[This article describes the
penetration of the aristocratic Rococo style into modern Latvia, Lithuania,
Belarus, Russia, Ukraine
and Poland.
A second article will describe its prevalence in Central Europe, in the modern Czech Republic,
Slovakia, Austria and Hungary, which were more culturally
homogenous in the 18th century.]
Rococo has its origins in
France, the great arbiter of taste in 18th century Europe, but it
was most enthusiastically embraced in Germany. Germany
was a mosaic of princedoms and her aristocratic families married into the
nobility of Poland and Russia. An
ambitious princeling would want to be seen as à la mode and in this way the cultural influence of Rococo spread east,
hugely beautifying many places far way from the French and German courts.
A case in point is the 1730s Rundale Palace in Latvia (then the Duchy
of Courland) where the Duke resided, reflecting the baroque and light-hearted Rococo
style of the time. Its architect was Bartolomeo Rastrelli, much involved later
in St Petersburg’s
Tsarkoe Selo.
Rundale Palace, Latvia |
Rundale Palace interior |
Further south in devout Lithuania we
encounter another influence, the Catholic Church. The Dominican order
particularly loved the rapt and ecstatic Rococo ecclesiastical style and built
many fine churches like the 1754 St
Theresa in Vilnius, so reminiscent of Bavaria.
St Theresa, Vilnius, Lithuania |
As we go further east to Belarus with
its many ethnic German settlers and landowners we encounter other influences.
The Orthodox Church had its own admired architectural tradition and liturgical
usages; Catholic Rococo had to adapt and thus we see the Byzantine domed Shkaplernaya Church
at the resort of Myadel,
Belarus
Shkaplernaya Mother of God Church |
Nesvizh Castle, Belarus |
Among secular buildings in Belarus, the
famed Lithuanian Radziwill family erected the renaissance castle at Nesvizh, much altered from 1760 in the
18th century style by Antoni Zaleski exuding Enlightenment values (presently
being restored).
Russia itself is dominated by the Russian Orthodox tradition
but in its 18th century heyday the German architectural influence
was potent. Empress Catherine the Great ruled vigorously from 1762 to 1796 and
transformed her adopted nation (she was born a Prussian princess). Like
Frederick II of Prussia
and Joseph II of the Hapsburg Empire, Catherine strove rapidly to develop her
country as an “enlightened despot”. Reforms abounded and western influences
like Rococo and Neo-Classicism were welcomed as seen in the famous Summer Palace
at Tsarkoe Selo just outside St Petersburg. Its
architects were the Italo-Russian Bartolomeo Rastrelli and the talented
Scotsman Charles Cameron.
Tsarkoe Selo Facade, St Petersburg |
Tsarkoe Selo Pavilion |
A greatly admired Russian
architect was Dimitri Ukhtomsty whose Martyr Nikita
Church in Moscow of 1760 boasts a flamboyantly
monumental iconostasis.
Ukhtomsky Church, Moscow |
St Andrew, Kiev, Ukraine |
St George's, Lviv, Ukraine |
In the famous city of Kiev stands the spectacular Cathedral of St Andrew, very clearly Rococo-influenced and in Ukraine’s cultural capital of Lviv we enjoy the
elaboration and asymmetry of St George’s.
The 18th century
was a catastrophic one for Poland
which endured three partitions between Russia,
Prussia and Austria,
finally to disappear from the map entirely in 1795; she had to wait until 1918
to be restored. Her distinctive culture, Catholic and Slav, held on notably in the
lovely royal City of Krakow, with its many
churches and in now sadly war-damaged Warsaw.
Let St Anne’s Krakow and Rococo Czapski Palace
fly this proud nation’s flag.
Pulpit, St Anne's, Krakow |
Czapski Palace, Warsaw |
I hope this brief article has
illustrated how far and how profoundly the cultural reach of Rococo extended. Eastern Europe is haunted by many ghosts; the appalling
fate of its Jews: the persecution, repression and murder of Stalin’s cohorts:
the unspeakable cruelty and devastation of the Nazis.
But the 20th
century is now a closed book. If Eastern Europe
looks around for those things which unite it, architectural delight is one such
unifier. All the people of Eastern Europe can
now enjoy Beauty and Civilisation together, a legacy from the once exclusive 18th
century, a right and privilege for all in the 21st.
SMD
28.12.12
Text Copyright © Sidney
Donald 2012