Instytut Sztuki (Warschau) [Hrsg.]; Państwowy Instytut Sztuki (bis 1959) [Hrsg.]; Stowarzyszenie Historyków Sztuki [Hrsg.]: Biuletyn Historii Sztuki (62.2000)

The significance of G. B. Montano’s Designs in the Baroque Architecture of Poland

49

be found in those by Gisleni, who referred to prints
contained in all three volumes. In this instance this
royal architecfs Roman origins are not without
significance, together with his connections with the
Accademia di San Luca, where Montano ’s drawings
were originally housed following the latter ’s death. The
Jesuit architect Paweł Giżycki also madę much use of
the Milanite’s treatises.
Reception of the designs continued for around one
and half centuries. It led to the development of artically
fully developed, light-and-shade, scenographic forms

of Baroąue architecture. During the late-Baroque era
Monato’s model designs were combined with dynamie
forms derived from the art. of Borromini, Guarini and
Pozzo. The significance of Montano’s for Baroąue
architecture in Poland (including much of the Ukrainę)
and Lithuania (with modem-day Belarus) may not have
eąualled the influence of Sebastian Serlio’s and Andrea
Pozzo’s treateasies, but it exceeded the importance of
Andrea Palladia and Yincenzo Scamozzi’s drawings.
Translated by Peter Martyn