Kronika Naukowa

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te impact on Michael Willmann, forced in this way to
transform the Dutch fundaments of his art according
to the changing aesthetic demands of his patrons. Mi-
lan Togner (Italian Orientation of Baroque Painting
in Moravia in the Work of A. M. Lublinsky) concen-
trated on the role of Italian sources in the work of the
Moravian painter, A. M. Lublinsky. Although Lu-
blinsky in all likelihood did not visit Italy, he was very
well acquainted with contemporary prints, which me-
diated to him the original basie idea of invenzione, the
iconographic scheme, and the overall solution in the
spatial relationship between a composition and figu-
ral typology. It is possible to document his adaptation
of the pictorial ideas of Pietro Cortona, G. B. Gaulli
or Carlo Maratti, which he knew from the prints by
Francesco Terzio. Pavel Stepanek (The Echoes ofthe
Work of Jusepe de Ribera in Bohemia) explained that
Ribera's prints had a wide impact on artistic produc-
tion all over Europe; in Czech collections, are to be
found approximately fifty prints of the master. It se-
ems that his influence on Central European artists was
much stronger than it previously supposed, as shown
recently in the example of Michael Willmann. The
inspiration was, however, important for Karel Skręta,
Peter Brandl and V. V. Reiner as well. Engravings also
circulated according to the paintings which used to be
attributed to him, but were, in actual fact, executed by
Luca Giordano. Jerzy Gorzelik (Italianism in the Pa-
inting ofUpper Silesia in the 18th century), at the end,
accentuated the fact that the older Dutch influenced
was replaced by new Italian inspiration in the early
18th century. At that time, the regional production was
realised both by local artists and painters from Nysa
(in Lower Silesia), Olomouc, or Brno; after 1750,
however, the influence ofthe Vienna centre, mediated
through Moravia, came to dominate.
Only a limited number of contributions were dedi-
cated to architecture. The Polish scholars focused ra-
ther on the influence of Italian architectural culture in
lands or regions, postulating, however, some intere-
sting theoretical questions. Artur Kwaśniewski in his
paper Italianism on the Periphery. The Sources oflta-
lian-Renaissance Forms in the Art of the Kłodzko
County (1550-1660) scrutinised the paths of early Ita-
lian inspirations in the Kłodzko region, which on the
margin, may symbolize the common history of our
two lands. Worthy of particular note was the paper by
Bogusław Czechowicz titled Mastery or Bungie? The
Impact of Italian Artists on Kłodzko Lands in Baro-
que Period. Its author demonstrated through the
example of drawings for the Jesuit church in Kłodzko
that the Italian artists working in the region were not
particularly talented; the same may be said about
many of their colleagues travelling to Central Euro-
pe. Ondfej Jakubec and Martin Pavlićek (Sebastiano
Serlio and the architecture ofthe Renaissance and of

the Baroque in the Czech Lands), on the other hand,
analysed selected examples of Serlian inspirations
ranging from overall architectural layouts to decora-
tion schemes and applied arts, stressing that someti-
mes it is difficult to discern what is an inspiration from
Serlio and what was mediated from other sources,
pointing out the problems of reception, transport and
transformation of architectural forms of Italian or an-
cient origin. Jifi Kroupa (A New Way of Architectural
Designing in Moravia after 1700 and the Accademia
di San Luca) asked whether 18th-century Moravian
buildings were the result of model-designing or thro-
ugh the more traditional designs. The paper titled
Leon Battista Alberti and Benedikt Ried which was
delivered by the author of this review followed the
direct and indirect sources of Italian inspiration for
Ried's architecture. It sought to demonstrate the role
of learned advisers in Renaissance architecture, as
supposed earlier for the court of Matthias Corvinus,
presenting the conjecture that it could have been Bo-
huslav Hasiśtejnsky of Lobkovice, a foremost poet
of Czech Latin Humanism, who mediated the theory
of Alberti to Prague, despite the fact that neither he,
nor Ried were actually capable of understanding it.
In general, practically all contributions dedicated to
architecture tended to trace the design process (or
the executed building as related to the design stage)
than its mere results, in which respect the conference
certainly corresponded to the most recent trends in
the field.
Taken as a whole, the symposium showed that
common tendencies of varied arts (the dominance
of Italian culture was present in varied media, both
in literature and in visual arts, throughout the 17th
century) sometimes contrast with disparate move-
ments. Similarly, analogical situations in different
regions contrast with moments of antagonist deve-
lopments. Thus, for example, the Czech lands pro-
duced practically no translations from the Italian in
the 17th century, whereas in Poland they abounded.
Generally speaking, the overall impression was of
lack of theoretical discussion during the sessions
which could have focused on the problems of inter-
pretation in the area of individual arts, as well as
concentrating on the structural comparisons betwe-
en them. In this respect, the conference might be
regared as an introduction to future gatherings.
From a technicval point of view, it is my opinion
that any future conference of this type should either
be translated, or it should be supposed that all par-
ticipants will accompany their speeches by visual
materials which enable the listeners to understand
the substance of what it is they are presenting. The
importance of the interdiciplinary and international
dimensions of research should not, as such, need to
be stressed.