DOI Page / Citation link:
https://doi.org/10.11588/diglit.41590#0036
old surroundings, e.g., the cathedral in Chelm designed by Pawel
Fontana and Tomasz Kesler (1735-1765)22. Therefore, it was not
incidental that in the planning os a significant part os Uniate
complexes, the freestanding church was traditionally situated in
the centre of a semi-circular enclosed courtyard. The adherence
of the eastern Orthodox Church to tradition (it is enough to
mention the spatial system of the Smolny monastery in Peters-
burg, by Francesco B. Rastrelli, 1744-1/57) was manifested in
location and architecture; despite the dependence in plan and
facade of the churches Latin patterns. Uniate ones also had fi-
nished side and back elevations just as in Orthodox churches23.
Characteristically, buildings in Uniate complexes were most
osten designed by architects coming from the Empire. In the
Grand Duchy os Lithuania, two complexes os buildings expanded
by Jan Krzysztof Glaubitz could be distinguished: the one the
Basilian Friars' monastery in Vilno (1/61) and the most
prestigious one in the region, the Cathedral in Polock (1748-
1760 )2zl. After the pattern from Polock, another architect Jan
Walenty Dyderstein designed the church in Berezvecz (1753-1756)
with the monastery and the school on the sides2®.
The most outstanding late Baroque Uniate complexes were
erected in the dioceses annexed to the union at the turn of the
17 th and 18th c.: namely those of Przemyél, Lvov and Luck. What
stands out here is the uniform layout by Jan Kanty Feisinger
(1771) with the Metropolitans’ palace at the axis and around St
Jur's Cathedral, which had been built earlier by Bernard Meretyn
(1744-1770)“’.
The complex of the Basilian Friars' monastery in Poczajev
(Poczajdw, 1771-1779) was contemporary with the Lvov one27.
Already in the first design (from 1761), the unknown architect
took into account the spatial idea os Uniate complexes, setting
the church in the centre os thewings of semi-circular courtyard
(fig. 26). Gotfryd Hosfmann did a similar thing, but it was Piotr
Polejowski who gave the final sorm to the church with a con-
cave-convex sacade.
Sometimes, under the insluence of Jesuit building, complexes
were erected with schools extending along the market place
frontage, as in, e.g., in Buczacz (Jan Szilcer, 1751-17-7012®. The
conceptions of Uniate designs were also applied in Latin monas-
teries, e.g., in the Bernardine monastery in Luck (1752-1789),
the architect Pawel Giiycki set the church in the surroundings
of buildings eith quarter-circular wings (sig. 32P9.
Among earlier Polish examples (not including the Basilian
Friars' building in Supraél), the complex of buildings with a
freestanding church is known srom a design by Tylman van Game-
ren for an unknown monastery in the locality Novoukrainka (Wa-
rç±, Warzenza) - perhaps intended for the Basilian Friars30. The
situation of the church in the centre of a regular square buil-
ding had occurred in Italian architecture from the Renaissance;,
the surroundings of the ch'urch of Assunta in Ariccia (1661) by
Lorenzo Bernini indicates that the Bernardine complex in Luck
was also in keeping with the late Baroque conception31.
5. Late Baroque pilgrimage complexes were a different pro-
blem. They were first erected in Warmia, and then in due course
in disferent regions of the Polish Commonwealth. They were di-
stinguished by a closed system with galleries and chapels at
34
Fontana and Tomasz Kesler (1735-1765)22. Therefore, it was not
incidental that in the planning os a significant part os Uniate
complexes, the freestanding church was traditionally situated in
the centre of a semi-circular enclosed courtyard. The adherence
of the eastern Orthodox Church to tradition (it is enough to
mention the spatial system of the Smolny monastery in Peters-
burg, by Francesco B. Rastrelli, 1744-1/57) was manifested in
location and architecture; despite the dependence in plan and
facade of the churches Latin patterns. Uniate ones also had fi-
nished side and back elevations just as in Orthodox churches23.
Characteristically, buildings in Uniate complexes were most
osten designed by architects coming from the Empire. In the
Grand Duchy os Lithuania, two complexes os buildings expanded
by Jan Krzysztof Glaubitz could be distinguished: the one the
Basilian Friars' monastery in Vilno (1/61) and the most
prestigious one in the region, the Cathedral in Polock (1748-
1760 )2zl. After the pattern from Polock, another architect Jan
Walenty Dyderstein designed the church in Berezvecz (1753-1756)
with the monastery and the school on the sides2®.
The most outstanding late Baroque Uniate complexes were
erected in the dioceses annexed to the union at the turn of the
17 th and 18th c.: namely those of Przemyél, Lvov and Luck. What
stands out here is the uniform layout by Jan Kanty Feisinger
(1771) with the Metropolitans’ palace at the axis and around St
Jur's Cathedral, which had been built earlier by Bernard Meretyn
(1744-1770)“’.
The complex of the Basilian Friars' monastery in Poczajev
(Poczajdw, 1771-1779) was contemporary with the Lvov one27.
Already in the first design (from 1761), the unknown architect
took into account the spatial idea os Uniate complexes, setting
the church in the centre os thewings of semi-circular courtyard
(fig. 26). Gotfryd Hosfmann did a similar thing, but it was Piotr
Polejowski who gave the final sorm to the church with a con-
cave-convex sacade.
Sometimes, under the insluence of Jesuit building, complexes
were erected with schools extending along the market place
frontage, as in, e.g., in Buczacz (Jan Szilcer, 1751-17-7012®. The
conceptions of Uniate designs were also applied in Latin monas-
teries, e.g., in the Bernardine monastery in Luck (1752-1789),
the architect Pawel Giiycki set the church in the surroundings
of buildings eith quarter-circular wings (sig. 32P9.
Among earlier Polish examples (not including the Basilian
Friars' building in Supraél), the complex of buildings with a
freestanding church is known srom a design by Tylman van Game-
ren for an unknown monastery in the locality Novoukrainka (Wa-
rç±, Warzenza) - perhaps intended for the Basilian Friars30. The
situation of the church in the centre of a regular square buil-
ding had occurred in Italian architecture from the Renaissance;,
the surroundings of the ch'urch of Assunta in Ariccia (1661) by
Lorenzo Bernini indicates that the Bernardine complex in Luck
was also in keeping with the late Baroque conception31.
5. Late Baroque pilgrimage complexes were a different pro-
blem. They were first erected in Warmia, and then in due course
in disferent regions of the Polish Commonwealth. They were di-
stinguished by a closed system with galleries and chapels at
34