U okviru bogate graditeljske baštine Podravine, posebno mjesto pripada kasnobaroknoj župnoj crkvi sv. Martina u Donjem Martijancu (1767.-1777.). Podignuta nakon velike poplave Drave (koja je oštetila srednjovjekovnu župnu crkvu), crkva se odlikuje osebujnom kasnobaroknom sintezom longitudinalnog i centralnog prostora. S jedne strane takvo prostorno rješenje nadovezuje se na jednotravejne (četverolisne) crkve koje u sjeverozapadnoj Hrvatskoj podižu štajerski arhitekti, a posebno Josef Hoffer, graditelj obližnje kapele sv. Katarine u Malom Bukovcu (1757.-1758.). S druge strane, kompleksnošću svojih prostornih obilježja župna crkva sv. Martina ukazuje da je mogla nastatii po uzoru na longitudinalnu centraliziranu pijarističku crkvu sv. Terezije (1765.-1772.) u novoosnovanom vojnom gradu Bjelovaru. Projekt pijarističkog sklopa nosi potpis G. d’ Ustricha, ali svojim se značajkama crkva sv. Terezije uključuje u kasnobarokno-klasicističku sakralnu arhitekturu Beča i Donje Austrije, nalazeći najviše paralela u opusu Matthiasa Gerla. Time je jedna arhitektonska intervencija iz Beča, izvedena na području Vojne krajine (Varaždinskog generalata), doprinijela obogaćenju kasnobarokne arhitekture Banske Hrvatske. Međutim, uz prostorne podudarnosti s bjelovarskom crkvom, u martijanečkoj crkvi ostvarene su i važne inovacije vezane uz konstrukciju integriranog pročelnog zvonika, nošenog impozantnim unutrašnjim pilonima. Za istraživanje isprepletanja različitih utjecaja, simptomatično je da najznačajniju primjenu takve konstrukcije zvonika nalazimo u crkvama Vojne krajine, podizanih potkraj 18. i tijekom prve polovice 19. stoljeća.In the rich building heritage of Podravina, a special place is secured for the parish church of St. Martin in Donji Martijanec (built in the late Baroque style in the period 1767- 1777).
It was built after a great flooding of Drava river (which damaged the medieval parish church) noted for its unique late Baroque synthesis of longitudinal and central spaces. On one hand, such spatial scheme is continuation from single traverse (four-leaf) church, which in Croatia were built by Styria architects, Josef Hoffer in particular, the builder of St.Catherine’s chapel in nearby Mali Bukovec (1757-1758). On the other hand, complexity of spatial characteristics in St.Martin’s parish church indicates that it could haven been built on the model of longitudinally centralized pijar church of St.Therese (1765-1772) in the newly formed military stronghold of Bjelovar. The pijar project is created by G. d’Ustrich; however, its characteristics put the church of St.Therese into the late Baroque Classicism sacral architecture of Vienna and Lower Austria, mostly seen in the work of Matthias Gerl. This is how an architectural intervention from Vienna, built in the Military Border territory (Varaždin generalate) contributed to late Baroque architecture of Banovina Hrvatska.
However, apart from spatial characteristics similar to Bjelovar church, Martijanec church also had important innovations in construction of the frontal bell-tower, standing on striking inner pylons. If we want to research the various influences interlinked here, we should pay attention to the most important application of such bell-tower construction in all the churches of Military Border in late 18th and early 19th century
