dających dość wątpliwe ustalenia, co wynika z przekształceń chemicznych powłok barwnych, pokrytych licznymi warstwami tynku, jak również często z faktu niemożności ustalenia, czy dane warstwy stanowiły warstwę wierzchnią, czy jedynie warstwę podkładową oryginalnej powłoki barwnej. Z wymienionych powodów, materiałem niezwykle cennym są oryginalne barwne projekty, choć i w tym wypadku można mieć czasem wątpliwości, czy przedstawione na rysunkach elewacji kolory są rzeczywiście projektowanymi dla danej budowli, czy są jedynie formą "uatrakcyjnienia projektu architektonicznego"? Takie "podbarwienie"miało ułatwić jego sprzedaż i spełniało podobną funkcję jak współczesne "barwne digitalizacje". W tej sytuacji dużej wagi nabierjąprojekty z przełomu XVIII i XIX w. zachowane w Aktach Miasta Legnicy.

Hitherto existing literature relating to the Baroque and Classi-cistic architecture in Lower Silesia did not take into consideration its original colour. This was caused by the insignificance of project material from the period as well as by the difficulty of interpreting stratigraphie examinations carried out during conservatory works in these objects. For this reason, the large collection of projects for buildings ij^Legnica preserved in its Archive is of great importance. The 18th century handwritten description of the town by Friedrich B. Wernher only marginally touches the matter of colour in Baroque buildings which had risen at that time, quite precisely described by him. He only observes the heraldic and material value of the hue of gold and copper. The great fire of Legnica in 1774 caused the town to be filled with consciously composed buildings by Christian Isemer, rising in long sections of frontages, according to principles expressed at the time by Frederick the Great. Similar buildings were also then constructed in other towns of Silesia, for example in Świebodzice and Polkowice. Original projects of those times for Legnica show colour as a certain method of giving prominence to the project. The case is different with converted, at the time, buildings of the Middle Ages - the merchants house and the prison tower in whose design a specific colour solution was proposed. At the turn of the 18th and 19th century the Prussian government gave instructions relating to the colour of newly coflr structed buildings. They pointed to specific proposals of colour combinations and the necessity of underlining the techtonics of the building through colour. These principles were, to a certain extent, reflected in some Legnica projects referring to buildings constructed at the turn of the 18th and 19th century. The colour of the buildings created a certain autonomic aesthetic value, even in the case of building projects situated in the rear parts of the building plot. A clearly designed colour of the building appears in projects from the twenties of the 19th century. This fact may be connected with the office of building supervision which was formed in the town in 1814.