DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.41590#0034
Warsaw, designed by Antoni Solari (1726), with a spacious recep-
tion courtyard in front of the extended monastery facade and
the church in the centre®. Another example, the convent of the
Benedictine nuns in Drohiczyn (1744), with two cloisters set like
a minor-image on either; side of the church (fig. 23), is similar
to Tylman van Gameren's design for the Benedictine nuns in Ra-
dom; perhaps it may even have been based on it, although it is
disserent srom it with its concavo-convex church facade'5.
Even in less regular designs, long monastery buildings ac-
companying the sacade were carefuly composed, as in, e.g., the
Missionaries' manastery in Vilno with the sacade by Jan Krzysz-
tof Glaubitz and Ludwik Hryhcewicz (1750-1756)'z. Sometimes an
exposed location was chosen, e.g., at the end of a street, as in
the case of the Piarist church by Franciszek Placidi in Cracow
(1750-1761), or the market place frontage, as in the Jesuit com-
plex in Minsk (1700-1750), or in a raised location, as in the
Jesuit college in Kremenec (Krzemieniec) designed by Pawel Gi-
iycki (1731-1753)®. This latter complex (sig. 24) contained the
most important elements of composition which often appear
separately: a symmetrical system of cloisters with the churcn in
the centre, and, in the front, open wings flank an imposing
church square. The reception and palace-like character os the
building was surther conveyed by four small tower.
It. is well known that in the Middle Ages monastery buildings,
grouped along a sew courtyards, did not sorm a uniform and co-
dependent spatial conception. It was only modern multi-courtyard
complexes tnat were subordinated to one axis with the churcn in
the centre (as in the Escorial). In a reduced form, the multi-
courtyard scheme was employed earlier by Jesuits, to separate
the functions into college and monastery in the Lublin and Lvov
designs®. The tendency to build multi-courtyard systems
intensified in central Europe after Fischer von Erlach published
in 1721 his Entwurs einer historischen Architektur"^.
As a result of local traditions, neither in the scale nor the
programme were the modest designs of Polish monasterie equal to
abbeys in the Empire. Despite this, their connections with the
architecture of Silesia, Bohemia or Austria were manifested in
the idea os the composition of the complexes and in the exposi-
tion os church sacades (continuation of the theme srom the
church os Santa Agnese in Rome). The mass character of church
ceremonies in the 18 th c. - pilgrimages and processions, the
participation in the théatrum sacrum etc., required appropriately
designed exterior and interior space.
2. The tendency to shape the monastic complex after a resi-
dential pattern manisested various architectural themes. Compa-
red with college complexes, in monasteries os monks and nuns,
the design programme was reduced. But axial conceptions were
not given up, as in the design of the monastery of Cistercian
nuns in Olobok (aster 1760) by Franciszek Placidi11. In this de-
sign (sig. 29), too, the main motive was the reception church
square slanked by two pavilons, closed by the sacade os the
church and monastery (dependent on Silesian and Austrian pat-
terns). To achieve a similar composition of the facade, older
monasteries were remodelled, as, e.g., in the Benedictine complex
in Opactwo-Sieciechbw (1735-1770), with the participation os the
Silesian architect Jbzef Gringenberger1
32
tion courtyard in front of the extended monastery facade and
the church in the centre®. Another example, the convent of the
Benedictine nuns in Drohiczyn (1744), with two cloisters set like
a minor-image on either; side of the church (fig. 23), is similar
to Tylman van Gameren's design for the Benedictine nuns in Ra-
dom; perhaps it may even have been based on it, although it is
disserent srom it with its concavo-convex church facade'5.
Even in less regular designs, long monastery buildings ac-
companying the sacade were carefuly composed, as in, e.g., the
Missionaries' manastery in Vilno with the sacade by Jan Krzysz-
tof Glaubitz and Ludwik Hryhcewicz (1750-1756)'z. Sometimes an
exposed location was chosen, e.g., at the end of a street, as in
the case of the Piarist church by Franciszek Placidi in Cracow
(1750-1761), or the market place frontage, as in the Jesuit com-
plex in Minsk (1700-1750), or in a raised location, as in the
Jesuit college in Kremenec (Krzemieniec) designed by Pawel Gi-
iycki (1731-1753)®. This latter complex (sig. 24) contained the
most important elements of composition which often appear
separately: a symmetrical system of cloisters with the churcn in
the centre, and, in the front, open wings flank an imposing
church square. The reception and palace-like character os the
building was surther conveyed by four small tower.
It. is well known that in the Middle Ages monastery buildings,
grouped along a sew courtyards, did not sorm a uniform and co-
dependent spatial conception. It was only modern multi-courtyard
complexes tnat were subordinated to one axis with the churcn in
the centre (as in the Escorial). In a reduced form, the multi-
courtyard scheme was employed earlier by Jesuits, to separate
the functions into college and monastery in the Lublin and Lvov
designs®. The tendency to build multi-courtyard systems
intensified in central Europe after Fischer von Erlach published
in 1721 his Entwurs einer historischen Architektur"^.
As a result of local traditions, neither in the scale nor the
programme were the modest designs of Polish monasterie equal to
abbeys in the Empire. Despite this, their connections with the
architecture of Silesia, Bohemia or Austria were manifested in
the idea os the composition of the complexes and in the exposi-
tion os church sacades (continuation of the theme srom the
church os Santa Agnese in Rome). The mass character of church
ceremonies in the 18 th c. - pilgrimages and processions, the
participation in the théatrum sacrum etc., required appropriately
designed exterior and interior space.
2. The tendency to shape the monastic complex after a resi-
dential pattern manisested various architectural themes. Compa-
red with college complexes, in monasteries os monks and nuns,
the design programme was reduced. But axial conceptions were
not given up, as in the design of the monastery of Cistercian
nuns in Olobok (aster 1760) by Franciszek Placidi11. In this de-
sign (sig. 29), too, the main motive was the reception church
square slanked by two pavilons, closed by the sacade os the
church and monastery (dependent on Silesian and Austrian pat-
terns). To achieve a similar composition of the facade, older
monasteries were remodelled, as, e.g., in the Benedictine complex
in Opactwo-Sieciechbw (1735-1770), with the participation os the
Silesian architect Jbzef Gringenberger1
32