Baroque Facilities in Lviv - arendaplus
Oddly enough, but the outstanding monuments of secular, civil architecture of XVII-XVIII centuries in Lviv remained no more or even less than that of the previous era.
In addition to the Royal Arsenal, P. Hrodzitskyi led in 1639 the construction of so-called Seniavsky Arsenal, which was located on Bibliotechna (Library) street near the Chirch of Mary Magdalene (nowadays here the V. Stefanyk Scientific Library is located).
In the early XIX century the building was, hovewer, radically rebuilt by the project of an architect and artist Igracio Hambrez (1752-1835) from Moravia.
Among other Baroque epoch buildings premises of the Medical Institute clinics (1748) on Nekrasova street should be named. Until 1782, the board of a monastic order was located here.
As for residential architecture, apart discussed in previous articles buildings on Market Square, a few other monuments should be pointed out. For example, noteworthy buildings №4 and 24 in Krakivska street
are decorated with stone grape bunches or balcony consoles as Half-figures of the naturally naive characters. A good example of a Baroque style building is a palace type building, located near the Armenian cathedral - with a large balcony and cherubs around.
The house #8 on Ruska street is dated with year 1740,although its buttresses indicate an earlier foundation. Four gray stone reliefs depicting heraldic lions, dolphins, a trading ship, a bag, a barrel and a cornucopia give it a very picturesque appearance.
We met only with some monuments of Lviv architecture XVII-XVIII centuries, and many others scattered around the city! The possibilities are almost limitless Arendaplus site in your need to gather information about Lviv or rent an apartment in Lviv.
Nowadays, Lviv is developing extremely; it hardly fits in the old, medieval boundaries. The population is growing, new areas and suburbs are being built, new churches and monasteries are being established.
Due to many historical circumstances, the Catholic church has acquired pretty strong positions here. These positions have especially strengthened after the Brest Union conclusion in 1596, in which the Orthodox church of Galicia admitted the Vatican's power.
Large magnates, nobles, rich merchants were interested in alliance with the powerful church, and many of them willingly donated on building churches and monasteries. In this alliance of the ruling classes, the Catholic church was becoming an instrument of spiritual and ideological enslavement of Ukrainians, their polonization and making them Catholic. It is clear that the meaning, which was enclosed in these buildings by the contemporaries, is strange to us, but many of them preserve their values as works of art, monuments of the people's creative work, finally, as witnesses of the old history.
A dramatic episode is related, for example, to what was with the St. Anna's church,
located on the crossing of Horodotska and Shevchenko streets. In place of the modern building, there was a wooden church, founded in 1507.
The chronicles tell us that in that year apprentice tailors, having made a secret deal, decided to secretly leave the city and go to look for a better life. Their escape had failed: the city guard had caught them up and they were brutally beaten with iron flails. Several apprentices were killed and buried here. To commemorate this event, the wooden church was built. After 2 years the church had burnt down; it was restored in 1599, and later it was rebuilt in stone.
The currently existing building was built in 1730. Specific Baroque limits are combined with clarity and ease of articulations, designs, lines of silhouettes, modesty of decor and other characteristics of Renaissance architecture. In all likelihood, the architect's dependance on the previous sample was depicted in this.
On the Horodotska street, there is a monastery which was built in XVII and reconstructed in 1782 into a prison. The bonifrats' monastery (the edge of Lychakivska and Chekhova streets), which existed in 1539-1784, had also undergone some changes: a hospital was located here. The building of XVII century with a shield and a cartouche above, and with baroque portal, decorated with carvings, was preserved.
In the same area, at the beginning of Lychakivska street, there are a former church and monastery of clarissines,
dated with the beginning of XVIII century. The main motive of the church is a high tower associated with naves and two small vases. The areas of the side facades and altar part are subdivided by pilasters, high windows on the whole wall and ending with frieze of Triglyph.
The simplicity and restraint of decor, solid, perhaps even slightly dull image of the building somewhat distinguish this church from other monuments, contemporary to it. Its interior was decorated with M. Stroinskyi's frescos, which were unfortunately destroyed during the restoration of the church in 1899.
More "baroque" appearance has a former Franciscan church (1708) on the street Korolenko. The plane of the main facade is combined with pilasters, decorated with a ledging forward portal.At the level of the second tier there are two semi-circular windows and rounded at the top relief of the Virgin Mary between them.
The central nave is connected with side baroque volutes. The building does not fascinate with its bright originality, but it posesses some characteristics which introduce it into the sphere of architecture as art: imaginative origin, integrity of the embodied design, harmony of masses and volumes.
Modesty, simplicity and clarity of the overall solution here are combined with some intimacy and noble elegance of shapes and lines. In one of the church chapels a painting called "St. Rokh" of a well-known master of Austrian painting M. Altamonte was preserved, and in the other chapel was also preserved the "St. Casimir", painted by Lviv artist of XVIII century Yu. Khoynitskyi.