Anna Sylwia Czyż is a professor at the Institute of History of Art at Cardinal Stefan Wyszyński University in Warsaw. The scope of her research interests include the art in the Grand Duchy of Lithuania, especially in the early modern period. Moreover she studies founding activity of the Pacai family in the wide context of verbal and pictorial culture of the Baroque in connection with the history of the Polish-Lithuanian Commonwealth. A significant amount of her research deals with the presence of Italian artists in Lithuania, Vilnius’s architecture, especially palaces and churches of “family of St Augustin”. She is interested in history of cemeteries in 19c. and conducts an inventory of necropolis in Ukraine. She is also documents of so-called Polish Cathedrals in the USA. She is the author of three books and many chapters and articles mainly focusing on the art in the Grand Duchy of Lithuania and cemetery art in 19c.
Impreza z okazji imienin Augusta III i święta Orderu Orła Białego w pałacu Sapiehów na Antokolu w Wilnie, czyli o pożytkach z czytania XVIII-wiecznej prasy, w: Stan badań nad wielokulturowym dziedzictwem dawnej Rzeczypospolitej, t. XVI, red. W. Walczak, K. Wiszowata-Walczak, Białystok 2023, 2023
The event at the name day of August III and the Feast of the Order of the White Eagle at the Sapi... more The event at the name day of August III and the Feast of the Order of the White Eagle at the Sapieha Palace in Antakalnis in Vilnius, or about the benefits of reading the eighteenth-century press
The author of the article shows August III’s name day and the Feast of the Order of the White Eagle, which Michał Ksawery Sapieha arranged on 2–3 August 1759 in the Antakalnis Palace near Vilnius. The celebration coincided with the Lithuanian Tribunal, of which the young, 24-year-old magnate was marshal, as well as his reception of the Order of the White Eagle. Organized with incredible splendor two-day celebration of the name day and the Order Feast were accurately reported in the “Kurier Polski”. On this
basis it is possible not only to reconstruct the decoration and the firework, but this account provides a great deal of important information about the Antakalnis Palace itself. Thus, we learn the names of palace gates and piano nobile rooms. Also information on the garden layout may be found. These are the data, which are impossible to find in known archives referring to the Sapiehas’ palace at Antakalnis in Vilnius.
The article cites a valuable source for the early-Baroque, unpreserved decoration of Vilnius Cath... more The article cites a valuable source for the early-Baroque, unpreserved decoration of Vilnius Cathedral, which was destroyed in 1655, when the five-year occupation of Vilnius by Moscow troops began. The creator of the altarpiece, which was visually matched to the Gothic chancel, was a woodcarver from Nyasvizh, Henryk Küntzow. He made a two-tiered, gilded altarpiece, probably based on the scheme of a triumphal arch. The creation of such a structure, on the one hand, was associated with changes in the interiors of churches in the spirit of the Counter-Reformation, and on the other hand, was part of the retrofitting of the Vilnius Cathedral prior to the celebration of the transfer of the relics of St Casimir to the newly erected chapel-sanctuary (1636).
The article, based on cartographic sources, including the cadastral plan of Vilnius, pro-poses a ... more The article, based on cartographic sources, including the cadastral plan of Vilnius, pro-poses a new dating of the catacombs at Ra-sos cemetery. They were created in two steps. The first ones, in 1801, were built to cover the area for the future cemetery chapel, and only in 1826 were wings parallel to the planned façade of the chapel added to them. In this way, the catacombs at Rasos cemetery took the shape of the turned let-ters L.
The objective of the first non-invasive research – geophysical survey and laser scanning using LI... more The objective of the first non-invasive research – geophysical survey and laser scanning using LIDAR technology – performed in the church in Vilnius was to initially explore the underground structures and map them to the overground part of the building. Over 200 profiles obtained in a few measuring polygons of various sizes and locations confirmed the presence of two-levelled crypts. On the entire surveyed surface, just below the floor surface, there are numerous points of signal amplification zones, which should be associated with the fixing of ceramic floor tiles. At approx. 0.50 m below the ground level, in the central part of the church, the GPR images show a division into transversely separated segments which correlate with the passage of the EM wave through the vaults of the central room supported by pillars. It was documented by laser scanning in the form of a 3D model.
Ludwik Michał (1780-1835) was one of the wealthiest people in the old Polish-Lithuanian Commonwea... more Ludwik Michał (1780-1835) was one of the wealthiest people in the old Polish-Lithuanian Commonwealth. However, he used his assets wisely, multiplying them in well-planned businesses and large-scale farms: his was one of the first mechanised farms in the former Polish-Lithuanian state. Pac developed his political career in Warsaw and needed a representative seat in the capital of the Kingdom of Poland, so he purchased the Radziwiłł Palace along with a spacious property on Miodowa street. In 1824, Ludwik Michał Pac started the reconstruction, which was led by Enrico (Henryk) Marconi, the co-creator of the palace in Dowspuda. The character of the entire palace complex was a combination of classicist, neo-Renaissance and Palladian motifs, and the Pac family's palace should be regarded as one of the most important examples of palace architecture in the era of the Kingdom of Poland. The palace was erected in modern style-an opposition of neo-Gothic Dowspuda, his main seat. In the palace of Warsaw the particularly interesting was the decoration of the dining room, which is described quite enigmatically as "the room with Pacowski buildings" ("sala z budowlami Pacowskimi") in the literature.
The ship pulpit from the Church of SS Peter and Paul in Antakalnis in Vilnius is regarded in the ... more The ship pulpit from the Church of SS Peter and Paul in Antakalnis in Vilnius is regarded in the literature on the subject as a woodcarving project executed in 1803 by Giovanni Boretti and Niccolo Piano, who were supposed to have been brought specially from Milan to renovate the church and furnish it. Meanwhile, they were both simple masons who arrived in Vilnius in the late 18th century, and Piano died in 1802. Formally, the pulpit features show that it was executed in the 1720s after the design of Pietro Perti, co-author of the excellent stucco décor of the Antakalnis church. The actual executors were local woodcarvers already after the death of he stuccoist in 1714. The initiator of the works was the Antakalnis Provost Piotr Procewicz, doctor of philosophy and an appreciated preacher, who in 1737 took over the congregation of the Corpus Christi. The fact that the pulpit is earlier is confirmed by the inventory of the Antakalnis Church of SS Peter and Paul from 1766. The shape of the pulpit of the navis Ecclesiae type stemming from ecclesiological content fits in with the ideological programme of the church dedicated to Saints Peter and Paul. It is also particularly connected with the Order of Canons Regular of the Lateran who, as was assumed, came from the community of Apostles called by Christ. The second ship pulpit in the Polish-Lithuanian Commonwealth, actually quite faithfully replicating the Vilnius one, was created for the Church of Canons Regular of Corpus Christi in Kazimierz (17401745). This one, too, was raised as commissioned by Piotr Procewicz. The pulpit from Vilnius was created at the time when the navis Ecclesiae type pulpits were built throughout Europe.
Inwentaryzacja zabytków w Polsce. Dzieje metody, osiągnięcia, red. M.F. Woźniak, Toruń, 2021
The article presents the place of cemeteries in the inventory research on the Polish heritage abr... more The article presents the place of cemeteries in the inventory research on the Polish heritage abroad within the context of the authors’ own subject research and the methodology they developed. The majority of the activities is connected with the cemeteries on the so-called Eastern Borderlands. Meanwhile, the issue of Polish necropolises and graves is much broader and goes far beyond this area, as it also includes military cemeteries, burials of refugees in Africa and Asia, as well as Polish emigration cemeteries in North America. Therefore, it is essential to develop a set of coordinated activities and adopt a fairly coherent methodology of work undertaken by the representatives of various disciplines. Moreover, a significant role is also played by the possibilities of modern technology not only in the field of keeping inventories, but also that of giving the widest possible group of researchers and all those who are for various reasons (including family reasons) interested in the results of inventory research quick access to the materials collected (databases available on-line).
The artistic activity of the Vasa House has long interested researchers of modern art in the Poli... more The artistic activity of the Vasa House has long interested researchers of modern art in the Polish--Lithuanian Commonwealth. However, while the artistic investments of Sigismund III and his sons in the most important political centres of the Crown (Kraków, Warsaw) are relatively well known, those undertaken in the capital of the Grand Duchy of Lithuania have not been discussed more broadly, except for the foundation of St Casimir Chapel at the Vilnius cathedral. The main obstacle is undoubtedly the poorly preserved historical fabric, but also the scarcity of written sources. However, Vilnius – the second capital of the state, in a unique way associated with the Jagiellonian dynasty, had a special place in the activities of the Vasa House, as evidenced by St Casimir Chapel mentioned above. Th e prestige of connections with the Jagiellonians and the propaganda importance of these relationships could not remain indiff erent to both Sigismund III and his successors. The Vasas’ artistic foundations undertaken in Vilnius were therefore meant to expose this affinity through, among other things, the expansion of the castle or support for the Dominicans. The Vasas were also eager to participate in the works undertaken by their closest associates, an eloquent example of which is St Teresa Church belonging to the Discalced Carmelites, funded by Stefan Pac.
The article deals with the little-known portraits of Michał Kazimierz Pac. They demonstrate that ... more The article deals with the little-known portraits of Michał Kazimierz Pac. They demonstrate that he did take proven self-aggrandizement measures used by others to portray themselves as public figures and as individual full of virtues. However, Pac concentrated on his soldierly service, disregarding his offices of the Vilnian voivode, possibly because he considered them prestigious but not so much important as his laudable hetmanly deeds on the battlefield. Also, there are no private or collective portraits of Michał Kazimierz Pac in his iconography, other than the frescos from the church in Pożajście, although these forms of artistic communication were known and used in the Polish and Lithuanian Commonwealth. The most likely explanation of these two “gaps” is that Pac never married and devoted whole his life to the military career and to the building of the church under the invocation of St. Peter and St. Paul in the Antokol in Vilnius as his monument. Pac took care of his promotion after earning the field baton, which event started his further career. The compositional scheme he chose, codified by the lost full-body portrait by Daniel Schulz, was augmented in time by the addition of pieces of armor. This pattern was later repeated a number of times, growing in new attributes of the hetman’s office and in military staffage, as seen in the portrait from the Antokol church. The equestrian portrait (woodcut) of the hetman is an outstanding and early milestone in the formation of his public image.
"LIETUVOS ISTORIJOS METRAŠTIS" 2020 nr 2, s. 41-60, 2020
The article sets out to make a synthetic analysis of residential architecture in Vilnius from the... more The article sets out to make a synthetic analysis of residential architecture in Vilnius from the 17th century that has hitherto been little analysed in research literature. Vilnius, the capital of the Grand Duchy of Lithuania, was where every significant magnate had to have an appropriate residence, in order to be acknowledged in the political arena. Palaces that met the needs and ambitions of their owners not only played a public role, but also served as a venue for magnate family and their clients gatherings. By merging with the living organism of the city, they were not only a sustainable decoration, but at times would also represent their owners’ religious and political standpoint. An analysis of Vilnius’ topography helps to identify parts of the city that were considered more prestigious than others. These were mainly the area around the Grand Duke’s Palace and the cathedral, and along the via regia, which was where the Radvilas (Radziwiłłs) settled in the Middle Ages. One of the largest palaces in Vilnius, that of Mykolas Kazimieras Pacas (Michał Kazimierz Pac), was built there. The Radvilas also had property in Lukiškės, where members of the family would build esidences. At the end of the 17th century, the Sapiega (Sapieha) family followed in their footsteps, not only by building a palace in Antakalnis, but also establishing a jurisdiction in the suburb. Palaces in the city were built in accordance with the linear development of the streets, at times on irregular-shaped plots of land, with buildings in the courtyards (such as the residences of the Bžostovkis (Brzostowski) and Pacas families). However, vast plots of land were used for residences on the outskirts of the city, and particularly in the suburbs, which were often surrounded by gardens, and included folwarks and even menageries (the Sapiega Palace in Antakalnis, and the Radvila Palace in Lukiškės, which later merged with the newly formed suburb of Žvėrynas). A separate issue to consider in the future is the relations between the estates and the religious buildings in the area, where families had mausoleums, or at least where they supported the parish. Some examples are the Gosievskis (Gosiewski) Palace on Bokšto Street and the chapel in St Casimir’s Church; the Bžostovskis Palace on Dominikonų Street and the altaria in St John’s Church; and the Oginskis Palace in Arklių Street and the family’s relations with and support for the Carmelites. In this respect, the ideal situation was in Antakalnis, where Kazimieras Jonas Sapiega (Kazimierz Jan Sapieha) built the Trinitarian church and monastery next to his palace. Of all the 17th-century palaces in Vilnius today, only those of Jonušas Radvila (Janusz Radziwiłł), Mykolas Kazimieras Pacas, Dominykas Mykolas Sluška (Dominik Michał Słuszka) and Kazimieras Jonas Sapiega have been preserved in a condition suitable for further analysis. Of them, the Pacas can be singled out as a typical city residence, the rest were built as suburban residences. In analysing them, an attempt is made to link them with trends in residential building in the Polish-Lithuanian Commonwealth.
The Benedictines, who had been brought to Vilnius between 1616 and 1618, formed a small and modes... more The Benedictines, who had been brought to Vilnius between 1616 and 1618, formed a small and modest community. Thanks to the generous legacy of Feliks Jan Pac, in 1692 their situation changed as they could erect a brick church, which was then consecrated in 1703. The generosity of the Lithuanian chamberlain was not a coincidence; his two daughters, Sybilla and Anna, the only offspring he left, had joined the Benedictine Sisters in Vilnius. Sybilla (Magdalena) Pac, who became an abbess in 1704, was particularly important for the history of the monastery. Not only did she renew the community life, but she also became one of the most important personalities of the then Vilnius. After the fire in 1737 Sybilla Pac vigorously started rebuilding the monastery and the church, which was completed by her successor, Joanna Rejtan.
The facade which was then erected after Jan Krzysztof Glabitz’s design was adorned with stucco and metal decorations with a perfectly devised ideological programme which referred to the tradition of the order and to the one of the Pac family.
The facade presented ideals connected with the Benedictine life, which placed them among the hints of having to fight at the level of spirit and body, incorporating among the military symbols also the need to fight the enemies of the Church and the state, and the typical for the Benedictine spirituality piety connected with the Caravaca cross and the Divine Providence. At the same time, it reminded of the Benedictine vocations comparing nuns to lilies. This comparison, due to the presence of the Gozdawa coat-of-arms (double lilie) and the common nickname of the Pac family in the 17th and 18th cc. “the Liliats”, could also apply to their lineage, including the abbess Sybilla and her services to the monastery. Exposing founders in such an emphatic way was not only the will to immortalise them, but was also, together with the entire architectural and artistic decor of the church, connected with the need to counterbalance the new and dynamically developing Visitation Monastery in Vilnius. At the same time, the nature of the facade decoration of the Church of St. Catherine is in line with other foundations of the Pac family: St Theresa’s Church and the St Peter and St Paul Church, and was the last significant artistic initiative of the family in the capital of the Grand Duchy of Lithuania.
This article presents two printed epithalamia from the 17th c. related to marriages contracted in... more This article presents two printed epithalamia from the 17th c. related to marriages contracted in the Pacas family. Each of them was adorned with a graphic decoration conforming with the allegoric meaning of the Gozdawa coat-of-arms. This determined not only individual virtues but also, together with the relevant quotations and symbols, became a prognostic of a satisfactory marital life. It also demonstrated the connections of the Pacas family, which were crucial in terms of strengthening the position of both the family and its individuals against public and family issues.
The article covers the analysis of tombstones in Ternopil voivodeship (Ukraine) which mark the bu... more The article covers the analysis of tombstones in Ternopil voivodeship (Ukraine) which mark the burial places of participants in Polish independence battles and wars in the 20th century. Their identification was possible thanks to inventory work carried out by Institute of Art History of Cardinal Stefan Wyszynski University in Warsaw. Despite their typical form, the significance of the monuments discussed lies in their connections with the history of Polnad.
The article focuses on a relatively little known aspect of the history of the cathedral in Vilniu... more The article focuses on a relatively little known aspect of the history of the cathedral in Vilnius and its treasury, during the period from 1671 until 1684, when Mikalojus Steponas Pacas was Bishop. His episcopate was difficult as it was the period of disputes with a chapter reluctant to nominate him, his struggle for the episcopal see with Kazimieras Pacas, his relative and Bishop of Samogitia, and of rebuilding Vilnius and the Grand Duchy of Lithuania after the period of wars and the occupation by Muscovy. While strengthening his position, Mikalojus Steponas Pacas referred to his great predecessors, thus creating a sort of spiritual genealogy linked with the history of the state and the diocese. He cherished the memory of the bishops of Vilnius by caring for the objects from the treasuryin the cathedral, their liturgical foundations, and the various prints and accompanying graphics. His well thought-out self-creation was connected with the need for sacral legitimisation. Mikalojus Steponas Pacas’s contribution in equipping the cathedral’s treasury is presented against this backdrop. A critical analysis of previous opinions concerning his outstanding input to the history of the cathedral’s treasury and its interesting artistic foundations has been made.
The symbolic and propaganda messages of heraldic programs in seventeenth-century mourning prints ... more The symbolic and propaganda messages of heraldic programs in seventeenth-century mourning prints by Pac the association of their "Lilies" and the coat of arms Gozdawa
The article recalls a source from 1638 which has hitherto not been referred to in the literature ... more The article recalls a source from 1638 which has hitherto not been referred to in the literature on the subject, i.e. the history of two chapels at the cathedral in Vilnius: the Chapel of St. Casimir founded by King Sigismund III, and the Chapel of the Immaculate Conception, furnished as a burial chapel by Bishop Eustachy Wołłowicz (lit. Eustachijus Valavičius). The said source is a diary written by a Carmelite nun during her journey from Lublin to Vilnius (14 November – 26 December 1638), which she made with three fellow nuns assigned to a new monastery founded by Stefan Pac (lit. Steponas Pacas) and his wife Anna Maria Ancilia née Rudomina-Dusiatska (lit. Ona Marija Ancilia Rudomina-Dusiackaitė). The diary was penned by Sister Mary Magdalene (Anna Żaboklicka) who described various aspects of their journey, as well as a visit to the Vilnius Cathedral organized by the Pac family. The nuns were particularly impressed by the Chapel of St. Casimir. Thanks to Sister Mary Magdalene’s detailed description of the chapel, it was possible to reconstruct the subjects of some paintings by Bartłomiej Strobel, and to interpret several facets of its appearance, including the feretory of St. Casimir. While the description of Bishop Eustachy Wołłowicz’s chapel is not as detailed, it should be stressed that by inviting the nuns there, the Pac family intended to emphasize their kinship with the ruler of Vilnius, who was highly esteemed by his contemporaries.
Impreza z okazji imienin Augusta III i święta Orderu Orła Białego w pałacu Sapiehów na Antokolu w Wilnie, czyli o pożytkach z czytania XVIII-wiecznej prasy, w: Stan badań nad wielokulturowym dziedzictwem dawnej Rzeczypospolitej, t. XVI, red. W. Walczak, K. Wiszowata-Walczak, Białystok 2023, 2023
The event at the name day of August III and the Feast of the Order of the White Eagle at the Sapi... more The event at the name day of August III and the Feast of the Order of the White Eagle at the Sapieha Palace in Antakalnis in Vilnius, or about the benefits of reading the eighteenth-century press
The author of the article shows August III’s name day and the Feast of the Order of the White Eagle, which Michał Ksawery Sapieha arranged on 2–3 August 1759 in the Antakalnis Palace near Vilnius. The celebration coincided with the Lithuanian Tribunal, of which the young, 24-year-old magnate was marshal, as well as his reception of the Order of the White Eagle. Organized with incredible splendor two-day celebration of the name day and the Order Feast were accurately reported in the “Kurier Polski”. On this
basis it is possible not only to reconstruct the decoration and the firework, but this account provides a great deal of important information about the Antakalnis Palace itself. Thus, we learn the names of palace gates and piano nobile rooms. Also information on the garden layout may be found. These are the data, which are impossible to find in known archives referring to the Sapiehas’ palace at Antakalnis in Vilnius.
The article cites a valuable source for the early-Baroque, unpreserved decoration of Vilnius Cath... more The article cites a valuable source for the early-Baroque, unpreserved decoration of Vilnius Cathedral, which was destroyed in 1655, when the five-year occupation of Vilnius by Moscow troops began. The creator of the altarpiece, which was visually matched to the Gothic chancel, was a woodcarver from Nyasvizh, Henryk Küntzow. He made a two-tiered, gilded altarpiece, probably based on the scheme of a triumphal arch. The creation of such a structure, on the one hand, was associated with changes in the interiors of churches in the spirit of the Counter-Reformation, and on the other hand, was part of the retrofitting of the Vilnius Cathedral prior to the celebration of the transfer of the relics of St Casimir to the newly erected chapel-sanctuary (1636).
The article, based on cartographic sources, including the cadastral plan of Vilnius, pro-poses a ... more The article, based on cartographic sources, including the cadastral plan of Vilnius, pro-poses a new dating of the catacombs at Ra-sos cemetery. They were created in two steps. The first ones, in 1801, were built to cover the area for the future cemetery chapel, and only in 1826 were wings parallel to the planned façade of the chapel added to them. In this way, the catacombs at Rasos cemetery took the shape of the turned let-ters L.
The objective of the first non-invasive research – geophysical survey and laser scanning using LI... more The objective of the first non-invasive research – geophysical survey and laser scanning using LIDAR technology – performed in the church in Vilnius was to initially explore the underground structures and map them to the overground part of the building. Over 200 profiles obtained in a few measuring polygons of various sizes and locations confirmed the presence of two-levelled crypts. On the entire surveyed surface, just below the floor surface, there are numerous points of signal amplification zones, which should be associated with the fixing of ceramic floor tiles. At approx. 0.50 m below the ground level, in the central part of the church, the GPR images show a division into transversely separated segments which correlate with the passage of the EM wave through the vaults of the central room supported by pillars. It was documented by laser scanning in the form of a 3D model.
Ludwik Michał (1780-1835) was one of the wealthiest people in the old Polish-Lithuanian Commonwea... more Ludwik Michał (1780-1835) was one of the wealthiest people in the old Polish-Lithuanian Commonwealth. However, he used his assets wisely, multiplying them in well-planned businesses and large-scale farms: his was one of the first mechanised farms in the former Polish-Lithuanian state. Pac developed his political career in Warsaw and needed a representative seat in the capital of the Kingdom of Poland, so he purchased the Radziwiłł Palace along with a spacious property on Miodowa street. In 1824, Ludwik Michał Pac started the reconstruction, which was led by Enrico (Henryk) Marconi, the co-creator of the palace in Dowspuda. The character of the entire palace complex was a combination of classicist, neo-Renaissance and Palladian motifs, and the Pac family's palace should be regarded as one of the most important examples of palace architecture in the era of the Kingdom of Poland. The palace was erected in modern style-an opposition of neo-Gothic Dowspuda, his main seat. In the palace of Warsaw the particularly interesting was the decoration of the dining room, which is described quite enigmatically as "the room with Pacowski buildings" ("sala z budowlami Pacowskimi") in the literature.
The ship pulpit from the Church of SS Peter and Paul in Antakalnis in Vilnius is regarded in the ... more The ship pulpit from the Church of SS Peter and Paul in Antakalnis in Vilnius is regarded in the literature on the subject as a woodcarving project executed in 1803 by Giovanni Boretti and Niccolo Piano, who were supposed to have been brought specially from Milan to renovate the church and furnish it. Meanwhile, they were both simple masons who arrived in Vilnius in the late 18th century, and Piano died in 1802. Formally, the pulpit features show that it was executed in the 1720s after the design of Pietro Perti, co-author of the excellent stucco décor of the Antakalnis church. The actual executors were local woodcarvers already after the death of he stuccoist in 1714. The initiator of the works was the Antakalnis Provost Piotr Procewicz, doctor of philosophy and an appreciated preacher, who in 1737 took over the congregation of the Corpus Christi. The fact that the pulpit is earlier is confirmed by the inventory of the Antakalnis Church of SS Peter and Paul from 1766. The shape of the pulpit of the navis Ecclesiae type stemming from ecclesiological content fits in with the ideological programme of the church dedicated to Saints Peter and Paul. It is also particularly connected with the Order of Canons Regular of the Lateran who, as was assumed, came from the community of Apostles called by Christ. The second ship pulpit in the Polish-Lithuanian Commonwealth, actually quite faithfully replicating the Vilnius one, was created for the Church of Canons Regular of Corpus Christi in Kazimierz (17401745). This one, too, was raised as commissioned by Piotr Procewicz. The pulpit from Vilnius was created at the time when the navis Ecclesiae type pulpits were built throughout Europe.
Inwentaryzacja zabytków w Polsce. Dzieje metody, osiągnięcia, red. M.F. Woźniak, Toruń, 2021
The article presents the place of cemeteries in the inventory research on the Polish heritage abr... more The article presents the place of cemeteries in the inventory research on the Polish heritage abroad within the context of the authors’ own subject research and the methodology they developed. The majority of the activities is connected with the cemeteries on the so-called Eastern Borderlands. Meanwhile, the issue of Polish necropolises and graves is much broader and goes far beyond this area, as it also includes military cemeteries, burials of refugees in Africa and Asia, as well as Polish emigration cemeteries in North America. Therefore, it is essential to develop a set of coordinated activities and adopt a fairly coherent methodology of work undertaken by the representatives of various disciplines. Moreover, a significant role is also played by the possibilities of modern technology not only in the field of keeping inventories, but also that of giving the widest possible group of researchers and all those who are for various reasons (including family reasons) interested in the results of inventory research quick access to the materials collected (databases available on-line).
The artistic activity of the Vasa House has long interested researchers of modern art in the Poli... more The artistic activity of the Vasa House has long interested researchers of modern art in the Polish--Lithuanian Commonwealth. However, while the artistic investments of Sigismund III and his sons in the most important political centres of the Crown (Kraków, Warsaw) are relatively well known, those undertaken in the capital of the Grand Duchy of Lithuania have not been discussed more broadly, except for the foundation of St Casimir Chapel at the Vilnius cathedral. The main obstacle is undoubtedly the poorly preserved historical fabric, but also the scarcity of written sources. However, Vilnius – the second capital of the state, in a unique way associated with the Jagiellonian dynasty, had a special place in the activities of the Vasa House, as evidenced by St Casimir Chapel mentioned above. Th e prestige of connections with the Jagiellonians and the propaganda importance of these relationships could not remain indiff erent to both Sigismund III and his successors. The Vasas’ artistic foundations undertaken in Vilnius were therefore meant to expose this affinity through, among other things, the expansion of the castle or support for the Dominicans. The Vasas were also eager to participate in the works undertaken by their closest associates, an eloquent example of which is St Teresa Church belonging to the Discalced Carmelites, funded by Stefan Pac.
The article deals with the little-known portraits of Michał Kazimierz Pac. They demonstrate that ... more The article deals with the little-known portraits of Michał Kazimierz Pac. They demonstrate that he did take proven self-aggrandizement measures used by others to portray themselves as public figures and as individual full of virtues. However, Pac concentrated on his soldierly service, disregarding his offices of the Vilnian voivode, possibly because he considered them prestigious but not so much important as his laudable hetmanly deeds on the battlefield. Also, there are no private or collective portraits of Michał Kazimierz Pac in his iconography, other than the frescos from the church in Pożajście, although these forms of artistic communication were known and used in the Polish and Lithuanian Commonwealth. The most likely explanation of these two “gaps” is that Pac never married and devoted whole his life to the military career and to the building of the church under the invocation of St. Peter and St. Paul in the Antokol in Vilnius as his monument. Pac took care of his promotion after earning the field baton, which event started his further career. The compositional scheme he chose, codified by the lost full-body portrait by Daniel Schulz, was augmented in time by the addition of pieces of armor. This pattern was later repeated a number of times, growing in new attributes of the hetman’s office and in military staffage, as seen in the portrait from the Antokol church. The equestrian portrait (woodcut) of the hetman is an outstanding and early milestone in the formation of his public image.
"LIETUVOS ISTORIJOS METRAŠTIS" 2020 nr 2, s. 41-60, 2020
The article sets out to make a synthetic analysis of residential architecture in Vilnius from the... more The article sets out to make a synthetic analysis of residential architecture in Vilnius from the 17th century that has hitherto been little analysed in research literature. Vilnius, the capital of the Grand Duchy of Lithuania, was where every significant magnate had to have an appropriate residence, in order to be acknowledged in the political arena. Palaces that met the needs and ambitions of their owners not only played a public role, but also served as a venue for magnate family and their clients gatherings. By merging with the living organism of the city, they were not only a sustainable decoration, but at times would also represent their owners’ religious and political standpoint. An analysis of Vilnius’ topography helps to identify parts of the city that were considered more prestigious than others. These were mainly the area around the Grand Duke’s Palace and the cathedral, and along the via regia, which was where the Radvilas (Radziwiłłs) settled in the Middle Ages. One of the largest palaces in Vilnius, that of Mykolas Kazimieras Pacas (Michał Kazimierz Pac), was built there. The Radvilas also had property in Lukiškės, where members of the family would build esidences. At the end of the 17th century, the Sapiega (Sapieha) family followed in their footsteps, not only by building a palace in Antakalnis, but also establishing a jurisdiction in the suburb. Palaces in the city were built in accordance with the linear development of the streets, at times on irregular-shaped plots of land, with buildings in the courtyards (such as the residences of the Bžostovkis (Brzostowski) and Pacas families). However, vast plots of land were used for residences on the outskirts of the city, and particularly in the suburbs, which were often surrounded by gardens, and included folwarks and even menageries (the Sapiega Palace in Antakalnis, and the Radvila Palace in Lukiškės, which later merged with the newly formed suburb of Žvėrynas). A separate issue to consider in the future is the relations between the estates and the religious buildings in the area, where families had mausoleums, or at least where they supported the parish. Some examples are the Gosievskis (Gosiewski) Palace on Bokšto Street and the chapel in St Casimir’s Church; the Bžostovskis Palace on Dominikonų Street and the altaria in St John’s Church; and the Oginskis Palace in Arklių Street and the family’s relations with and support for the Carmelites. In this respect, the ideal situation was in Antakalnis, where Kazimieras Jonas Sapiega (Kazimierz Jan Sapieha) built the Trinitarian church and monastery next to his palace. Of all the 17th-century palaces in Vilnius today, only those of Jonušas Radvila (Janusz Radziwiłł), Mykolas Kazimieras Pacas, Dominykas Mykolas Sluška (Dominik Michał Słuszka) and Kazimieras Jonas Sapiega have been preserved in a condition suitable for further analysis. Of them, the Pacas can be singled out as a typical city residence, the rest were built as suburban residences. In analysing them, an attempt is made to link them with trends in residential building in the Polish-Lithuanian Commonwealth.
The Benedictines, who had been brought to Vilnius between 1616 and 1618, formed a small and modes... more The Benedictines, who had been brought to Vilnius between 1616 and 1618, formed a small and modest community. Thanks to the generous legacy of Feliks Jan Pac, in 1692 their situation changed as they could erect a brick church, which was then consecrated in 1703. The generosity of the Lithuanian chamberlain was not a coincidence; his two daughters, Sybilla and Anna, the only offspring he left, had joined the Benedictine Sisters in Vilnius. Sybilla (Magdalena) Pac, who became an abbess in 1704, was particularly important for the history of the monastery. Not only did she renew the community life, but she also became one of the most important personalities of the then Vilnius. After the fire in 1737 Sybilla Pac vigorously started rebuilding the monastery and the church, which was completed by her successor, Joanna Rejtan.
The facade which was then erected after Jan Krzysztof Glabitz’s design was adorned with stucco and metal decorations with a perfectly devised ideological programme which referred to the tradition of the order and to the one of the Pac family.
The facade presented ideals connected with the Benedictine life, which placed them among the hints of having to fight at the level of spirit and body, incorporating among the military symbols also the need to fight the enemies of the Church and the state, and the typical for the Benedictine spirituality piety connected with the Caravaca cross and the Divine Providence. At the same time, it reminded of the Benedictine vocations comparing nuns to lilies. This comparison, due to the presence of the Gozdawa coat-of-arms (double lilie) and the common nickname of the Pac family in the 17th and 18th cc. “the Liliats”, could also apply to their lineage, including the abbess Sybilla and her services to the monastery. Exposing founders in such an emphatic way was not only the will to immortalise them, but was also, together with the entire architectural and artistic decor of the church, connected with the need to counterbalance the new and dynamically developing Visitation Monastery in Vilnius. At the same time, the nature of the facade decoration of the Church of St. Catherine is in line with other foundations of the Pac family: St Theresa’s Church and the St Peter and St Paul Church, and was the last significant artistic initiative of the family in the capital of the Grand Duchy of Lithuania.
This article presents two printed epithalamia from the 17th c. related to marriages contracted in... more This article presents two printed epithalamia from the 17th c. related to marriages contracted in the Pacas family. Each of them was adorned with a graphic decoration conforming with the allegoric meaning of the Gozdawa coat-of-arms. This determined not only individual virtues but also, together with the relevant quotations and symbols, became a prognostic of a satisfactory marital life. It also demonstrated the connections of the Pacas family, which were crucial in terms of strengthening the position of both the family and its individuals against public and family issues.
The article covers the analysis of tombstones in Ternopil voivodeship (Ukraine) which mark the bu... more The article covers the analysis of tombstones in Ternopil voivodeship (Ukraine) which mark the burial places of participants in Polish independence battles and wars in the 20th century. Their identification was possible thanks to inventory work carried out by Institute of Art History of Cardinal Stefan Wyszynski University in Warsaw. Despite their typical form, the significance of the monuments discussed lies in their connections with the history of Polnad.
The article focuses on a relatively little known aspect of the history of the cathedral in Vilniu... more The article focuses on a relatively little known aspect of the history of the cathedral in Vilnius and its treasury, during the period from 1671 until 1684, when Mikalojus Steponas Pacas was Bishop. His episcopate was difficult as it was the period of disputes with a chapter reluctant to nominate him, his struggle for the episcopal see with Kazimieras Pacas, his relative and Bishop of Samogitia, and of rebuilding Vilnius and the Grand Duchy of Lithuania after the period of wars and the occupation by Muscovy. While strengthening his position, Mikalojus Steponas Pacas referred to his great predecessors, thus creating a sort of spiritual genealogy linked with the history of the state and the diocese. He cherished the memory of the bishops of Vilnius by caring for the objects from the treasuryin the cathedral, their liturgical foundations, and the various prints and accompanying graphics. His well thought-out self-creation was connected with the need for sacral legitimisation. Mikalojus Steponas Pacas’s contribution in equipping the cathedral’s treasury is presented against this backdrop. A critical analysis of previous opinions concerning his outstanding input to the history of the cathedral’s treasury and its interesting artistic foundations has been made.
The symbolic and propaganda messages of heraldic programs in seventeenth-century mourning prints ... more The symbolic and propaganda messages of heraldic programs in seventeenth-century mourning prints by Pac the association of their "Lilies" and the coat of arms Gozdawa
The article recalls a source from 1638 which has hitherto not been referred to in the literature ... more The article recalls a source from 1638 which has hitherto not been referred to in the literature on the subject, i.e. the history of two chapels at the cathedral in Vilnius: the Chapel of St. Casimir founded by King Sigismund III, and the Chapel of the Immaculate Conception, furnished as a burial chapel by Bishop Eustachy Wołłowicz (lit. Eustachijus Valavičius). The said source is a diary written by a Carmelite nun during her journey from Lublin to Vilnius (14 November – 26 December 1638), which she made with three fellow nuns assigned to a new monastery founded by Stefan Pac (lit. Steponas Pacas) and his wife Anna Maria Ancilia née Rudomina-Dusiatska (lit. Ona Marija Ancilia Rudomina-Dusiackaitė). The diary was penned by Sister Mary Magdalene (Anna Żaboklicka) who described various aspects of their journey, as well as a visit to the Vilnius Cathedral organized by the Pac family. The nuns were particularly impressed by the Chapel of St. Casimir. Thanks to Sister Mary Magdalene’s detailed description of the chapel, it was possible to reconstruct the subjects of some paintings by Bartłomiej Strobel, and to interpret several facets of its appearance, including the feretory of St. Casimir. While the description of Bishop Eustachy Wołłowicz’s chapel is not as detailed, it should be stressed that by inviting the nuns there, the Pac family intended to emphasize their kinship with the ruler of Vilnius, who was highly esteemed by his contemporaries.
„Rasų kapinės – istorija, menas, gamta” tai pirmoji tokio pobūdžio įvairialypė ir turtinga studij... more „Rasų kapinės – istorija, menas, gamta” tai pirmoji tokio pobūdžio įvairialypė ir turtinga studija, skirta Vilniaus nekropolijai. Įdomi problematika, autorių ir jų atstovaujamų akademinių mokslo įstaigų gausa, be to įvairialypis sepulkralinės tematikos nagrinėjimas sukuria harmoningą Rasų nekropolijos vaizdinį kaip Lenkijos ir Lietuvos kultūrinio paveldo liudijimą.
Cmentarze dawnego powiatu tarnopolskiego. Kaplice, grobowce i nagrobki z inskrypcjami zapisanymi w alfabecie łacińskim (1800-1945) / КЛАДОВИЩА КОЛИШНЬОГО ТЕРНОПІЛЬСЬКОГО ПОВІТУ. Каплиці, гробниці і надгробки з написами, записаними латинськими літерами (1800-1945), 2019
CMENTARZE DAWNEGO POWIATU TARNOPOLSKIEGO
Kaplice, grobowce i nagrobki z inskrypcjami zapisanymi
w... more CMENTARZE DAWNEGO POWIATU TARNOPOLSKIEGO Kaplice, grobowce i nagrobki z inskrypcjami zapisanymi w alfabecie łacińskim (1800-1945) tom 1 POD REDAKCJĄ ANNY SYLWII CZYŻ I BARTŁOMIEJA GUTOWSKIEGO
КЛАДОВИЩА КОЛИШНЬОГО ТЕРНОПІЛЬСЬКОГО ПОВІТУ Каплиці, гробниці і надгробки з написами, записаними латинськими літерами (1800-1945) том 1 НАУКОВА РОЗРОБКА АННА СИЛЬВІА ЧИЖ І БАРТОЛОМЄЙ ҐУТОВСКІ Warszawa / Варшава 2017
SPIS TREŚCI:
WSTĘP ANNA SYLWIA CZYŻ, BARTŁOMIEJ GUTOWSKI
ВСТУП АННА СИЛЬВІА ЧИЖ, БАРТОЛОМЄЙ ҐУТОВСКІ
HISTORIA CMENTARZY NA TERENIE DAWNEGO POWIATU TARNOPOLSKIEGO W ŚWIETLE DOTYCHCZASOWYCH PRAC DOKUMENTACYJNYCH BARTŁOMIEJ GUTOWSKI
ІСТОРІЯ КЛАДОВИЩ НА ТЕРИТОРІЇ КОЛИШНЬОГО ТЕРНОПІЛЬСЬКОГО ПОВІТУ У СВІТЛІ ПОПЕРЕДНІХ ДОКУМЕНТАЛЬНИХ РОБІТ БАРТОЛОМЄЙ ҐУТОВСКІ
KLASYCYSTYCZNE NAGROBKI NA CMENTARZACH DAWNEGO POWIATU TARNOPOLSKIEGO ANNA SYLWIA CZYŻ
КЛАСИЦИСТИЧНІ НАДГРОБКИ НА КЛАДОВИЩАХ КОЛИШНЬОГО ТЕРНОПІЛЬСЬКОГО ПОВІТУ АННА СИЛЬВІА ЧИЖ
JEZUICI W TARNOPOLU I ICH KWATERA NA CMENTARZU MIKULINIECKIM JOANNA BARAŃSKA, ZOFIA URBAN
ЄЗУЇТИ В ТЕРНОПОЛІ І ЇХ ГРОБНИЦЯ НА МИКУЛИНЕЦЬКОМУ КЛАДОВИЩІ ЙОАННА БАРАНЬСКА, ЗОФІА УРБАН
KAPLICE, GROBOWCE I NAGROBKI Z INSKRYPCJAMI ŁACIŃSKIMI NA CMENTARZACH POWIATU TARNOPOLSKIEGO W ŚWIETLE DOTYCHCZASOWYCH PRAC INWENTARYZACYJNYCH BARTŁOMIEJ GUTOWSKI
КАПЛИЦІ, ГРОБНИЦІ І НАДГРОБКИ З ЛАТИНСЬКИМИ НАПИСАМИ НА КЛАДОВИЩАХ ТЕРНОПІЛЬСЬКОГО ПОВІТУ У СВІТЛІ ПОПЕРЕДНІХ ІНВЕНТАРИЗАЦІЙНИХ РОБІТ БАРТОЛОМЄЙ ҐУТОВСКІ
Uploads
Papers by Anna Sylwia Czyż
The author of the article shows August III’s name day and the Feast of the Order of the White Eagle, which Michał Ksawery Sapieha arranged on 2–3 August 1759 in the Antakalnis Palace near Vilnius. The celebration coincided with the Lithuanian Tribunal, of which the young, 24-year-old magnate was marshal, as well as his reception of the Order of the White Eagle. Organized with incredible splendor two-day celebration of the name day and the Order Feast were accurately reported in the “Kurier Polski”. On this
basis it is possible not only to reconstruct the decoration and the firework, but this account provides a great deal of important information about the Antakalnis Palace itself. Thus, we learn the names of palace gates and piano nobile rooms. Also information on the garden layout may be found. These are the data, which are impossible to find in known archives referring to the Sapiehas’ palace at Antakalnis in Vilnius.
supposed to have been brought specially from Milan to renovate the church and furnish it. Meanwhile, they were both simple masons who arrived in Vilnius in the late 18th century, and Piano died in 1802. Formally, the pulpit features show that it was executed in the 1720s after the design of Pietro Perti, co-author of the excellent stucco décor of the Antakalnis church. The actual executors were local woodcarvers already after the death of he stuccoist in 1714. The initiator of the works was the Antakalnis Provost Piotr Procewicz, doctor of philosophy and an appreciated preacher, who in 1737 took over the congregation of the Corpus Christi. The fact that the pulpit is earlier is confirmed by the inventory of the Antakalnis Church of SS Peter and Paul from 1766.
The shape of the pulpit of the navis Ecclesiae type stemming from ecclesiological content fits in with the ideological programme of the church dedicated to Saints Peter and Paul. It is also particularly connected with the Order of Canons Regular of the Lateran who, as was assumed, came from the community of Apostles called by Christ. The second ship pulpit in the Polish-Lithuanian Commonwealth, actually quite faithfully replicating the Vilnius one, was created for the Church of Canons Regular of Corpus Christi in Kazimierz (17401745). This one, too, was raised as commissioned by Piotr Procewicz. The pulpit from Vilnius was created at the time when the navis Ecclesiae type pulpits were built throughout Europe.
The Vasas’ artistic foundations undertaken in Vilnius were therefore meant to expose this affinity through, among other things, the expansion of the castle or support for the Dominicans. The Vasas were also eager to participate in the works undertaken by their closest associates, an eloquent example of which is St Teresa Church belonging to the Discalced Carmelites, funded by Stefan Pac.
collective portraits of Michał Kazimierz Pac in his iconography, other than the frescos from the church in Pożajście, although these forms of artistic communication were known and used in the Polish and Lithuanian Commonwealth. The most likely explanation of these two “gaps” is that Pac never married and devoted whole his life to the military career and to the building of the church under the invocation of St. Peter and St. Paul in the Antokol in Vilnius as his monument. Pac took care of his promotion after earning the field baton, which event started his further career. The compositional scheme he chose, codified by the lost full-body portrait by Daniel Schulz, was augmented in time by the addition of pieces of armor. This pattern was later repeated a number of times, growing in new attributes of the hetman’s office and in military staffage, as seen in the portrait from the Antokol church. The equestrian portrait (woodcut) of the hetman is an outstanding and early milestone in the formation of his public image.
of the city, and particularly in the suburbs, which were often surrounded by gardens, and included folwarks and even menageries (the Sapiega Palace in Antakalnis, and the Radvila Palace in Lukiškės, which later merged with the newly formed suburb of Žvėrynas). A separate issue to consider in the future is the relations between the estates and the religious buildings in the area, where families had mausoleums, or at least where they supported the parish. Some examples are the Gosievskis (Gosiewski) Palace on Bokšto Street and the chapel in St Casimir’s Church; the Bžostovskis Palace on Dominikonų Street and the altaria in St John’s Church; and the Oginskis Palace in Arklių Street and the family’s relations with and support for the Carmelites. In this respect, the ideal situation was in Antakalnis, where Kazimieras Jonas Sapiega (Kazimierz Jan Sapieha) built the Trinitarian church and monastery next to his palace. Of all the 17th-century palaces in Vilnius today, only those of Jonušas Radvila (Janusz Radziwiłł), Mykolas Kazimieras Pacas, Dominykas Mykolas Sluška (Dominik Michał Słuszka) and Kazimieras Jonas Sapiega have been preserved in a condition suitable for further analysis. Of them, the Pacas can be singled out as a typical city residence, the rest were built as suburban residences. In analysing them, an attempt is made to link them with trends in residential building in the Polish-Lithuanian Commonwealth.
The facade which was then erected after Jan Krzysztof Glabitz’s design was adorned with stucco and metal decorations with a perfectly devised ideological programme which referred to the tradition of the order and to the one of the Pac family.
The facade presented ideals connected with the Benedictine life, which placed them among the hints of having to fight at the level of spirit and body, incorporating among the military symbols also the need to fight the enemies of the Church and the state, and the typical for the Benedictine spirituality piety connected with the Caravaca cross and the Divine Providence. At the same time, it reminded of the Benedictine vocations comparing nuns to lilies. This comparison, due to the presence of the Gozdawa coat-of-arms (double lilie) and the common nickname of the Pac family in the 17th and 18th cc. “the Liliats”, could also apply to their lineage, including the abbess Sybilla and her services to the monastery. Exposing founders in such an emphatic way was not only the will to immortalise them, but was also, together with the entire architectural and artistic decor of the church, connected with the need to counterbalance the new and dynamically developing Visitation Monastery in Vilnius. At the same time, the nature of the facade decoration of the Church of St. Catherine is in line with other foundations of the Pac family: St Theresa’s Church and the St Peter and St Paul Church, and was the last significant artistic initiative of the family in the capital of the Grand Duchy of Lithuania.
The author of the article shows August III’s name day and the Feast of the Order of the White Eagle, which Michał Ksawery Sapieha arranged on 2–3 August 1759 in the Antakalnis Palace near Vilnius. The celebration coincided with the Lithuanian Tribunal, of which the young, 24-year-old magnate was marshal, as well as his reception of the Order of the White Eagle. Organized with incredible splendor two-day celebration of the name day and the Order Feast were accurately reported in the “Kurier Polski”. On this
basis it is possible not only to reconstruct the decoration and the firework, but this account provides a great deal of important information about the Antakalnis Palace itself. Thus, we learn the names of palace gates and piano nobile rooms. Also information on the garden layout may be found. These are the data, which are impossible to find in known archives referring to the Sapiehas’ palace at Antakalnis in Vilnius.
supposed to have been brought specially from Milan to renovate the church and furnish it. Meanwhile, they were both simple masons who arrived in Vilnius in the late 18th century, and Piano died in 1802. Formally, the pulpit features show that it was executed in the 1720s after the design of Pietro Perti, co-author of the excellent stucco décor of the Antakalnis church. The actual executors were local woodcarvers already after the death of he stuccoist in 1714. The initiator of the works was the Antakalnis Provost Piotr Procewicz, doctor of philosophy and an appreciated preacher, who in 1737 took over the congregation of the Corpus Christi. The fact that the pulpit is earlier is confirmed by the inventory of the Antakalnis Church of SS Peter and Paul from 1766.
The shape of the pulpit of the navis Ecclesiae type stemming from ecclesiological content fits in with the ideological programme of the church dedicated to Saints Peter and Paul. It is also particularly connected with the Order of Canons Regular of the Lateran who, as was assumed, came from the community of Apostles called by Christ. The second ship pulpit in the Polish-Lithuanian Commonwealth, actually quite faithfully replicating the Vilnius one, was created for the Church of Canons Regular of Corpus Christi in Kazimierz (17401745). This one, too, was raised as commissioned by Piotr Procewicz. The pulpit from Vilnius was created at the time when the navis Ecclesiae type pulpits were built throughout Europe.
The Vasas’ artistic foundations undertaken in Vilnius were therefore meant to expose this affinity through, among other things, the expansion of the castle or support for the Dominicans. The Vasas were also eager to participate in the works undertaken by their closest associates, an eloquent example of which is St Teresa Church belonging to the Discalced Carmelites, funded by Stefan Pac.
collective portraits of Michał Kazimierz Pac in his iconography, other than the frescos from the church in Pożajście, although these forms of artistic communication were known and used in the Polish and Lithuanian Commonwealth. The most likely explanation of these two “gaps” is that Pac never married and devoted whole his life to the military career and to the building of the church under the invocation of St. Peter and St. Paul in the Antokol in Vilnius as his monument. Pac took care of his promotion after earning the field baton, which event started his further career. The compositional scheme he chose, codified by the lost full-body portrait by Daniel Schulz, was augmented in time by the addition of pieces of armor. This pattern was later repeated a number of times, growing in new attributes of the hetman’s office and in military staffage, as seen in the portrait from the Antokol church. The equestrian portrait (woodcut) of the hetman is an outstanding and early milestone in the formation of his public image.
of the city, and particularly in the suburbs, which were often surrounded by gardens, and included folwarks and even menageries (the Sapiega Palace in Antakalnis, and the Radvila Palace in Lukiškės, which later merged with the newly formed suburb of Žvėrynas). A separate issue to consider in the future is the relations between the estates and the religious buildings in the area, where families had mausoleums, or at least where they supported the parish. Some examples are the Gosievskis (Gosiewski) Palace on Bokšto Street and the chapel in St Casimir’s Church; the Bžostovskis Palace on Dominikonų Street and the altaria in St John’s Church; and the Oginskis Palace in Arklių Street and the family’s relations with and support for the Carmelites. In this respect, the ideal situation was in Antakalnis, where Kazimieras Jonas Sapiega (Kazimierz Jan Sapieha) built the Trinitarian church and monastery next to his palace. Of all the 17th-century palaces in Vilnius today, only those of Jonušas Radvila (Janusz Radziwiłł), Mykolas Kazimieras Pacas, Dominykas Mykolas Sluška (Dominik Michał Słuszka) and Kazimieras Jonas Sapiega have been preserved in a condition suitable for further analysis. Of them, the Pacas can be singled out as a typical city residence, the rest were built as suburban residences. In analysing them, an attempt is made to link them with trends in residential building in the Polish-Lithuanian Commonwealth.
The facade which was then erected after Jan Krzysztof Glabitz’s design was adorned with stucco and metal decorations with a perfectly devised ideological programme which referred to the tradition of the order and to the one of the Pac family.
The facade presented ideals connected with the Benedictine life, which placed them among the hints of having to fight at the level of spirit and body, incorporating among the military symbols also the need to fight the enemies of the Church and the state, and the typical for the Benedictine spirituality piety connected with the Caravaca cross and the Divine Providence. At the same time, it reminded of the Benedictine vocations comparing nuns to lilies. This comparison, due to the presence of the Gozdawa coat-of-arms (double lilie) and the common nickname of the Pac family in the 17th and 18th cc. “the Liliats”, could also apply to their lineage, including the abbess Sybilla and her services to the monastery. Exposing founders in such an emphatic way was not only the will to immortalise them, but was also, together with the entire architectural and artistic decor of the church, connected with the need to counterbalance the new and dynamically developing Visitation Monastery in Vilnius. At the same time, the nature of the facade decoration of the Church of St. Catherine is in line with other foundations of the Pac family: St Theresa’s Church and the St Peter and St Paul Church, and was the last significant artistic initiative of the family in the capital of the Grand Duchy of Lithuania.
Kaplice, grobowce i nagrobki z inskrypcjami zapisanymi
w alfabecie łacińskim (1800-1945)
tom 1
POD REDAKCJĄ
ANNY SYLWII CZYŻ I BARTŁOMIEJA GUTOWSKIEGO
КЛАДОВИЩА КОЛИШНЬОГО ТЕРНОПІЛЬСЬКОГО ПОВІТУ
Каплиці, гробниці і надгробки з написами,
записаними латинськими літерами (1800-1945)
том 1
НАУКОВА РОЗРОБКА
АННА СИЛЬВІА ЧИЖ І БАРТОЛОМЄЙ ҐУТОВСКІ
Warszawa / Варшава 2017
SPIS TREŚCI:
WSTĘP
ANNA SYLWIA CZYŻ, BARTŁOMIEJ GUTOWSKI
ВСТУП
АННА СИЛЬВІА ЧИЖ, БАРТОЛОМЄЙ ҐУТОВСКІ
HISTORIA CMENTARZY NA TERENIE DAWNEGO POWIATU
TARNOPOLSKIEGO W ŚWIETLE DOTYCHCZASOWYCH PRAC
DOKUMENTACYJNYCH
BARTŁOMIEJ GUTOWSKI
ІСТОРІЯ КЛАДОВИЩ НА ТЕРИТОРІЇ КОЛИШНЬОГО
ТЕРНОПІЛЬСЬКОГО ПОВІТУ У СВІТЛІ ПОПЕРЕДНІХ
ДОКУМЕНТАЛЬНИХ РОБІТ
БАРТОЛОМЄЙ ҐУТОВСКІ
KLASYCYSTYCZNE NAGROBKI NA CMENTARZACH
DAWNEGO POWIATU TARNOPOLSKIEGO
ANNA SYLWIA CZYŻ
КЛАСИЦИСТИЧНІ НАДГРОБКИ НА КЛАДОВИЩАХ
КОЛИШНЬОГО ТЕРНОПІЛЬСЬКОГО ПОВІТУ
АННА СИЛЬВІА ЧИЖ
JEZUICI W TARNOPOLU I ICH KWATERA
NA CMENTARZU MIKULINIECKIM
JOANNA BARAŃSKA, ZOFIA URBAN
ЄЗУЇТИ В ТЕРНОПОЛІ І ЇХ ГРОБНИЦЯ НА МИКУЛИНЕЦЬКОМУ
КЛАДОВИЩІ
ЙОАННА БАРАНЬСКА, ЗОФІА УРБАН
KAPLICE, GROBOWCE I NAGROBKI Z INSKRYPCJAMI ŁACIŃSKIMI
NA CMENTARZACH POWIATU TARNOPOLSKIEGO W ŚWIETLE
DOTYCHCZASOWYCH PRAC INWENTARYZACYJNYCH
BARTŁOMIEJ GUTOWSKI
КАПЛИЦІ, ГРОБНИЦІ І НАДГРОБКИ З ЛАТИНСЬКИМИ
НАПИСАМИ НА КЛАДОВИЩАХ ТЕРНОПІЛЬСЬКОГО
ПОВІТУ У СВІТЛІ ПОПЕРЕДНІХ ІНВЕНТАРИЗАЦІЙНИХ РОБІТ
БАРТОЛОМЄЙ ҐУТОВСКІ
FOTOGRAFIE
ALEKSANDRA LEWANDOWSKA
INDEKSY