DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.43489#0035
Forma Pastoris. Działalność św. Karola Boromeusza
29
was established. It became an important element of praxis episcopalis, worked out
by the most prominent Catholic priests of the second half of the sixteenth century,
especially the Archbishop of Milan St. Charles Borromeo.
Immediately after his ingress to Milan in 1564, Borromeo started a thorough
modernisation of the gothic cathedral, building a crypt-confession and introducing
in it, among other things, a new main altar with a monumental tabernacle, two im-
pressive pulpits and a rainbow girder with a crucifix. This reconstruction introduced
under the supervision of architect Pelegrino Tibaldi, according to the investor’s
intention, were designed to be an example of how the ancient churches could be
adjusted to the needs of post-Tridentine pastoral care; they were also supposed to
remind other bishops that the concern about the cathedral was one of the most im-
portant obligations. St. Charles initiated also the reconstruction and renovation of
many other churches and church buildings in Milan and the surroundings, treating
those fabricae as visible signs of the moral revival in his diocese. He financed a part
of the endeavours from his own funds (S. Prassede, the Episcopal Palace and Semi-
nario Maggiore in Milan, the Marian Sanctuary in Rho), others were conducted
thanks to the generosity of his faithful (S. Fedele, S. Lorenzo Maggiore, S. Se-
bastiano in Milan). In order to reform sacral art in the Milan diocese he took
advantage of canon visitations, during which he scrupulously controlled the technical
condition of churches and recommended some changes in their equipment. As he
sought to “bring about uniformity” in the sacral art of the Milan archdiocese, he
announced detailed Instructiones fabricae et supellectilis ecclesiasticae (1577).
The reforms ushered by Charles Borromeo were already in his lifetime commonly
acclaimed as the best model to introduce the resolutions of the Tridentine Council
in the diocese. His pastoral instructions were brought to many Catholic countries and
faithfully imitated in the local diocesan legislation. In a letter published on the occa-
sion of Borromeo’s canonisation in 1610, Pope Paul V showed him as a forma
pastoris for all Catholic bishops. Among St. Charles’s merits extolled in this docu-
ment, the stress was particularly laid on his artistic patronage, an example of how
art could be used in the pastoral activity. Great achievements of Borromeo in this
field were also broadly presented by his biographer Giovanni Pietro Giussano. The
author called them a magnificent manifestation of magnanimity (magnificenza') on
the part of the Milan archbishop. He appreciated, however, not only the saint’s
individual foundations, but underlined the importance of his inspiring and controlling
work which resulted in a very rapid popularisation of Borromeo’s conception of the
reformed sacral art.
A large number of bishops of the post-Tridentine period, who imitated St. Char-
les’s commitment, copied in detail his model of patronage on art. They modernised
cathedrals, founded numerous churches, encouraged the affluent faithful to be enga-
ged in sacral foundations, were very diligent in their visitations, “introducing unifor-
mity” in the equipment of the churches. They also popularise Borromeo’s Instructio-
nes, or wrote their own works devoted to sacral art. Such attitudes were adopted by
both Borromeo’s relatives (Federico Borromeo, Markus Sittikus) and his disciples
and friends (Gabriele Paleotti, St. Francis of Sales), and bishops who knew his ac-
complished only from hagiographic literature. Borromeo’s model of artistic patronage
29
was established. It became an important element of praxis episcopalis, worked out
by the most prominent Catholic priests of the second half of the sixteenth century,
especially the Archbishop of Milan St. Charles Borromeo.
Immediately after his ingress to Milan in 1564, Borromeo started a thorough
modernisation of the gothic cathedral, building a crypt-confession and introducing
in it, among other things, a new main altar with a monumental tabernacle, two im-
pressive pulpits and a rainbow girder with a crucifix. This reconstruction introduced
under the supervision of architect Pelegrino Tibaldi, according to the investor’s
intention, were designed to be an example of how the ancient churches could be
adjusted to the needs of post-Tridentine pastoral care; they were also supposed to
remind other bishops that the concern about the cathedral was one of the most im-
portant obligations. St. Charles initiated also the reconstruction and renovation of
many other churches and church buildings in Milan and the surroundings, treating
those fabricae as visible signs of the moral revival in his diocese. He financed a part
of the endeavours from his own funds (S. Prassede, the Episcopal Palace and Semi-
nario Maggiore in Milan, the Marian Sanctuary in Rho), others were conducted
thanks to the generosity of his faithful (S. Fedele, S. Lorenzo Maggiore, S. Se-
bastiano in Milan). In order to reform sacral art in the Milan diocese he took
advantage of canon visitations, during which he scrupulously controlled the technical
condition of churches and recommended some changes in their equipment. As he
sought to “bring about uniformity” in the sacral art of the Milan archdiocese, he
announced detailed Instructiones fabricae et supellectilis ecclesiasticae (1577).
The reforms ushered by Charles Borromeo were already in his lifetime commonly
acclaimed as the best model to introduce the resolutions of the Tridentine Council
in the diocese. His pastoral instructions were brought to many Catholic countries and
faithfully imitated in the local diocesan legislation. In a letter published on the occa-
sion of Borromeo’s canonisation in 1610, Pope Paul V showed him as a forma
pastoris for all Catholic bishops. Among St. Charles’s merits extolled in this docu-
ment, the stress was particularly laid on his artistic patronage, an example of how
art could be used in the pastoral activity. Great achievements of Borromeo in this
field were also broadly presented by his biographer Giovanni Pietro Giussano. The
author called them a magnificent manifestation of magnanimity (magnificenza') on
the part of the Milan archbishop. He appreciated, however, not only the saint’s
individual foundations, but underlined the importance of his inspiring and controlling
work which resulted in a very rapid popularisation of Borromeo’s conception of the
reformed sacral art.
A large number of bishops of the post-Tridentine period, who imitated St. Char-
les’s commitment, copied in detail his model of patronage on art. They modernised
cathedrals, founded numerous churches, encouraged the affluent faithful to be enga-
ged in sacral foundations, were very diligent in their visitations, “introducing unifor-
mity” in the equipment of the churches. They also popularise Borromeo’s Instructio-
nes, or wrote their own works devoted to sacral art. Such attitudes were adopted by
both Borromeo’s relatives (Federico Borromeo, Markus Sittikus) and his disciples
and friends (Gabriele Paleotti, St. Francis of Sales), and bishops who knew his ac-
complished only from hagiographic literature. Borromeo’s model of artistic patronage