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Journal articles on the topic 'Catholic Church. Archdiocese of Vilnius (Lithuania)'
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1
Streikus, Arūnas. "Between the Vatican and Moscow: The Lithuanian Imprint on the Death Throes of the Soviet Union (1979–1989)." Church History 91, no. 1 (March 2022): 100–115. http://dx.doi.org/10.1017/s000964072200066x.
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AbstractBy introducing different types of sources—published documents on Vatican's Eastern policy, archival material of the Soviet governmental agencies, egodocuments of local ecclesiastical leaders—this article tries to identify the role Lithuanian subjects have played in the field of Vatican-USSR relations during the first half of Pope John Paul II's pontificate. The research reveals that, since the end of 1970s, issues pertaining to the Lithuanian Catholic Church were considered priority agenda items—both within the halls of the Vatican and in the central government offices of the Soviet regime. An analysis of available sources illustrates also that interrelated issues of the boundaries of the Vilnius Archdiocese and the question of its further administration constituted the most acute node of issues during the period under review. The Soviet regime was the most interested in focusing on these issues, as it hoped thereby to dispel any mutual sympathies between Lithuanian Catholics and the Polish pope, put a stop to the emerging cooperation between Catholics in Lithuania and Poland, and bring an end to the politically costly case of Bishop Steponavičius, who by then had become a symbol of the Lithuanian Catholic Church's resistance. Suppressing of any attempts of the Holy See to be represented at commemoration of important events in Lithuania's history was yet another highly complicated task for the Soviet authorities.
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Pietrzkiewicz, Iwona. "Inventory of the of St. Peter Church in the Antakalnis written by Peter Korkonos in 1609." Bibliotheca Lituana 2 (October 25, 2012): 313–28. http://dx.doi.org/10.15388/bibllita.2012.2.15591.
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In 1609 Peter Korkonos, the new rector (parish priest) of the St. Peter Church in Vilnius wrote an inventory of this church. It’s the oldest inventory of the church we know today. Two fragments of this document have been found in the collections of the Archive of Vilnius Archdiocese and The Martynas Mažvydas National Library of Lithuania. In this edition these two fragments of the historical source have been combined and commented. Particular attention has been paid to the problem of books, which were the property of the church at this time. The most relevant facts from the history of St. Peter Church are also mentioned in this work. The first wooden church founded about 1492–1507 burned down. The management of the parish and the years of restoration were documented by Peter Korkonos. After the death of the parson St. Peter Church was handed over to the Canons Regular of the Lateran. The presented sources have not been widely used in academic theses concerning the church. They complete former knowledge related with formation of the local library.
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Kasabuła, Tadeusz. "The Influence of the Catholic Church in Cracow on the Cathedral Chapter of Vilnius from the Fifteenth through Eighteenth Centuries." Rocznik Teologii Katolickiej 20 (2021): 89–101. http://dx.doi.org/10.15290/rtk.2021.20.05.
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Like the entire Diocese of Vilnius, the Cathedral Chapter of Vilnius drew considerably from the experience of the ecclesiastical environment of the Diocese of Cracow, which had already existed for four centuries when the Vilnius Chapter began and was establishing and organizing its own institutions and structures. Although the Diocese of Vilnius had remained part of the organizational structures of the ecclesial province of Gniezno from the beginning of the fifteenth century, it looked to Wawel and not to Wzgórze Lecha’s example. From the fourteenth century onward, Vilnius and Cracow were the capital cities of the Polish-Lithuanian state. For this reason, it was fitting that both of the dioceses, including their cathedral chapters, were organized, looked, and functioned similarly. When the local Church was being established and organized in Lithuania, Cracow naturally served as a model for Vilnius because the local church in Cracow had already existed for more than four centuries and was, therefore, more organized, dynamic, and greatly exposed to the world in every respect than the ecclesiastical environment of Gniezno. This was also due to the fact that the Diocese of Cracow was at the center of royal power: it supported the throne of the Commonwealth directly; it sanctioned the court’s actions; it provided the monarch with expert and intellectual help necessary to conduct internal politics and engage in diplomacy. It is also significant that the person responsible for establishing the Church in Lithuania was, in fact, Lithuanian—King Władysław II Jagiełło was the first Jagiellonian to ascend the Polish throne. His successors continued his policies in the religious realm in Lithuania. It is not surprising, therefore, the Jagiełłoes were solicitous to ensure that Vilnius enjoyed the proper place in the hierarchy of Polish-Lithuanian dioceses under their jurisdiction in accordance with the belief that “Vilnius annot stand out from Cracow.” The Lithuanian King Władysław II Jagiełło provided materially for the Church in Vilnius, and he ensured that the capital of the Grand Duchy of Lithuania had the proper position within the structures of the Polish-Lithuanian state, which has becoming increasingly more integrated. Although the Diocese of Vilnius drew from the Diocese of Cracow’s example, it did not blindly imitate it. After it had been established and organized, the Vilnius Cathedral Chapter was able to develop its own models, unique identity, and manner of functioning as a completely self-sufficient corporation that no longer needed to refer so strongly to the model of Cracow.
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Buržinskas, Žygimantas. "Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture." Art History & Criticism 17, no. 1 (November 15, 2021): 43–58. http://dx.doi.org/10.2478/mik-2021-0004.
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Summary The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.
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Ilarienė, Inga. "Viešųjų notarų veikla Lietuvos Didžiosios Kunigaikštystės vyskupijose XVI a." Istorijos šaltinių tyrimai T. 6 (December 31, 2018): 251–308. http://dx.doi.org/10.33918/20290705-06007.
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Activities of Notaries Public in the Dioceses of the Grand Duchy of Lithuania in the 16th Century This is a research of the notaries public as a corporate group. The research deals with the issues pertaining to the existence of a certain network of notaries public in the dioceses of Vilnius, Samogitia, and Lutsk in the Grand Duchy of Lithuania and their correlation in the space of notaries public of the province of the archdiocese of Gniezno in the 16th century. The period under investigation is chronologically enframed by two dates. The first conditional date is 1501 which marks a stage in the maturity of the notarial system when the clergymen of the GDL started being awarded the honorary title – Count of the Sacred Palace of Lateran (comes apostolicus) accompanied by the right granted by the Pope to delegate notaries public (the Emperor could also award the title of the count of the palace). The said right was usually exercised by bishops, church officials, and notaries general. 1515 is considered an interim important date in the research as this was the year when the statutes of local dioceses of the Grand Duchy of Lithuania were drawn up and the first wording of Vilnius cathedral chapter statutes, for the first time mentioning the participation of the notary public in the life of the chapter and his functions, was carried out. The second date is 1566 – the year when the Second Statute of Lithuania legitimized the activities of notaries public on the national level throughout the GDL. The said dates mark the dynamics and spread of the notarial system – introduced through the institution of the Church, the function of the notary public gradually entered the sovereign’s chancellery, noblemen, following the example of the sovereign, started using the services and notaries public gradually found their way to municipal institutions of towns and cities. The codification dates of the two separate structures of government – the church and secular authorities – can be equally applied to mark the development stages of the notarial system as they indicate the process of notary public participation in both – the church and state government institutions.
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Medišauskienė, Zita. "Censorship in Lithuania: A Tool of Russian Policy; 1831–1865." Lithuanian Historical Studies 7, no. 1 (November 30, 2002): 43–66. http://dx.doi.org/10.30965/25386565-00701003.
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This paper deals with the specificities of Russia’s policy of censorship conducted in the Northwest Province by the Vilnius Censorship Committee between 1831 and 1865. In the general context of the Province an attempt is made to give answers to the questions: (1) by whom and in what way the attitudes of the censors of Vilnius were regulated with respect to the Lithuanian and Polish press ‘under local conditions’ and (2) what requirements of the Censorship Committee were caused ‘by local conditions’ and by the implementation of Russia’s policy in the Northwest Province. The study is based on official documents, censorial lawsuits, and the censored manuscripts. It is maintained that the opinion and initiative of the governor general of Vilnius were crucial in formulating the ‘local’ policy of censoring. The principal aim of the censorial activity was to ensure the integrity of the Russian Empire by preventing the spread of disintegrational anti-Russian ideas and those of propagating the independence of Poland and ‘Polish patriotism’. Attempts were also made to weaken the influence of the Catholic Church, in particular among the peasantry and to create conditions favouring both religious tolerance and the dissemination of Orthodoxy.
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Brusokas, Eduardas. "1794 M. SUKILĖLIŲ VIEŠIEJI RENGINIAI VILNIUJE." Lietuvos Didžioji Kunigaikštystė Visuomenė. Kasdienybės istorija, T. 4 (October 8, 2018): 218–28. http://dx.doi.org/10.33918/xviiiastudijos/t.4/a9.
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A public event, whichever kind it may be – entertaining, educational, educative, and formative, strengthens and rallies individuals into community, amplifying mutual ties, shaping and engrafting common values. Such events allow each and every one to feel a part of a larger common action or undertaking. First public events after the insurgence of 1794 took place right after the capital fell under control of the rebels. In three and a half months Vilnius saw at least ten public events of the rebels. All these events could be divided into secular and religious. Seven of those event could be considered secular: solemn pronouncements of the government – 1 (announcement of the Act of Insurgence and a public oath); military parades – 2 (Vilnius Guards and armed forces of Vilnius voivodeship); commemorations – 1 (commemoration of the Constitution of 3 May 1791); public punishments (three times). Secular events by the rebels were quite closely linked to the church, since often they were concluded with some religious note, usually a mass. Speaking of religious events it is important to note that the Curia of Vilnius bishopric supported the insurgence, and commissioned clergy to attend events organized by the leadership of the insurgence, initiating such events as well. Roman Catholic Church held two solemn burials of the rebels and a one solemn mass with a procession. Most (i.e. half ) of the secular and religious events of the rebels took place in May. In the most important events, such as announcement of the Act of Insurgence or solemn burial of rebels, in addition to the crowds from all social levels members of the Council of Lithuania, clergy of all ranks, members of the Senate of Vilnius University and professors, and army officers participated as well. Members of the city magistrates are mentioned less frequently, and it might be the case that most of them also belonged to other institutions of the rebels. Smaller events were attended by representatives of all aforementioned institutions. Secular events were held under open sky – city hall square and the square of military campus, possibly not far from Pohulianka, whereas major church events took place in the Church of St Johns. Keywords: 1794 insurgence, insurgence of Tadeusz Kościuszko, public events, Church of St Johns, city hall square, Pohulianka.
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Sawaniewska-Mochowa, Zofia. ""Zapiski domowe" biskupa Macieja Wołonczewskiego jako przyczynek do poznania sytuacji społecznej i językowej na terenie dawnego Wielkiego Księstwa Litewskiego pod władzą carów." Acta Baltico-Slavica 37 (June 30, 2015): 65–83. http://dx.doi.org/10.11649/abs.2013.005.
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"The Domestic Notes" by Bishop Maciej Wołonczewski (Motiejus Valančius) as a contribution to the knowledge of the social and linguistic situation on the territory of the former Grand Duchy of Lithuania under the rule of the tsarsThe article introduces the interesting, albeit controversial, figure of Maciej Wołonczewski (Motiejus Valančius), an important member of the nineteenth-century clergy, and his Polish-language legacy. The bishop of Samogitia’s "Domestic Notes" document persecutions of the Catholic Church in Lithuania after the November and January Uprisings at the hands of Russian Tzarist authorities, and reflect the state of Polish language and its social functions in this historical period.Valančius’ manuscripts, published in the volume edited by the historians Aldona Prašmantaitė and Jan Jurkiewicz [Motiejus Valančius, Namų užrašai (The Domestic Notes), Vilnius: Baltos Lankos, 2003], were subjected to the far-reaching standardization of spelling, thus they are not a reliable source for a linguistic research. A linguist, who would make the effort of describing the Polish language of the author, should therefore locate and take advantage the original sources, dispersed in various archives in Vilnius. "Домашние записки" епископа Матвея Волончевского. К вопросу о социальной и языковой обстановке на территории бывшего Великого княжества Литовского во время царского правленияСтатья приближает интересную, но спорную, личность священника XIX-го века и его письменное наследие на польском языке. Заметки епископа Матвея Волончевского документируют репрессии, применяемые царским правительством по отношению к Католической церкви в Литве после восстаний против царской власти, и – одновременно – отражают состояние тогдашнего польского языка и его общественные функции. Изданные в научной разработке историков: Альдоны Прашмантайте и Яна Юркевича рукописи Волончевского [Motiejus Valančius, Namų užrašai (Домашние заметки), Vilnius: Baltos lankos, 2003] сильно кодифицированы и не могут быть достоверным источником лингвистических исследований. Лингвист, который захочет изучить польский язык жемайтского автора, будет вынужден работать с подлинниками, разбросанными по разным вильнюсским архивным фондам.
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Žičkienė, Aušra, and Kristina Syrnicka. "Funeral Hymns of Lithuanians and Vilnius Region Poles’: General Features and Trends of the Repertoire." Vilnius University Open Series, no. 5 (December 4, 2020): 163–88. http://dx.doi.org/10.15388/vllp.2020.8.
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The article discusses the key features and trends of the repertoire of Catholic funeral hymns, functioning in Lithuania in both Polish and Lithuanian; at the same time attempts are made to grasp the possible causes of mutual interactions and influences. In combining literary and ethnological approaches, field research data, historical sources, printed and manuscript hymns are analysed and interpreted, related scientific literature is examined. The conclusion is reached that the similarity and commonalities of the Lithuanian and Vilnius Region Poles’ folk piety funeral repertoire were, and still are, a result of similar cultural conditions. The basis of the old repertoire is primarily determined by trends, influences, and themes coming from Poland, while the areas of the modern repertoire’s influence are much broader: both general international trends and a broad mutual influence can be noted.In Lithuania’s villages and cities it is still common practice to invite a group of hymn-singers to a funeral wake and burial ceremony. Singing of funeral hymns is an old tradition, likely coming from the 17th c., from Poland, slowly covering also the territory of modern-day Lithuania and gradually settling down, gaining distinct regional features. However, we do not have any accounts as to whether a folk piety funeral repertoire existed in Lithuanian – it likely formed later.The texts of funeral songs can be divided into several groups according to their origin and function: some are adapted from church liturgies and are traditional church hymns, while others were created at different times by either anonymous local authors or well-known songwriters. Some hymns, for a long time, functioned as part of the liturgy of death and funerals, they established themselves in the practice of folk piety, while others became part of the funeral repertoire when they came into it from various thematically-fitting church calendar holidays or they were created by known or (more often) anonymous songwriters, then spreading among the people.The similarities of the repertoire of Lithuanian and Polish funeral songs are first of all a result of close cultural conditions. The texts of the oldest repertoire of funeral hymns were usually translated from Polish to Lithuanian, with the former taking root in the practices of folk piety much earlier. The melodies of hymns also mostly came from Poland; many are of liturgical origin, although over the centuries they grew into the local musical environment and gained a distinctive tone.The trends of the formation of the new hymns (from the beginning of 20th c. until now), on the one hand, are a continuation of the previous ones; however, on the other hand, local (Lithuanian) features, resulting from the faster and wider spread of information, become clearer, as well as various international influences. A certain group of hymns exists only in Lithuania, we can clearly see the influence of the Lithuanian environment on the poetry and melodics of Polish-language funeral hymns. This repertoire spreads only through writing down by hand the texts, while melodies are learned by ear; they are not published in any hymnals approved by the Church.
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Prokop, Krzysztof R. "Z dziejów seminariów warszawskich w dawnej diecezji poznańskiej. Biskupi oraz inni przedstawiciele znamienitych rodów doby staropolskiej w gronie wychowanków seminarium externum i seminarium internum Misjonarzy św. Wincentego à Paulo przy kościele Świętego Krzyża w Warszawie (1675/1676-1864/1865)." Ecclesia. Studia z Dziejów Wielkopolski, no. 11 (October 15, 2018): 153–91. http://dx.doi.org/10.14746/e.2016.11.6.
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Until 1798 Warsaw remained in the diocese of Poznań despite taking over from Cracow numerous functions of a capital city in the 17th and 18th centuries (nominally it never became the capital of the Polish-Lithuanian Commonwealth). During this time two seminaries ran by the Missionaries of St. Vincent de Paul functioned in Warsaw: Seminarium Internum and Seminarium Externum. They were founded in 1675-1676 and educated – especially the latter one – a large group of clergy who later held prominent positions in the structures of the Catholic Church on Polish-Lithuanian-Ruthenian soil. Among the seminary’s graduates were 66 future bishops (only eight of them underwent formation in Seminarium Internum), who were to minister as ordinaries or suffragans in a majority of dioceses then existing within the borders of the Kingdom of Poland and the Grand Duchy of Lithuania (and also on the territory of historical Greater Poland). Both of the above mentioned theological institutes located in Warsaw continued to function for some decades after the collapse of the pre-partition Polish-Lithuanian state (by then already within the Warsaw diocese and from 1818 in the Warsaw archdiocese). Their existence came to an end in 1864 as a result of repressions by Russian administration after the collapse of the January Uprising. In this second period of the seminaries’ operation the number of alumni who later filled episcopal offices was markedly lower, the last one being the future Gniezno-Poznań metropolitan and cardinal, Mieczysław Ledóchowski, whose name stands out illustriously in the history of the Church in Greater Poland.
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Žarskienė, Rūta. "The Music Making at the Church Feasts, or Baroque of the 20th–21st Centuries." Tautosakos darbai 49 (May 22, 2015): 145–70. http://dx.doi.org/10.51554/td.2015.29010.
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The subject of this article is the music making during the Catholic Church feasts and its development since the Christianization of the Grand Duchy of Lithuania until nowadays, with special emphasis on the music making tradition of the 20th–21st centuries. Following the spread of Christianity, the tradition of the religious feasts was quick to catch on, along with its peculiar Western European customs and culture of the musical styling. According to the historical sources, as early as in the end of the 14th century (that is, barely ten years after the official Christianization) the wind and percussion instruments were played in the Vilnius Cathedral. The academic wind and percussion instruments, having been since ancient times used in the army of various European countries, including the Grand Duchy of Lithuania, became adapted by the musical culture of the manors and dioceses, finding their use during pilgrimages, celebratory processions, services, etc. During the Renaissance and Baroque periods, an especially important social and cultural role was played by the Vilnius Academy, established by the Jesuits, at which also instruction in music was offered. The Jesuits organized particularly pompous processions of the Corpus Christi, which included theatrical performances, participation of numerous musicians and singers, firing guns, etc. According to the archived data, during the Baroque times the majority of the churches or the affiliated brethrens used to possess both the brass and the percussion instruments: usually – two or more trumpets, French horns, and kettledrums. These instruments were regarded necessary in order to celebrate the titular feasts of the parish in the appropriate way, that is, with musical accompaniment, or to travel likewise to the festivities held in the neighborhood. Thus the folk piety tradition of the brass bands got shaped, which, having already disappeared in other Lithuanian regions, continues to live on in Samogitia in the 20th–21st century. It is particularly important in relation to the rituals of visiting the Samogitian Calvary (Žemaičių Kalvarija) – a variety of the popular baroque European tradition of the Way of the Cross (Via Crucis), the first one of which in the Grand Duchy of Lithuania was established in Samogitia. Quite likely, these Stations of the Cross since their very establishment used to be visited ceremoniously, including singing and the appropriate accompaniment by wind instruments and kettledrums. This tradition survived in spite of being prohibited both during the tsarist Russian oppression and during the Soviet atheism periods. During the Soviet occupation the musicians, although being harassed or even arrested, still used to go to play at the religious feasts, thus expressing not only their devotion, but also their protest against the regime of the religious oppression. After Lithuania regained its independence in the end of the 20th century, the new kind of worshipers who had been brought up unaware of the traditional Calvary Hymns singing started the new way of singing accompanied by kanklės (Lithuanian cithertype instrument) and guitars. Still, in spite of this wave of musical pluralism, the brass bands preserved their positions. Until the present day, worshipers visiting the Stations of the Cross at the Samogitian Calvary are accompanied by the musicians playing the brass instruments, who are traditionally rewarded with money. Depending on the particular worshipers’ needs, three kinds of functions performed by the musicians can be discerned: firstly, the group of 4 to 6 musicians may only play; secondly, 2 to 5 musicians lead the prayers both singing and playing; and thirdly (a medium variant), the group of 4 to 6 musicians both plays and sings. The analysis presented in the article allows maintaining that prior to becoming part of the wedding, christening and funeral rituals of the village people, brass instruments had already become an integral part of the musical expression of the exceptional solemnity of folk piety.
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Tumelis, Karolis. "Pavojingi ryšiai? Nesusituokusių vyrų ir moterų santykiai Lietuvos katalikiškuose bažnytiniuose teismuose XVIII a." XVIII amžiaus studijos T. 7: Giminė. Bendrija. Grupuotė, T. 7 (December 31, 2021): 199–224. http://dx.doi.org/10.33918/23516968-007008.
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DANGEROUS LIAISONS? INFORMAL RELATIONS BETWEEN UNMARRIED PERSONS AND THEIR TREATMENT IN THE EIGHTEENTH CENTURY LITHUANIAN CATHOLIC ECCLESIASTICAL COURTS Recent decades saw historical scholarship to pay more attention to the phenomena which were earlier considered unimportant or, in some cases, non-existent. Intimate relations between men and women who were not yet married, extramarital affairs, cohabitation, etc. were rediscovered and reassessed as indispensable to the more accurate understanding of the formation of marriages, families and communities. Theoretically, physical and emotional intimacy could only take place in marriage, and as such all relationships that were extraneous to marital status were prosecuted by legal authorities – civil and ecclesiastical alike. This paper seeks to present how one group of these institutions – Lithuanian ecclesiastical courts – treated informal relations between unmarried laymen and women and what kind of penalties they imposed for such delinquencies. At the first glance it seems that neither canon law, nor the law of the Lithuanian Statutes or the Magdeburg law paid much attention to this kind of illicit sexual practices. The legal norms describe them rather vaguely and, as a result, the prescribed punishments seem to be unclear (except for the Third Lithuanian Statute, which, depending on the interpretation of the text, prescribed capital punishment for unmarried women). Analysis of the court material from three consistories (Vilnius, Samogitia and Trakai) has shown that Lithuanian Catholic consistories might not have been very concerned with such cases as there is only a handful of them mentioned and even less addressed. They seem to have been more common among the Catholic population of Samogitia, and men were likely to be condemned more often than women. The penalties for such crimes were mild – the delinquents mainly had to do public penance, pay fines, and observe fasting. The reasons behind such a low number of cases and even lower number of decisions are not clear, yet. It is possible, that while being mainly concerned with the marital litigation ecclesiastical courts left more initiative to the secular authorities, which could also act in the name of good Christian order and provide harsher punishments if necessary. Since most of the plaintiffs were parish clergymen, who generally initiated judicial processes against fornicators, it is plausible that they could take care of such delinquents themselves, without the help of the court. One must not forget that the Church had even more measures at its discretion – for example, missionary activities of the religious orders, during which the missionaries also attended to the illegal sexual practices of the population, and intervened with them. Keywords: the eighteenth century, the Grand Duchy of Lithuania, informal relations, fornication, ecclesiastical courts, consistories, canon law, the Lithuanian Statutes, the Saxon-Magdeburg law, gender relations.
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Aleknaitė, Eglė. "Who Owns the Heart of Vilnius? Pagans, Catholics, and Contested National Religious Heritage." Pomegranate 23, no. 1-2 (April 6, 2022). http://dx.doi.org/10.1558/pome.21327.
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The paper aims to contribute to the expansion of a cultural-geographical scope of studies on heritage contested by Pagans and a better understanding of construction of the religious and the secular in inter-religious heritage contestation. The presented case involves multiple stakeholders and a direct clash of the Catholic church and contemporary Pagans over a contested heritage site currently referred to as the archcathedral and the Cathedral Square located in the historical center of Vilnius, Lithuania. Based on observations of communal practices of Romuva, a community of contemporary Lithuanian Pagans, discourses and actions of the Catholic church and representatives of the Vilnius City Municipality and other relevant secular institutions, the analysis looks at both discursive and performative strategies employed by participants.
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Žaltauskaitė, Vilma. "About Bishop’s photographs. The case of Vilnius Bishop Karol Hryniewicki." Menotyra 24, no. 4 (January 8, 2018). http://dx.doi.org/10.6001/menotyra.v24i4.3596.
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The article analyses identified photographs (as well as other images made using other techniques) of Vilnius Bishop Karol Hryniewicki (Hryniewiecki, resided in Vilnius in 1883–1885, in January of 1885 was exiled to Yaroslavl), attempts are made to find out their meanings in different socio-cultural contexts of Lithuania by the end of the 19th c. While exploring the Bishop’s photographs, the context of the Roman Catholic Church in the 19th century’s Russian Empire was evaluated. The diocese of Vilnius was an object of special policy of the secular authorities in the so-called Northwestern Krai, as it was not homogenous in the national as well as confessional aspect. In this diocese, the government attempted to change (and actually changed) the confessional and political-cultural orientation of Belarussian Catholics. Under such circumstances, being a spiritual authority, the Catholic Bishop was a clear competitor to the authority and power of the secular governance, therefore attempts were made to regulate and control his activities. The Bishop’s exile created additional meanings to his photographs in respect of believers and secular government, especially by the end of the 19th c. with strengthening nationalistic moods among Russians and others (Poles, Lithuanians). Therefore, the Bishop’s photographs also became a long-term and successful objet of commerce.
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Gučas, Rimantas. "Organ building in Lithuania in the 19th century." Menotyra 26, no. 3 (October 6, 2019). http://dx.doi.org/10.6001/menotyra.v26i3.4056.
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For Lithuania, the 19th century was marked by the symbol of the Russian Empire – Lithuania became a province of a foreign empire. Farming suffered a severe general downturn. As the Church’s powers began to be restricted, there was almost no opportunity for new significant instruments to emerge. The monasteries, which until then had been the initiators of the best organ building, were closed. Eastern Catholic (Unitarian) churches, which also had organs in Lithuania, became part of the Russian Orthodox Church, and the organs were ordered to be liquidated. The Catholic Church itself, unlike evangelicals, also had little regard for music and especially for organ matters. From the beginning of the 15th century, the development of Lithuanian organ culture was closely associated with Königsberg. Once the import customs were imposed, significant contacts which had taken place almost disappeared. The industrial revolution in Lithuania was delayed, and for half a century small artisan workshops still prevailed. Almost exclusively small, single-manual organs without pedals or positives were built. A large three-manual organ at Vilnius University St John’s Church was rather an exception. It was built by the Tiedemanns. This family, which originated in East Prussia, worked in the Baltic States throughout the first half of the 19th century. Only in the middle of the century did the new European organ building trend, the so-called organ romanticism, reach Lithuania. A particularly important role in this period was played by the experience of organ building of the neighbouring Curonia. Very few impressive examples were created, and in this respect Lithuania is hardly able to compete with the major countries of Central Europe. Lithuania is characterized by the fact that in the 19th century local masters and companies ( J. Rudavičius, M. Masalskis, F. Ostromensky), as well as masters from neighbouring Curonia (Herrmann, Weissenborn) and Poland (Blomberg) worked there. In western Lithuania, then part of Prussia, Terletzki was active. Meanwhile, large factories (Walcker, Rieger) reached Lithuania only in the first half of the twentieth century and only in a few instances. At that time, more work started to be focusing on the construction of two-manual with pedal instruments. At the end of the century, J. Rudavicius built some three-manual organs. His 63-stop organ built in 1896 for a long time was the largest in Lithuania. Although the 19th century Lithuanian organs are relatively modest compared to other countries, they have the value that is only growing in the context of present-day Europe, since the “progressive ideology” of more economically powerful European countries affected the art of organ building and few small romantic instruments are left.
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Janonienė, Rūta. "The Vilnius icon of the Mother of God and its cult in the Greek Catholic Church of the Holy Trinity." Menotyra 24, no. 1 (March 28, 2017). http://dx.doi.org/10.6001/menotyra.v24i1.3430.
Full textAbstract:
The article discusses the icon of the Hodegetria Mother of God, formerly placed in Vilnius.The currently missing piece of art was considered very important in the Vilnius spiritual life inthe 16th – early 20th centuries and was respected by Orthodox, Greek Catholic (Uniate) andRoman Catholic churches. A significant influence on the cult of icons was inspired by the au-thorship attributed to St. Lukas (later – only its prototype) and historical links with the familyof the Grand Duke of Lithuania Alexander Jagiellon (the icon was brought as a dowry in 1495by his wife Elena, the daughter of the Grand Duke of Moscow).In the 16th century, the icon was stored in the Orthodox Cathedral of the Blessed Mother ofGod. At that time it was possibly renewed (two side boards were replaced and the icon was re-painted with the egg-tempera technique). It is supposed that at that time the partial amendmentwas made in the oldest silver casings consisting of separate ornamented plates that were coveringthe background of the icon. Most of the knowledge about the existence of the icon exists fromthe beginning of the 17th century, when it was transferred into the church of the Vilnius Basilianmonastery of St. Trinity. There it became a major factor of Vilnius Latin and Greek Catholicreligious integration. The altar of The Mother of God in the church of St. Trinity was patronizedby the fraternity of the Immaculate Conception of Holy Mary.The image of the icons is known from the descriptions, lithographs, photographs and copiesof the 19th century. It should be noted that there are two different iconographic variations ofthe copies of the Vilnius Hodegetria (characterized by the different position of the feet of Jesus).The article raises an assumption that the icon could be repainted in the 17th century. The slightchange of the image or its iconography may have been adjusted with the silver casings made in1677. Once again the Vilnius icon was possibly renewed after the fire in 1706. In the middle ofthe 18th century, the head of Holy Mary was decorated with a new pure gold filigree crown. In1839, after the repeal of the union and the takeover of the St. Trinity‘s church by the Orthodox,the altar of Holy Mary was demolished and the icon was added to the new iconostasis. In 1866,the old artistic silver casings were melted and from the resulting material the new casing wasmade in St Petersburg, corresponding to the requirements of the Orthodox. In the same year,the icon was restored. Its oil paints were cleaned. The image unveiled at that time perhaps wasnot the first original image, but the one created after the icon base corrections, most likely inVilnius in the 16th century.
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Stankevičienė, Regimanta. "The origin of the miraculous painting of Our Lady in Krekenava Church: iconographic sources and their contexts." Menotyra 25, no. 1 (May 3, 2018). http://dx.doi.org/10.6001/menotyra.v25i1.3686.
Full textAbstract:
The article presents a high altar painting of “Our Lady with the Child” in the Krekenava Basilica of the Assumption of the Virgin Mary (Our Lady of Krekenava; pine, canvas, oil; size: 172 × 111 cm). Parsons of Krekenava Church were Samogitian archdeacons. The picture was donated by Nicolao Povetrius (Mikalojus Povetrijus), a parson of the church in 1622–1634. It was announced that he brought the picture from Rome. However, the fabrics and artistic features of the painting show that it was created by a Lithuanian painter instead. Iconographic analysis suggests that the painting was painted on the basis of three old prototypes related to St. Luke authorship. These are icons from two very famous churches of Rome (S. Maria Maggiore (Salus Populi Romani) from the Basilica of the same title and S. Maria del Popolo from the church of the same title) and one from Poland and Lithuania, which is highly respected (Our Lady of Częstochowa from Jasna Góra Pauline Monastery Basilica). It was noticed that from the end of the 16th century, the copies of S. Maria Maggiore icon were created on the basis of the original image, e.g. a Jesuitic copy of 1569, which transferred the original painting into the image of the modern times (at present, in S. Andrea al Quirinale monastery). Such copies very quickly spread in Lithuania, where representations of Our Lady of Częstochowa became more and more popular. The derivations of the icon of S. Maria del Popolo were also created. This is testified by the altar painting of the Zarasai Parish Church (until 1610). The combination of several important aspects of origin (St. Luke authorship), cult and iconography of miraculous images of Our Lady in one painting are considered to be an aspiration to create the most suitable ideal image of Our Lady. Applying this method by combining the iconography of S. Maria Maggiore and Our Lady of Częstochowa, a high altar painting of Our Lady of Tytuvėnai Church was created at the same period and benefited by Vilnius Bishop Eustachy Wołłowicz (Eustachijus Valavičius). Krekenava and Tytuvėnai paintings are among the earliest images of the miraculous derivations of Our Lady in Lithuania. The iconography taken from prototypes was supplemented by crowns. The derivation of venerable archaic images of Our Lady was a process of re-evaluation and innovative expose, which took place in the post-Tridentine Church. The process was launched in Rome, and customers of the Krekenava image and other mentioned paintings of Our Lady in Lithuania were high or higher Catholic priests who studied or visited Rome and other Italian cities for other purposes. It is likely that they visited famous paintings and brought their copies. The paintings of Krekenava and Tytuvėnai because of oil painting technique and style are examples of the New Times painting, which was called “Latin” in Lithuania. They have archaic features taken from the prototypes. However, the origin of prototypes dissociates them from the Eastern Orthodox tradition of sacral paintings of the Grand Duchy of Lithuania, to which they are often wrongly attributed. Only wood panels and selection of symbolic gold plating background (golden colour in the Krekenava image) testifies to the impact of the latter tradition.
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Niebelski, Eugeniusz. "Szwermicki, Szwernicki or maybe Szwirmicki? A contribution to the biography of an exile priest, parish priest in Irkutsk in the 19th century." Nasza Przeszłość 137, no. 2 (December 31, 2022). http://dx.doi.org/10.52204/np.2022.137.2.113-122.
Full textAbstract:
The article is dedicated to the historically original figure of Krzysztof Szwermicki (1814-1894), a Marian priest, an exile to Siberia in the middle of the 19th century, then for many years, a parish priest in Irkutsk, who died there. On the basis of new materials - the parish books of the parish of Dauksze (today in Lithuania) - stored in the Lithuanian Historical Archive in Vilnius, the author establishes many facts, and corrects the errors in the biography of Father Szwermicki, one of the most interesting, exceptionally positive figures of the Catholic Church in Russia. The most important findings include the following: he was born on September 6, 1814 into a peasant family, to Adam and Catherine, in the village of Warnupiany, in the parish of Dauksze near Mariampol; on September 8 he was baptized with the name Krzysztof; he had the family name of Szwirmicki, which he later changed to Szwermicki, although he was also known and described as Szwernicki. He died in Irkutsk on October 31 (according to the Julian calendar), 1894, and was buried on November 3 in the Jerusalem cemetery (the grave does not exist). In historical literature he was more often spelled: Szwernicki. The author of the text argues that he should be spelled: Krzysztof Szwermicki, or more fully: Krzysztof Szwermicki (Szwernicki).
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Dacevič, Alicja, and Laima Budzinauskienė. "Reflections of the Activities of the Vocal-Instrumental Chapel of the Carmelites of the Ancient Observance of Bialyničiai in Several Manuscript Sources of the Second Half of the Eighteenth–the First Half of the Nineteenth Century." Menotyra 29, no. 3 (July 12, 2022). http://dx.doi.org/10.6001/menotyra.v29i3.4734.
Full textAbstract:
So far, a separate musicological work on the musical activities in the church of the Carmelites of the Ancient Observance of Bialyničiai (Belarusian Бялы́ нічы, Polish Białynicze) has not been prepared. The lack of a sheet music library prompted the study into several manuscript sources from the second half of the eighteenth century to the first half of the nineteenth century, which are stored in manuscript libraries in Vilnius and Minsk. Using the book of registration of income and expenses of the Carmelites of the Ancient Observance of Bialyničiai, which was the primary source of information, a list of the members of the chapel of the Carmelite Order of Bialyničiai, who were paid in the second half of the eighteenth century, was compiled, with their names, surnames, time of service, and positions. The exact information on the size and the composition of the chapel that used to play in the church of the Carmelites of the Ancient Observance in Bialyničiai in 1824–1825 and in 1832, found in the inventory, the visitation, and the audit, is also provided. With the help of sheet music lists, attempts were made to determine the musical genres predominant in the chapel’s performances and the composers whose vocal-instrumental works were performed. The names of the composers are often distorted in the manuscript lists found, but it is possible to identify some of them or to make assumptions. The seventeenth-to-nineteenth-century heritage of the vocal-instrumental chapels of the Catholic monasteries of the Grand Duchy of Lithuania requires further research in order to produce a synthetic summary of this phenomenon.