THE CHURCH OF THE HOLY SPIRIT, LUBLIN
From a historical perspective, it's often discussed how much Lublin unified the worlds of Poles and Jews. The vast Jewish district, the history of Rabbi Horowitz, known as the Seer of Lublin, the "Eye of the Tzadik" supposedly reflected in Lublin's castle square, and more. Naturally, there's the full spectrum of Polish history, from the dream of Leszek the Black and the coronations of Polish monarchs to the emergence of Bajm band in the 20th century and Lublin's role as the European Youth Capital in the 21st century.
There's one more story, perhaps not mentioned every day, yet seen daily as we stroll through the old town. It's the story of the Italians. Specifically, the tale of Italian architects who were the cornerstone of Lublin's Renaissance, shaping the appearance of our beloved city. Fontana, Negroni, Spazzi, Traversi, and others. We ourselves admire their creations and guide tourists to them. It's time to recall this chapter in Lublin's history.
Some claim that the emergence of the Lublin Renaissance is tied to the name of Queen Bona. The point is, it was Bona Sforza who insisted on the reconstruction of many urban districts in the Polish-Lithuanian Commonwealth. According to some sources, she demanded the paving of cities with cobblestones, promoted her native style, and sought privileges for Italian architects. So when a dreadful fire broke out in Lublin in the second half of the 16th century, it was the Italians who formed the basis of the Polish architectural workshop. And it was they who influenced the style of Lublin's reconstruction.
The Lublin Renaissance is a unique architectural style developed in the Lublin Voivodeship at the turn of the 16th and 17th centuries. It combines Gothic architecture with elements of Italian and Dutch Renaissance, which emerged together with the architects that were invited by the local aristocracy.
Buildings in the Lublin Renaissance style are characterized by slender and lightweight forms, as well as magnificent architectural details such as towering gables, richly adorned cornices and pilasters, and stucco decorations on barrel vaults.
This architecture spread across the lands of Eastern Poland, Western Ukraine and Lithuania. It's an example of the coexistence and mutual influence of inspirations from Eastern and Western Europe in these regions.
THE DOMINICAN CHURCH, LUBLIN
the BERNARDINE CHURCH, LUBLIN
THE BERNARDINE MONASTERY AND CHURCH, LUBLIN
Paolo Antonio Fontana (1696–1765) was an architect from Italy, hailing from the vicinity of Lake Como. He was one of the representatives of Baroque architecture in Poland, serving as the court architect of Paweł Sanguszko, mainly active in the Lublin region and Podlasie. He designed the parish church in Lubartów, the Pauline church in Włodawa, the church of the Apostles' Mission in Chełm, and the church and monastery of the Missionaries in Zasław.
In Lublin, he designed the church and monastery of the Carmelites on Biernackiego Street. It is also believed that he designed the chapel located on Peowiaków Street.
Paolo also designed many interesting buildings in Volhynia and Lithuania. Because of this, he is considered one of their own in Ukraine and Lithuania. Fontana himself identified as Polish of italian origin and served in the royal artillery during the war.
The Church of St. Elijah the Prophet and the Hospital of St. John of God, Lublin
Jakub Fontana was another Polish architect of Italian descent, practicing in the Baroque and Neoclassical styles. Born in Szczuczyn in Podlaskie Voivodeship, Jakub Fontana was the eldest son of Józef Fontana, also an architect. Studying the latest trends in Paris, Rome, Milan, and Vienna, he brought templates to Poland from which he drew inspiration for the rest of his professional life.
From 1710 to 1743 Jakub was assigned to participate in the construction of the towers of the church of Our Lady of Grace and St. Wojciech in Łowicz. Another project in which he participated alongside his father was the Franciscan church on Zakroczymska Street in Warsaw, consecrated in 1737. After his father's death in 1741, Jakub Fontana took over the practice and all of his employees.
From 1742, Grand Marshal of the Crown, Franciszek Bieliński employed Fontana for significant public and private projects. He was involved in numerous properties in the city of Warsaw. He was the designer of the Collegium Nobilium (1743–1754), the hospital of St. Roch, the church in Suraż and many others.
Jakub Fontana was among the few esteemed Polish architects representing the French-Italian style. The 1750s were considered his most successful period as an architect. At that time, he was hired by Jan Klemens Branicki for the reconstruction of the Branicki Palace in Białystok.
He was employed by Eustachy Potocki in the reconstruction of his Rococo palace in Radzyń Podlaski. Following Stanisław August Poniatowski ascension the Polish throne, Fontana was appointed the king's chief architect, undertaking the most important projects related to the Royal Castle in Warsaw and other significant state buildings.
COLLEGIUM NOBILIUM, Warsaw
CATHEDRAL OF THE BLESSED VIRGIN MARY AND ST. NICHOLAS, ŁOWICZ
POTOCKI PALACE, Radzyń Podlaski