Tytuvėnų Bernardinų bažnyčia ir vienuolynas:
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Lithuanian |
| Veröffentlicht: |
Vilnius
Vilniaus Dailės Akademijos Leidykla
2004
|
| Schriftenreihe: | Žemaitijos vienuolynai
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T: The Bernardine church and monastery in Tytuvėnai |
| Beschreibung: | 346 S. zahlr. Ill., graph. Darst. 27 cm |
| ISBN: | 9955624086 |
Internformat
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| 610 | 2 | 4 | |a Catholic Church |z Lithuania |z Tytuvėnai |x History |
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| 650 | 0 | |a Catholic church buildings / Lithuania / Tytuvėnai | |
| 650 | 4 | |a Architektur | |
| 650 | 4 | |a Geschichte | |
| 650 | 4 | |a Kirchengeschichte | |
| 650 | 4 | |a Catholic church buildings |z Lithuania |z Tytuvėnai | |
| 650 | 4 | |a Church architecture |z Lithuania |z Tytuvėnai | |
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Datensatz im Suchindex
| _version_ | 1804139305675784192 |
|---|---|
| adam_text | TURINYS
PRATARMÉ
/ 7
Mindaugas Paknys.
BAŽNYČIOS
IR VIENUOLYNO
ISTORIJA XVII-XIX a.
/ 9
Mindaugas Paknys. VIENUOLIAI
XVIII
a. pabaigoje
-
XIX
a. pradžioje
/ 35
Jolita
Liškevičiené.
BIBLIOTEKA
/ 47
Rasa Butvilaitè. ANSAMBLIO
ARCHITEKTURA /
69
Augustinas
Vitènas.
KRYŽIAUS KELIAS
-
NAUJOJI JERUZALÈ
LIETUVOS PROVINCIJOJE
/ 93
Dalia Klajumiené.
BAŽNYČIOS
ALTORIV, SAKYKLOS,
KRIKŠTYKLOS
PLASTIKA IR IKONOGRAFINÉ
PROGRAMA
/119
Dalia
Ramonienè. SAKRALINÈ
TAPYBA
/ 147
Skirmantè Kairytè. PAVEIKSLAS
„ŠV. PRANCIŠKAUS
GENEALOGINIS
MEDIS /
197
Dalia Klajumiené.
KONTÜRINIS
PAVEIKSLAS
„JÈZAUS
KRISTAUS
NUÈMIMAS NUO
KRYŽIAUS
/ 205
Mindaugas Paknys.
PORTRETAI
/ 209
Jolita
Liškevičiené.
ANTKAPIAI IR EPITAFIJOS
/219
Dalia Klajumienè.
SIENU
TAPYBA ANSAMBLIO
DEKORE
/ 237
Dalia Klajumiené. MEDINÉS
SKULPTÜROS / 255
Liepa
Griciüté. TAIKOMOJI DAILÈ
/ 277
Ruta Janoniené.
DIDŽIOJO
ALTORIAUS ANTEPEDIJUS
/ 303
Girénas Povilionis. VARGONAI
/313
Povilas Sverebas. VARPAI
/319
RODYKLÈS:
Asmenvardžia
rodyklè
/ 327
Vietovardžia
rodyklè
/ 336
THE BERNARDINE
CHURCH
AND MONASTERY IN
TYTUVÈNAI
(Summary)
/ 339
:
MNE
CHURCH
A
í
ERY IN
TYTUVÉNAI
Summary
/
ymm HE EDITION CONTAINS A SERIES OF PAPERS OF A GROUP
/
OF RESEARCHERS ON INTERRELATED SUBJECTS (THE HIS-
Lj/ TORY OF THE
BERNARDINES
IN TYTUVENAI, THE ARCHI¬
TECTURE OF THE ENSEMBLE, VIA
CRUCIŞ
CULT, A GALLERY OF
PORTRAITS, THE PLACTICS AND ICONOGRAPHY OF THE ALTARS,
THE
BERNARDINE
LIBRARY, ETC.), WHICH WILL HELP THE READER
TO HAVE THE POSSIBLY MOST COMPLETE IMPRESSION OF THE
TYTUVENAI MONASTERY ENSEMBLE AND ITS PAST AND PRESENT
ARTISTIC POSSESSIONS.
The first notes of Tytuvenai go as far back as the early 16th
с
when
prince Aleksandras presented the lands of the deceased Vilnius Voyvod
Alekna Sudimantaitis
(1477-1490)
to his daughter Jadvyga. Later the
estate changed its possessors several times. In
1555
Tytuvenai belonged
to Ivanas
Glebavičius
and in
1581
to Jonas
Gruževskis,
the Ukmerge
butler. In
1589
Leonas Sapiega
sold it to the Brasta Voyvod Kristupas
Zienavičius
who in
1609
resold it to Andriejus
Valavičius.
To the latter
owner the beginnings of the
Bernardine
monastery in Tytuvenai are
related.
On
1
May
1609,
Andriejus
Valavičius
in
Tryškiai
drew up a statement
dedicated to
Bernardine
monks on his intention to offer them a
monastery at Tytuvenai. A sum of
10 000
guldens was allotted to the
construction works which were expected to last several years; the
constrution works had to be supervised by the monks diemselves.
A Valanvičius
wanted to see a well-proportioned, elegant but not large monastery and
church intended for a total of twelve monks, and the church was
planned as the
Valavičius
family mausoleum. Before the 17th
с
churches-mausoleums were almost unknown in the Great Duchy of
Lithuania, and in Samogitia, only some years before, under similar
conditions the
Bernardine
monastery donated by Jonas Karolis
Chodkevičius
had been built in Kretinga. In this respect
A. Valavičius
donation was the second in Samogitia. Unfortunately, the
donator
failed
to see the realization of his project. On
7
September
1614
A. Valavičius
died of a gout attack and was buried in Tytuvenai. His widow Kotryna
339
Goslavska
soon married Paulius Sapiega. She did not take over the
responsibilities of this donation, but showed much attention to it and
financed the memorial monument to her husband Andriejus
Valavičius.
She died in
1630
and was buried in
Alšénai
together with her husband
Paulius Sapiega.
Tytuvènai
and the responsibilities for the initiated construction
works at the future monastery were inherited by three
Valavičius
brothers
-
Jeronimas, Paulius and Eustachijus. The Samogitian Elder
Jeronimas
Valavičius,
who most frequently visited
Tytuvénai
also in
later years, seems to have shown most initiative in respect of the care
of
Tytuvénai.
The first
Bernardine
monks arrived already in
1614,
however, the
construction of the brick complex proceeded rather slowly. The monks
had to live either in a temporary wooden monastery or, which is most
probable, in the
Valavičiuses
estate at
Tytuvénai.
The place where the
church had to be erected was somewhat mystified. It seems probable
that finding the exact site for a large complex was not an easy task. One
night, in
1618,
the future head of construction works
Tomas Kasparas
and his apprentice saw on a hilltop a light which could not be
extinguished by the furious wind of that night. The monks agreed this
to be a prophetic sign; the vision was taken as a miracle, and the place
was chosen as the site of the monastery construction. Soon the corner¬
stone of the church was laid there, the preparatory works were initiated,
though laying the foundation was started only the next year. The
construction of the monastery and the church, from the cornerstone up
to its consecration by the title of the St. Virgin Mary of Angels on
1
November
1635,
took
17
years. In this period the oldest part of the
ensemble, the church and the monastery building adjunct to its
southern wall, was erected. The two buildings made a cloitre, a small
closed quadrangular yard.
The
Tytuvénai
ensemble of the St. Virgin Mary church and the
Bernardine
monastery, which has survived up to now, is one of the most
interesting and largest complexes of the Lithuanian sacral architecture
of the
lľth-lSth
centuries, showing a bright multilayered harmony of
the gothic, renaissance and baroque stiles. The ensemble consists of
closely located buildings of the church and the monastery, the arcades
of the churchyard fence with the Christ s Stairs chapel, the two-storeyed
brick building of the monastery and the household constructions
surrounding this center of the ensemble. Today, the construction period
of the first half of the 17th
с
is represented by the church, which
practically underwent no changes regarding its volume: the sanctuary is
trinave, of a basilican type, with the especially long and large
presbyterium
which is as high and wide as the central nave; it ends in
340
a three-wall
apside.
The
presbyterium
is two-storeyed; the second floor
can be reached through two entrances: one from the second floor of the
monastery and the other via a winding staircase from the first floor of
the
presbyterium.
Such a spacy two-storeyed
presbyterium
is rather rare
in Lithuania. The gothic style, also today, is represented by the bare
exterior red-brick walls fortified by bolder intercepts, the high vaulted
presbyterium
windows with maswerks, the acute triumph arch separat¬
ing the
presbyterium
from the nave, the cross-vaults of the haves, the
slightly pointed vaults of the lintels, the magnificent starry vaults of the
presbytery and refectory, the high roof of the church. The influence of
the renaissance can be traced in the lateral
façades
of the church and
monastery: semicircular windows, the Doric wall pilasters among the
church windows (both inside and outside), the decorative plastered and
white-painted edgings of the red-brick walls, the maswerks, the door
portals, cornices, friezes, the external wall niches of the monastery. The
walls of the church and particularly of the monastery are thick, reaching
in some places
1.36
to
1.80
m; this is a peculiar feature of the local
Lithuanian architecture to endow sometimes sacral buildings with a
defensive character. Survived also the rare, original construction of the
high roof of the church, a complicated but firm system of uprights,
transverse and diagonal props and struts capable of supporting the heavy
ceramic tiling.
Throughout the history of its existence, it is the building of the
monastery that suffered least changes. It is a brilliant example of late
renaissance architecture in Lithuania. The horseshoe-shaped building
leaning its two ends against the southern wall of the church forms a small
cloitre, a closed rectangular yard
16.62 14.04
m
in size. On the
groundfloor the two opposite ends of the monastery, the cloitre, the
presbyterium
with the sacristy and the outside space were joined by a
brick gallery with a glazed arcade laid along the southern wall of the
church. From the cloitre one could get directly into the first floor via
a closed staircase, which for the sake of convenience was laid of bricks
to the northern wall of the monastery (this small annex did not survive).
The monastery has preserved also the old one-sided corridor system; the
large windows of the light corridor look on the cosy cloitre.
The premises on the groundfloor of the monastery are spacy, of
different area, covered with crossed vaults. In its southwest corner with
a somewhat projecting
risalita
there was a large reflectoiy (dining-room)
Π
8
m
in size, from three sides (north, west and south) lighted by six
huge windows, covered with decorative nervured vaults (presently the
premise is used for laying out the deceased). The refectory neighboured
on a large kitchen equipped with the range and a Swedish stove tor
baking bread (at present these premises are closed); the kitchen was
341
connected with the dining-room by a small rotating window for serving
out meals. Under the kitchen, which consisted of three rooms, there
were three cellars for keeping vegetables and provisions. Most probably,
under the eastern or southern flank of the moastery building a
hypocaustic stove was installed with the channels for hot air to circulate.
This system of heating was in practice also in other
Bernardine
monasteries of Lithuania.
In the fourth decade of the 18th c, under the guidance of the
energetic guardian Gabrielius Radvanskis, the reconstruction of the
ensemble was initiated. It lasted till the very end of the century. Two
towers and a porch were adjoined to the western facade of the church.
In
1764-1770
the brick building of the noviciate was joined to the
northwestern corner of the monastery. In the seventh and ninth decades
of the 18th
с
in front of the church the churchyard and a procession
corridor were constructed. In the center of the churchyard the Christ s
Stairs chapel was erected. Alongside the Via
Cruciş
stations in the
gallery, it is the only
Bernardine
ensemble of the Via
Cruciş
stations that
has survived in Lithuania. This closed yard symbolically expressed the
image of the Heavenly Jerusalem. Above the main gate leading to the
gallery yard (on its internal side) on the wall there was painted an
imaginary panoramic view of Jerusalem; it is a vivid proof that the yard
symbolized the Holy City.
Late in the 18th and early in the 19th
с
several new household and
auxiliary buildings were constructed, and the site of the monastery
territory was finally formed. In
1826,
to the north from the monastery,
on a sandy land a new cemetery was established, and the St. Joseph
chapel with a brick altar was erected there.
In the middle of the 19th
с
the post-insurgent repressions arrived also
to
Tytuvénai.
The Russian government accused the monks of supporting
the rebels of
1863.
In
1864,
governor M. Muravyov ordered to abolish
the monastery and to close the church. Andriejus
Petravičius,
the last
guardian of the
Tytuvénai
Bernardines,
was arrested and deported to
Siberia. Thanks to the efforts of assiduous parishioners and Samogitian
Bishop
Motiejus
Valančius
the church was preserved, but the monastery
was closed. The tsarist officials for a long time could not make up their
mind what to do with the large buildings of the ensemble. At last, in
1874,
i.e. after ten years, the Kaunas Province Architect engineer
Justinas
Golinevičius
compiled the plans of the monastery and drew up
an estimate of its renovation. Part of the former monastery was intended
as a parsonage for Catholic priests, and the noviciate was planned to turn
into living premises of the orthodox priest. However, sooner than the
bureaucratic exchange of letters and drawing of the projects were
accomplished the orthodox pope had a house built for himself in the
342
town, and in
1887
the building of the noviciate was ordered to pull
down. In the same year the Chamber of National Wealth announced an
auction with the aim to sell some of the monastery s household buildings
or their construction materials. Thus the granary and the remnants of
the ruined noviciate were purchased by the dean of the church. Until
present, in the southern wall of the churchyard gallery, as a kind of
decorative elements the bricked up niches and windows, remnants of
vault supports of the northern wall of the pulled down school have
survived.
Late in the 19th c, as a consequence of the tsarist policy the process
of the ensemble s decay began. Pulled down were not only the noviciate,
but also the more remote buildings of the watermill and dam, the
brewery, the coach-house, the granary and other household buildings;
with the pond having completely shallowed the kitchengarden dried out
and the orchard surrounding the church, monastery and churchyard fell
into decay.
Under the Soviets, in
1950-1959
various offices of the district were
accommodated here. Since
1959
there functioned an agricultural
school, a boarding-school. In
1961—1973
the ensemble was renovated
and restored: the foundations and vaults were fortified, the roof
constructions and tiling were changed, the buildings were repainted
both from the inside and outside. In
1961-1965
the main buldings
of the ensemble were restored according to the project of the architects
Darija
Zareckiené
and
Biruté Kugevičiené.
The renaissance stepped
pediment of the southern flank of the dwelling-house was recon¬
structed and its roof, which had been lowered in the 19th c, was
heightened. In
1961-1964
the new roof of the church was made, the
both towers and the roof of the arcade gallery were renovated. In
1966-1967
the beds and vaults of the arcades, the roof and tower of
the chapel were reinforced, a new floor was laid in the sacristy. In
1968
the Stairs chapel
façades
were restored, and the bas-relief coat of arms
on the pediment was restored by sculptor Aloyzas Toleikis. In
1973,
with V.
Drèma as a
consultant, the church interior and the galleries
were restored according to the project of architect D.
Zareckiené
and
engineer
N.
Kitkauskas.
Today, the ensemble of the former monastery and church erected in
a remote hilly and woody place nearly untouched by wars and fires is
one of the most valuable baroque ensembles in Lithuania and the whole
Northeastern Europe. The ensemble, which in the 17th-18th
с
was
growing and prospering and in the 19th and first half of the 20th
с
falling into decay, still has preserved its religious significance and
numerous monuments of religious art. The interior of the Church of
St. Virgin Mary Queen of Angels contains a magnificent late baroque
343
ensemble
of nine altars, a pulpit and a font. Archive documents and
analysis of analogous monuments show that the installations of the
church were created by at least three masters: an unknown master not
mentioned in the documents, the master
Mažeika
and the productive
artist of the second half of the 17th c, the former Jesuit
Tomas
Pagaiskis
(Tomasz Podhayski),
The latter is considered to be the author of the two
last altars
-
those of Jesus Birth and of the Three Kings.
The altars are richly decorated with sculptures and paintings. The key
accent of the Grand Altar is the miraculous painting of Our Lady with
the Child by an unknown Lithuanian painter of the first half of the 17th
c. The painting is decorated with professionally made setting framework
adorned with an expressive vegetation ornament. In the period when in
the first stage of construction
(1614-1633)
the church and six altars
were nearly ready, this painting was donated to the
Tytuvènai
Bernardine
brothers by Vilnius Bishop Eustachijus
Valavičius.
To the
paintings that are valuable both as artistic and cult objects can also be
ascribed numerous works from the ^th-lSth c, such as St. Ann ,
St. Francis , The Genealogical Tree of St. Francis of
Assisi ,
Holy
Virgin Mary of the Rosary , St. Clara , Holy Virgin Mary of Immacu¬
late Conception with a setting, St. Anthony with a setting. Besides
the altar paintings, walls of the central nave are decorated with a cycle
of six paintings, which in
1796-1801
were painted by
Petras Rozelinas;
these are The Birth of Jesus , The Kings Salutation , Jesus Christ
among the Pharisees , St. Stephen s Death
(?),
Shepherds Glorifica¬
tion , Jesus Christ Blessing Children , Jesus Christ Curing the Ailing
.
The same P. Rozelinas is also the author of the majestic canvas The
exaltation of St. Francis , which is hanging on the wall in the presbytery
and can be seen from the central nave of the church through the
secondary grating of the Grand Altar. In the Tytuvenai ensemble one can
see also other paintings that formerly were decorating the old altars of
the premises of the monastery, such as St. Sebastian , The Holy
Trinity , The Baptism of Jesus Christ , etc. In the church and
monastery there was also a gallery of portraits of the
donators,
benefac¬
tors and church hierarchs; most of the portraits have survived and
contribute to a better understanding of the history of the ensemble.
Today we can see all five portraits of Popes, which in the first half of
the 19th
с
were hanging in the choire gallery of the church, as well as
eight of the twelve portraits of benefactors, among them even three
canvasses that immortalized Andriejus
Valavičius.
The history of the ensemble is also vividly reflected in the burials with
their monuments and epitaphs, which either have survived or are known
from the documents. In the church, though somewhat crumbled off,
there is kept the monument to Andriejus
Valavičius.
It was
bult
in the
344
first half of the 17th
с
and is decorated with the sandstone sculpture
of this nobleman and small statues of his saint patrons.
In the second half of the 18th c, during renovation of the church s
installations, care was taken of purchasing a new organ. On
7
July
1789,
thanks to the efforts of the
Tytuvènai
monastery guardian Jeronimas
Fanickis, the present 25-voiced organ was installed on the means
donated by benefactors. The master who built the
Tytuvènai
church
organ has not been identified in the archive documents so far. No direct
documents to prove the authorship have been found, however, a
comprehensive examination and a comparative analysis of the organ
allow to conclude that the organ is a creation of
Nicolaus Jantzon,
an
organ master from Vilnius. In the historiographical sources in which the
Tytuvènai
church organ is mentioned, its authorship is often erroneously
ascribed to master Adam
Gottlob Casparini
from
Königsberg.
However,
this hypothesis is based on a mere similarity of the
Tytuvénai
church
organ to the creations of the latter master. The authorship of
N.
Jantzon
is based on the similarity between the
Tytuvènai
church organ and the
Troškunai
Bernardine
church organ built by
Nicolaus
Jantzon in
1787
(according to other sources in
1790).
Both organs are built nearly at the
same time and are identical in their architectural structure, proportions
and size and differ only in decoration elements.
Alongside the great monuments of religious art
Tytuvénai
abounds in
single works reflecting this or that stage of the development of the
ensemble. Worth mentioning is the collection of wooden sculptures
from the
lćth-^th
с.
The wooden sculptures that have been or still
are used in the ensemble decoration are most frequently the images of
the suffering, crucified Jesus Christ and St. Francis of
Assisi.
Also, several
small sculptures of the saints popular in Lithuanian sacral art have
survived. In the
Tytuvénai
collection of sculptures prevail professional
works of local sculptors; it contains also several interesting examples of
folk carving.
One of the most valuable artistic monuments in the
Tytuvènai
church
is a splendid metal antependium (presently not used) created in
1749
and decorated with chiseled ornaments and figures of saints. It consists
of several brass plates and was intended for decorating the anterior part
of the Grand Altar
mensa.
The central part comprises five joined plates
with relief chiseled figures of St. Virgin Mary of Immaculate Conception
(in the centre) and of four Franciscan saints. On the four plates on the
both sides of the figure of St. Virgin represented are St. Francis of
Assisi
embraced with St. Dominic (the first plate from the left), St. John
Capestran
(the second plate from the left), St. Antony (the second plate
on the right) and blessed John Duns Scot (the first plate on the right).
The selection of figures shows a deliberate ideological programme and
345
is closely related to the cult of St. Mary and the history of the dogma
of Immaculate Conception.
To the most valuable pieces of art of the Tytuvenai ensemble belongs
also the contoir triptych Decruciation of Jesus Christ , which presently
is not used in the
décor
of the church. Most probably it was a decoration
used in the Holy Week festivities. A similar
décor
of a different subject
of the second half of the 17th or 18th
с
has survived in the
Šiluva,
Semeliškés
and some other churches of Lithuania. Its analogues are
known also in Latvian (Latgala) sacral art of the late
1
8th
с
Thus, pieces of fine arts from the Tytuvenai ensemble, with greater
or lesser losses, have survived until now. Unfortunately, this is not the
fact with most of the old liturgical utensils and other accessories made
of metal, which are mentioned in written sources. Like liturgical
vestments, they suffered inevitable losses induced by time and by the
frequent use in liturgical rituals. The worn-out or broken utensils were
used for moulding new liturgical accessories or repairing the old ones.
The presence of part of the liturgical vestments mentioned in the written
sources from the 17th-! 9th
с. с.
can be proven by a collection of old
stoles kept in the church. One of the oldest surviving metal wares is a
pacificai
dated to the 17th
с
According to the inscription on its foot,
it was purchased by the Tytuvenai
Bernardine
monastery in
1669
when
Jurgis
Lapas
was its guardian. The church keeps also four silver calyces,
not used at present, which by their form, proportions and dimensions
are close to typical utensils of this type from the late 18th
-
first half
of the 19th
с
Alongside liturgical vestments and utensils, in Tytuvenai
have survived also pieces of old procession attributes such as minute
altars, crosses, canopies, lanterns, drums, as well as a gorgeous
umbraculus (not used in liturgy any more). Its masterly carved frame is
formed by branches of vine intertwined with corn ears and on the top
crowned by a small cross. On meshed tissue stretched on this frame there
is embroidered with yellow woolen threads the symbol of Christ and his
redemptory sacrifice
-
the Lamb lying on the seven-sealed book and cross.
Neither did the old bells of the Tytuvenai church survive. Today the
parishioners are summoned or the deceased are seen out by two bells
dated back to the first half of the 19th c, hanging in the right tower;
one of them is smaller and not decorated, and the other is larger and has
Latin inscriptions on its waist. One inscription says that the bell was
produced in
1814
in
Węgrów,
in A. Wlodkowski s workshop, and
renovated in
1877.
The other phrase is an excellent expression to convey
the purpose of all sacral bells:
Laudo
Deum
verum
//
Plebem voco
congrego
clerum
//
Defunctos
ploro
//
Pestem
fugo festa decoro
(I
glorify the true God, convoke people, unite clergy, bemoan the de¬
ceased, drive away plague, adorn fiests).
346
The Tytuvénai
ensemble is an inexhaustible treasure for researchers.
It allows a better understanding and evaluation of the spiritual and
artistic values characteristic of
Bernardines,
to recognize in the present-
day landscape and appreciate the surviving historical, cultural and
artistic heritage of monkhood.
Dalia Klajumiené
Translated by
Aurelija
Juškaité
|
| any_adam_object | 1 |
| author_GND | (DE-588)131483536 |
| building | Verbundindex |
| bvnumber | BV035630157 |
| callnumber-first | N - Fine Arts |
| callnumber-label | NK2192 |
| callnumber-raw | NK2192.L78 |
| callnumber-search | NK2192.L78 |
| callnumber-sort | NK 42192 L78 |
| callnumber-subject | NK - Decorative Arts |
| ctrlnum | (OCoLC)64207361 (DE-599)GBV507791371 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| geographic | Tytuvėnai (Lithuania) / Buildings, structures, etc Tytuvėnai (Lithuania) / Church history Tytuvėnai (Lithuania) Buildings, structures, etc Tytuvėnai (Lithuania) Church history Tytuvėnai (DE-588)7659380-0 gnd |
| geographic_facet | Tytuvėnai (Lithuania) / Buildings, structures, etc Tytuvėnai (Lithuania) / Church history Tytuvėnai (Lithuania) Buildings, structures, etc Tytuvėnai (Lithuania) Church history Tytuvėnai |
| id | DE-604.BV035630157 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T21:41:59Z |
| institution | BVB |
| isbn | 9955624086 |
| language | Lithuanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017685129 |
| oclc_num | 64207361 |
| open_access_boolean | |
| owner | DE-12 DE-255 |
| owner_facet | DE-12 DE-255 |
| physical | 346 S. zahlr. Ill., graph. Darst. 27 cm |
| publishDate | 2004 |
| publishDateSearch | 2004 |
| publishDateSort | 2004 |
| publisher | Vilniaus Dailės Akademijos Leidykla |
| record_format | marc |
| series2 | Žemaitijos vienuolynai |
| spelling | Tytuvėnų Bernardinų bažnyčia ir vienuolynas [sudarė Dalia Klajumienė] Vilnius Vilniaus Dailės Akademijos Leidykla 2004 346 S. zahlr. Ill., graph. Darst. 27 cm txt rdacontent n rdamedia nc rdacarrier Žemaitijos vienuolynai Zsfassung in engl. Sprache u.d.T: The Bernardine church and monastery in Tytuvėnai Katholische Kirche Catholic Church Lithuania Tytuvėnai History Švč. Mergelės Marijos bažnyčia (Tytuvėnai, Lithuania) History Zisterzienser (DE-588)1008453-8 gnd rswk-swf Geschichte gnd rswk-swf Švč. Mergelės Marijos bažnyčia (Tytuvėnai, Lithuania) / History Catholic Church / History / Lithuania / Tytuvėnai Church decoration and ornament / Lithuania / Tytuvėnai Church architecture / Lithuania / Tytuvėnai Catholic church buildings / Lithuania / Tytuvėnai Architektur Geschichte Kirchengeschichte Catholic church buildings Lithuania Tytuvėnai Church architecture Lithuania Tytuvėnai Church decoration and ornament Lithuania Tytuvėnai Sakralbau (DE-588)4178936-2 gnd rswk-swf Tytuvėnai (Lithuania) / Buildings, structures, etc Tytuvėnai (Lithuania) / Church history Tytuvėnai (Lithuania) Buildings, structures, etc Tytuvėnai (Lithuania) Church history Tytuvėnai (DE-588)7659380-0 gnd rswk-swf Tytuvėnai (DE-588)7659380-0 g Zisterzienser (DE-588)1008453-8 b Geschichte z DE-604 Sakralbau (DE-588)4178936-2 s Klajumienė, Dalia 1963- Sonstige (DE-588)131483536 oth Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017685129&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017685129&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Tytuvėnų Bernardinų bažnyčia ir vienuolynas Katholische Kirche Catholic Church Lithuania Tytuvėnai History Švč. Mergelės Marijos bažnyčia (Tytuvėnai, Lithuania) History Zisterzienser (DE-588)1008453-8 gnd Švč. Mergelės Marijos bažnyčia (Tytuvėnai, Lithuania) / History Catholic Church / History / Lithuania / Tytuvėnai Church decoration and ornament / Lithuania / Tytuvėnai Church architecture / Lithuania / Tytuvėnai Catholic church buildings / Lithuania / Tytuvėnai Architektur Geschichte Kirchengeschichte Catholic church buildings Lithuania Tytuvėnai Church architecture Lithuania Tytuvėnai Church decoration and ornament Lithuania Tytuvėnai Sakralbau (DE-588)4178936-2 gnd |
| subject_GND | (DE-588)1008453-8 (DE-588)4178936-2 (DE-588)7659380-0 |
| title | Tytuvėnų Bernardinų bažnyčia ir vienuolynas |
| title_auth | Tytuvėnų Bernardinų bažnyčia ir vienuolynas |
| title_exact_search | Tytuvėnų Bernardinų bažnyčia ir vienuolynas |
| title_full | Tytuvėnų Bernardinų bažnyčia ir vienuolynas [sudarė Dalia Klajumienė] |
| title_fullStr | Tytuvėnų Bernardinų bažnyčia ir vienuolynas [sudarė Dalia Klajumienė] |
| title_full_unstemmed | Tytuvėnų Bernardinų bažnyčia ir vienuolynas [sudarė Dalia Klajumienė] |
| title_short | Tytuvėnų Bernardinų bažnyčia ir vienuolynas |
| title_sort | tytuvenu bernardinu baznycia ir vienuolynas |
| topic | Katholische Kirche Catholic Church Lithuania Tytuvėnai History Švč. Mergelės Marijos bažnyčia (Tytuvėnai, Lithuania) History Zisterzienser (DE-588)1008453-8 gnd Švč. Mergelės Marijos bažnyčia (Tytuvėnai, Lithuania) / History Catholic Church / History / Lithuania / Tytuvėnai Church decoration and ornament / Lithuania / Tytuvėnai Church architecture / Lithuania / Tytuvėnai Catholic church buildings / Lithuania / Tytuvėnai Architektur Geschichte Kirchengeschichte Catholic church buildings Lithuania Tytuvėnai Church architecture Lithuania Tytuvėnai Church decoration and ornament Lithuania Tytuvėnai Sakralbau (DE-588)4178936-2 gnd |
| topic_facet | Katholische Kirche Catholic Church Lithuania Tytuvėnai History Švč. Mergelės Marijos bažnyčia (Tytuvėnai, Lithuania) History Zisterzienser Švč. Mergelės Marijos bažnyčia (Tytuvėnai, Lithuania) / History Catholic Church / History / Lithuania / Tytuvėnai Church decoration and ornament / Lithuania / Tytuvėnai Church architecture / Lithuania / Tytuvėnai Catholic church buildings / Lithuania / Tytuvėnai Architektur Geschichte Kirchengeschichte Catholic church buildings Lithuania Tytuvėnai Church architecture Lithuania Tytuvėnai Church decoration and ornament Lithuania Tytuvėnai Sakralbau Tytuvėnai (Lithuania) / Buildings, structures, etc Tytuvėnai (Lithuania) / Church history Tytuvėnai (Lithuania) Buildings, structures, etc Tytuvėnai (Lithuania) Church history Tytuvėnai |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017685129&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017685129&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT klajumienedalia tytuvenubernardinubaznyciairvienuolynas |