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The destruction of Warsaw was practically unparalleled in the Second World War, with it being noted that "Perhaps no city suffered more than Warsaw during World War II", with historian Alexandra Richie stating that "The destruction of Warsaw was unique even in the terrible history of the Second World War". [1]
Adam Kossowski (5 December 1905 – 31 March 1986) was a Polish artist, born in Nowy Sącz, notable for his works for the Catholic Church in England, where he arrived in 1943 [1] as a refugee from Soviet labour camps and was invited in 1944 to join the Guild of Catholic Artists and Craftsmen.
Interior of cathedral, 1836, by Marcin Zaleski Interior of cathedral. The profuse Early Baroque decoration inside from the beginning of the 17th century and magnificent painting on the main altar by Palma il Giovane depicting Virgin and Child with St. John the Baptist and St. Stanisław were destroyed in German bombing of the church on August 17, 1944. [5]
The massacre in the Jesuit monastery on Rakowiecka Street in Warsaw was a Nazi German war crime perpetrated by members of the Waffen-SS on the second day of the Warsaw Uprising, during the Second World War. On 2 August 1944 about 40 Poles were murdered and their bodies burnt in the basement of the Jesuit monastery at 61 Rakowiecka Street in Warsaw.
Remains of the Holy Cross Church in 1945. During the 1944 Warsaw Uprising, the church was severely damaged.On 6 September 1944, when the Germans detonated two large Goliath tracked mines in the church (they usually carried 75–100 kg of high explosives) the facade was destroyed, together with many Baroque furnishings, the vaulting, the high altar, and side altars. [2]
In 1923, a group of unknown Varsovians placed, before Warsaw's Saxon Palace and the adjacent Saxon Garden, a stone tablet commemorating all the unknown Polish soldiers who had fallen in World War I and the subsequent Polish-Soviet War. This initiative was taken up by several Warsaw newspapers and by General Władysław Sikorski. On April 4 ...
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It depicts Jesus and Peter walking on water, heralding Christ's power that viewers would hope to gain through "ritual initiation." [ 10 ] The period of late antiquity (313–476 CE), after the Edict of Milan (313 CE), saw an increase in Paleochristian public art, often focused on apostolic authority, due to Constantine's decriminalisation of ...