Kościół wizytek w Warszawie a Benedykt de Renard i architektura późnobarokowego eklektyzmu rzymskiego przełomu XVII i XVIII wieku

Abstract

St. Joseph the Betrothed church in Warsaw, belonging to the Order of the Visitation of Holy Mary [Wizytki], was built at two stages. At the first one (1728-1733), construction was carried out Carlo Antonio Bay, at the second one – by Jakub Fontana (1755-1762). In the former studies, it was generally accepted that both construction (archivally certified) and a detailed design was made by Bay. Undoubtedly, Carlo Antonio Bay was an author of the first stage of the detailed design of the Wizytki’s church. However, producing designs of the altars, Andrei Pozza assimilated stylistics of the master and performed orders within the scope of small-scale architecture in this manner. It is not known where he completed his architectural internship. Undoubtedly it must have happened within the circle of the architect associated with the Academy of Saint Luke in Rome. Bay might have known the late-Baroque Roman eclectic architecture from the break of the 17th and 18th centuries from personal observation, although his architectural style was more heavily influenced by the circles of north Italian architects working in the Habsburg Empire (the Czech Republic, southern Germany). The concept and the detailed design of the church were elaborated by the outstanding architect, a representative of the late-Baroque Roman eclecticism, educated in the Academy of Saint Luke in Rome under the direction of Carlo and Francesco Fontana. According to the practice of the Academy, he perfectly adopted architectural forms of Cortona, Borromini and Rainaldi, as well as the architecture of the break of the 17th and 18th centuries. In the Warsaw design, inspired by selected compositions and motives, he made a synthesis of architectural motives and the art of great creators of Baroque Rome, da Cortona, Rainaldi and Borromioni, which is unusual even in Rome. Excluding other architects working in those days in Poland, also among graduates of the Academy, it may be supposed that the only possible designer was Benedykt de Renard. It was probably him who made “Abrys facyaty naszego Kościoła”, being one version of the detailed design, produced possibly after signing the contract with Bay. According to the practice adopted from the Academy of Saint Luke, the detailed design was made precisely and including drawn in details, which made it possible for the following architect, probably Jakub Fontana, finished the work (from 1755) according to the original design, although within the scope of stylistics of decorations with foreign influence characteristic of the mid-18th century. From the moment of establishing the foundations, the church must have been designed with the impressive, broken top, yet, its finish or slight modifications might have been done in the second stage of construction, and then monuments on the top were made by Johann G. Plersch.