Pažaislis: menas ir istorija ; art and history
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Lithuanian |
| Veröffentlicht: |
[Vilnius]
Karpavičius
2005
|
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | Zsfassung in engl. Sprache Includes bibliographical references (p. 143) |
| Beschreibung: | 143 S. überw. Ill., Kt. 28 cm |
| ISBN: | 9955965045 |
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| 245 | 1 | 0 | |a Pažaislis |b menas ir istorija ; art and history |c [sudarytojas ir teksto autorius Mindaugas Paknys. Fotografas Kęstutis Stoškus. Sudarytojas ir dailininkas Eugenijus Karpavičius] |
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| 500 | |a Zsfassung in engl. Sprache | ||
| 500 | |a Includes bibliographical references (p. 143) | ||
| 610 | 1 | 4 | |a Pažaislis (Monastery : Kaunas, Lithuania) |
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| 650 | 4 | |a Architecture, Baroque / Lithuania / Kaunas | |
| 650 | 4 | |a Art, Baroque / Lithuania / Kaunas | |
| 650 | 4 | |a Church decoration and ornament / Lithuania / Kaunas | |
| 650 | 4 | |a Monasteries / Lithuania / Kaunas / History / 17th century | |
| 650 | 7 | |a Architecture, Baroque |2 fast | |
| 650 | 7 | |a Art, Baroque |2 fast | |
| 650 | 7 | |a Church decoration and ornament |2 fast | |
| 650 | 7 | |a Monasteries |2 fast | |
| 650 | 4 | |a Geschichte | |
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Datensatz im Suchindex
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| adam_text | Summary
INTRODUCTION (p. 7)
Although the earliest buds of the Baroque style appeared in the Grand Duchy
of Lithuania in the late 16th century, throughout the first half of the next cen-
tury it took some time to catch on with patrons. Only in the second half of the
17th century were most of the magnificent Baroque monasteries and palaces
built across the country, following the devastation of the Swedish-Russlan War
between 1655 and 1661.
The monastic complex of Pažaislis, In contrast to the others, was built not
In the centre of a town or small settlement, but on a lonely site surrounded by
woods. Invited directly from Italy, the artists had not previously worked in
Lithuania, so that the artistic fashions they brought with them were yet unseen
in the country.
Pažaislis derives Its distinctive character from Its Ingenious architecture. Built
on a rarely encountered hexagonal plan, the church features the first concave
faęade to be built in Europe. The symmetrically laid out monastery Is organised
along a central axis. The interior decoration, combining sumptuous stucco
mouldings, paintings and marble, also contributes to the overall effect of Pažais-
lis, a noteworthy example of Baroque architecture In Lithuania and Europe.
Pažaislis was built as a Camaldolese hermitage. The main construction
work was completed In the last three decades of the 17th century. In 1667,
the construction of the church and buildings commenced; the decoration of the
church started in 1674. The work proceeded under the close supervision of the
patron, a chancellor of the Grand Duchy of Lithuania, Kristupas Zigmantas
Pacas (Chrlstophorus Sigismundus Pac). The focus was the Church of the Visi-
tation. Completed at the beginning of the 18th century, this was consecrated
in 1712. Some of the ancillary buildings were erected in the first half of the
18th century
Today close to Kaunas, in its early days Pažaislis stood quite a distance
from the town. The monks of the Camaldolese Order sought a solitary, peace-
ful location and natural scenery. The hermits lived In a secluded world, leading
a life of solitary and communal prayer, cultivating in their free time the fields
and gardens. The Camaldolese ran Pažaislis for 170 years, from 1662 to 1832.
In 1832, the tsarist government closed the hermitage and gave It to Orthodox
monks, who altered the interior and the decoration of the church. In the 19th
century, it started to attract the attention of historians and travellers,
The beginning of the 20th century started a process of revival and brought
Pažaislis to the attention of the press. Researchers discovered parallels be-
tween it and other Baroque monuments. The research efforts culminated in a
work by Halina Kairiūkštytė-Jacinienė, published three quarters of a century
ago. Between 1920 and 1940, It was home to the Congregation of the Sisters
of St Casimir, who carried out the restoration of the ensemble (In 1992, they
returned to Pažaislis). Even though the Soviets disregarded the tradition of
monastic life and the original religious purpose of the monastery, the authori-
ties took care of the convent buildings.
Pažaislis is not one of the most beautiful and best-preserved monuments
of Baroque In Lithuania. The greater part of the treasures that attract our ad-
miration today were created in the last four decades of the 17th century. Only
the fresco In the dome, the Apostles In the church, an extension on the east
side of the church and the belfry in the hermitage are of a later date.
THE CAMALDOLESE ORDER (p. 11)
The Camaldolese Order was established In the 11th century by St Romuald
(t1027), who founded a hermitage In Italy at Camaldoli. The hermits followed
the Benedictine rule, wore white woollen habits, and shaved their heads, but
let their beards grow. Their goal was a solitary life, strict penitence and a vow
of silence that helped to establish a direct dialogue with the Lord. For this rea-
son, a Camaldolese monastery is also referred to as a hermitage. The order
gained In popularity. The 12th and 13th centuries saw the number of hermit-
ages grow, but with time It divided Into several branches.
The Camaldolese sought lonely sites surrounded by forests for their mon-
asteries. The monastic life was lived out In a cell, to be left only to attend
Mass or the Divine Office, or to look after the affairs of the community. The
rule of the order stipulated manual labour, so the hermits spent their free
time cultivating the gardens that often surrounded the buildings of the mon-
astery, or engaging in crafts. They had to keep to a strict diet, to fast fre-
quently and to abstain from eating meat. In the early days, they ate only one
meal a day.
The first Camaldolese monasteries in Poland and Lithuania were founded
In the early 17th century. However, there are examples of the hermit s life go-
ing back to the early 11th century. Some disciples of St Romuald, commonly
called the Five Brother Martyrs, arrived to proclaim the Gospel In these lands
and were martyred. One disciple of St Romuald, St Boniface, who is thought to
be the first missionary to come to Lithuanian lands, also perished on one of
these missions. In 1605, a Camaldolese monastery was founded In Blelany
near Krakow. For a long time It was a provincial centre for the Polish-Lithua-
nian Camaldolese. In the Kingdom of Poland, in the 17th century, houses were
founded in Rytwlany (1621), Blelany close to Warsaw (1641), Benlszew (1663)
and Szanci (1722); and In the Grand Duchy of Lithuania at Pažaislis (1662) and
Wygry (1667). The Camaldolese enjoyed the rulers support. Zigmantas Vaza
paid for a chapel In Blelany near Krakow, Vladislavas Vaza endowed the mon-
astery near Warsaw, and Jonas Kazimieras initiated the founding of the mon-
astery In Wygry.
The hermitage at Pažaislis belonged to the Monte Corona congregation
that was reformed in the 16th century. Little Is known of the daily routine of
the hermit s life. Above all, solitude was emphasised. Tall walls separated the
monks cells. Even meals were usually taken separately. Meals In the refectory
took place only on holidays. It was forbidden to leave the monastery without a
good excuse. Constant prayer was another Important feature. During the day,
the monks gathered in the church several times for Divine Office. They were
very strict about conversing with each other, on some days observing complete
silence. After Vespers, they spent some time in private prayer, or could rest. A
third key principle of the Camaldolese life was the mortification of the flesh.
Their clothing, meals and fasting bear witness to the extreme austerity of their
lives. In the cells, the beds were made of wooden planks, and soft eiderdowns
were not permitted. Food was also rationed. During some periods they ate a
single meal a day. Friday was a day for fasting on bread and water. During
Holy Week they would flagellate themselves three times a day. Mortification
was supposed to weaken ties with earthly things and help to achieve deeper
concentration In prayer.
The order looked after the small St Anne s Church at the foot of Pažaislis
Hill; later they set up a church in the mansion of Dusmenos that was their
property. They also owned a house In Vilnius. The need to handle legal docu-
ments from donations caused them to abandon some of the strict observances
of solitude. In the 17th century, a noviciate was established at Pažaislis, add-
ing the new task of educating and cultivating future brethren.
No women could enter the hermitage; only the greatest benefactors were
occasionally allowed to participate In services In the monastery church on the
more Important holidays. Men could attend Mass In the church about a dozen
times a year. The monks received benefactors and guests in the guesthouse,
and one monk would be assigned to take care of them.
The austere rule and their secluded life attracted a few myths that do not
comply with the reality. For Instance, that monks entering the hermitage were
believed to take vows of eternal silence, or that on meeting each other they
would exchange only memento mori , thus directing the thoughts towards the
afterlife. In the 19th century, romantically minded visitors to Pažaislis claimed
that the wells in front of the church were there for rearing turtles. The
Camaldolese did abstain from meat, but we do not know about turtles being
reared, either at Pažaislis or at other monasteries.
From its Inception, Pažaislis was planned and constructed as a Camal-
dolese monastery. Monks cells were an Integral structural element of such
monasteries. The décor of the buildings employed the iconography of
Camaldolese saints, St Romuald and St Boniface, and the Virgin Mary, who
was paid special devotion by the order.
FOUNDING (p. 15)
The founder and patron of Pažaislis, Kristupas Zigmantas Pacas (1621-
1684), was the chancellor of the Grand Duchy of Lithuania and a person
closely connected with the court of the Polish-Lithuanian rulers from a young
age. He studied at Padua and Leiden universities. His studies, his position in
court circles and his fluency in foreign languages helped him to establish rela-
tionships with the Italian and French nobility.
In 1658, Pacas was appointed chancellor of the Grand Duchy of Lithuania.
He held this position, one of the most Influential ones In the grand duchy, until
his death. In the second half of the 17th century, the Pacas family played an
active role In the political life of the grand duchy. Mikalojus Steponas, the
brother of Kristupas Zigmantas, was a bishop of Vilnius. Other kinsmen of his
also held key positions: Kazimieras Pacas was a bishop of Samogitia, Mykolas
Kazimieras Pacas a hetman of the Grand Duchy of Lithuania, and Petras Pacas
a provincial governor of Samogitia.
Kristupas Zigmantas Pacas owned several mansions and palaces, but his
main residence was a Belvedere palace near Warsaw. On 28 June 1654 he
married Clara Izabelle de Mallly (circa 1631-1685), a lady in waiting to the
Polish queen, Maria Liudvica. By this marriage the 33-year-old nobleman
achieved close ties with the court, even though he did not always see eye to
eye with the ruler. Even when Pacas was away from Warsaw, ladies in waiting
and the wives of the nobility continued to be entertained at lavish parties at
his palace.
In the foundation documents, Pacas wrote that his decision to found a
Camaldolese monastery was strongly influenced by his relative Mikalojus
Pacas, a bishop of Samogitia. At the beginning of the 17th century, the latter
had left the diocese and settled in the Camaldolese hermitage in Padua,
where he spent the last days of his life. In 1660, Pacas invited the first monks
to look around and select a site to build a monastery. They chose a mound at
Pažaislis, not far from Kaunas, standing in woods and looking across a loop in
the River Nemunas. The name Monte Paeis given to the monastery has two
meanings: it encapsulates the solitary nature of the monastic establishment
(Hill of Peace), and It incorporates the family name of the founders (Hill of the
Pacas). The endowment to the Camaldolese of Pažaislis was made on 3 Octo-
ber 1664. The construction of the stone monastery and church started in 1667,
and continued mainly with money from the founder, and later also on the basis
of contributions from other patrons.
It is not known how much Chancellor Pacas invested in the construction of
the monastery. Legend has It that the founder, on seeing the statements of
the charges, ripped the papers up and tossed them Into a fire, proclaiming:
What was dedicated to God, let God only know.՛ The construction work
started dragging on, and came to an end only after the death of the founder.
Pacas did not have direct heirs, as his only son had died in 1665, having
lived for only eight days. He must have been troubled by worries about finish-
ing the construction work. His sick French wife outlived her spouse by just a
year and a few months. Just before his death, Pacas accepted into his foun-
dation Pranciškus Steponas Medekša, a Kaunas judge s assistant and steward
of the Pacas estate. One of the four chapels In the church was dedicated to
the latter s patron saint, St Francis de Sales. Underneath the chapel he had a
crypt built to bury his body. Medekša once received at Pažaislis the sovereign
John Sobieski. After the founder s death, Kazimieras Mykolas Pacas, a knight
of the Order of Malta, supervised the work, but never in fact altering the aes-
thetic ideas that the founder had conceived and started to implement.
Pacas founded Pažaislis as a family mausoleum, a place of eternal rest. At
the time, there was already a tradition In the Republic of founding a church as
a burial place. Pacas died In Warsaw on 10 January 1684, his wife on 11
March the following year. Both were buried at Pažaislis in November 1685.
Initially there was an idea to commission marble sarcophaguses for the
Pacas, but financial problems prevented this, and their bodies remained in
wooden coffins in the crypt. The brains of the couple were placed in crystal
urns, and the hearts in marble ones. To emphasise their humility and piety, they
had their burial place built under the entrance: their bodies still rest there.
The construction of the monastery was a highlight In the practice of the
patronage of the arts in the Grand Duchy of Lithuania. In the 16th and the
first half of the 17th century, the grand ducal court had been the main patron
to commission foreign artists. In the second half of the 17th century, the situa-
tion changed. Mykolas Kazimieras Pacas, the hetman of the Grand Duchy of
Lithuania, founded St Peter and St Paul’s Church in Vilnius and chose to deco-
rate It in rare white stucco. That was a brave artistic statement for the Grand
Duchy of Lithuania. The patron of Pažaislis, however, came up with an even
more ambitious idea. He supported a unique architectural design and combined
different materials to decorate it: marble, stucco, painting and wood carving.
No other endowment in the grand duchy in the 17th century could equal the
scale and the cost of the endeavour at Pažaislis, which bears witness to the
patron s mindset. Pacas is known to have applied very exacting standards to
the work. He turned down the services of a German stucco artist; and finding
the right painter also took a very long time. At the beginning, he was even
unhappy with the esteemed Florentine painter Michelangelo Palionį, who
worked too slowly. Eventually, the artist and the patron arrived at some kind
of compromise.
The 16th and 17th centuries saw the destruction of the idea of earthly
Paradise as a place existing somewhere surrounded by woods or seas on the
edge of the Earth. The enclosed quadrangle of the cloister seemed to embody
best the Idea of the earthly Eldorado. Of all monasteries, the ones of an en-
closed nature seem to approach the closest the Idea of an earthly Paradise. A
Camaldolese hermitage Is like a heavenly place. The Camaldolese monks fol-
lowed the example of the early Christian anchorites who could not Imagine
piety and devotion without being separated from the world. Is it possible that
Pacas also sought some kind of refuge, quiet, peace and concentration at
Pažaislis? Every year he visited the place and spent around a month there.
There, on the lonely site surrounded by woods and the river, the senior gov-
ernment official could forget court Intrigues, financial Issues and other trou-
bles. It seems that Pažaislis was for Pacas a kind of Baroque Arcadia:
CONSTRUCTION, AND THE
ARCHITECTURE OF THE MONASTERY
AND THE CHURCH (p. 23)
Immediately after the endowment In 1664, the preparations to construct a
monastery started. On 20 October 1667 the cornerstones of the Church of the
Visitation and the monastery were laid. The main structure was apparently
completed In a few years, probably by 1674 when the church was consecrated.
The towers on the faęade of the church were completed only In 1681.
Several Italian architects were Involved, In one way or another, In the con-
struction of the church and monastery. Pietro Putrini (1633-1699) worked the
longest; his name Is recorded In connection with Pažaislis between 1673 and
1691. Based on his designs, some details of the structure were hewn from
marble In the quarries at Krakow. Shipped to Pažaislis, they were assembled
there. His younger brother Carlo (1644-1682) lent a hand at Pažaislis, but he
was probably involved in the organisation and supervision. Carlo s life was
tragic: on arriving In Lithuania, he married; but while their first baby was ex-
pected, he died a sudden death near Kaunas. He is burled at Pažaislis. Two
other Italians were Involved in the construction: the king s architect Isidoro
Affaltatti (1622-clrca 1668), and the fiduciary of Kristupas Zigmantas Pacas,
an engineer colonel, Giovanni Battista Fredlanl (t after 1693). It Is not known,
however, which of these architects drew up the first plans.
After 1673, the church, some of the monastery buildings and the guest-
house were decorated In stucco, and later on with paintings. The church s
decoration In marble went on for 20 years. The stucco mouldings were made
by the Italian Giovanni Battista Merli between 1674 and 1676, Michelangelo
Palloni from Florence painted the frescoes, between 1678 and 1685. The main
construction and decoration work was completed by 1684, when Pacas passed
away. He had done his best to visit Pažaislis at least once a year. Even when
away, he corresponded with the Camaldolese abbot, and directly with the ar-
chitect and craftsmen.
The plan and the architecture. The layout of the monastery was deter-
mined by the needs of the Camaldolese Order. It Is comprised of four key parts:
the guesthouse, the church, some ancillary monastery buildings and an enclosed
area for monks cells (eremitorium in Larin). A Camaldolese hermitage was usu-
ally dominated by Its church, with the other parts organised around It.
Individual monasteries were also designed as the terrain dictated. At the
turn of the 16th century, the longitudinal plan became popular, and the low
hills of Pažaislis provided a site conducive to such a layout. The overall plan of
the ensemble Is symmetrical, and organised around a longitudinal axis. All the
buildings, the guesthouse, ancillary buildings, the monastery and the monks
cells, were organised on a strictly symmetrical principle. An 85-metre-long
drive opens on to a circle In front of the guesthouse, providing room for car-
riages to turn around. The general majestic air of the church Is thanks to the
convex central part of the faęade, of which the richness springs from both the
architecture and the detail. A high dome on a hexagonal base rising above the
church to a height of 54 metres hints at the shape of the main central space
of the church s plan. Monastery buildings flank the church on both sides. Fol-
lowing the Italian fashion, an open arched gallery was constructed. A wall was
built to enclose the area behind the church and the monastery buildings with
the monks cells. Along the wall there was once a gallery decorated with fres-
coes. In the second half of the 18th century, a bell tower was constructed at
the far end of the longitudinal axis on which the ensemble was organised.
The church at Pažaislis reflects the new Italian trends of the period, but
it does not adhere to any particular regional style. The overall plan recalls
Venetian central plan churches, while the design dominated by a dome and
the faęade with two towers recalls the Baroque structures of Rome and
northern Italy.
Two key features, a curved faęade, the first of Its kind In Europe, and a
central hexagonal plan, make the Church of the Visitation a unique architec-
tural statement.
In Poland-Llthuanla, the fashion for Baroque twin-tower faęades started
with the Camaldolese church in Blellany. These faęades are a common feature
In northern Italy and Lombardy, where the architects of Pažaislis, the Putrini
brothers and Isidoro Affaltatti, came from.
Faęades topped by a cupola were also widespread In northern Italy. The
slight curve of the faęade contributes largely to the overall visual effect: It em-
phasises the dome and leads the eye from the first storey to the second, and
up to the cupola. A characteristic Baroque trompe d oell effect here Is
achieved through the architectural orchestration of the structural elements.
Francesco Borromini, who in 1653 took over the designing of S. Agnese In the
Piazza Navona In Rome, was the first to use a concave faęade working against
a magnificent dome, but It was actually built later than Pažaislis was, and by
others. It Is Interesting that the faęade of the church In Rome Is also flanked
by towers, but less majestic than the ones at Pažaislis. It is possible that the
architect, who was familiar with the design of 5. Agnese, enhanced the overall
impression by giving the faęade the kind of solid towers that were common In
his native northern Italy. A balustrade between the two towers separates the
faęade and the dome, while four stone sculptures formerly on top represented
the Visitation. Statues of the Virgin Mary greeting Elisabeth were flanked by
Joseph and Zecharlah.
Another architectural feature of the church Is Its hexagonal plan. In gen-
eral, an octagonal shape fits best the central plan. It may be that the choice
was Inspired by Venetian architecture which abounds In centrally planned
churches. There was a similar hexagonal-shaped chapel In S. Michele dl
Murano, a Camaldolese church near Venice. The plan of the Church of the
Visitation Is also reminiscent of the Camaldolese church at Blelany In Poland,
the construction of which started later (In 1673).
The hexagonal body does not constitute an independent part of the plan,
but is Integrated Into a uniform two-directional space. Medieval architecture
was dominated by a longitudinal axis, leading like a clear path along spacious
and majestic Gothic cathedrals. The upward thrust of the centrally planned
structures of the Renaissance emphasises the magic power of the dome. Ba-
roque combines the two, at first glance, opposing principles in a single edifice.
On entering the church, the eye would normally first be attracted to the
high altar. The four chapels have not yet been revealed. Today, the high altar
Is gone, thanks to the transformations to fit the needs of the Orthodox Church
in the 19th century; therefore, it is not easy to imagine the original impression
of the interior. The 5.5-metre-high altarpiece hanging above the altar shows
the scene of the Visitation. Twelve ivory figures of the Apostles once flanked
the tabernacle. The choir behind the sanctuary gives the design its longitudinal
emphasis, which is strengthened by the sunlight pouring in through the win-
dows, as well as by the white stucco, contributing to the luminosity. Standing
in the vestibule, a visitor would see the dark altar enveloped in shadows,
looming up against the white choir. A similar contrast of light and shade was
also employed in other Camaldolese monasteries.
The choir is the brightest part of the church. Light had to fill this space,
giving it and the monks gathering in the choir for daily prayers a feeling of
otherworldly bliss. The dead had to strengthen the relationship with the after-
life, so the walls of the choir were hung with 43 portraits of esteemed
Camaldolese priests. Six figures of the first Christian hermits were fitted in be-
neath the vaults. The founder had given what was probably his most treasured
painting to decorate the sanctuary. It showed the Madonna and Child, and
was probably a present from Pope Alexander VII. The story of the Mother of
God, which started on the faęade with the Visitation, arrives at its apotheosis
on the vaults of the choir. The longitudinal axis terminates with the choir, im-
parting it with a sense of eternity, hope and resurrection.
An unusual note in the architecture, the tall columns along the sides of
the central body, provide a vertical emphasis. The frescos on the dome show-
ing saints and angels arranged in a circle are in harmony with the general
theme, while the Coronation scene on the dome strikes a contrast with the
longitudinal arrangement of all the other scenes glorifying the Virgin. Thus up-
setting the balance In the overall iconographlc scheme, the Coronation scene
on the dome strengthens the illusion of bringing Heaven closer.
THE DECORATION OF THE CHURCH (p. 55)
Not only the architecture gives Pažaislis its artistic value. Researchers agree
that the decoration of the church is a perfect amalgamation of different mate-
rials, with marble, stucco and painting merging into one another without a vis-
ible break.
Sandstone. The Swedish sandstone used at Pažaislis was probably pur-
chased in Königsberg; some separate details were also manufactured there.
Sandstone was imported in large quantities in the early stages of the decoration
work, and was used mostly on the entrance gate and the church faęade. Grey
sandstone was also used for some other parts of the faęade, elements of the
entablature and the framing of the windows. It Is possible that the eight original
statues were sculpted at Pažaislis. Four decorated the entrance gate, and the
other four formed the scene of the Visitation on the faęade. All these sculptures
were attributed to the stoneworker Nicolaus Wolscheid (1545-1676) of German
origin. He arrived from Trier, died at a young age and was buried in the Church
of St George in Kaunas. The sculptures were pulled down around 1870.
Marble. The Interior walls of the church were mostly adorned in black and
red marble, white was used for the flooring. Pietro Putrini was responsible for
the design and the execution of the marble decoration. The marble was shipped
by sea and by river from quarries near Krakow. Designs for separate details
were sent to Krakow to have some of the parts made there. The red marble
used abundantly to decorate the body of the church was given special signifi-
cance. Red marble columns accentuate the vertical aspect of the interior, framed
by arches in the same marble. Black marble was used to bring into relief some
architectural features. The need to coordinate the work with stonemasons in
Krakow and the complicated shipping arrangements made the marble decoration
the longest process, lasting for almost two decades. In 1691, when Puttinl left
Pažaislis, the floor and the walls would have been completed.
Stucco. All the stucco work is attributed to the Italian Giovanni Battista
Merli (1646-circa 1695), who worked at Pažaislis between 1573 and 1676.
Before him a German artist was hired, but he was dismissed because of the
poor quality of his work. There are examples of Merli s signature dated 1674
and 1676 in the sacristy and the choir. No other work by this artist is known.
The motifs of massive garlands of fruit and of twisted volutes reminiscent of
cornucopia look especially realistic and spectacular. Heavy, massive and freely
modelled forms in stucco represent the tradition of the first half of the 17th
century, to be replaced later by a more detailed and precise form of modelling.
Work in the later style dominates the interior of the Church of St Peter and
St Paul in Vilnius, which was decorated several years later. It Is Interesting that
Mykolas Kazimieras Pacas, the patron of that church, famous for its exuberant
stucco decoration, initially tried to engage Merli, who was then working at
Pažaislis, but he did not take up the commission. Thus, Pažaislis is the only
example of this style of stucco work in Lithuania.
Frescoes. The 17th-century wall painting at Pažaislis Is also attributed to
a single artist, Michelangelo Pallonl (1637-1711/1713) from Florence. It is well
known that the founder was very particular In his choice. One of the key re-
quirements for the artist was to work alone instead of supervising a team of
apprentices. It is highly possible that Palloni worked alone or with a couple of
assistants. By its total area of wall paintings, the Church of the Visitation sur-
passed by far other buildings in the Grand Duchy of Lithuania in the 17th cen-
tury. The church alone is decorated with 98 different-sized frescoes on various
themes, painted between 1678 and 1685. The vestibule frescoes and those on
the walls of the chapels represent a more detailed modelling of the subjects
and a greater expressivity of their psychology. The scenes on the vaults, situ-
ated higher up and more difficult to see, are conceived in a more simplified
manner. Palloni was an expert at using perspective and foreshortening, a
broad colour scheme, and light and shade to achieve an illusionary effect. He
employed the architectural backdrop skilfully and expressed the emotions of
his subjects. His complex scenes frequently integrate historical figures from the
17th century. He left Pažaislis after the founder s death; by that time he had
executed most of the work (except for the dome, which was painted in the
early 18th century and Is attributed to Giovanni Rossi). Palloni stayed in the
Polish-Lithuanian Commonwealth until the end of his life. Between 1690 and
1692, he completed another superb work in Lithuania, the frescoes in
St Casimir s Chapel in Vilnius Cathedral. Later he moved to Warsaw and
worked on commissions for the king, John Sobieski, and the Polish nobility.
Woodcarving. Carved wooden panelling, dating from between 1674 and
1675, has only been preserved in the sacristy of the church. It is possible that
similar panelling was used in other parts too: woodcarving might have been
used for the altar. The woodcarvings In the sacristy echo the architectural
theme: a blind arcade segmented by pilasters features the fleur-de-lys, the
crest of the Pacas family, as the main decorative element.
THEMES OF THE DECORATION (p.67)
The theme of the wall paintings in the church centres on devotion to the
Blessed Virgin Mary. A fresco In the vestibule echoes the dedicatory sculptural
group of the Visitation that was once a decorative highlight of the fagade. The
fresco In the dome shows the scene of the Coronation, and the cycle In the
choir tells the story of the Virgin. The frescoes in the chapels, the corridor, the
chapter house and the sacristy tell other iconographic stories.
Vestibule. Both the frescoes on the side walls show scenes from the Old
Testament: The Feast of Belshazzar and The Crossing of the Red Sea. At the
Feast of Belshazzar, a miraculous hand appeared to show the prophetic words
that spelled out the end of the king s reign, a scene symbolising the liberation
of the Israelites from Babylonian oppression. The opposite wall shows the Isra-
elites led by Moses fleeing Egypt, and the Egyptian army In pursuit. The Lord
divided the water, and the Israelites crossed the sea on dry ground, but the
Egyptian army was swept into the water.
Another fresco, situated above the main portal on the western wall,
shows the scene of St Benedict Meeting his Sister St Scholastics. The fresco
appears on the main axis of the church between two portrayals of the Visita-
tion, the sculptural group, and the vestibule fresco. This scene also honours
St Benedict, whose rule was adopted by the Camaldolese Order.
The church and chapels. Only a few steps take the visitor from the ves-
tibule Into the main body of the church. The soffit of the dome shows the
Coronation of the Virgin, encircled by saints.
Four architecturally identical chapels surround the body of the church, and
each explores a different pictorial theme. The two side chapels closest to the
door are dedicated to the patron saints of the benefactors. Both are visible
from the balconies of the chancel. The two other chapels, those of St Romuald
and St Mary Magdalen del Pazzi, are dedicated to the patron saints of the
Camaldolese Order and the Pacas family. Other paintings and the altars in the
chapels were destroyed In the 19th century.
The first chapel on the left Is dedicated to St Christopher. According to
the legend, the saint was a giant who was known for his loyalty and his faith,
and was widely venerated in the Middle Ages. Two huge frescoes in the
chapel show his martyrdom, entitled The Torture of St Christopher and The Be-
heading of St Christopher. The latter also includes the figure of the founder,
Krlstupas Pacas. Fie is depicted in the foreground: kneeling, he contemplates
the martyrdom of his patron saint.
On the right, the first chapel is dedicated to St Francis de Sales. On the
right wall, a fresco shows St Francis Being Received by the Pope՛, on the left
The Sermon of St Francis Includes a group of people listening to the saint
preach, many of them nobles, dressed In costumes of the second half of the
17th century.
The second chapel on the right of the church is dedicated to St Mary
Magdalen del Pazzi. Due to the similarity between the names, this Carmelite
saint from Florence was associated with the Pacas family of the Grand Duchy
of Lithuania, even though no direct family link existed. The fresco on the right
of the chapel shows the miracle that occurred after the saint s death, when
Mary Magdalen turned her face away from a wretched youth. The left fresco
shows a vision of the saint attending the Entombment.
The last chapel on the left is dedicated to the founder of the Camaldolese
Order and its main patron, St Romuald. On the right The Dream of St Romuald
is depicted. According to hagiographic accounts, the saint had a dream of
monks dressed in white habits and understood it was his calling, The left
painting shows St Romuald Visiting Emperor Otto III, when the saint had the
courage to oppose the emperor for punishing rebels.
The sanctuary and the choir. The theme of royalty dominates the wall
paintings of the sanctuary. Both the frescoes show the first encounters of the
Polish kings with the Camaldolese. The right shows St Romuald Taking King
Casimir into Cluny, the left King Boleslaw Visiting and Honouring the Disciples
of St Romuald. It is worth noting that both frescoes include the 17th-century
nobility and gentry dressed in costumes of the period. The vault of the sanctu-
ary is abundantly decorated in stucco mouldings exploring the subject of the
authority of the Church and the Holy Bible. Four stucco figures represent the
four Evangelists, while the vault of the small blind dome shows four great fa-
thers of both the Eastern Orthodox and the Roman Catholic churches.
In the choir, white stucco mouldings reinforce the Impression of light,
which is already ample there by design. Twenty-two frescoes, a narrative cycle
of the Life and Assumption of the Virgin, were painted in the choir, the most
richly decorated space. The paintings on the left wall depict the Holy Virgin s
life before the birth of Jesus, the right tells the story of the Mother of God.
Two larger scenes below the vault mark the beginning and the final moments
of her earthly journey, the Nativity of the Virgin on the left, and the Dormitlon
on the right. The scene at the far end of the choir, on the east wall, depicting
bewildered Apostles gazing at the deserted tomb of the Holy Virgin, directs
the eye upwards to the Coronation scene painted on the dome.
Six corners below the vaulting of the choir contain stucco figures by Merli
of the early Christian anchorites. These were put here for the monks gathering
in the choir every day, to give them inspiration for prayer and contemplation
and to help them visualise the ideals of the monastic rule.
The sacristy and chapter house. The decoration of the sacristy and the
chapter house, both on opposite sides of the choir, follows a different Icono-
graphie scheme. The Last Supper Is situated centrally on the sacristy vault. The
choice of the last meal eaten by Christ and His Disciples, symbolic of the
Eucharist, is natural for a sacristy, the place for preparation and concentration
before Mass. The symbolism of the wall paintings and stucco mouldings glori-
fies repentance and Holy Communion. The wall painting showing St Francis of
Assisi Receiving a Chalice from an Angel above the sacristy door might strike
the viewer as a little unexpected. The saint, In a habit and on his knees, wel-
comes the angel carrying the chalice. But the symbolism of the scene Is In line
with the theme developed in the sacristy. When St Francis had doubts about
the priesthood, an angel arrived and presented him with a crystal chalice. The
Image could not but Inspire a priest about to celebrate Mass.
The three small rooms off the sacristy were the treasury of the
Camaldolese, St Joseph s Chapel for sick priests, and a place for priests to
wash The sumptuous marble sink that was originally there was moved to the
choir in the 19th century and set into the east wall.
The chapter house was situated on the side of the choir and sanctuary,
opposite the sacristy. It served not only as a gathering place for the monks to
discuss Issues of the order, but also as a place for confession. The Passion
cycle decorating the chapter house begins with The Agony in the Garden of
Gethsemane.
Corridors and refectory. Separate iconographic themes were chosen for
the corridors leading to the sanctuary and the refectory. The wall paintings in
the corridors show the first Polish and Lithuanian followers of St Romuald.
Christ and His Disciples having meals and the miraculous nourishment of the
saints are the themes that were chosen for the refectory.
The north corridor, going past the chapter house, tells the story of
St Bogumilus. Archbishop Bogumilus of Gniezno, who died at the beginning
of the 13th century, resigned his position and lived as a hermit till the end of
his days. Since the early 17th century his life was presented as an example
in Camaldolese texts and held in reverence at Pažaislis as well as at other
monasteries. The first four paintings show the miracles of St Bogumilus, the
other four tell about the position in the Church he once held and how he
gave it up. It is interesting to observe that in the fresco Blessed Bogumilus
Constructing the Church, Palloni painted the construction of Pažaislis in the
17th century and several historical characters: the architect, the Camaldolese
and the construction supervisor, rather than showing events from the second
half of the 12th century.
The walls of the opposite corridor, leading past the sacristy, relate the
story of St Boniface. St Boniface (who was baptised Bruno and is often re-
ferred to as Bruno of Querfurt) is associated with the first references to Lithua-
nia in historical annals, and was one of St Romuald’s first disciples. He wrote
the first history of the hermits who followed St Romuald. The wall paintings
depict two scenes in his life, his mission and his martyrdom. In these frescoes,
Palloni exploits the architectural theme for the background: one, St Boniface s
Fire Miracle, shows the dome of Florence Cathedral in the artist s home town.
The wall paintings in the refectory are in poor condition. The themes se-
lected relate to the mood of the monks who gathered here for nourishment.
According to records, the vault (whitewashed over in the 19th century)
showed Christ in the Desert, to remind the monks of the value of fasting and
mortification.
THE MONASTERY FROM THE
1 8 T H TO THE 20TH CENTURY (p. 129)
The last few decades of the 17th century saw the most rapid construction
work take place on the church at Pažaislis. Over the next two centuries it
changed hands many times. This was also a period of destruction, repair and
restoration.
On 15 October 1712 the bishop of Vilnius, Kazimieras Konstantinas
Bžostovskis, consecrated the church. This should have marked the end of the
construction work: however, not all of it had been completed by this date. In
1730, plans were drawn up to build a bell tower on the same side as the
monks cells. The governor of Podlasie, Mykolas Juozapas Sapiega (t1733),
promised to fund the construction, and discussions with an architect began,
but no agreement was reached at the time. The benefactor went abroad,
and died shortly afterwards. The belfry was not built until the second half of
the 18th century, and its slender Late Baroque forms contrast with the other
parts of the ensemble.
On 10 June 1755, lightning struck the church and set it on fire, damaging
the roof, some of the monastery and the library, Franz Ignatius Hoffer, a Vilnius
architect, was invited to repair the damage. He repaired the monastery and
put a new tin roof on the two towers and the dome of the church.
In 1791, a Classical annex designed by Pietro Rossi was added to the east
faęade to reinforce the structure of the church. The annex overlooks the en-
closed yard and almost does not affect the genera! view of the church.
After the Third Partition of Poland-Lithuania in 1795, Pažaislis lost some of
its property, and the ties with other Camaldolese monasteries were severed.
The lakes, a steady source of fish for the kitchen, were confiscated from the
monks, and in the early 19th century they received permission to eat meat.
The community suffered again in 1812, the year of Napoleon s invasion of
Russia. Some liturgical vessels were stolen, as well as six of the 12 ivory figu-
rines decorating the high altar.
The final blow to Pažaislis turned out to be the closure of the monastery
in 1831, on the basis of allegations of supporting the rebels. In 1832, the
monastery and the church were given to Russian Orthodox monks. It took them
a decade to convert the Catholic church for Orthodox use. They removed the
altars, changed the white monks habits for black, repainted several spandrel
frescoes in the church and whitewashed some of the others. In 1837, the tsar,
Nicholas I, paid a visit to Pažaislis. The sumptuous Baroque ensemble made
such an impression on him that he gave an order to preserve the decoration,
but to adapt the buildings to the needs of the Orthodox Church. This probably
saved them from more drastic alterations. Since heating the church was costly,
a building on the south of the churchyard was turned into a winter Orthodox
church. An onion-shaped dome was added to the building, which was removed
only after the First World War.
The neglected premises cried out for care. The monks cells seemed to be
the most superfluous to the Orthodox monks of Pažaislis: first they were used
as sheds; later, in 1877, they were knocked down. Only three have survived to
our days, so the enclosed yard with the cells has lost completely its original
appearance.
In 1915, German soldiers were billeted in the monastery and looted it like
vandals. The tin roofs of the church and the monastery buildings were ripped
off and used for the war effort. A temporary roof soon started leaking and
exposed the interior to rain.
In 1920, possession of Pažaislis was given to the nuns of the Congrega-
tion of the Sisters of St Casimir, who arrived from Chicago. They found the
buildings and the church devastated by the Orthodox monks (some of the
property had been taken out of the country) and looted by the German troops.
Long years of repair and restoration followed; meanwhile, Russia gave back
some of the stolen property, among which were the two bells of the church
clock, cast in 1576, which have survived to our days.
In Soviet times, Pažaislis changed hands several times. First it housed a
psycho-neurological institution, later it passed to the Mikalojus Konstantinas
Čiurlionis Art Museum in Kaunas. The surrounding scenery was transformed by
the construction of the Kaunas Hydro-Electric Plant. The River Nemunas was
dammed in June 1959, and the former loop in the river was turned into a man-
made lake. The water engulfed the old Camaldolese cemetery and the ruins
of the old St Anne s Church at the foot of the hill. The hill, previously a promi-
nent feature, turned into an inconspicuous hillock on the shores of a man-
made lake.
On 15 July 1992, the prewar owners of Pažaislis, the Congregation of the
Sisters of St Casimir, returned.
Turinys
įvadas i
Kamaldulių vienuolija ir Pažaislis n
Pažaislio vienuolyno įkūrimas 15
Ansamblio statyba ir architektūra 23
Bažnyčios puošyba 55
Smiltainis 55; Marmuras 56; Stiuko lipdyba 58;
Sienų tapyba 61; Medžio drožyba 64
Sienų tapybos siužetai 67
Prieangis 68; Centrinė nava ir koplyčios 75;
Presbiterija 89; Choras 96; Zakristija 104; Kapitula
Koridoriai 115; Refektorijus 120; Foresterija 126
Pažaislio vienuolynas XVIII-XX amžiuje 129
Svarbiausių įvykių chronologija 132
Summary 134
Chronology of main events 140
List of lllustrations 141
Literatūra 143
Iliustracijų šaltiniai 143
|
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| author_GND | (DE-588)133959821 (DE-588)133903575 |
| building | Verbundindex |
| bvnumber | BV042092177 |
| ctrlnum | (OCoLC)723924787 (DE-599)BVBBV042092177 |
| era | Geschichte 1600-1700 Geschichte gnd |
| era_facet | Geschichte 1600-1700 Geschichte |
| format | Book |
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| geographic | Lithuania / Kaunas fast |
| geographic_facet | Lithuania / Kaunas |
| id | DE-604.BV042092177 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:12:30Z |
| institution | BVB |
| isbn | 9955965045 |
| language | Lithuanian |
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| physical | 143 S. überw. Ill., Kt. 28 cm |
| publishDate | 2005 |
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| publisher | Karpavičius |
| record_format | marc |
| spelling | Pažaislis menas ir istorija ; art and history [sudarytojas ir teksto autorius Mindaugas Paknys. Fotografas Kęstutis Stoškus. Sudarytojas ir dailininkas Eugenijus Karpavičius] [Vilnius] Karpavičius 2005 143 S. überw. Ill., Kt. 28 cm txt rdacontent sti rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Includes bibliographical references (p. 143) Pažaislis (Monastery : Kaunas, Lithuania) Pažaislis (Monastery : Kaunas, Lithuania) fast Kloster Kaunas (DE-588)7525905-9 gnd rswk-swf Geschichte 1600-1700 Geschichte gnd rswk-swf Architecture, Baroque / Lithuania / Kaunas Art, Baroque / Lithuania / Kaunas Church decoration and ornament / Lithuania / Kaunas Monasteries / Lithuania / Kaunas / History / 17th century Architecture, Baroque fast Art, Baroque fast Church decoration and ornament fast Monasteries fast Geschichte Kunst (DE-588)4114333-4 gnd rswk-swf Lithuania / Kaunas fast Kloster Kaunas (DE-588)7525905-9 b Kunst (DE-588)4114333-4 s Geschichte z DE-604 Paknys, Mindaugas 1973- Sonstige (DE-588)133959821 oth Stoškus, Kęstutis Sonstige oth Karpavičius, Eugenijus 1953- Sonstige (DE-588)133903575 oth Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027533013&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027533013&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Pažaislis menas ir istorija ; art and history Pažaislis (Monastery : Kaunas, Lithuania) Pažaislis (Monastery : Kaunas, Lithuania) fast Kloster Kaunas (DE-588)7525905-9 gnd Architecture, Baroque / Lithuania / Kaunas Art, Baroque / Lithuania / Kaunas Church decoration and ornament / Lithuania / Kaunas Monasteries / Lithuania / Kaunas / History / 17th century Architecture, Baroque fast Art, Baroque fast Church decoration and ornament fast Monasteries fast Geschichte Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)7525905-9 (DE-588)4114333-4 |
| title | Pažaislis menas ir istorija ; art and history |
| title_auth | Pažaislis menas ir istorija ; art and history |
| title_exact_search | Pažaislis menas ir istorija ; art and history |
| title_full | Pažaislis menas ir istorija ; art and history [sudarytojas ir teksto autorius Mindaugas Paknys. Fotografas Kęstutis Stoškus. Sudarytojas ir dailininkas Eugenijus Karpavičius] |
| title_fullStr | Pažaislis menas ir istorija ; art and history [sudarytojas ir teksto autorius Mindaugas Paknys. Fotografas Kęstutis Stoškus. Sudarytojas ir dailininkas Eugenijus Karpavičius] |
| title_full_unstemmed | Pažaislis menas ir istorija ; art and history [sudarytojas ir teksto autorius Mindaugas Paknys. Fotografas Kęstutis Stoškus. Sudarytojas ir dailininkas Eugenijus Karpavičius] |
| title_short | Pažaislis |
| title_sort | pazaislis menas ir istorija art and history |
| title_sub | menas ir istorija ; art and history |
| topic | Pažaislis (Monastery : Kaunas, Lithuania) Pažaislis (Monastery : Kaunas, Lithuania) fast Kloster Kaunas (DE-588)7525905-9 gnd Architecture, Baroque / Lithuania / Kaunas Art, Baroque / Lithuania / Kaunas Church decoration and ornament / Lithuania / Kaunas Monasteries / Lithuania / Kaunas / History / 17th century Architecture, Baroque fast Art, Baroque fast Church decoration and ornament fast Monasteries fast Geschichte Kunst (DE-588)4114333-4 gnd |
| topic_facet | Pažaislis (Monastery : Kaunas, Lithuania) Kloster Kaunas Architecture, Baroque / Lithuania / Kaunas Art, Baroque / Lithuania / Kaunas Church decoration and ornament / Lithuania / Kaunas Monasteries / Lithuania / Kaunas / History / 17th century Architecture, Baroque Art, Baroque Church decoration and ornament Monasteries Geschichte Kunst Lithuania / Kaunas |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027533013&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=027533013&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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