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DOI Artikel:Kowalczyk, Jerzy: Znaczenie wzorów Giovanniego Battisty Montano dla architektury barokowej w Polsce i na Litwie
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.49350#0052
46
Jerzy Kowalczyk
The significance of Giovanni Battista Montano ’s Designs
in the Baroąue Architecture of Poland and Lithuania
Giovanni Battista Montano, the Italian draughtsman,
painter, sculptor and architect was bom in Milan in
1534 and it was there that he was educated to become
an artist. At around the age of 40 he moved to Romę,
where he spent the rest of his life, dying in 1621 at
the age of 87. In 1579 he became a member of the
congregation of the Virtuosi al Panteon. In 1593 he
became a founding member of the Accademia di San
Luca; the register of professors records him as being
a painter and wood-engraver. However, in 1594 he
also delivered a lecture on the architectural orders. It
is certain that he was already known at this time as a
researcher of antiąue architecture.
Montano ’s works are known only from his Roman
period and these are diverse. His only architectural
work is the church of S. Giuseppe dei Falegnami
(1597-1602) in the Foro Romano. He was a member
of the archiconfraterniti deiFalegnami (Carpenters).
He sculpted the crucifix for the Fuggers’ chapel in
the church of S. Maria delFAnima. He executed the
sculpted ceiling (among others in the oratorium of
SS. Trinita’ dei Pellegrini), the choirs and organ
prospects (incl. the basilica of S. Giovanni in
Laterano), the tabemacles (incl. the church of the
Madonna ai Monti). He created wooden models based
on the designs of Ottaviano Mascherino and Giacomo
della Porta. He composed prints representing gates
and portals designed by Michelangelo included in
publications of Vignola’s treatise.
Montano planned to publish his own treatise on
antiąue architecture in seven volumes, beginning with
the First book on the architectural orders devoid of
classical dogmatism. With this aim in mind, he
collected several hundred inventoried drawings of
antiąue buildings and tomb designs, altars and
tabernacles, but his project was never to come to
fruition. Several years after the artist’s death, the
distinguished architect Giovanni Battista Soria
published in Romę part of Montano’s creative works
in three volumes. Book I - Parii tempietti antichi
(1624) contains 65 illustrations of reconstructed smali
temples and mausoleums of Romę and its surround-
ings. Book II - Diversi ornamenti cappriciosi per
depositi o altari (1625) contains 40 illustrations with
the designs of tombs and altars. Book III - Tabern-
acoli diversi novamente inventati (1628) contains 27
designs for tabernacles.
Montano’s prints were to be republished several
times in Romę. Two volumes of the architectural
orders, as well as the tempietti and mausoleums all’
antica were published separately by Callisto Ferrante
and Bartolomeo de Rossi in 1636 and 1638
respectively. A collective publication of Montano ’s
works in five volumes under the title of Li cinque
libri di architettura was prepared in 1684 and finally
printed in 1691 by Giovanni lacomo de Rossi. A
number of his prints reappeared in Paris (1634) and
in Amsterdam (1646), and also in Bernardo de
Monfaucon’s great work on ancient art (1722). Many
of Montano ’s studies in ancient architecture and
design were never to be published. Following the
artist’s death the drawings, almośt certainly kept
initially in the Accademia di San Luca, were dispersed
throughout almost the whole of Europę during the
17th and 18th centuries. The largest fragments of
Montano ’s designs are to be found in the Martinello
Collection of Milan’s Castello Sforzesco and the Sir
John Soane Museum in London.
Montano proved to be a precursor of late-Baroque
architecture in Romę and the whole of Italy. His
drawings of buildings all 'antica became a source of
inspiration for the great architects Piętro da Cortona,
Bemini, Borromini and Guarini. The influence of
Montano ’s drawings was not to be confmed to Italy,
sińce they were also published in transalpine
countries. Apart from interesting the French and
Dutch, they drew attention in Spain, Austria and
Bohemia-Moravia.
Montano’s prints exerted a surprising and consider-
able influence on the art of the federative State of
Poland and Lithuania in the 17th and 18th centuries,
proof of which is reflected in the works of architects
active there. These included, above all, the architects
Matteo Castelli, Gian Battista Gisleni, Giovanni Solari,
Baldassare Fontana, as well as the Dutchman Tilman
van Gameren, the Czech Antoni Swach, and also some
Poles and naturalised Polish citizens: Bartłomiej
Nataniel Wąsowski, Augustyn Locci the Younger (son
of an Italian, but bom in Warsaw) and Paweł Giżycki.
These are the names that count in Polish and Lithuania
architectural history.
Father architect B. N. Wąsowski in his treatise
Callitectonicorum sen de pulchro architecturae
sacrae et civilis (Poznań 1678) included Montano
amongst his most distinguished theorists, using a
number of illustrations from the book of orders and
placing them in a table of the author’s proportions in
relation to those of Vitruvius, Vignola and other
authors of similar treatises.
Tabernac les. Thedesignsfortabemaclesfrom
Jerzy Kowalczyk
The significance of Giovanni Battista Montano ’s Designs
in the Baroąue Architecture of Poland and Lithuania
Giovanni Battista Montano, the Italian draughtsman,
painter, sculptor and architect was bom in Milan in
1534 and it was there that he was educated to become
an artist. At around the age of 40 he moved to Romę,
where he spent the rest of his life, dying in 1621 at
the age of 87. In 1579 he became a member of the
congregation of the Virtuosi al Panteon. In 1593 he
became a founding member of the Accademia di San
Luca; the register of professors records him as being
a painter and wood-engraver. However, in 1594 he
also delivered a lecture on the architectural orders. It
is certain that he was already known at this time as a
researcher of antiąue architecture.
Montano ’s works are known only from his Roman
period and these are diverse. His only architectural
work is the church of S. Giuseppe dei Falegnami
(1597-1602) in the Foro Romano. He was a member
of the archiconfraterniti deiFalegnami (Carpenters).
He sculpted the crucifix for the Fuggers’ chapel in
the church of S. Maria delFAnima. He executed the
sculpted ceiling (among others in the oratorium of
SS. Trinita’ dei Pellegrini), the choirs and organ
prospects (incl. the basilica of S. Giovanni in
Laterano), the tabemacles (incl. the church of the
Madonna ai Monti). He created wooden models based
on the designs of Ottaviano Mascherino and Giacomo
della Porta. He composed prints representing gates
and portals designed by Michelangelo included in
publications of Vignola’s treatise.
Montano planned to publish his own treatise on
antiąue architecture in seven volumes, beginning with
the First book on the architectural orders devoid of
classical dogmatism. With this aim in mind, he
collected several hundred inventoried drawings of
antiąue buildings and tomb designs, altars and
tabernacles, but his project was never to come to
fruition. Several years after the artist’s death, the
distinguished architect Giovanni Battista Soria
published in Romę part of Montano’s creative works
in three volumes. Book I - Parii tempietti antichi
(1624) contains 65 illustrations of reconstructed smali
temples and mausoleums of Romę and its surround-
ings. Book II - Diversi ornamenti cappriciosi per
depositi o altari (1625) contains 40 illustrations with
the designs of tombs and altars. Book III - Tabern-
acoli diversi novamente inventati (1628) contains 27
designs for tabernacles.
Montano’s prints were to be republished several
times in Romę. Two volumes of the architectural
orders, as well as the tempietti and mausoleums all’
antica were published separately by Callisto Ferrante
and Bartolomeo de Rossi in 1636 and 1638
respectively. A collective publication of Montano ’s
works in five volumes under the title of Li cinque
libri di architettura was prepared in 1684 and finally
printed in 1691 by Giovanni lacomo de Rossi. A
number of his prints reappeared in Paris (1634) and
in Amsterdam (1646), and also in Bernardo de
Monfaucon’s great work on ancient art (1722). Many
of Montano ’s studies in ancient architecture and
design were never to be published. Following the
artist’s death the drawings, almośt certainly kept
initially in the Accademia di San Luca, were dispersed
throughout almost the whole of Europę during the
17th and 18th centuries. The largest fragments of
Montano ’s designs are to be found in the Martinello
Collection of Milan’s Castello Sforzesco and the Sir
John Soane Museum in London.
Montano proved to be a precursor of late-Baroque
architecture in Romę and the whole of Italy. His
drawings of buildings all 'antica became a source of
inspiration for the great architects Piętro da Cortona,
Bemini, Borromini and Guarini. The influence of
Montano ’s drawings was not to be confmed to Italy,
sińce they were also published in transalpine
countries. Apart from interesting the French and
Dutch, they drew attention in Spain, Austria and
Bohemia-Moravia.
Montano’s prints exerted a surprising and consider-
able influence on the art of the federative State of
Poland and Lithuania in the 17th and 18th centuries,
proof of which is reflected in the works of architects
active there. These included, above all, the architects
Matteo Castelli, Gian Battista Gisleni, Giovanni Solari,
Baldassare Fontana, as well as the Dutchman Tilman
van Gameren, the Czech Antoni Swach, and also some
Poles and naturalised Polish citizens: Bartłomiej
Nataniel Wąsowski, Augustyn Locci the Younger (son
of an Italian, but bom in Warsaw) and Paweł Giżycki.
These are the names that count in Polish and Lithuania
architectural history.
Father architect B. N. Wąsowski in his treatise
Callitectonicorum sen de pulchro architecturae
sacrae et civilis (Poznań 1678) included Montano
amongst his most distinguished theorists, using a
number of illustrations from the book of orders and
placing them in a table of the author’s proportions in
relation to those of Vitruvius, Vignola and other
authors of similar treatises.
Tabernac les. Thedesignsfortabemaclesfrom