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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#0054
48
Jerzy Kowalczyk
Tilman van Gameren, active in Poland and based
mainly in Warsaw (ca. 1660-1706), possessed all
three of Montano ’s volumes, complete with illustrat-
ions, published by Soria (1624-8). The influence
these works - especially those contained in Tempietti
- exerted on Tilman are reflected in the several
versions of his multi-ringed and domed tempie dating
from 1695 for the church founded by King John III
Sobieski, which formed part of the Marywil trading
complex in Warsaw. This tempie was to be fmally
built in a different form on a central plan.
Augustyn Locci the Younger, a Warsaw architect
and Tilman’s contemporary who had been educated
in Romę, also fell under Montano’s influence. Proof
ofthis is the faęade of the Calced Carmelites’ church
with its two smali and semicircular pediments
surmounting the second level’s lateral bays. This
composition is to be found in Montano ’s designs for
tempietti (vol. I, ill. 39) and tabernacoli (vol. III, ills.
6, 10). The Montano-style half-gables were applied
in the faęades of temples raised in the Crown lands
of Ruthenia (Ukrainę). In the faęade of the church at
Tinna (Tynna) in Podolia the lower level is
surmounted by semicircular pediments, while those
above the upper level are triangular (1717 or 1730).
Semicircular or triangular pediments were freąuently
applied in pairs by Paweł Giżycki to surmount the
lower or upper stages of his tower; e.g. in Jesuit
churches from the mid 18th century (Jurovichi in
Belarus, Ovruć and Kremenec’ in the Ukrainę; Pol.
Jurewicze, Owrucz, Krzemieniec consecutively), as
well as those of the Dominicans (Ternopil, Pol.
Tarnopol). The Montano-like compositions of
pediments surmounting the lateral bays are even morę
strongly accentuated in the faęades of two other
temples attributed to Paweł Giżycki: the Jesuits’
church at Sambir (Sambor, 1725-53) and the Greek-
Catholic cathedrals at Volodymyr Volyns’kyj
(Włodzimierz, Volhynia, 1753). In the tri-concave
faęade of the Observant Dominican church attributed
to Giżycki at Czartorysk (1750-56), the scroll-shaped
aedicules surmounting the lateral bays are reminiscent
of those in the faęade of S. Giuseppe dei Falegnami
- Montano ’s work.
The unusual composition of the Bernardine
church and monastery at Luc’k (Łuck) in Volhynia is
another of Giżycki’s works. The monastery was
designed in the shape of a horseshoe. A domed church
on the plan of a Greek cross linked to an octagon,
dedicated to the Promontory of the Tree of the Holy
Cross, was planned for the monastery’s middle
section. The church was intended to be connected
with the monastery building by means of covered
galleries curved in a concave way to form an arch.
The source of this conception undoubtedly came from
Montano’s Tempietti (vol. I, ill. 45). This composition
had already mspired such distinguished Baroąue
architects as Bernini, Piętro da Cortona, Juvarra and
Fischer von Erlach. Following the Lutsk monastery’s
construction (its foundations were laid in 1720),
foundations were laid for the ‘church in the form of a
rosę’ (1737), however, this shape for the tempie failed
to meet with the chapter’s approval and father Giżycki
designed a church on the plan of a Latin cross (built
in 1754-89).
The Jesuit church at Pińsk proved to be an
interesting example. The middle part of the faęade
with three triangular triangular gables, suggesting a
Basilian tempie plan, originates from the years 1636-
47. This composition may be linked to one contained
in Tempietti (vol I, ill. 1). In 1760 the late-Baroque
rebuilding of the Jesuit tempie was undertaken,
involving the building of towers and additions to the
main faęade of convex wings with arcades in a
perspective arrangement in order to accentuate the
central section’s monumentality. This solution also
recalls Montano’s designs. The church at Pińsk was
blown to smithereens by the communist authorities
in or around 1960.
The Orthodox church at Nyźkinyći (Niskiennicze
Volhynia) dates from the early phase in the reception
of Montana’s pattern designs. It features a clover-like
plan consisting of five cupolas; a solution untypical
for Orthodox church architecture in Volhynia. On the
one hand it related to the form of Russian Orthodox
church architecture, while on the other to the model of
five-domed Renaissance temples contained in volume
V of Sebastian Serlio’s treatise, alongside Montano’s
tempietti all’ antica (ills. 5, 8, 56). The Orthodox
church at Nyźkinyći, combining elements of Eastern
and Western architecture, was the result of a conscious
choice madę by its founder, Adam Kiszko, the Kiev
voivode chief, a Ukrainian politician manifesting his
attachment to Orthodox Christianity while presenting
simultaneously his pro-Western and pro-Polish
orientation.
Conclusions. The influence of Montano’s
drawings and designs were wide, even though they
were connected exclusively to ecclesiastical
architecture; i.e. tabernacles, altars and churches. The
most interesting and creative influences proved to
be those of the illustrations depicting tempietti. The
motive of double-gabled faęades with triangular and
semicircular tympanons enjoyed widespread
popularity. The means by which Montano’s books
were madę use of were varied, sińce each architect
revealed his own ambitions to change something in
accordance with his own peculiar tastes.
Distinguished architects, such as Gisleni and Tilman,
treated the pattern design as a starting point in order
to develop their own concepts. The most numerous
examples of drawing upon Montano’s designs are to
Jerzy Kowalczyk
Tilman van Gameren, active in Poland and based
mainly in Warsaw (ca. 1660-1706), possessed all
three of Montano ’s volumes, complete with illustrat-
ions, published by Soria (1624-8). The influence
these works - especially those contained in Tempietti
- exerted on Tilman are reflected in the several
versions of his multi-ringed and domed tempie dating
from 1695 for the church founded by King John III
Sobieski, which formed part of the Marywil trading
complex in Warsaw. This tempie was to be fmally
built in a different form on a central plan.
Augustyn Locci the Younger, a Warsaw architect
and Tilman’s contemporary who had been educated
in Romę, also fell under Montano’s influence. Proof
ofthis is the faęade of the Calced Carmelites’ church
with its two smali and semicircular pediments
surmounting the second level’s lateral bays. This
composition is to be found in Montano ’s designs for
tempietti (vol. I, ill. 39) and tabernacoli (vol. III, ills.
6, 10). The Montano-style half-gables were applied
in the faęades of temples raised in the Crown lands
of Ruthenia (Ukrainę). In the faęade of the church at
Tinna (Tynna) in Podolia the lower level is
surmounted by semicircular pediments, while those
above the upper level are triangular (1717 or 1730).
Semicircular or triangular pediments were freąuently
applied in pairs by Paweł Giżycki to surmount the
lower or upper stages of his tower; e.g. in Jesuit
churches from the mid 18th century (Jurovichi in
Belarus, Ovruć and Kremenec’ in the Ukrainę; Pol.
Jurewicze, Owrucz, Krzemieniec consecutively), as
well as those of the Dominicans (Ternopil, Pol.
Tarnopol). The Montano-like compositions of
pediments surmounting the lateral bays are even morę
strongly accentuated in the faęades of two other
temples attributed to Paweł Giżycki: the Jesuits’
church at Sambir (Sambor, 1725-53) and the Greek-
Catholic cathedrals at Volodymyr Volyns’kyj
(Włodzimierz, Volhynia, 1753). In the tri-concave
faęade of the Observant Dominican church attributed
to Giżycki at Czartorysk (1750-56), the scroll-shaped
aedicules surmounting the lateral bays are reminiscent
of those in the faęade of S. Giuseppe dei Falegnami
- Montano ’s work.
The unusual composition of the Bernardine
church and monastery at Luc’k (Łuck) in Volhynia is
another of Giżycki’s works. The monastery was
designed in the shape of a horseshoe. A domed church
on the plan of a Greek cross linked to an octagon,
dedicated to the Promontory of the Tree of the Holy
Cross, was planned for the monastery’s middle
section. The church was intended to be connected
with the monastery building by means of covered
galleries curved in a concave way to form an arch.
The source of this conception undoubtedly came from
Montano’s Tempietti (vol. I, ill. 45). This composition
had already mspired such distinguished Baroąue
architects as Bernini, Piętro da Cortona, Juvarra and
Fischer von Erlach. Following the Lutsk monastery’s
construction (its foundations were laid in 1720),
foundations were laid for the ‘church in the form of a
rosę’ (1737), however, this shape for the tempie failed
to meet with the chapter’s approval and father Giżycki
designed a church on the plan of a Latin cross (built
in 1754-89).
The Jesuit church at Pińsk proved to be an
interesting example. The middle part of the faęade
with three triangular triangular gables, suggesting a
Basilian tempie plan, originates from the years 1636-
47. This composition may be linked to one contained
in Tempietti (vol I, ill. 1). In 1760 the late-Baroque
rebuilding of the Jesuit tempie was undertaken,
involving the building of towers and additions to the
main faęade of convex wings with arcades in a
perspective arrangement in order to accentuate the
central section’s monumentality. This solution also
recalls Montano’s designs. The church at Pińsk was
blown to smithereens by the communist authorities
in or around 1960.
The Orthodox church at Nyźkinyći (Niskiennicze
Volhynia) dates from the early phase in the reception
of Montana’s pattern designs. It features a clover-like
plan consisting of five cupolas; a solution untypical
for Orthodox church architecture in Volhynia. On the
one hand it related to the form of Russian Orthodox
church architecture, while on the other to the model of
five-domed Renaissance temples contained in volume
V of Sebastian Serlio’s treatise, alongside Montano’s
tempietti all’ antica (ills. 5, 8, 56). The Orthodox
church at Nyźkinyći, combining elements of Eastern
and Western architecture, was the result of a conscious
choice madę by its founder, Adam Kiszko, the Kiev
voivode chief, a Ukrainian politician manifesting his
attachment to Orthodox Christianity while presenting
simultaneously his pro-Western and pro-Polish
orientation.
Conclusions. The influence of Montano’s
drawings and designs were wide, even though they
were connected exclusively to ecclesiastical
architecture; i.e. tabernacles, altars and churches. The
most interesting and creative influences proved to
be those of the illustrations depicting tempietti. The
motive of double-gabled faęades with triangular and
semicircular tympanons enjoyed widespread
popularity. The means by which Montano’s books
were madę use of were varied, sińce each architect
revealed his own ambitions to change something in
accordance with his own peculiar tastes.
Distinguished architects, such as Gisleni and Tilman,
treated the pattern design as a starting point in order
to develop their own concepts. The most numerous
examples of drawing upon Montano’s designs are to