0118 Antonio Porta and Seventeenth-Century Central European Architecture

  • Martin Krummholz (Author)
    Institute of Art History, Academy of Sciences of the Czech Republic, Prague

    Martin Krummholz completed his studies in art history at master's and doctoral level at Charles University in Prague. He also spent semesters studying at the Universita degli Studi di Firenze and the Universität Wien. He has previously worked at Prague City Archives and taught at the University of South Bohemia. He is currently a researcher at the Institute of Art History, Academy of Sciences of the Czech Republic. In his research he focuses on the following areas: Central European Baroque architecture (palaces, Fischer von Erlach); stucco and sculptures; the aristocracy and patronage of the arts; and Czech sculpture around 1900 (Stanislav Sucharda, František Bílek). He has been awarded a number of international scholarships (Aktion, Alfred Bader Scholarship, Bibliotheca Hertziana, Francis Haskell MFS), and undertaken study and research visits abroad (Palatium, Attingham Summer School). He has organised or co-organised several exhibitions and is author or joint author of several specialist publications. He has participated in many international conferences and has several times been invited to give lectures abroad (Wien, Dublin).

Identifiers (Article)


The text places the work of Antonio Porta (1631/32-1702) in the broader context of European architecture. It emphasises the close connections between Porta's architecture and the work of Francesco Caratti and Jean Baptiste Mathey, and the common starting-point for these artists, which was the Viennese architecture of Filiberto Lucchese and Giovanni Pietro Tencalla. The architecture of the Troja chateau of Count Sternberg can also be interpreted in this context; it draws on the analogous suburban summer residences in Vienna (Lusthäuser). There were also significant connections between mid-17th century Central European architecture and the Piedmont metropolis of Turin, which was being developed on a grand scale at that time. On the one hand there were many artists from the Lugano region active in Turin who later went on to work in Central Europe, and on the other numerous Central European aristocrats stayed for a while in Turin as part of their grand tour. It was via Turin that the influences of French architecture were reflected in the Bohemian and Central European milieus.


Antonio Porta, architecture, Centra Europe, Francesco Caratti, J. B. Mathey, palace, chateau, Turin