The main facade of the Lviv Church of the Assumption  faces narrow Ruthenian Street (Ulica Ruska) which unfortunately prevents one from observing the front in all its splendor. The huge thick wall of smooth dark grey limestone is imposing with its unobtrusive, noble design. Full length Tuscan style pilasters contribute to its’ clear-cut balanced proportions. [...]]]>

The main facade of the Lviv Church of the Assumption  faces narrow Ruthenian Street (Ulica Ruska) which unfortunately prevents one from observing the front in all its splendor. The huge thick wall of smooth dark grey limestone is imposing with its unobtrusive, noble design. Full length Tuscan style pilasters contribute to its’ clear-cut balanced proportions. In between, semi-circular blind arches with small sized windows supplement the picture. Above, a sharply outlined cornice surmounts a Doric frieze. Triglyphs (architectural term vertically channeled tablets of the Doric frieze) alternate with metops filled in with ornate rosettes and reliefs depicting scenes from the Bible: Abraham threatening his son with childlike impulsiveness, King David, Melchizedeck, Moses before the flaming bush… The sculptors imparted the characters of the Old Testament with an ingenuous vitality and characteristic local features. Their names are inscribed on the frieze: Yaakov and Constantine Kulchitsky.

The proportions of the Church are precise and artistic. The unobtrusiveness of design and the integrity of the author’s conception are highly impressive. It is noteworthy that the structure of the facades and their basic units are in strict conformity with the internal plan of the Church.
Although at first glance one might consider the Church to be a severe and rather ascetic edifice, the idea is quickly dispelled by the charm of the building’s austere sublimity, the remarkable combination of elegance and dynamism.

The Church of the Assumption was designed and built by Lviv’s most noteworthy architect Paolo Dominici Romano, an Italian by birth who headed the construction up to 1597, when it was placed in the hands of his father-in-law wojciech Kapinos. A year later it was taken over by Ambrogio who completed the Church. It is, [...]]]>

The Church of the Assumption was designed and built by Lviv’s most noteworthy architect Paolo Dominici Romano, an Italian by birth who headed the construction up to 1597, when it was placed in the hands of his father-in-law wojciech Kapinos. A year later it was taken over by Ambrogio who completed the Church. It is, however, Paolo Romano who deserves the main credit for the work, although the idea of merging the forms of old-Russian architecture with the style of the Renaissance belongs the Stauopegia Fraternity, a staunch adherent of natinal traditions.

The blending of old and new motifs, the remarkable integrity and perfection of the entire structure have made the Church of The Assumption a unique architectural monument.

The church composition is with three cupolas, traditional for local ecclesiastical architecture. On the east the basilica passes into a semi-circular apse, on the west it ends up with a narthex with a gallery, called a “babinets“. A gallery runs along the internal side of the walls. Two pairs of Tuscan-styled columns divide the Church into three naves, the central one being the widest. Each part – the centre, the apse, and the babinets – is topped by a cruciform vault with almost identical cupolas which are built on a single longitudinal axis.

Continuing our Lvovs’ tour along the “Podzamche” we comes to the last  church of the district – the Church of Saint Paraskevi Pjatnisa (Tserkov Svyatoi Praskovii or Pyatnitskaya Tserkov, No. 63, St. Bogdan Khmelnitsky). In addition to “Paraskevi” there are many other variations of this Greek female name – such as Pascha, Petka, Paraskeva, Praskovia, [...]]]>

Continuing our Lvovs’ tour along the “Podzamche” we comes to the last  church of the district – the Church of Saint Paraskevi Pjatnisa (Tserkov Svyatoi Praskovii or Pyatnitskaya Tserkov, No. 63, St. Bogdan Khmelnitsky). In addition to “Paraskevi” there are many other variations of this Greek female name – such as Pascha, Petka, Paraskeva, Praskovia, Praskovie, Pyatnitsa, Pyetka, Paraskevoula and Voula.
In the 13th century this was the site of a church made of quarry-stone that communicated by means of a subterranean passage with Prince’s Hill. It was a highly fortified edifice on the boundary of Okolny Gorod. The Church of Saint Paraskeva Pjatnisa was built on the foundations of the preceding church;  it was completed between 1643 and 1645. Vasily Lupul, a Moldavian nobleman, contributed to its construction and thus earned a place for Moldavian rulers who were later buried on the premises. The southern wall of the church is decorated with their coat of arms – the sun, the moon and a crown.

In the 17th century the interior and outer walls of the church were decorated with frescoes. The paintings inside, made at the end of the 18th century, are the work of Lvov painter Luka Dolinsky. Fragments of an old frieze depicting heads of angels and garlands of fruits have been preserved on the extenor of the tower.

Church and Monastery of Saint Onuphrius is a remarkable historical and artistic monument. The Church contains the tomb of Russia’s first printer Ivan Fyodorov. On leaving Moscow in 1567 Ivan Fyodorov lived in Zabludov and at the end of 1572 moved to Lvov. He settled in the Podzamche where he set up a printing press [...]]]>

Church and Monastery of Saint Onuphrius is a remarkable historical and artistic monument. The Church contains the tomb of Russia’s first printer Ivan Fyodorov. On leaving Moscow in 1567 Ivan Fyodorov lived in Zabludov and at the end of 1572 moved to Lvov. He settled in the Podzamche where he set up a printing press in one of the cells of the Saint Onuphrius Monastery. In 1574 he published his first book The Apostle and a Russian Grammar. Fyodorov set up another printing shop near the Church of the Assumption.

The Russian printer spent several years in Ostrog where he printed his famous Ostrog Bible and the New Testament and Psalter. Towards the end of his life he returned to Lvov where Ivan Fydorovich died in 1583.

When the cemetery in the grounds of the Monastery was done away with in the 18th century Fyodorov’s tombstone was moved to the Church, where in 1883 it was put into the floor of the Trinity Chapel. In 1902 during reconstruction work it was blocked in by a new wall. The tombstone has not survived; a replica has been preserved at the Lvov Museum of History.

Nearby to Saint Nikolas Church there is a  Church and Monastery of Saint Onuphrius (Monastyr Svyatogo Onuiriya) dates back to hoary antiquity. Saint Onurfy Church began late in the 13th century as a wooden church that existed at the time of Prince Lev Daniilovich. In the mid-15th century it was supplemented by a monastery of [...]]]>

Nearby to Saint Nikolas Church there is a  Church and Monastery of Saint Onuphrius (Monastyr Svyatogo Onuiriya) dates back to hoary antiquity. Saint Onurfy Church began late in the 13th century as a wooden church that existed at the time of Prince Lev Daniilovich. In the mid-15th century it was supplemented by a monastery of Orthodox monks. Following a fire the church was rebuilt in 1518 by the Voivode (military leader) of Kiev, Prince Constantine Ostrozhsky. Numerous changes in the 17th and 18th centuries have contributed to Saint onuphrius (sometimes refferd as Saint Onurfy) Church present appearance. One can still see the remains of the defense walls that engirdled the monastery in the mid-16th century. The exterior of this church and to a certain extent even its constructional lay-out have been greatly altered. Thus today we can see only the general tendency of Saint Onurfys’ original structure and a few of the remaining details. It was built according to the cruciform plan typical of Ukrainian architecture; the narthexes are topped by two cupolas. The side naves, the apses and the belfry were built in the 17th century, the Trinity Chapel (Chasovnya Svyatoi Troitsy) – in 1701. The simple forms of ancient Russian architecture devoid of all exuberance are harmonically blended with the Italian Renaissance style and decoration in the portal and the adjoining sides, the pilasters and windows with arches made of stones from the Castle walls. Great value are the 17th and 18th century paintings: the Apostles over the Holy Door and the iconostasis of the Trinity Chapel.

Church of Saint Nicholas (Tserkov Svyatogo Nikolaya) is a very interesting and probably the most ancient relic. It’s placed on Bogdan Khmelnitsky st. Saint Nicholas Church existed from about 1292. Until the beginning of the 14th century it was used as the family church of Lvov Princes. Later the church belonged to artisans of the [...]]]>

Church of Saint Nicholas (Tserkov Svyatogo Nikolaya) is a very interesting and probably the most ancient relic. It’s placed on Bogdan Khmelnitsky st. Saint Nicholas Church existed from about 1292. Until the beginning of the 14th century it was used as the family church of Lvov Princes. Later the church belonged to artisans of the cobblers’ guild.  Saint Nicholas large size and general structure however give the impression of a monumental public cathedral rather than an intimate family church. Church low entrance, small-sized loophole windows and thick walls of hewn stone are more characteristic of a fort. In case of assault this church could well hold out against the enemy and it was often used in this capacity. The simplicity of the church unadorned walls and austerity of form denoted the grandeur of that rigorous, heroic epoch. The Church of Saint Nicholas with its three apses and elliptical-shaped cupola belongs to the traditional cruciform Orthodox churches of which there were many throughout the southwestern part of Kiev Rus. These features of ancient Russian ecclesiastic architecture were incorporated by the builders in their church structures.

Besides the general ground plan only the foundation and the lower parts of the walls, discovered in 1924, remain of the initial building. The edifice proper was erected in the 17th and early 18th centuries. A vestry was remodeled in 1776, and a cupola in 1800, following the fire of 1788. The central apse was topped by a cupola of its own and the facade was supplemented by flat pilasters. The interior, decorated in the 18th century, is characteristic of rococo ornamentation (a style of 18th century French art and interior design).

The impressive simplicity and austerity of the basic units is reminiscent of the rugged force associated with a warrior in armour. Here the Byzantine building scheme was adapted to the local national style of building and ancient Russian architecture in general. There are also evident traits of the Romanesque which are easily accounted for by the lively cultural contacts maintained by the Galicia-Volhynian Principality with medieval Europe.

The Church of Saint John the Baptist (Kostyol Ioanna Krestitelya) is one of the ancient architectural structure of Lvov. Saint John Church faces the Old Marketplace. As Church Of Saint Mary it also underwent considerable changes.  Saint John Church has began its existence as a church of the Orthodox Basilian Monks. In 1260 Prince Lev [...]]]>

The Church of Saint John the Baptist (Kostyol Ioanna Krestitelya) is one of the ancient architectural structure of Lvov. Saint John Church faces the Old Marketplace. As Church Of Saint Mary it also underwent considerable changes.  Saint John Church has began its existence as a church of the Orthodox Basilian Monks. In 1260 Prince Lev Daniilovich made a present of this church to his wife Constance, daughter of the Hungarian King Bela IV(1206 – 3 May 1270) , who remodeled the building to suit the Dominican missionaries. It acquired forms typical of the Romanesque style. This small, one-naved church with two narthexes and a single cut apse is far from being an imposing edifice: little has remained of its old architectural form.

In 1886-87 Saint John Church underwent capital reconstruction at the hands of the above-mentioned at Church Of Saint Mary post Yu. Zakharievich and emerged boldly decorated with pseudo-Romanesque ornament to the detriment of its initial features.Saint John Church old time icons which can be observed in the chancel and two male portraits in the vestry that date back to 1637 and 1647 continue to attract visitors.  Noweadays there is a Museum of Ancient Lvov Statue.

Church of Saint Mary Magdalene (Kostyol Marii Snezhnoi) stands on a small hill facing the start of Bogdan Khmelnitsky Street.

According to certain investigators the Church of Saint Mary was rebuilt from an ancient Russian church. But there is no doubt that at the close of the 13th century this was a Catholic church and the [...]]]>

Church of Saint Mary Magdalene (Kostyol Marii Snezhnoi) stands on a small hill facing the start of Bogdan Khmelnitsky Street.

According to certain investigators the Church of Saint Mary was rebuilt from an ancient Russian church. But there is no doubt that at the close of the 13th century this was a Catholic church and the religious centre of the German colony. The plan of the church is typical of West-European ecclesiastic architecture: the somewhat squat form, a definite architectural style and modest decor – all this speaks in favour of the principles and methods of the Romanesque order. We are utterly ignorant of the initial form of the church. It had been often reconstructed in the course of centuries and particularly at the end of the 19th century when architect Yu. Zakharievich remodelled the building in pseudo-Romanesque style. This is especially notable in the murals of the interior and in the exterior ornament of the chancel.

High Castle was once the beginning of Lvov. There is a marvelous view of Lvov from the Castle. Highways run through Lvov in every [...]]]> As I wrote in the High Castle thread there is no trace of the Castle Hill( Zamkovaya Gora) in spite of the name of the park – The High Castle (Vysoky Zamok).

High Castle was once the beginning of Lvov. There is a marvelous view of Lvov from the Castle. Highways run through Lvov in every direction. In the evening they are dotted with glimmering lights.
Red and blue trams, scurry to and fro, buses, tramways and cars travel in a never-ceasing stream; the busy modern town is bathed in the bright lights of shops, cafes cinemas and theaters.

In the centre of a small square which is easy to spot among the lofty buildings and cupolas 65 metre tower crowning the graceful silhouette of the Gothic Cathedral.
Closer to the Castle Hill is the Church of the Assumption and the Tower of Kornyakta flanked by the imposing Church of the Dominicans. Further to the right is the Opera Theater. On the hill in the background you can see the slender towers of the Church of Mary Magdalene and right behind it the silhouette of the Church of Saint George and the neo-Gothic Church of Saint Elizabeth. Far in the background stretching across the skyline from the Central Railway Station to New Lvov, in podzamche and other districts of the town, long lines of factory smokestacks seem to pierce the sky. That is the industrial part of Lvov.