DOI Artikel:
Mossakowski, Stanisław: Projekt kościoła karmelitów bosych w Warszawie autorstwa Giovanniego Battisty Gisleniego
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.48916#0116
STANISŁAW MOSSAKOWSKI
42. Zob. BRYKOWSKA, Architektura Karmelitów..., s. 132-134,
144, ii. 148-152, 170, 168, 186-187.
43. Znanej ze współczesnych sztychów m. in. Giovanniego Bat-
tisy Fałdy. O autorstwie i datowaniu kościoła, zob.: J.
WASSERMAN, Ottaviano Mascarino and Drawings in the
Accademia Nazionale di San Luca. Roma 1966, s. 56-59.
44. Na karcie tytułowej widnieje m.in. łuk triumfalny wzniesiony
w sierpniu 1651 roku z okazji wjazdu do stolicy króla Jana
Kazimierza po kampanii beresteckiej. W latach 1657-1664
Gisleniego nie było w Polsce. Szkicownik londyński datowa-
ny jest najczęściej na czas około roku 1668 - zob. SZAF-
RAŃSKA, op. cit., s. 328.
45. Przed datą powstania projektu Gisleniego parą półkolumn
ujęto przęsło środkowe fasady kościoła śś. Piotra i Pawła
w Krakowie (Giovanni Trevano, 1620-1630). Z kolei zbliżo-
ny jak w Warszawie układ kolumn (para cofnięta i para wy-
sunięta) zastosował Gisleni po raz wtóry w projekcie ołtarza
głównego dla krakowskiej katedry na Wawelu (1649-1650) -
por.: MOSSAKOWSKI, Pałac Biskupi..., przyp. 27.
46. Wilno - zob.: MIŁOBĘDZKI, op. cit., s. 184, il. 238; BRY-
KOWSKA, Architektura Karmelitów..., s. 27, 112, 141, il.
162; Lwów - zob.: T. MAŃKOWSKI, Lwowskie kościoły ba-
rokowe. Lwów 1932, s. 44; id., Fabrica Ecclesiae. Warszawa
1946, s. 35; id., Dawny Lwów, jego sztuka i kultura artystycz-
na. Londyn 1974, s. 221-222; MIŁOBĘDZKI, op. cit., s. 183,
il. 239; M. KARPOWICZ, Barok w Polsce. Warszawa 1988,
s. 45-46, 294, il. 132; BRYKOWSKA, Architektura Karme-
litów..., s. 27, 112, 145-146, il. 176.
47. Zob. o tej fasadzie: LORENTZ, op. cit., s. 33-43; id., Efraim
Szreger - architekt polski XVIII wieku. Warszawa 1986, s. 96-
105; T. S. JAROSZEWSKI, Architektura doby Oświecenia
w Polsce. Wrocław 1971, s. 81-82.
Giovanni Battista Gisleni s
Design for the Church of the Barefooted Carmelites in Warsaw
Among the drawings belonging to the Domenico
Martinelli collection at the Castello Sforzesco in Milan
there are three designs for a church which until now has
remained unidentified. They depict a half-plan and
longitudinal section, a transverse section at the transept, as
well as a view and plan of the faęade (ill. 4, 3, 2). The
method of drawing, as well as such details as the
characteristic scroll framework (in the form of a cartouche)
of an oval window with an anthropomorphic mascaroon
supporting the base, suggest a link may be traced to the
person of Giovanni Battista Gisleni (1600-72), whose
architectural and decorative studies are contained in the
same volume of the collection. Such an attribution may be
confirmed by comparing the church design’s faęade with
that of a tempie presented among several buildings on the
title page of this artisfs collection of drawings titled „Varii
disegni d’architettura Inventati e delineati da Giovanni
Battista Gisleni romano Architetto delle Maesta
e Serenissimo Prencipe di Polonia e Suetia” which is
preserved in London (ill. 1).
Certain elements of the design, such as several choir
rooms situated above the sacristy, a corridor behind the altar
wali leading, presumably, to a monastery or saintly figures
dressed in monks’ habits adoming the faęade, clearly
indicate that the church was intended for one of the religious
orders. The Carmelite emblem placed in the tympanon,
together with certain details in the overall planning and the
building’s spatial outline, identify the order as being that of
the Barefooted Carmelites (i.e. chapel and sacristy placed at
the sides of the presbyterium together with open choirs or
oratories in the galleries; a motif of Spanish origins, as well
as the three rows of connecting chapels in the place of
aisles, the omission of a dome where the nave and transept
cross; fmalły, the diagonally placed passages leading from
the transept arms to the first pair of chapels).
A church faęade of similar design placed on the title
page of Gisleni’s collection of drawings, identifiable among
other edifices and monuments in Warsaw, would seem to
indicate that this was the original design for the church of
the Barefooted Carmelites in that city situated on the
Krakowskie Przedmieście. This Identification is affirmed
by analogies in the extending of both the designed and
executed works, and particularly the close resemblence,
becoming in places even direct identicalness, in their
measurements and basie compositional parts (ill. 5-7).
The Barefooted Carmelites, a Spanish religious order
especially propagated by the Habsburg dynasty, was
brought to Warsaw by queen Cecilia Renata, where in 1639
they were granted plots of land „ad ripam Vistulae in
suburbio Cracoviensi sitae”. The ceremoniał ingress of the
Carmelites was recorded as taking place in a wooden
chapel on 24th November 1639. The raising of a stone
church got under way in 1643 following the acąuiring of
further land at the back of the possession, in accordance
with the larger of two plans for the church and monastery
known to have been already selected in Romę, which may
be presumed to have been based on the church of S. Maria
della Scala. Progress on the new sacral complex would
102
42. Zob. BRYKOWSKA, Architektura Karmelitów..., s. 132-134,
144, ii. 148-152, 170, 168, 186-187.
43. Znanej ze współczesnych sztychów m. in. Giovanniego Bat-
tisy Fałdy. O autorstwie i datowaniu kościoła, zob.: J.
WASSERMAN, Ottaviano Mascarino and Drawings in the
Accademia Nazionale di San Luca. Roma 1966, s. 56-59.
44. Na karcie tytułowej widnieje m.in. łuk triumfalny wzniesiony
w sierpniu 1651 roku z okazji wjazdu do stolicy króla Jana
Kazimierza po kampanii beresteckiej. W latach 1657-1664
Gisleniego nie było w Polsce. Szkicownik londyński datowa-
ny jest najczęściej na czas około roku 1668 - zob. SZAF-
RAŃSKA, op. cit., s. 328.
45. Przed datą powstania projektu Gisleniego parą półkolumn
ujęto przęsło środkowe fasady kościoła śś. Piotra i Pawła
w Krakowie (Giovanni Trevano, 1620-1630). Z kolei zbliżo-
ny jak w Warszawie układ kolumn (para cofnięta i para wy-
sunięta) zastosował Gisleni po raz wtóry w projekcie ołtarza
głównego dla krakowskiej katedry na Wawelu (1649-1650) -
por.: MOSSAKOWSKI, Pałac Biskupi..., przyp. 27.
46. Wilno - zob.: MIŁOBĘDZKI, op. cit., s. 184, il. 238; BRY-
KOWSKA, Architektura Karmelitów..., s. 27, 112, 141, il.
162; Lwów - zob.: T. MAŃKOWSKI, Lwowskie kościoły ba-
rokowe. Lwów 1932, s. 44; id., Fabrica Ecclesiae. Warszawa
1946, s. 35; id., Dawny Lwów, jego sztuka i kultura artystycz-
na. Londyn 1974, s. 221-222; MIŁOBĘDZKI, op. cit., s. 183,
il. 239; M. KARPOWICZ, Barok w Polsce. Warszawa 1988,
s. 45-46, 294, il. 132; BRYKOWSKA, Architektura Karme-
litów..., s. 27, 112, 145-146, il. 176.
47. Zob. o tej fasadzie: LORENTZ, op. cit., s. 33-43; id., Efraim
Szreger - architekt polski XVIII wieku. Warszawa 1986, s. 96-
105; T. S. JAROSZEWSKI, Architektura doby Oświecenia
w Polsce. Wrocław 1971, s. 81-82.
Giovanni Battista Gisleni s
Design for the Church of the Barefooted Carmelites in Warsaw
Among the drawings belonging to the Domenico
Martinelli collection at the Castello Sforzesco in Milan
there are three designs for a church which until now has
remained unidentified. They depict a half-plan and
longitudinal section, a transverse section at the transept, as
well as a view and plan of the faęade (ill. 4, 3, 2). The
method of drawing, as well as such details as the
characteristic scroll framework (in the form of a cartouche)
of an oval window with an anthropomorphic mascaroon
supporting the base, suggest a link may be traced to the
person of Giovanni Battista Gisleni (1600-72), whose
architectural and decorative studies are contained in the
same volume of the collection. Such an attribution may be
confirmed by comparing the church design’s faęade with
that of a tempie presented among several buildings on the
title page of this artisfs collection of drawings titled „Varii
disegni d’architettura Inventati e delineati da Giovanni
Battista Gisleni romano Architetto delle Maesta
e Serenissimo Prencipe di Polonia e Suetia” which is
preserved in London (ill. 1).
Certain elements of the design, such as several choir
rooms situated above the sacristy, a corridor behind the altar
wali leading, presumably, to a monastery or saintly figures
dressed in monks’ habits adoming the faęade, clearly
indicate that the church was intended for one of the religious
orders. The Carmelite emblem placed in the tympanon,
together with certain details in the overall planning and the
building’s spatial outline, identify the order as being that of
the Barefooted Carmelites (i.e. chapel and sacristy placed at
the sides of the presbyterium together with open choirs or
oratories in the galleries; a motif of Spanish origins, as well
as the three rows of connecting chapels in the place of
aisles, the omission of a dome where the nave and transept
cross; fmalły, the diagonally placed passages leading from
the transept arms to the first pair of chapels).
A church faęade of similar design placed on the title
page of Gisleni’s collection of drawings, identifiable among
other edifices and monuments in Warsaw, would seem to
indicate that this was the original design for the church of
the Barefooted Carmelites in that city situated on the
Krakowskie Przedmieście. This Identification is affirmed
by analogies in the extending of both the designed and
executed works, and particularly the close resemblence,
becoming in places even direct identicalness, in their
measurements and basie compositional parts (ill. 5-7).
The Barefooted Carmelites, a Spanish religious order
especially propagated by the Habsburg dynasty, was
brought to Warsaw by queen Cecilia Renata, where in 1639
they were granted plots of land „ad ripam Vistulae in
suburbio Cracoviensi sitae”. The ceremoniał ingress of the
Carmelites was recorded as taking place in a wooden
chapel on 24th November 1639. The raising of a stone
church got under way in 1643 following the acąuiring of
further land at the back of the possession, in accordance
with the larger of two plans for the church and monastery
known to have been already selected in Romę, which may
be presumed to have been based on the church of S. Maria
della Scala. Progress on the new sacral complex would
102