Heritage

Historicism in the architecture of Lviv: tendency across centuries

Svitlana Linda

Abstract

Development of theoretical conceptualization of the phenomena and events in the history of architecture frequently leads to revaluation of their importance, a more precise definition or even their complete transformation. An example of this is the fate of the term “historicism” that relatively recently got implanted in the Ukrainian scientific use. Only in 1990s has it finally “forced out” the traditional eclecticism from our architectural science and outlined the period of development of architecture of the 2nd half of the 19th century. However, formation of the new views on the problem of historicism as the fundamental world outlook category opens up absolutely new perspectives for the research. The term “historicism” used in this article is not the name of a concrete trend in the practice of architecture of a certain period but a tendency that goes through many periods of development of architecture. Historicism is interpreted as a direction of creative thinking fed on historical consciousness. The author relies on the definition of historicism suggested by N. Pevzner: Historicism is a trend in which study and application of history is more important than discovery and development of a new system, new forms of its time [3, p. 271].

It becomes clear in such a context that historicism as a characteristic feature of many architectural epochs for the appeal to historical memory through historical prototypes was the foundation of creative thinking of architects. This article analyzes principal stages of development of architecture of Lviv in the 17–19th centuries from the standpoint of representation of historicism in architecture.

Keywords:
lviv
historicism

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Development of theoretical conceptualization of the

phenomena and events in the history of architecture fre-

quently leads to revaluation of their importance, a more

precise denition or even their complete transformation.

An example of this is the fate of the term “historicism”

that relatively recently got implanted in the Ukrainian sci-

entic use. Only in 1990s has it nally “forced out” the

traditional eclecticism from our architectural science and

outlined the period of development of architecture of the

half of the 19

century. However, formation of the

new views on the problem of historicism as the funda-

mental world outlook category opens up absolutely new

perspectives for the research. The term “historicism” used

in this article is not the name of a concrete trend in the

practice of architecture of a certain period but a tendency

that goes through many periods of development of archi-

tecture. Historicism is interpreted as a direction of creative

thinking fed on historical consciousness. The author relies

on the denition of historicism suggested by N. Pevzner:

Svitlana Linda*

Historicism in the architecture of Lviv: tendency across centuries

State Polytechnic University of Lviv.

Fig. 1. The Bandinelli house in Market Square 2 (around 1593) Fig. 2. The Black house in Market Square 4

46 Svitlana Linda

Historicism is a trend in which study and application of

history is more important than discovery and development

of a new system, new forms of its time [3, p. 271].

It becomes clear in such a context that historicism as

a characteristic feature of many architectural epochs for

the appeal to historical memory through historical pro-

totypes was the foundation of creative thinking of archi-

tects. This article analyzes principal stages of develop-

ment of architecture of Lviv in the 17–19

centuries from

the standpoint of representation of historicism in archi-

tecture.

The stage of development of architecture of Lviv for

the rst time connected with historical thinking began af-

ter the tragic event – a great re of 1527. The city devas-

tated to the foundations was rebuilt in the new style – the

Renaissance. The architects invited from Italy, Germany,

the Netherlands, France brought to the Ukrainian archi-

tecture their experience of the west-European Renais-

sance – the epoch whose very name demonstrated a desire

to synthesize the new values appealing to the heritage of

the past. New understanding of history and the new place

of man in history as its maker gave rise in the day of the

Renaissance to the wave of retrospectives.

Architectural Renaissance arrived in Lviv with some

delay, having brought with it the stylized pluralism of the

late Italian Renaissance. At that time, the Italian Renais-

sance has come over the apex of its development in the

works of D. Bramante, after which there was nothing else

left except trying to modify again and again the familiar

themes or disclaim the achieved. The latter alternative al-

lowed to respond to the new aesthetic needs and opened

up the way to the development of numerous stylistic ten-

dencies. Two lines among the lines of style creation were

clearly dened. One was based on the assumption of the

end in itself of art and its own values. The word “manner”

became the key notion. The other line suggested a new

interpretation of the classical theme in synthesis with the

local achievements of architecture of the previous epochs

[6, p. 15–18].

The classical order in compositions of mannerists that

had acquired a symbolical meaning – a projection on the

structure of human measure – had already become an ordi-

nary canonized foundation. However, above all deviation

from the standard was lled with important meaningful

content, as this signied domination of personal over the

ideal, i.e. anthropomorphism of the order acquired indi-

vidual characteristics as a peculiar analog of individuality

of each human [2]. The nearest to its Roman prototypes

appeared to be the Bandinelli house in Market Square 2

built in around 1593 (Fig. 1). The architecture of the small

building interprets the forms of Farneze palazzo supple-

menting them with lush decor and sculpture. Composition

of the façade includes the anthropomorphic element – or-

der, but in a somewhat reduced form: smooth plastered

walls of the three-storied building are divided by belts and

decorated Doric friezes, corner rustic joints became the

only vertical elements [5, pp. 27, 106].

The Black house in Market Square 4 (Fig. 2) offers

a different interpretation of the palazzo theme. The façade

is devoid of the order decoration, yet its division upwardly

Fig. 3. The Boim Chapel in Cathedral Square

(A. Boemer, 1609–1616)

Fig. 4. The ensemble of the Assumption Church (1591–1629)

Historicism in the architecture of Lviv: tendency across centuries 47

is subordinate to triplicity that originates from the classi-

cal order tradition. Proportions of the façade are reduced

to the rational system on the basis of multiple ratios and

elemental contours of diamond rustics. The forms of the

building are not a direct replica of some classical exam-

ples, but bear the spirit of a Florentine palazzo of Quat-

trocento period [5, pp. 27, 107].

The Boim Chapel in Cathedral Square built, prob-

ably, by A. Boemer in 1609–1616 is one of the pearls

of Lviv Renaissance, the peak of its mannerist searches

(Fig. 3). Historicism in architecture of the chapel denite-

ly departed from representation of the ideal and presented

a dynamic, multidimensional sight. The architect built

composition of the façade on dramatic effects. Behind

their overworked building up, one can trace position of

the craftsmen intended not only for understanding the plot

and for empathy but also for capturing the viewer with

mastery and technical perfection [1, pp. 96–97].

The new interpretation of classical themes in combina-

tion with ancient Rus traditions started the tendency that

has preserved its topicality till present day: it is the search

for the Ukrainian style, its differentiation in the stream of

general European styles. This tendency has shown itself

most powerfully the in religious architecture, whose ty-

pology has always been closely connected with the canon.

The apex of the synthesis of the European and national

became the ensemble of the Assumption Church (1591–

1629) (Fig. 4). Architecture of the church has organically

combined the traditional volumetric-spatial type of the

Ukrainian three-domed temple and the late-Renaissance

aesthetics. The order has retained its importance that

connected it with the myth of antiquity. Its proportions

and details were rather precise, yet their tectonic content

had been changed: the order transformed into a motif of

decoration of the plane. Volumetric-spatial design of the

Chapel of the Three Saints – the crypt of the Korniakt

family in Lviv – reminds of the triple-crib wooden Car-

pathian churches. The chapel was built in 1578–1591 by

A. Pidlisnyy and P. Krasovskyy [5, pp. 27, 91–92].

The new stage of architectural development of the

city closely connected with recapitulation of the lessons

of history began in the end of the 18

century and was

predetermined by political events when Lviv was granted

the status of the capital of the newly established province

of the Austrian monarchy in 1772 [7]. Historicism was

imported to Lviv from Austria in the form of the “second

classicism” (or neoclassicism) that developed in Europe

in the period between 1760 and 1830. The special fea-

ture of the “second classicism” became the keynote ap-

peal to the indigenous local sources that distinguished the

national school within the general boundaries of the style

system of classicism [6, pp. 63–65; 4].

Adaptation of classical forms to the local context (of

both, city planning and creative potential context) had led

to the development of the phenomenon – of the type of

a Lviv city building squeezed into the ordinary built-up

neighborhoods but lavishly decorated. The plane of the

front façade on the level of the second and third oors

came to be the center of focusing of the order and lavish

sculptural decoration. The order compositions were com-

Fig. 5. The Hausner house in prospect Svobody 1–3

(1810–1811, 1829–1822)

Fig. 6. The Piller house in Vynnychenka street 8

(F. Tomek, 1839)

48 Svitlana Linda

bined with forthright combinations of the “Renaissance

classicism” and brought in even greater pluralism into

rather decanonized classical pattern. The Hausner house in

prospect Svobody 1–3 (1810–1811, 1829–1822) (Fig. 5)

and the Piller house in Vynnychenka street 8 (F. Tomek,

1839) (Fig. 6) became the best examples of this [4; 10].

Romantic outlook on life reached Lviv in the 1920s:

the romantic Neo-Gothic appeared in Lviv to express the

ideas of individualism and romanticism. The trend of ro-

mantic Neo-Gothic envisaged a free use and synthesizing

of the “Gothic” forms for the establishment of the new

image that had been characteristic of the early romantic

phase of the European Neo-Gothic. Neo-Gothic existed

in the outskirts of development of Lviv architecture of the

1930s, though it appeared to be a specic “enzyme” that

accelerated the process of collapse of the classical sys-

tem [10].

The building that demonstrated the nal downfall

of classicism in architecture of Lviv became the Palace

of Roman Catholic Archbishops in Vynnychenka Street

(J. Salzman, 1846–1847) (Fig. 7). this is where the Ren-

aissance, Classical and Romanesque motifs were mixed

up in a motley collection. The system of classicism was

irrevocably shaken, but a new system came to replace it

Fig. 7. The Palace

of Roman Catholic Archbishops

in Vynnychenka street

(J. Salzman, 1846–1847)

Fig. 8. The Polytechnical School

(J. Zachariewicz, 1872–1876)

Historicism in the architecture of Lviv: tendency across centuries 49

whose ideological inspirer appeared to be the romantic

outlook on life. Total historicism of thinking that legiti-

mized the appeal to the heritage of all previous architec-

tural periods and innitely expanded the range of sources

for interpretations appeared to be the fundamental charac-

teristic of the new system [1, p. 211].

Decentralization of the Empire in 1867 shifted the

reigns of governing Galicia from Vienna to Lviv, and

starting from 1869 Lviv became the capital of the autono-

mous province of the Austrian-Hungarian Empire. One

of the most important strategic guidelines of the Polish

administration in Galicia was to prove absolute ability of

the region to resolve independently any issues without

any patronage on the part of Vienna administration. Ar-

chitecture under such conditions became one of the tools

for validation of such policy, and the status of Lviv as

the capital city determined the representative character of

development of the city [7; 9].

Starting from the 1850s, historicism unstoppably con-

tinued to win its positions in the architecture of Lviv, and in

1870-1880s reached its peak in the construction of public

buildings that have become symbols of both, the city and

the epoch in general. One of such projects was the build-

ing of the Polytechnical School (1872–1876) designed

by J. Zachariewicz – a graduate of Vienna Polytechnic

(Fig. 8). This was the rst large-scale implementation of

the concepts of the Viennese Neo-Renaissance in Galicia.

Spatial composition and decor of the façades rests on the

balanced Renaissance-Classical variations [8].

The Seym of Galicia (J. Gochberger, 1877–1881)

(Fig. 9) was conceived as the building-symbol. The pre-

tentious architecture of the building formed as a result of

Fig. 9. The building

of the Seym of Galicia

(J. Gochberger, 1877–1881)

Fig. 10. The Potocki’s Palace

(L. d’Overnier, 1888–1890)

50 Svitlana Linda

a large international contest was to become not just a trib-

ute to fashion, but a metaphor of prosperity and well-being

of the autonomous province of Galicia: historicism in the

architecture of Seym stepped forward as a part of the of-

cial ideology. Its façade is amazing with resplendence and

diversity of architectural-compositional and interesting

techniques. The central axis is accentuated by the loggia-

risalita that develops the theme of “Michelangelian” large

order [1, pp. 271–273; 4].

The 2

half of the 19

century put forward the need

for construction in the “splendid and rened” style. The

“Second Empire style” associated with the fashion that

was formed in France during the rule of Napoleon III cor-

responded with the need. It was readily used in house-

building and, especially, in palace construction. The Po-

tocki’s Palace (1888–1890) was erected by J. Cybulski

and L.-B. Ramult from the design of the Frenchman (!)

L. d’Overnier (Fig. 10). The architect has rationally elabo-

rated volumetric-spatial structure of the building proceed-

ing from the classical experience and the new functional

requirements. Façades are decorated with the features of

“Frenchness”: tall French roofs with lucarne windows that

complete the central and side risalitas, massive chimneys,

rustic pilasters [1, pp. 362–363].

The apex of the epoch of architecture of choice and the

project that has logically completed one of the most bril-

liant periods of Lviv architecture became the building of

the City Theater (Z. Gorgolewski, 1897–1900) (Fig. 11).

The theater occupied the key location in the ensemble

of the newly created avenue of the city and became the

main plastic accent of the promenade boulevard nally

determining it as the city center. The author of the project

openly followed the type of the Opera in Paris that has

become the paradigm of theater building for centuries.

However, Z. Gorgolewski managed to nd a reasonable

accommodation between the ostentatious splendor of the

opera building and clarity of the composition pattern re-

duced to the classical hierarchy and logical subordination

of meanings [1, pp. 311–313].

Another form of self-expression of the period of the

half of the 19

century was the variant of medieval

architecture, rst of all, Gothic architecture. Philosoph-

ical-symbolical world outlook of the 2

half of the 19

century linked the Neo-Gothic architecture with the re-

vival of ideas of Catholicism. The rst of the large imple-

mentations of the romantic trend was the convent and the

Roman-Catholic Church of the Franciscans (1877–1889)

the façades rests on the design of elements from the style

glossary of Early Gothic and Romanesque architecture.

Volumetric-spatial and stylistic pattern of this structure

became the landmark for further development of Roman-

Catholic construction in Lviv and were repeated in vari-

ous interpretations [1, p. 305; 12].

Aspirations to national consolidation and strengthen-

ing of self-consciousness of the nations gained momentum

in the 2

half of the 19

century in many countries. This

was associated with the national-romantic versions of his-

toricism in architecture that accentuated the specic char-

acter of the national past. The scrappy architecture of the

national Industrial exhibition of 1896 visualized for the

rst time the beginnings of the searches for the Ukrainian

style in Galicia. They were declared in the projects de-

signed by J. Zachariewicz: the boykys’ church in which

exhibits of the ethnographic pavilion were displayed and

the Ukrainian pavilion that had the shape of the traditional

homestead structure [8].

Under the circumstances of division of Poland by the

neighboring states, it was of special importance how to

deal with the issue of national singularity of the Polish

culture. Awareness of cultural and political revival was

connected with re-conceptualization of the heritage of

Fig. 11. The building

of the City Theater

(Z. Gorgolewski, 1897–1900)

Historicism in the architecture of Lviv: tendency across centuries 51

folk construction and the rise of patriotic sentiments was

manifested in architecture through the formation of “Za-

kopane style” whose ideological inspirer was Stanislaw

Witkiewicz. S. Witkiewicz tried to attach to the “Zako-

pane style” a social meaning: it had to serve the goals of

consolidation of the Polish nation, “make possible for the

upper classes to return home on the one hand and to merge

with common people into a true monolithic nation on the

other hand” [11]. Representations of historicism in the 2

half of the 19

century became exceptionally multidimen-

sional and multilingual.

Thus, architecture that can be dened as historicism

manifested through the principle of choice of the proto-

type for the new creative work and through the principle

of synthesis of the elements from different architectural

primary sources appeared for the rst time in Lviv in the

century. An important feature of such architecture is

symbolism of the use of a specic prototype. Architectur-

al heritage of Lviv of Renaissance period created a model

of use of historical heritage: from precise reproduction of

a historical prototype to re-combination and deliberate de-

parture from the canon.

The next stage of representation of historicism in the

architecture of Lviv is connected with the “second clas-

sicism”. Architecture of Lviv of the late 17

– rst half

of the 19

century represented a typical European variant

of the “second classicism” marked by the traits of plural-

ism and the opportunity of choice: the principle of choice

of the style dominated over loyalty to the “epoch’s style”

opening the road to its undisguised culmination in the 2

half of the 19

century. This is when historicism for the

rst time came forward as an effective means of not only

cultural (as in the day of Renaissance), but also ideologi-

cal expansion symbolizing rst of all political and admin-

istrative appurtenance of Lviv to the Austrian monarchy.

Expansion of historicism in the 2

half of the 19

century in architecture of Lviv was determined by further

political and cultural integration in the European context.

Historicism at that time came forward as the means of

legitimization of the Habsburg rule, and starting from the

1870s as a part of the ofcial ideology of authorities of

the autonomous province. The main feature of the 2

half

of the 19

century was the total historicism of thought

that was reected in architecture in the form of boundless

stylistic pluralism. The style of a building was selected

depending on the associations it caused which gave an

architectural project special meanings. National-romantic

idea that facilitated national consolidation became espe-

cially remarkable among the various representations of

historicism in the 2

half of the 19

century.

Further development of historicism was continued in

the architecture of the city in the interwar period, under

the totalitarian regime and in the architecture of post-So-

viet Lviv.

Fig. 12. The convent and the Roman-Catholic Church

of the Franciscans (J. Zachariewicz,1877–1889)

References

[1] Архітектура Львова. Час і стилі: ХІІІ–ХХІ ст, Упор. і наук. ред.

Ю.О. Бірюльов,. Центр Європи, Львів 2008.

[2] Білінська О.М., Особливості застосування ордерних членувань у

порталах споруд Львова кін. ХVІ – ХVІІ ст,.Вісник Національного

університету “Львівська політехніка”, 2004, № 505, pp. 159–163.

[3] Борисова Е.А., Русская архитектура второй половины ХІХ века,

М.: Наука, 1979.

[4] Вансца Е., Огдяд архітектури Відня ХІХ і першої половини ХХ

ст. Архітектура Галичини ХІХ–ХХ ст, Під редакцією Б. Черкеса,

М. Кубеліка, Е. Гофер, Львів 1996, pp. 199–208.

[5] Вуйцик В.С., Липка Р.М., Зустріч зі Львовом. Путівник, Каменяр,

Львів 1987.

[6] Иконников А. В., Историзм в архитектуре, М., Стройиздат, 1997.

[7] Bialynia-Chołodecki J., Lwów w XIX stuleciu, nakładem autora, Lwów

1928.

[8] Czerkies B., Danczak I., Architekt Julian Zachariewicz w ukraiń-

skiej i polskiej kulturze. Ochrona wspólnego dziedzictwa kultu ro-

wego. Stowarzyszenie Konserwatorow Zabytkow, Polski Ko mi tet

Narodowy ICOMOS, Warszawa 1993, pp. 72–85.

[9] Grzybowski K., Galicja 1848–1914. Historia ustroju politycznego

na tle historii ustroju Austrii, Kraków–Wrocław–Warszawa 1959,

pp. 86–98, 278–289.

[10] Mańkowski T., Początki nowożytnego Lwowa w architekturze,

nakładem gminy król. stol. miasta Lwowa, Lwów 1923, p. 51.

[11] Pawlikowski J., O stylu zakopiańskim, Wydawnictwo kasy im.

Mianowskiego, Warszawa 1931, p. 17.

[12] Zachariewicz J., Klasztor i kościól oo. Franciszkanek, Dźwignia,

rocznik III – 1879, pp. 43–44.

52 Svitlana Linda

Historyzm w architekturze Lwowa

W artykule podjęto temat historyzmu w architekturze, który jest

traktowany nie jako nazwa konkretnego kierunku w architekturze, ale

jako skierowanie myślenia twórczego, które żywi się świadomością

historyczną. Na przykładzie architektury Lwowa pokazano, jak system

form związanych z wydarzeniami i doświadczaniem historii stale służy

do tworzenia nowych języków formalnych, wyrażających treści specy-

czne dla swojej epoki. Problem wykorzystania tradycji do rozwiązy-

wania „zadań wpółczesnych“ architektury został prześledzony od epoki

Renesansu do początku XXI wieku. W niniejszym kontekście staje się

zrozumiałe, że historyzm we Lwowie jest właściwy epokom Renesan-

su, klasycyzmu; możemy także spostrzec go zarówno w modernizmie,

w wariacjach neoklasycystycznych reżimu totalitarnego, jak i we

współczesnej architekturze, dlatego że podstawą myślenia twórczego

architektów było i jest odwołanie do pamięci historycznej przez proto-

typy historyczne.

Key words: Lviv, historicism Słowa kluczowe: Lwów, historyzm