DOI Page / Citation link:
https://doi.org/10.11588/diglit.41590#0035
Some mönastic complexes in the eastern part os the Polish
Commonwealth were sortified, but modern bastion sortifications
were built in the 18th c. in just a sew monasteries os the
Discalced Carmelites: in Berdycziv (Berdyczöw, fig. 31), designed
by Jan de Witte (1743), and Visznioviec (Wiéniowlec, 1720-1/40);
they were not connected in terms os composition with their
monastery buildings13.
In. Wiéniowlec and . Zagörz (1700-1725), another spatial
conception appeared - namely the situation of the monastery
behind the church. This new placement of church in front os the
monastery created new conditions for the composition and expo-
sition os the facade and mass of the monastery. Such a system
appeared as early as the 17th c. in the Jesuit complexes in
Winnica (1610-1617) and Poszavsze in Zemuicia (Poszuwsze,
Zmudi, 1681), and in the Discalced Carmelite buildings in Warsaw
and Poznah (in the 3rd quartere of the 17th c.)’A: In its late
Baroque version it was applied in various regions os the Polish
Commonwealth by different orders: the Dominicans In Winnica
(1735-1753), the Bernardines inn Ratowo (1735-1752), and even
the Basilians in Brailov (Brahilôw, 1767-1778)’s.
In some complexes, the monastery had no viridarium and was
joined to the church from the back, e.g., in the monasteries of
the Bernardines in Jdzesdw (1730-1743), and the Carmelites in
Trutôw (in the 2nd quarter os the 18th. c.)1®. All these spatial
conceptions had analogies in central European architecture.
3. In some monastic designs, mainly those of the orders of
cleriks regular, the church and monastery were autonomously de-
signed. Their architecture was closest to the palace structure.
E.g., the Oratorians monastery in Gostyri (architect Pompeo Fer-
rari, 1732-1736, fig. 25) haa a three-axis facade with a tower
and two projections, despite the traditional sour-wing plan'7'.
Another type of design consists of a three-wing monastery,
e.g., os the Piarists in Opole Lubelskie (Franciszek Magier, mia-
18th c.); in contrast to the residence it was not divided into
the central mass and outbuildings'0. Palace-like masses and
elevations were characteristic of sreestanding longitudinal mo-
nasteries, e.g., os the Discalced Carmelites in Antolepte (Anto-
lepty, 1734-1738) or in Pultusk designed by Franciszek Placid!
(before 1758)’3.
However, none of the above examples could compete with the
spatial conception os the Missionaries' monastery in Siemiatycze,
founded by Michal Sapieha, the Field Writer os the Grand Duchy
os Lithuania from 1725 (sig. 30)2°. It was an architectural and
planning design laid out along three axes for "comfort and view"
inside a decorative enclosure. The complex consisted of: a
church with a gate, a reception courtyard in front os the mo-
nastery with the plan of a Serlian palace with sour pavilions
and slanked by two belfries, and a Italian garden. Outside the
wavy line of the enclosure, earthen terraces and canals were
made. The designer of this unique conception in Poland is un-
known, but everythings indicates that he came srom the Warsaw
community of Saxon architects.
4. In the eastern lands of the Polish Commonwealth from
1720, after the Zamoéé synod os the Greek Catholic Church, the
Uniate church intensified its building program-“''. In certain
cases, above all, a new church was built while preserving the
33
Commonwealth were sortified, but modern bastion sortifications
were built in the 18th c. in just a sew monasteries os the
Discalced Carmelites: in Berdycziv (Berdyczöw, fig. 31), designed
by Jan de Witte (1743), and Visznioviec (Wiéniowlec, 1720-1/40);
they were not connected in terms os composition with their
monastery buildings13.
In. Wiéniowlec and . Zagörz (1700-1725), another spatial
conception appeared - namely the situation of the monastery
behind the church. This new placement of church in front os the
monastery created new conditions for the composition and expo-
sition os the facade and mass of the monastery. Such a system
appeared as early as the 17th c. in the Jesuit complexes in
Winnica (1610-1617) and Poszavsze in Zemuicia (Poszuwsze,
Zmudi, 1681), and in the Discalced Carmelite buildings in Warsaw
and Poznah (in the 3rd quartere of the 17th c.)’A: In its late
Baroque version it was applied in various regions os the Polish
Commonwealth by different orders: the Dominicans In Winnica
(1735-1753), the Bernardines inn Ratowo (1735-1752), and even
the Basilians in Brailov (Brahilôw, 1767-1778)’s.
In some complexes, the monastery had no viridarium and was
joined to the church from the back, e.g., in the monasteries of
the Bernardines in Jdzesdw (1730-1743), and the Carmelites in
Trutôw (in the 2nd quarter os the 18th. c.)1®. All these spatial
conceptions had analogies in central European architecture.
3. In some monastic designs, mainly those of the orders of
cleriks regular, the church and monastery were autonomously de-
signed. Their architecture was closest to the palace structure.
E.g., the Oratorians monastery in Gostyri (architect Pompeo Fer-
rari, 1732-1736, fig. 25) haa a three-axis facade with a tower
and two projections, despite the traditional sour-wing plan'7'.
Another type of design consists of a three-wing monastery,
e.g., os the Piarists in Opole Lubelskie (Franciszek Magier, mia-
18th c.); in contrast to the residence it was not divided into
the central mass and outbuildings'0. Palace-like masses and
elevations were characteristic of sreestanding longitudinal mo-
nasteries, e.g., os the Discalced Carmelites in Antolepte (Anto-
lepty, 1734-1738) or in Pultusk designed by Franciszek Placid!
(before 1758)’3.
However, none of the above examples could compete with the
spatial conception os the Missionaries' monastery in Siemiatycze,
founded by Michal Sapieha, the Field Writer os the Grand Duchy
os Lithuania from 1725 (sig. 30)2°. It was an architectural and
planning design laid out along three axes for "comfort and view"
inside a decorative enclosure. The complex consisted of: a
church with a gate, a reception courtyard in front os the mo-
nastery with the plan of a Serlian palace with sour pavilions
and slanked by two belfries, and a Italian garden. Outside the
wavy line of the enclosure, earthen terraces and canals were
made. The designer of this unique conception in Poland is un-
known, but everythings indicates that he came srom the Warsaw
community of Saxon architects.
4. In the eastern lands of the Polish Commonwealth from
1720, after the Zamoéé synod os the Greek Catholic Church, the
Uniate church intensified its building program-“''. In certain
cases, above all, a new church was built while preserving the
33