The Grodno (Grodna, Belarus) post-Bernardine complex is currently the oldest Roman Catholic sacral facility within the territory of the former Seym town. It serves as the example of assimilation of influences and adaptation of tendencies present in the art of the Commonwealth of Poland and Lithuania, mainly in the 17 th and 18 th centuries, among which clear is the impact of Wilno Baroque revealed both in architecture and the furbishing of church interiors.
Viewed against the late Baroque European system of architecture and fine arts, Wilno Baroque shows itself as a self-contained historical and cultural phenomenon, therefore it is unjustified to identify it with Rococo. This self-contained character of Wilno Baroque consisted not only in specific formal features, but also in the overall architectural character of the building, and in particular of the Greek-Catholic churches from around Połock-Witebsk and Słonim Regions. The formation of Wilno Baroque was strongly influenced by the ideology of the Uniate Church. The style ranged quite far. Brick churches in the Wilno Baroque style served as models for many wooden Uniate churches being raise within Belarusian Polesie.
The article presents an outline of one of the most enigmatic artists of Wilno Baroque, Jan Walenty Tobiasz Dyderszteyn (Dittrichstein, Dietirchstein); it collects trace sources testifying to his biography and attempts at identifying the features of his individual style.
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