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06_06_lt_lith.docx
VALDOVŲ RŪMAI
Naujas Vilniaus rūmų plėtros etapas Renesanso epochoje siejamas su Žygimanto Augusto vardu. Jis nuo 1544 metų tapo tėvo vietininku, arba faktiniu valdovu Lietuvoje. Jau tais pačiais metais, Žygimantui Augustui ir jo žmonai Elžbietai Habsburgaitei atvykus į Vilnių, iškart prasidėjo didelio masto rezidencijos ir kitų pagalbinių pastatų statybos darbai. Pagrindinis Žygimanto Augusto tikslas buvo greta tėvams priklausiusių Senųjų rūmų pasistatyti sau Naujuosius rūmus. Taip Žygimanto Augusto pastatyti Naujieji rūmai turėjo baigti formuoti uždarą Didįjį reprezentacinį rezidencijos kiemą, o patys Lietuvos didžiųjų kunigaikščių rūmai tapti Gediminaičių-Jogailaičių dinastijos reprezentacine rezidencija, siejama su šios dinastijos kilmės vieta.
Renesansiniai Žygimanto Augusto rūmai Vilniuje tapo ne tik politikos, administracijos, diplomatijos, bet ir kultūros bei meno centru, skleidusiu savo įtaką toli už Lietuvos sostinės ribų. Vilniaus rūmuose buvo sukauptos įspūdingos gobelenų, paveikslų, kitų dailės kūrinių, ginklų, šarvų, medžioklės trofėjų kolekcijos, didžiulė biblioteka, brangenybių rinkinys, kuriuo stebėjosi netgi popiežiaus pasiuntinys vyskupas Bernardas Bondžovanis, pranešęs apie Vilniuje matytus Lietuvos ir Lenkijos valdovo turtus visai Europai. Su šiais rūmais susijusi romantiška Žygimanto Augusto ir jo antrosios žmonos Barboros Radvilaitės meilės istorija. Čia rinkosi Lietuvos Ponų taryba ir seimai, buvo redaguojami Lietuvos Statutai, saugomi Lietuvos Metrika ir valdovo bei valstybės iždas.
Paskutinis Vilniaus rūmų klestėjimo periodas siejamas su švedų kilmės Vazų dinastijos valdymo metais bei Žygimanto Vazos ir Vladislovo Vazos statybinėmis iniciatyvomis.
Po 1610 metų Vilniaus gaisro nukentėję rūmai iš pradžių greičiausiai buvo remontuojami ir dekoruojami šiaurietiškojo manierizmo stiliumi – tai liudija kai kurios tyrimų metu rastos architektūrinės detalės.
Antrajame Vazų rezidencijos rekonstrukcijos etape, Vilniaus rūmai papuošti ankstyvojo italų baroko formomis, Vilniaus rūmai tapo ištaiginga barokine Vazų dinastijos valdovų rezidencija, kurioje buvo sprendžiami svarbūs Vidurio, Rytų ir Šiaurės Europos politikos, tarptautinių ryšių klausimai, priimamos delegacijos ne tik iš daugelio Europos, bet ir iš Artimųjų Rytų valstybių.
1636 metais čia pastatyta pirmoji Lietuvoje opera „Elenos pagrobimas“. Rūmai tapo baroko kultūros ir meno sklaidos centru, valdovų pasikviestų garsių menininkų paslaugomis naudojosi Lietuvos didikai, aukšti bažnyčios dignitoriai.
1655 metais Vilnių užėmė Maskvos bei kazokų kariuomenė ir šešerius metus čia šeimininkavo. Lietuvos didžiųjų kunigaikščių rūmai buvo sudeginti, apgriauti, nusiaubti ir išplėšti. Jie nebebuvo suremontuoti ir daugiau niekada nebetarnavo kaip Lietuvos ir Lenkijos valdovų rezidencija, nors Lietuvos bajorija nuolat reikalavo rūmus atkurti, kad trečdalį laiko bendras Lenkijos ir Lietuvos valdovas galėtų praleisti Lietuvos Didžiojoje Kunigaikštystėje. Taigi net apgriauti rūmai išsaugojo simbolinę prasmę bei praktinę reikšmę senosios Lietuvos valstybės funkcionavimui.
XVIII amžiuje rūmuose apsigyveno miestiečiai bei neturtingi bajorai, o pačioje šimtmečio pabaigoje buvo planų juose įkurdinti valstybės komisijas. Padalijus Abiejų Tautų Respubliką, nebepuoselėta viltis, kad istorinė Lietuvos didžiųjų kunigaikščių rezidencija kada nors atgaus savo spindesį.
XVIII–XIX amžių sandūroje, carinės Rusijos administracijai skatinant, rūmai nugriauti kaip sunaikintos valstybės regimas simbolis, tos valstybės valdovų buvusi rezidencija ir administracinis centras. Suvokiant rūmų, kaip sunaikintos Lietuvos Didžiosios Kunigaikštystės ir visos Abiejų Tautų Respublikos simbolio istorinėje Lietuvos sostinėje, svarbą, labai reikšmingas faktas yra tas, kad per visą XIX amžių ir netgi XX amžiaus pradžioje dailininkai romantikai – dažnai vaizdavo Vilniaus katedrą iš pietų pusės kartu su tuomet nebeegzistavusiais Lietuvos didžiųjų kunigaikščių rūmais, siedami juos su Gediminaičių-Jogailaičių dinastija.
06_06_lt_eng.docx
THE PALACE OF THE GRAND DUKES OF LITHUANIA
The research findings of the last 20 years show that in the area where the palace once stood, between the Cathedral and the Upper Castle, there were already people living in wooden buildings in the 6th-8th centuries. Over time the settlement became a castle. From the second half of the 13th century, brick construction was begun in this area. Some researchers argue that this was done during the reign of King Mindaugas. Especially many brick buildings were built during the reigns of the Grand Dukes Vytenis and Gediminas when the Gediminid family dynasty was coming into power. From the beginning of the 14th century, in the place of the future palace, there was already a brick castle with fortified brick walls and towers as well as other buildings along the walls and in the central courtyard. This small fortified lower castle was located inside the large complex of the Lower Castle, which was also fortified later by brick walls and towers. Over time the fortification walls and towers of the small lower castle were torn down and replaced by new wings of the grand ducal palace.
The Grand Dukes Algirdas and his son probably can deduce from the fact that Jogaila took an active interest in construction activities in Krakow that he was also interested in the construction and development of his castles in Vilnius and elsewhere. Further modernization of their residences in the Upper and Lower Castles in Vilnius no doubt took place. A brick wall with towers was built around the Lower Castle.
After the fire of 1419, Vytautas reconstructed the Vilnius castles and rebuilt and expanded the Cathedral, where in 1430 he planned to be crowned king of Lithuania. Until the end of the 15th and the beginning of the 16th centuries the residence of the grand dukes in the Lower Castle had to compete with similar residences in the Upper Castle and in the Island Castle of Trakai. In order to maintain the integrity of the State, the rulers traveled all over the country, never staying long in one place.
When Alexander Jagiellon, life in the Vilnius castles changed radically. At the end of the 15th century Alexander started to rebuild the old medieval walled castle (within the Lower Castle) into a late Gothic palace which would meet his new needs and requirements. The main residence of the rulers was probably transferred from the Upper Castle to the Lower – making life and governance easier.
Early in the reign of the Grand Duke of Lithuania and King of Poland Sigismund the Old, the brother of Alexander, several big fires swept through Vilnius and the palace.
The Renaissance room interiors were furnished with fancy tile stoves made of various coloured glazed tiles with floral ornaments, mythological and allegorical creatures, didactic scenes as well as the coats of arms of the Lithuanian and Polish rulers from the Gediminid-Jagiellonian dynasty, the Sforza family, and the Lithuanian nobility. The floors were also covered with similar colourful glazed ceramic tiles.
A new phase of expansion of the Renaissance palace is associated with the rule of Sigismund Augustus. In 1544 he was named vicegerent (ruler in fact) of Lithuania by his father Sigismund the Old and in that same year came to Vilnius with his wife, Elisabeth of Austria (Habsburg). Massive construction work began immediately at the palace and auxiliary buildings. Sigismund Augustus’ goal was to build a new residence next to the old residence of his parents. The Palace of the Grand Dukes was to become the ceremonial residence for the Gediminid and Jagiellonian dynasties – the place from which they sprang.
The Renaissance palace built by Sigismund Augustus in Vilnius became not only a political, administrative, and diplomatic center but also a center for culture and the arts, and its influence spread far beyond the Lithuanian capital. The palace contained rich collections of tapestries, paintings, and other works of art, weapons, armor, hunting trophies, and a huge library as well as a collection of treasures and jewels that impressed the papal legate Bishop Bernardino Buongiovanni, who then spread the news of the treasures he saw in 1560 throughout Europe. This palace was witness to the romantic love story of Sigismund Augustus and Barbara Radziwiłł. The Council of Lords and the Parliament of the Grand Duchy of Lithuania met here. The Statutes of Lithuania (the code of laws of the Grand Duchy of Lithuania) were compiled and edited here. The Lithuanian Metrica (chancellery records of the Grand Duchy of Lithuania) was kept here as well as the treasuries of Lithuania’s rulers and of the Grand Duchy.
The palace continued to flourish during the rule of the Swedish Vasa dynasty with new construction initiatives undertaken by Sigismund Vasa and Ladislaus
After the fire of 1610, the palace was rebuilt in Northern Mannerist style, as evidenced by archaeological finds.
The second phase of the reconstruction project the palace became a luxurious Baroque residence for the rulers of the Vasa dynasty, where important political decisions regarding international relations in Central, Eastern, and Northern Europe were made, where important delegations from many European nations and the Middle East were received.
In 1636, the first opera in Lithuania was staged in the palace – The Abduction of Helen. The palace became a center for the dissemination of Baroque culture and art among the nobles of Lithuania and church dignitaries.
In 1655 Vilnius was attacked by the Muscovite and Cossack army and occupied for six years. During these years, the palace was plundered, ravaged, and burned. It was never rebuilt and never again served as a residence for the rulers of Poland and Lithuania, even though the Lithuanian nobility often urged that the palace be rebuilt so that their common ruler could spend at least a third of his time there. Even in ruin the palace did not lose either its symbolic or practical meaning for the functioning of the old Lithuanian State.
During the 18th century, what remained of the palace was inhabited by townspeople and petty nobles. At the end of the century there were plans to establish some state commissions there. But the partitions of the Commonwealth ended any hopes that the historical residence of Lithuania’s rulers would ever be returned to its former glory.
At the end of the 18th and the beginning of the 19th centuries, at the behest of the Russian Tsarist administration, the ruins of the palace were torn down as a visible symbol of a fallen state, the residence of its rulers and center of government. Understanding the meaning of this very strong symbolism – the destruction of the Grand Duchy of Lithuania and of the Polish-Lithuanian Commonwealth – in the heart of the capital of Lithuania, romantic artists throughout the 19th and into the 20th centuries pictured the Vilnius Cathedral from the South together with the non-existent Palace of the Grand Dukes as a reminder of the Gediminian and Jagiellonian dynasties.
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