Architecture
The Tomb was designed by the famous Polish sculptor, Stanisław Kazimierz Ostrowski. It was located within the arcade that linked the two symmetric wings of the Saxon Palace, then the seat of the Polish Ministry of War. The central tablet was ringed by 5 eternal flames and 4 stone tablets bearing the names and dates of battles in which Polish soldiers had fought during World War I and the Polish-Soviet War (1919–21). Behind the Tomb were two steel gratings bearing emblems of Poland's two highest Polish military decorations — the Virtuti Militari and Cross of Valor.
During the 1939 invasion of Poland, the building was slightly damaged by German aerial bombing, but it was quickly rebuilt and seized by the German authorities. After the Warsaw Uprising, in December 1944, the palace was completely demolished by the Wehrmacht. Only part of the central colonnade, sheltering the Tomb, was preserved.
After the war, in late 1945, reconstruction began. Only a small part of the palace, containing the Tomb, was restored by Henryk Grunwald. On 8 May 1946 it was opened to the public. Soil from 24 additional battlegrounds was added to the urns, as well as more tablets with names of battles in which Poles had fought in World War II. However, the communist authorities erased all trace of the Polish-Soviet War of 1920, and only a few of the Polish Armed Forces' battles in the West were included. This was corrected in 1990, after Poland had regained its political autonomy.
There are plans to rebuild the Saxon Palace, but as of 2009 it is unknown when and whether these plans will be realized.
Read more about this topic: Tomb Of The Unknown Soldier, Warsaw
Famous quotes containing the word architecture:
“They can do without architecture who have no olives nor wines in the cellar.”
—Henry David Thoreau (1817–1862)
“Polarized light showed the secret architecture of bodies; and when the second-sight of the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.”
—Ralph Waldo Emerson (1803–1882)
“For it is not metres, but a metre-making argument, that makes a poem,—a thought so passionate and alive, that, like the spirit of a plant or an animal, it has an architecture of its own, and adorns nature with a new thing.”
—Ralph Waldo Emerson (1803–1882)