Church of Mary Magdalene, Lviv
In addition to St. Michael's church, there is another monument of the first half of XVII cent. - Church of Mary Magdalene, located on S. Bandery street.
It was established in 1600 in place of the old wooden church, but the construction, which was being conducted by the project of architects Ian Prydatnyi and Albert Kelar, was finished only before 1635. In the second half of XVII cent. another part was added to the building, which significantly lengthened the aisles.
The church was radically rebuilt in 1784 by Martin Ubranyk. At the same time, statues in rococo style, made by S. Fessynher, which depict the saints in sharp, impulsive motion were put on the facade, between the towers and the shield. And the helmets of towers of a complex and sophisticated pattern appeared even later, in 1870. However, in general the overall architectural solution of the church is typical for the Lviv early XVII century baroque architecture.
It has a lot in common with the church of the Discalced Carmelites: similarity of plan, the towers on the facade as a dominant of arcitectural composition, finally, the restrain decor, indicating the gravity more to the Austro-Bavarian than to the Italian variant of early Baroque architecture. Just like the Carmelite church, this church is also surrounded by nature.
It stands on the top of a hill, at the intersection of major city highways, closing their prospects. Both buildings have dominion over a large part of the city, as if organizing "their" areas.
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The side facades of the church of Mary Magdalene - simple, smooth planes, animated with a measured rhythmic alternation of window openings. The altar part is bossed far ahead, the wall of which is divided with four high windows.
All the wealth of decorative motifs is focused on the main facade. Clear horizontals of cornices divide the facade into stories. These divisions, combination of classic architectural orders - Doric on the ground floor, Ionic on the second and the Corinth's on the towers - force to recall the immortal traditions of the Renaissance.
But they are comprehended and implemented in an entirely new way. The pediment path between the towers is vigorously refracted. Cornice of the second floor is curved as a smooth and elastic semi-circle. This line is repeated in semicircle of the balcony on the portal and lower - in an oval of stair balustrades.
Pilaster overlap with one another not by two, but by four at a time, creating a complex, somewhat chopped rhythm. The movement, actively increasing to the center of the building, calms down a little on its corners and goes up again on the verticals of the towers.
In the church interior earlier there was a beautiful private altar of the first half of XVII cent., attributed to A. Kelar or Ya. Scholz - a late reminder of the great Renaissance epoch style. Reliefs on gospel topics were resolved somewhat rough, but vital, boldly, with the temperament and scale.