Latin Cathedral and Lviv Cathedral Square. Latin Cathedral in Lviv

The only sight of historical Lviv in the Gothic style is the archcathedral basilica of the Assumption of the Blessed Virgin Mary or the Latin Cathedral.

The first stone in the foundation of the cathedral, which was designed by the architect Piotra Stecher, was laid in 1360 by the Polish king Casimir III the Great. He turned 50 that year. We can say that the foundation stone of a majestic Catholic church was a gift to him for his anniversary. True, the security plaque on the wall of the cathedral says the year 1370 was laid.

The greatness of Casimir the Great lies in the fact that he skillfully combined war and peace with restless neighbors. The Polish king gave them what he could not keep, and seized what they could not protect. The king took advantage of the turmoil in the Galicia-Volyn principality, risked getting involved in a war with the Grand Duchy of Lithuania and drank to victory in conquered Lviv. While building a Catholic cathedral in Lvov, the king made it clear to the pagans - Lithuanians that Galicia was now and forever assigned to Christian Poland.

Casimir the Great died ten years later without seeing the cathedral in all its splendor. Several kings in Poland were replaced while the construction of the church was underway. Bishop Matei from Przemysl in 1405 consecrated only a part of the cathedral being built, and only in 1479-1481 the Wroclaw craftsmen Joachim Grom and Ambrosius Rabisch finally completed its construction. This is probably why Jesus Christ is depicted on the dome of the cathedral as the Sorrowful One. For more than a hundred years, He waited for the erection of a temple in the name of His Most Holy Mother.

According to the project, a church with two two bell towers was envisaged, but over time the plan changed, and only one tower was built - on the north side of the cathedral. Over the centuries, the outside of the church has changed significantly, the interior has also changed, but the altar part of the church has remained unchanged to this day.

The Cathedral of the Assumption of the Blessed Virgin Mary is active. You can go there, slowly, so as not to interfere with believing Catholics, walk around the church, admiring its interior decoration with frescoes and stained-glass windows. However, organized tourists like a thread are drawn to the needle-guide. Therefore, I personally paid a little more attention to the temple outside, namely, the high bell tower and eight chapels, among which the most interesting are the chapels of the Boims and Campians.

The Chapel of the Campians (Lord Jesus Scourged) is a masterpiece of Renaissance architecture and is of particular value. It was built at the end of the 16th century as a family burial vault for representatives of the Lviv patrician Kampian family and the Ostrogorsky family related to them. The chapel looks gorgeous both outside and inside.

No less magnificent is the Boim chapel, which was built in 1609-1615 as a crypt for representatives of the Boim merchant family. The construction was started by Georgy Boim, a Lviv merchant and usurer of Hungarian origin, and completed by his son Pavel-Georgy. The wall of the chapel, facing the Latin Cathedral, is completely covered with intricate stone carvings. On the eastern façade, there are portraits of Georg Boim and his wife Jadwiga.

Pope John Paul II prayed in the Latin Cathedral during a solemn Mass on June 26, 2001. A memorial plaque on the facade says about the pontiff's stay here.

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Cathedral of the Assumption of the Virgin Mary (Archcathedral Basilica of the Assumption of the Blessed Virgin Mary, Ukrainian Archcathedral Basilica of the Assumption of the Blessed Virgin Mary, Polish Bazylika Archikatedralna pw. Wniebowzięcia. The Cathedral of the Lviv Archdiocese, the only temple in Ukraine that has the honorary status of a "minor basilica". Architectural monument. The only monument in Lviv that has significantly preserved the features of the original Gothic appearance. Here on April 1, 1656, the Polish king Jan II Kazimir Vasa took Lviv vows. On June 25, 2001, Pope John Paul II visited the temple. Address - Cathedral Square, 1.

History of construction and restoration

The Latin Cathedral was founded on the site of the Orthodox Assumption Church, which was moved to Russian Street. The construction of the Latin Church was started by the Lviv architect P. Shtecher in 1360, the work was continued by I. Grom and A. Rabish, and the construction was completed in 1479 by G. Shtecher. In 1672, after the siege of Lviv by the Turks, Turkish cannonballs were hung on the wall of the temple. In 1760-1778, restoration work was carried out according to the project and under the leadership of the Lviv architect P. Polejovsky, who significantly changed the appearance of the building, giving it the then popular forms of baroque architecture; numerous chapels surrounding the temple were demolished. In 1772, in protest against the occupation of Galicia by Austria, Lviv residents walled up the main Gothic entrance of the cathedral. In the years 1892-1930, restoration work was carried out with interruptions in order to return the monument to its original Gothic appearance (architect M. Kovalchuk, professors V. Sadlovsky and T. Obminsky). In 1910, a memorial plaque was erected on the wall of the cathedral in honor of the 500th anniversary of the Battle of Grunwald, where the united troops of the Slavic peoples defeated the Teutonic Order. In 1941, the board was destroyed by the Nazis.

Architecture

The cathedral is made of stone, three-nave, hall type, with an elongated faceted apse. The monument is 67 meters long and 23 meters wide. The main space is close in volume to the cube, but many chapels were added around the cathedral, which is why its volume has a more complex configuration. The building's gothic verticality is enhanced by a high roof gable. The tower on the main façade has a baroque finish and is located asymmetrically, since the second bell tower remained unfinished. In the interior, high beam columns support pointed arches and a vault with Gothic ribs; the walls and vault are covered with frescoes. Many pieces of memorial sculpture have been preserved in the interior and exterior decor of the building.

For a long time, the dead were buried in the square around the Roman Catholic Cathedral. Only in 1765, all burials, except for the Boim chapel, as well as gravestones and crypts, were removed from the square, and further burials on it were prohibited. A number of chapels of the XVI, XVII and XVIII centuries remained, which were added to the main volume of the Latin Cathedral: the Milevsky chapel, also called ...

Lviv was founded in the middle of the 13th century by Prince Daniel Galitsky and named after his eldest son, Leo.

"The sign of the so-named Prince Leo is hailed by the city. His name is known throughout Europe and the Russian clan", - so briefly and exhaustively described the history and significance of the city verses from the "Grammar" of the 16th century.

Since 1349, after many battles, sieges and devastations, Lviv became the possession of the Polish crown. From the end of the 14th century, large stone construction began in the city. And, although the dawn of the Renaissance had already dawned in Italy during those years, the Gothic style continued to dominate in Lviv, as in most other cities in Europe.

At the turn of the XIV-XV centuries in Lviv in the Gothic style, many residential buildings, temples and fortifications were built, but as a result of subsequent wars, fires and rebuildings, only one Gothic monument of Lvov has survived to this day - the Latin Cathedral, the city's cathedral. The cathedral was founded in 1360. Its first architect and builder was Peter Stecher. As with the construction of other monumental structures of the Middle Ages, the construction of the temple proceeded slowly, with long interruptions. The foundations were completed only in 1368, and the tower by 1400. In 1404, another master, Nikolai Gonzago from Wroclaw, covered the altar with vaults. The next year, 1405, the consecration of the temple took place. But it was not until 1479-1481 that the architects Joachim Grom and Ambrosia Rabisch, also craftsmen from Wroclaw, basically completed the construction of the cathedral. After that, in 1493, master Hans Blecher completed the vaulted choir.

But, despite such a construction that took more than a hundred years, the initial design of the cathedral remained unfinished in the end. According to the plan, the naves were supposed to be covered with six vaults, but only three were erected. As a result, a conspicuous disproportion was formed between the spacious altar part and the relatively short naves of the same height. The height of the naves of the cathedral to the zenith of the vault is 18 meters.

Literally immediately after the completion of the construction of the Latin Cathedral, its restructuring and additions began - each time made adjustments in accordance with its tastes. After the fire in 1527, when the choir vaults collapsed and the tower above them perished, the temple was restored by architects who were already working in the Renaissance style. The temple was thoroughly restored in the 17th and 18th centuries. In the XVI-XVII centuries, the Latin Cathedral was overgrown with many chapels - "chapels" - the church served as a burial place for the nobility, and many magnates and wealthy townspeople strove to have a family tomb in the cathedral or next to it. Only in 1785, almost all of these "chapels" and crypts were dismantled, only two survived - the Boim chapel and the Campian chapel, which now form a single ensemble with the main building of the cathedral.

As a result of numerous reconstructions and restorations, the majestic and grandiose Latin Cathedral has not survived to this day in its original form. There is no "pure" Gothic in it, although all the main features of the style have been preserved, as well as the constructive principles and the general emotional impression. The most "pure" forms of Gothic can be seen in the altar of the temple. Its austere facades are reinforced with powerful buttresses and cut through by high lancet windows. But numerous altars, tombstones, sculptures, chapels, reliefs, stained-glass windows and other architectural and decorative details, which "overgrown" the cathedral inside and outside for several centuries, have turned it into a whole conglomeration of forms and styles.

The high five-tiered tower of the Latin Cathedral is clearly visible from different parts of Lviv and serves as one of the most important and most characteristic architectural dominants in the city's skyline. It acquired its final appearance with a baroque finish in 1767. Its height with a cross is 70 meters. The architect Pyotr Polejovskiy planned to build two such towers, but the second, brought only to the level of the roof, remained unfinished.

The interior of the cathedral is majestic. The vast space is flooded with light pouring through the colored glass of the stained-glass windows. The vaults of the cathedral are lost somewhere in the height, and the seemingly endless space of the temple is filled with powerful sounds of the organ ...

The existing decoration of the temple dates back to the 1760s. Then an altar by the master Matthew Polejovsky was installed here, and the walls and vaults of the cathedral were painted by the painter Stanislav Stroinsky. Huge colored stained-glass windows were made much later, at the turn of the 19th and 20th centuries.

Several carved altars and sculptural gravestones of the 16th-17th centuries have survived in the cathedral. Art critics attribute them to the masterpieces of the late Renaissance plastic arts. Among the sculptures of the cathedral, bronze images of Hetman Stanislav Zholkovsky and Lviv commandant Nikolai Gertburt, cast in Nuremberg by master Pankrat Lyabenwolf, stand out. The spirit of the Renaissance is also captured in the alabaster altar in the Zamoyski chapel, masterfully crafted in 1592 by master Jan Biały.

Adjacent to the northern wall of the church is the Campian chapel, built in 1619 at the expense of the Lviv burgomaster Martin Campian. The interior of the chapel is extremely rich - the burgomaster spared no expense for the construction of the family crypt. Black, white, red and pink marble were used to decorate it. The altar is also made of marble. In the arches of the chapel there are reliefs "Descent from the Cross", "Resurrection" and "Christ the Gardener", and the interior is decorated with busts of Martin Campian himself, his father Paul and high reliefs with images of prophets, apostles and evangelists.

In 1609-1611, the Boim chapel was added to the Latin Cathedral - the most original architectural monument of Lviv, which has no analogues in European architecture. The Boim Chapel is considered an encyclopedia of artistic culture at the beginning of the 17th century. Its façade can be viewed for hours. It looks like a solid stone relief - there are so many carvings, ornaments, architectural details, statues. “A real kaleidoscope of sculptural forms and motives!” Writes art critic GS Ostrovsky. “It is not difficult to find echoes of the influence of Gothic, Renaissance, perhaps not so much Italian as northern, Dutch and German. And, above all, local artistic traditions art of Galician sculptors and carvers ". Among this splendor, the plots on the themes of the Passion of the Lord and the relief "Yuri the Zmeeborets" ("St. George the Victorious") stand out. Under the cross on the dome of the chapel there is a figure of a sad Christ sitting.

The chapel was the family burial vault of the Lviv family of Boims, from which many famous scientists, doctors and travelers emerged in the Middle Ages. On the eastern wall of the chapel, there are frescoes with portraits of the customer of the "chapel" Georgy Boim and his wife Jadwiga, made by the painter Jan Dziani. The interior design of the dome of the chapel is fascinating - its soaring perspective gives the impression of a breathtaking height, although in reality the chapel is only 18 meters high.

Like the façade, the interior of the chapel is richly decorated with decorative sculptures. Meticulously executed, amazingly realistic plastic adorns even the most insignificant details of the chapel. It seems that the masters simply could not keep their "overflowing" inspiration. So, they decorated the keyhole (!) With a funny figurine ... a devil with a beer mug in his hand!

The ensemble of the Latin Cathedral in Lviv is a striking work of the Polish school of Gothic architecture, and at the same time a whole art museum, containing magnificent examples of plastic, sculpture, painting and architecture from the Renaissance to the 20th century. Above a huge square in the center of the Mexican capital, two monumental towers of the Mexico City Cathedral - once the largest building in the New World - rise into the sky. Originally, there was a small church in its place, built in the 1520s, during the time of the first conquistadors. By the mid-1570s, this church had already ceased to meet the needs of the rapidly growing capital of New Spain, as Mexico was then called, and by order of the Spanish king Philip II, construction of a new cathedral began in Mexico City, designed to symbolize the final establishment of the Spanish crown in the New World. The construction of the cathedral in Mexico City began in 1576 according to a project created in 1562 by the architect Claudio de Arsignego. Initially, its roof was wooden, but in 1616, stone vaults and a dome began to be erected in its place, completed only fifty years later. The decoration of the cathedral's facades was completed in the first quarter of the 19th century.

The main cathedral of the Mexican capital is grandiose and imposing. This five-nave temple, shaped like a Latin cross, has long been the largest temple in America, and its towers and massive volume dominated the city until the late 19th century. The central nave is 116 meters long and 53 meters wide.

The architecture of the cathedral's facades is heterogeneous. It includes elements of the Spanish Renaissance (Plateresco and Herresco styles) and Moorish architecture (Mudejar style). The side facades are decorated in the Erreresco style, the main one - in the Baroque style. A low clock tower rises above the central portal of the western façade, and on its sides two tall towers, each 70 meters high, soar into the sky. The middle cross is crowned with a monumental dome.

The interior of the cathedral is mostly made in the spirit of the Spanish Renaissance. It is distinguished by spirituality and airiness, the cathedral is very "humane". The rich interior decoration transforms the interior of the cathedral into a golden grotto. Walls, columns, vaults are decorated with gold, mother of pearl, ivory. Late Baroque altars, intricately decorated with gold, sparkle in the twilight of the luxuriously decorated interior space. The feeling of a "golden grotto" is enhanced by stained glass windows of dark yellow tones, flooding the cathedral with amber light, and yellowish-gray stone, from which the walls, vaults and columns of the cathedral are made.

The choir of the cathedral was created in 1695-1696 by the architect Juan de Rojas. It is decorated with gladly carved chairs with figures of saints, archangels and priests, made of dark wood. The main shrine of the cathedral is the Altar of Absence, made in the 17th century by the architect and sculptor Manuel Tolsa from marble, onyx and gold. Services in front of this altar are performed only on major holidays.

The pride and decoration of the cathedral is the Royal Chapel, or the Chapel of the Three Wise Men. This is one of the most luxuriously decorated parts of the temple. The masterly carved retablo of the Royal Chapel - "the retablo of the Kings" - belongs to the work of a woodcarver, carpentry master from Seville, Jerónimo Balbas. It was made in 1718-1737. This is one of the finest works of Latin American art, and a new distinctive artistic style of Mexico was born in it.

In the crypt - the underground tomb of the cathedral - there are many tombs of the bishops of Mexico City of the XVI-XVII centuries.

From the south, on the right side of the central entrance, the building of the sacristy is adjacent to the cathedral - Sagrario Metro-politano, built in 1749-1768 by the architect Lorenzo Rodriguez and having a Greek cross in its plan. The façade of Sagrario Metropolitano is made in the spirit of carved wooden retablo altar images and is particularly splendid. Its giant portals are decorated with fine filigree carvings. The façade is clad in reddish-brown porous stone, against which the abundant architectural decor and sculptures carved out of light, fine-grained sandstone stand out. Due to its extremely lush decoration, the Sagrario Metropolitano resembles a carved wooden box.

Over the four and a half centuries of its existence, the Cathedral in Mexico City, as a result of tectonic displacements and the action of underground waters, unevenly dropped three meters below the level of the city square, and as a result, its facades look noticeably uneven. Work is underway to strengthen the cathedral.

Archcathedral Basilica Archcathedral Basilica of the Assumption of the Blessed Virgin Mary Archcathedral Basilica of the Assumption of the Blessed Virgin Mary Country Ukraine City ... Wikipedia

Latin cathedral

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And one chapel. In the intervals between the buttresses, 3 chapels are attached to the naves on the north and south sides. The presbytery and each of the three navas are covered with three cross vaults. The roof over the navas and the prezbiter is two-fold, over the left bell tower - a complex baroque one with flowerpots, over the unfinished right one - a gently sloping hipped roof. On the roof of the nave, there are two rows of lucarnas at different heights. The gothic aspect is emphasized by the high tenon of the roof. In the interior, four tall columns at the bottom support pointed arches and a vault with Gothic ribs. The walls and vaults are covered with numerous frescoes.

Today the Latin department is an architectural monument of national importance, security number - 316/0.

2. History

2.1. Temple problem began

The circumstances of the founding of the department, the exact dating and the founders remain unclear. The main problem is the complete absence of primary documents. Numerous literature operates with years and hypotheses, time in the form of unambiguous statements. However, they are all based on the historiographic tradition, or on secondary sources. The number of versions about the date of foundation is especially multiplied by the works of the XIX - centuries. An analysis of historiography, published by the Ukrainian researcher of sacred Gothic, Olga Kozubsky, showed that neither tradition nor any of the hypotheses has been documented and, for many reasons, are doubtful. Subsequently, this position received a certain distribution, in particular, it was seen in the fundamental work "Architecture of Lviv. Time and Style of the XIII-XXI Centuries" () and the Encyclopedia of Lvov ().

2.2. Versions about the year of foundation

2.3. Versions about the circumstances of the foundation

Founding by Casimir III. Historiographic tradition supported by most authors. Casimir's contemporary, the chronicler Yanko from Charnkov, does not mention the Lviv temple in the list of the king's funds. None of the messages of the then chroniclers contain such data. The king himself does not mention anything about this in his correspondence with the pope. Such a fund was not facilitated by the then difficult financial situation of Casimir (he repeatedly appeals for help). Many researchers agree that after the death of Casimir, the construction was financed by the bourgeoisie. According to Olga Kozubsky, the bourgeoisie could have been founders from the very beginning, as happened, among other things, with the St. Mary's Church in Krakow.
Primary consecration of the Holy Trinity. First appears in Jan Alnpek. The sources of this claim are unknown. Repeated by Stanislav Zayonchkovskaya, Tadeusz Mankovsky, Bartholomew Kaczorowski, Jan Ostrovsky, Jerzy Petrus, Tadeusz Tridos.
The version about the Church of Mary Snezhnaya, as the first parish church. Introduced by Francis Zakhariyasevich, repeated by Stanislav Zayonchkovskaya.
Predecessor temple. Researchers Ignatius Khodinitsky and Isidor Sharanievich argue that in princely times there was one of the outskirts of the Eastern rite - the Assumption churches, which Casimir the Great ordered to be demolished.
A common temple of two confessions. The opinion was expressed by Roman Mogitich, based on the analysis of the ancient book of minutes of court sessions of the Lviv city council - years. The document is characterized by the definition of all Orthodox, Armenian and Catholic churches with a single word eсclesiae. At the same time, there are only two parish churches in the center - Ecclesia Armenorum (Armenian) and Ecclesia beate Maria Virgilis, parochialis (without specifying the confession). Mogitich suggests a significant convergence of the eastern and western churches in the multinational cities of the time. It also draws attention to the fact about the priest John Rusin, who was opposed to the transfer of the Parthian church to the Roman Catholic archbishop. According to Mogitich, a new (current) temple could be built around an ancient one, perhaps even using certain parts of it.

2.4. Construction (XIV-XV centuries)

According to the initial project, the cathedral was supposed to have two towers - one was completed at the end of the 14th century, the other remained unfinished due to lack of funds.

2.5. Decoration and reconstruction of the XVI-XVIII centuries.

3. Cemetery and chapels

One of the statues once stood in the cemetery

From the very beginning there was a cemetery at the pulpit. It is plausible that it arose about a year, when the pulpit was consecrated, so the land was not buried among the uninitiated. The cemetery occupied the territory of almost the entire modern Cathedral Square and was surrounded by a wall.

Opposite the present Christianity (from the side of the Market Square) there was a gate for the passage of chariots called "Royal". Pesce went in several steps. The level of the then cemetery was significantly lower than the modern one - about its level in the 70s of the 18th century. can be judged by looking through the lattice, which enclosed the recess of the circle of the pulpit.

Also, the gates were from the side of the modern Ivan Podkova Square and opposite the main entrance. The latter also had butchers' tents, in which sometimes even livestock was slaughtered. The trays of the city were dismantled and moved along the Krakow Gate.

4. Attached chapels

The gaps between the buttresses of the nav and the presbytery were originally used for the construction of chapels - a family of tombs for wealthy townspeople and Lviv patricians. Burials were done in their dungeons. For a year already, the chapel of Sts. Peter and Paul. Many were added in the following years. These are, in particular, the chapels of the Holy Gifts (), Zhuravnovsky (), Buchatsky (, rebuilt, and then - by Archbishop Jan Solikovsky), St. Tomasz Pirawski () and Jan Zamoyski (). The entrance to the chapels was organized in different ways: some had only an entrance, others were fenced off by a door or a wrought-iron lattice. For their device, walls were usually broken through and buttresses were re-bricked, which greatly weakened the structure. In addition, chapels of different times were different in size and did not represent a single style ensemble. In the 1760s, Archbishop Jerome Vaclav Serakovsky initiated a radical restructuring of the pulpit, during which part of the chapels were rebuilt, and some were demolished altogether. Eight of the attached chapels have survived.

The Flagellation of Christ

Chapel of the Flagellation of Christ (Campians)

Located at the northern navi, the first from the entrance. Rarely appears in the literature under its real name-dedication. It is better known as the Campian Chapel - the tomb of a family of Lviv officials and burgomasters. Built in the Renaissance style over the years on the site of the ancient Strumilo chapel, which stood here from a year. The order frame of the facade with a rusticated plinth was probably made by the architect Pavel Rimlyanin. The reliefs "Entombment", "Resurrection of Christ", "Christ the Gardener" between the pilasters of the facade are attributed to Heinrich Horst, and the figures of the Evangelists were probably made by Jan Pfister and Sevastian Cheshek. For about a year, repairs were carried out, initiated by Bartolomei Zimorovich. Then new sculptural tombstones appeared in the interior, in particular, portrait busts by Wojciech Kapinos the Younger. During the rebuildings initiated by Archbishop Vaclav Serakovsky, the entrance to the chapel was changed, the vaults were rebuilt, which was painted by Stanislav Stroinsky. Restored under the supervision of Vladislav Sadlovsky for years. The next restoration took place over a year. In the chapel, in addition to the Campians, representatives of the Grosvaeriv and Ostrogursky families, related to them, are buried.

At the northern nave, the second from the entrance. Formed in the volume of the former foresinkle of the lateral entrance. On the outside, on the façade, the laid Gothic portal of the former entrance has been preserved. new stained-glass windows were installed in the chapel. Here is a monument to Andrzej Aloysius Ankvich (moved from the chapel of the Crucified Christ). A comprehensive restoration was carried out in the years. A sculptural group "The Holy Sepulcher" is attached to the facade from the street.

Of the Holy Gifts

At the north nave, the third from the entrance. Also called the chapel of the Vishnevetsky or Holy Sacrament. From year to year on this place was the Buchatsky chapel, rebuilt by Archbishop Jan Dmitry Solikovsky in. In the years the Vishnevetskys built a new chapel. a rich baroque altar by an unknown author was installed. The sculptures of the altar were probably made by Thomas Gutter or Christian Seiner. The painting on the dome is attributed to Stanislav Stroinsky (approximately before). Renovated within - years. A marble monument to Archbishop Francis Wierzleyski (sculptor Tadeusz Baroncz) has been installed. The restoration has been going on from year to year.

At the entrance to the ancient chapel of the Buchatskys, there was a renowned alabaster Renaissance altar of Scholz-Volfovich (Holy Trinity) in Lviv. Presumably made by the sculptor Jan Zaremba in the workshop of Hermann van GATT. It was originally located at the wall of the northern nave, later moved at the entrance to the Buchatsky chapel. During the rebuilding of the church by Archbishop Serakovsky, the altar was sold to the Church of St. Nicholas, where it is still located. It is one of the most valuable and rare monuments of Lviv Renaissance sculpture.

Saint Casimir

Has an entrance from the presbytery. Built in the second half of the 18th century. on the site of the chapel of St. Stanislav. In the second half of the XIX century. dismantled side altars. During the re-registration of the presbytery, a new neo-gothic white-stone portal, made by the firm of Ferdinand Maersk from Przemysl, was installed for years. Polychrome was restored by the year. The entrance portal has been restored over the years.

Saint Joseph

Ancient initiation - All Saints. Adjacent to the presbytery, has an entrance from the same place. Built on the site of the chapel of bishops Jan Zamoyskiy and Tomasz Pirawski. There is information about the decoration of the ancient chapel of Zamoyski with three alabaster altars of Saints Wojciech and Stanislav, St. Casimir and St. John Kanta. Only the statues of archbishops Jan Tarnowski and Jan Zamoyski, figurines of angels from the tombstone of the latter (sculptor Jan Pfister) have survived. The Piravsky chapel contained an altar and a tombstone with an epitaph, fragments of which have survived and are located in the current chapel standing on this site. One fragment of dark red marble depicts the storyline "The Belief of St. Thomas" (sculptor Sebastian Cheshek). The second, also marble, contains the figure of Piravsky and a Latin inscription on a light marble insert.

For about a year, a restored Renaissance altar was erected here, found in the dungeons by the restorer Mieczyslaw Potocki. It has been in the basement of the church since the time of a large-scale reconstruction by Archbishop Vaclav Sierakowski. At least part of the altar was made by the Lviv sculptor Jan Bialim. In the second half of the XIX century. dismantled side altars. new stained-glass windows were installed in the chapel. Between - years, a neo-Gothic portal was installed, made by the firm of Ferdinand Maersk from Przemysl. Over the years, the white-stone entrance portal has been restored. In November, a monument to General Jozef Dvernicki was erected in the chapel. Originally made of limestone by the sculptor Paris Filippi and on May 15, it was installed in the Lviv Church of St. Michael the Archangel of the Carmelites, in Soviet times it was dismantled and severely ruined. Before being installed in the department, the monument was restored by a Polish specialist, Dr. Janusz to grease it. The second floor of the current building is the personal chambers of the archbishop.

Christ the Merciful

In southern Navi, the first from the entrance. It is also known as the "Chapel of the Beggars" and "Dzyadivska". In the arch of the entrance there are epitaphs of canon Peter Milevsky and his father, transferred from the dismantled Milevsky chapel of the cathedral cemetery. The author of the epitaphs was probably the sculptor Alexander Prokhenkovich. Rebuilt in the style of the secession during the years by the project of Vladislav Sadlovsky. The marble altar was made by the firm of Ludwik Tirovic, the bas-reliefs by Tomas Dikas and Alois Bunsi. The stained glass window was made according to the project of Luna Drexler, the murals in the supraports were made by the artists Stanislav Dembitsky and Valerian Krytsinsky.