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Martin Krummholz, Antonio Porta and Seventeenth-Century Central

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Martin Krummholz, Antonio Porta and Seventeenth-Century Central RIHA Journal 0118 | 23 March 2015 Antonio Porta and Seventeenth-Century Central European Architecture Martin Krummholz Originally published as: "Antonio Porta a středoevro ská architektura 1#$ %tolet&'" in( Martin M"dl )ed$*' Barokní nástěnná malba v českých zemích. Tencalla I' Praha 2012' $ 251+2,5$ ranslation initiated by: Pavla Machal&kov"' Institute o- Art History o- the /0ech Acade1y o- %ciences' Pra2ue Abstract The text places the work of Antonio Porta (1631/32-1702) in the broader context of !"ropean architect"re# It e%phasises the close connections between Porta's architect"re an the work of 'rancesco (aratti an )ean *aptiste +athe,- an the co%%on startin.- point for these artists, which was the /iennese architect"re of 'iliberto 0"cchese an 1io2anni Pietro Tencalla# The architect"re of the Tro3a chateau of (o"nt 4ternber. can also be interprete in this context5 it raws on the analo.o"s sub"rban su%%er resi ences in /ienna (Lusthäuser)# There were also si.nificant connections between %i - 17th cent"r, (entral !"ropean architect"re an the Pie %ont %etropolis of T"rin- which was bein. e2elope on a .ran scale at that ti%e# 6n the one han there were %an, artists fro% the 0".ano re.ion acti2e in T"rin who later went on to work in (entral !"rope- an on the other n"%ero"s (entral !"ropean aristocrats sta,e for a while in T"rin as part of their .ran to"r# It was 2ia T"rin that the infl"ences of 'rench architect"re were reflecte in the *ohe%ian an (entral !"ropean %ilie"s. Contents Roudnice nad 3a4e1 5urin 5ro6a' Jean 7a tiste Mathe.' and 8iennese architecture 718 A n"%ber of b"il in.s ecorate b, paintin.s b, 1iaco%o Tencalla are attrib"te to the architect Antonio Porta, who 9 like both Tencallas 9 came fro% the 0ake 0".ano re.ion# The ai% of this st" , is to examine Porta's work within the broader fra%ework of 17th- cent"r, (entral !"ropean architect"re an to point o"t so%e interestin. parallels an connections that are "suall, either o2erlooke or interprete separatel,- witho"t rawin. the appropriate concl"sions, in tra itional artistic profiles of Porta. The thesis presente here %a, pro2i e a startin.-point for f"rther reflections an iscussions in which this the%e is consi ere in a so%ewhat broader context than has been the case "ntil now# 728 The literat"re on 17th-cent"r, architect"re in the (:ech lan s consists of %ono.raphs on in i2i "al b"il in.s an artists, synthesisin. escriptions of the ; e2elop%ent; of earl, *aro<"e architect"re in the (:ech lan s, an st" ies examinin. Italian an 'rench infl"ences on the *ohe%ian %ilie"# ="%ero"s %ono.raph works base on painstakin. st" , of archi2e %aterials an sur2e,s of the constr"ction histor, of b"il in.s ha2e helpe asse%ble a lar.e <"antit, of rele2ant ata on the 2ario"s localities an artists.1 A 1 The basic literat"re incl" es> ?einrich 1erhar 'ranz- Bauten und Baumeister der Barockzeit in Böhmen- 0eip:i. 1@625 /Ara =aňko2C- ;Architektura 17# stoletD 2 Eechách,; in: )iFD G2orskH (e #)- Dějiny českého výtvarného umění II. d !očátků renesance do závěrů $aroka- 1@I@- pp# 2J@-27I5 Pa2el /lKek 9 Ester ?a2lo2C- %raha &'&()&*((. +apito,y o architektuře raného $aroka- Praha 1@@I5 Pa2el /lKek (e #)- Encyk,o!edie architekt#/ stavite,#/ zedníků a kameníků v 0echách- Praha 200J# License: 5he text of this article is provided under the ter1s of the Creative Co1mons License CC-BY+NC-ND 3.0$ RIHA Journal 0118 | 23 March 2015 %etho olo.ical shortco%in. of existin. (:ech research into ; e2elop%ent; in this fiel is the fact that it is tra itionall, interprete witho"t its nat"ral historical an .eo.raphical contexts 9 as an autono%o"s ;*ohe%ian; e2elop%ent# The subse<"ent ebate on ;infl"ences" is certainl, not witho"t interest5 b"t "nless it is supporte b, con2incin. ar."%ents which e2elop in i2i "al insi.hts into %ore than si%pl, for%al analo.ies, it beco%es an en in itself# In the case of st,listic anal,sis it is not possible to co%pletel, lose si.ht of the conte%porar, cult"ral an social context# 738 Antonio Porta (1631/32-1702) is, to.ether with )ean *aptiste +athe, (1630-16@L) an 1io2anni Do%enico 6rsi (1633/3J-167@)- a representati2e of the secon .eneration of architects who worke in *ohe%ia in the secon half of the 17th cent"r,#2 Their pre ecessors in the pre2io"s .eneration were (arlo 0"ra.o (161L-16IJ) an 'rancesco (aratti (161L/20-1677)# *efore we consi er Porta's relationship to his peers, let "s look at the interrelationships between the two .enerations we ha2e %entione # 0"ra.o- who all the e2i ence in icates to ha2e ori.inall, traine as a st"cco artist- arri2e in Pra."e fro% northern Ital, in the 1630s. ?e settle in Pra."e an "ntil 166@ was the head of a b"il in. enterprise there that was in .reat e%an # Its clients were pre o%inantl, reli.io"s or ers, abo2e all the )esuits. It was "n er (arlo 0"ra.o that 1io2anni Do%enico 6rsi recei2e his trainin. in the 16L0s. 6rsi- a nati2e of /ienna, e2ent"all, became 0"ra.o&s fore%an- an after the latter %o2e to Passau he co%plete a n"%ber of the b"il in.s in the (:ech lan s that 0"ra.o had be."n#3 7J8 'rancesco (aratti came fro% *issone in Ticino- where in 16J2 he %arrie the au.hter of Pietro +aderna, a stone%ason at the /iennese co"rt- in whose circle he e2i entl, not onl, recei2e his trainin.- b"t also carrie o"t his first co%%issions.J The fact that in (aratti&s case- too- his ori.inal profession was not excl"si2el, architect"re is shown b, a contract for two fo"ntains for the 0iechtenstein 1ar en in 0e nice- which he "n ertook to suppl, with his father-in-law in 16JL#L Altho".h for a whole ecade (16J2-16L2) we ha2e 2 /Ara =aňko2C 9 Pa2el /lKek- ;Antonio Porta,; in: /lKek- Encyk,o!edie architekt#- pp# L17-L215 /Ara =aňko2C 9 Pa2el /lKek- ;)ean *aptiste +athe,-; in: /lKek- Encyk,o!edie architekt#- pp# J0@- J115 Pa2el /lKek- ;)ean *aptiste +athe,-; in: /lKek 9 ?a2lo2C- %raha &'&()&*((- pp# 2L7-2I75 /Ara =aňko2C 9 Pa2el /lKek- ;1io2anni Go%enico 6rsi-; in: /lKek- Encyk,o!edie architekt#- pp# J61-J625 Pa2el /lKek- ;1io2anni Go%enico 6rsi-; in: /lKek 9 ?a2lo2C- %raha &'&()&*((- pp# 1I0- 200# 3 Pa2el /lKek- ;(arlo Lura.o-; in: /lKek 9 ?a2lo2C- %raha &'&()&*((- pp# 110-1L05 Pa2el /lKek- ;(arlo Lura.o-; in: /lKek- Encyk,o!edie architekt#- pp# 3I1-3I35 Pa2el /lKek- ;'rancesco (aratti-; in: /lKek 9 ?a2lo2C- %raha &'&()&*((- pp# 1L1-17@5 Pa2el /lKek- ;'rancesco (aratti-; in: /lKek- Encyk,o!edie architekt#- pp# 10J-106# J Pietro +aino +aderno also ca%e fro% *issone# ?e is sai to ha2e been relate to (arlo +aderna and 'rancesco *orro%ini# $n 1627 he was li2ing in Mosice- and in 1632 he supplie the fountain for *"Ko2ice# 'ro% 16J3 he worke with (aratti in the ser2ice of Narl Eusebius of Liechtenstein. ?e contrib"te as a sculptor and stone%ason to the ecoration of the Pálff, .ar en palace in *ratisla2a and the reconstruction of the Eer2ený Na%eň chateau. The artists he worke with incl" e 1io2anni 1iaco%o Tencalla, 1io2anni *attista (arlone and 'iliberto Lucchese# (f# Petr 'i ler- 1rchitektur des 2eicento. Baumeister/ 1rchitekt und Bauten des 3iener 4o5kreis/ habi,itační !ráce- Oni2ersität $nnsbruck 1@@0- p# J7# L 6l Fich )akub *lažDKek- ;'ontána 2 *"Ko2icDch,; in: 6mění- 2- 1@LJ- pp# 2L1-2L2# License: 5he text of this article is provided under the ter1s of the Creative Co1mons License CC-BY+NC-ND 3.0$ RIHA Journal 0118 | 23 March 2015 no f"rther infor%ation abo"t (aratti&s acti2ities, it wo"l see% that his artistic profile was shape at this ti%e in the /iennese %ilie"- where his father-in-law was e%plo,e at the co"rt# At the en of 16L2 (aratti was approache b, an i%portant client- the recentl, appointe Presi ent of the (o"rt Rar (o"ncil- Prince Ren:el !"sebi"s of 0obkowicz- for who% he rew "p the plans for the Prince&s resi ence in Mo" nice nad 0abe%- where (aratti worke in 16L2-16LJ#6 It th"s follows that he co"l not ha2e been an "nknown fi."re in /iennese circles in the earl, 16L0s; the fact that he had such a pro%inent client testifies to his successf"ll, culti2ate social contacts an connections. ?owe2er- it is hi.hl, likel, that his princel, patron first approache the i%perial architect an it was thro".h the latter&s %e iation that he acq"ire the ser2ices of (aratti- as an able p"pil of the 0"cchese or Tencalla school# 7L8 A ke, fi."re on the architect"ral scene in the %etropolis on the Dan"be in the %i -17th cent"r, was the i%perial co"rt en.ineer 'iliberto 0"cchese (1606-1666)- whose st,le was later e2elope f"rther b, his close associate an successor in his co"rt f"nction 1io2anni Pietro Tencalla (162@-1702)#7 Thro".h the infl"ence of 0"cchese an Tencalla a new t,pe of %on"%ental chateau la,o"t an an artisticall, i%posin.
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