In the Art Nouveau period, especially in the early 20th century, architects started to pay attention to modifying window shapes. Rectangular windows divided in the T letter shape applied up to then changed their design. Devoid of the central post, they received thin bars in their upper parts, and the window surface was widened, until it gained the shape of a "lying rectangle". However, the Art Nouveau windows of the curvilinear shape and divisions were the most characteristic. Due to their impracticality, their number was limited, although they were usually located in prominent places. Window openings were closed in a straight and semicircular or gothic arch way. Circular and oval, the so-called œil-de-bœuf, windows also occurred. Horseshoe windows of the omega letter shape constituted an interesting Art Nouveau invention. Their contour was sometimes formed in the shape of a heart or a kidney. Windows were also asymmetrically located and sometimes combined in twin formations, connected with a common or similar framing.
The enclosure of window openings, similarly to their shape, and even more explicitly and more frequently played a major decorative role. The artistic framing gave a new design even to older traditional windows, whose shape was difficult to modify. Framings were made of stone, plaster, gypsum or cement, and ceramic materials were used for the decor. All mentioned above decorations, with prevailing floral motifs, were found in ornamentation.
Ornaments were also applied on window frames, which were carved, implementing details from the tenement house facade. Nowadays rarely found pelmet, whose example from a Sopot tenement house is presented here, was another decorative motif.
However, panes constitute the basic and essential window element. A sort of renewed 'discovery' of stained-glass works, applied mainly in the Middle Ages, occurred in the Art Nouveau period. This ornamental element, until then used in temples, was used during the Art Nouveau period in public utility buildings, tenement houses, and villas, and in case of churches its style was modified.
Stained-glass works were applied mainly in staircase windows, in door transom windows and also in rooms fulfilling executive functions. Sometimes they occurred in the form of coloured opalescent glass, colouristically arranged in geometric patterns, also with the usage of cron glass. However, they were most frequently richly decorated with allegoric scenes or motifs taken from nature. Flowers and plant twigs were a fine and willingly applied ornamental element. Top artists, whose works decorate numerous churches, designed stained-glass windows. The unique set designed by Stanisław Wyspiański for the church of Franciscans in Cracow, where the artist planned to depict four elements, of which only two were in fact illustrated, i.e. water and fire, may serve as an example. The depiction of the God the Father creating the world, which may easily equal Michelangelo's work in the Sistine Chapel, is a worldwide masterpiece.
Apart from sacred motifs in the new perspective as well as geometric and floral patterns, images of various animals or fantasy creatures, treated more humorously, were also found in stained-glass windows. Depictions of spiders, cats and parrots from Jama Michalikowa (Michalik's Cave) serve as an example of this trend.
There were also panes made of etched glass, whose interesting example from a Toruń tenement house with a portrait of a skater closes this chapter.
Unfortunately, after World War I stained-glass works became passé and were replaced with ordinary panes. A part of this fragile element was damaged in a natural way, hence, one should appreciate what has been preserved to date.
Stanisław Wyspiański - witraż "Apollo"
Secesyjny witraż "Apollo spętany" w Domu Towarzystwa Lekarskiego przy ul. Radziwiłłowskiej 4 w Krakowie został wykonany w latach 1904-1905 według projektu Stanisława Wyspiańskiego. Projekt witraża został zrealizowany przez Krakowski Zakład Witrażów S.G. Żeleński.
Budynek Domu Towarzystwa Lekarskiego powstał w 1904 r. według planów Władysława Kaczmarskiego i Józefa Sowińskiego – projektanta fasady. Gmach jest jednym z najświetniejszych zabytków Młodej Polski.
Witraż powstał jako jeden z elementów projektu wnętrza wykonanego przez Stanisława Wyspiańskiego na zlecenie doktora Juliana Nowaka. Wyspiański zaprojektował dla Towarzystwa również elementy wykończenia wnętrza, m. in. klatkę schodową, posadzki i polichromie oraz wyposażenie tj. meble, żyrandole oraz witraże.
Tematyka witraży została określona przez zleceniodawcę. Towarzystwo Lekarskie miało się połączyć z Astronomicznym, dlatego wybrano postać Apolla – Słońca. Witraż ma kilka nazw "Apollo spętany", "Apollo - system słoneczny Kopernika" oraz "Apollo w okowach".
Gmach Towarzystwa został zniszczony podczas działań wojennych w 1945 r., ucierpiały wówczas witraże. W 1972 r. zrekonstruowano witraż "Apollo spętany" na podstawie oryginalnego kartonu Wyspiańskiego z 1904 r., który znajduje się w Muzeum Narodowym w Krakowie. Oryginalny wystrój wnętrz w budynku przywrócono w latach 80. XX w., od 1992 r. kamienica stała się ponownie własnością Towarzystwa Lekarskiego.
Witraż jest pełen symboliki, przedstawia syna Zeusa – Apolla. Mężczyzna jest przywiązany do kitary, greckiej odmiany liry, która symbolizuje umiar, harmonię i równowagę. Postać wyłania się z przestrzeni kosmicznej i wirujących planet, nawiązując w ten sposób do Mikołaja Kopernika, patrona Towarzystwa Lekarskiego. Wyspiański połączył w postaci Apolla uosobienie boga słońca oraz lekarzy. Przedstawienie odczytywano najczęściej jako bezpośrednie odwołanie do ujarzmienia, zatrzymania słońca genialną myślą toruńskiego astronoma.
"Jama Michalika" restaurant
"Jama Michalika" Restaurant is located in Kraków. Interior was designed by Karol Frycz, scenographer, painter and director.
Stained-glass windows in Franciscans' church in Kraków
Stained-glass windows in Franciscans church in Kraków were designed by Stanisław Wyspiański as a complement to his wall paintings. In choir they depict St. Francis on the left and St. Salome on the right.