Laima Sinkunaite

The Pazaislis Monastery — A Baroque Pearl

When one thinks of baroque style architecture, Italy and her magnificent churches pop into mind. Yet the most unlikely place in Europe is the sight of a wonderful baroque pearl of the 17th century – Pazaislis Monastery in Lithuania.

The main inspirer and the founder of this monastery was Christopher Zigmantas Pacas (1612 – 1684), great Chancellor of the principality of Lithuania, one of its wealthiest feudal lords. Pacas was a learned man. Besides studying in Ljezo and Cracow, he studied at the University of Perugia in Florence, Italy for eight years. He returned home to Lithuania with an idea. He requested and received permission from Rome to build a monastery and church for the Order of the Camaldose Hermits at Pazaislis near Kaunas.

The foundation and the corner stone for the church were consecrated in 1664. Two years later the church was consecrated. The document of foundation stipulated the 12 Camaldose fathers must live in Pazaislis on the Hill of Peace (Mons Pacis, Latin). Lithuanian Father Jeronimas was the first prior.

Talented Italian artists commissioned by Pacas accomplished the execution of this magnificent monastery. Architect Joanes Baptista Frediani and, later, the architect's brothers Carlo and Pietro Putini designed the stately building. Florence artist Michael Archangelus Palonis painted the sanctuary, the paintings on the walls, and individual portraits. Sculptor Joannes Merli executed the stucco moldings, and Michael Volcet formed the sculptures of the sacred gate and the façade of the church. Painter Guiseppe Roses created the fresco of the cupola.

The source of inspiration undoubtedly was the complicated ichnographical program of the monastery and the church. Those programs or sets of themes surpassed other holy places, not only in Lithuania. The planning and the strict both side symmetry emphasize clear and exact hierarchical function of its separate parts. This is the only example of baroque axial composition in Lithuania.

The center of the ensemble is the church, an original work of art. The facade is dominated by the hexagonal cupola, and towers in the angles and the middle concave part. Slabs of gray sandstone were used for decoration. The essential facade characteristic is its perpendicular inclination. Angular towers of the hexagonal drum harmoniously connects the silhouette of the cupola with the roof of the chapels. The highest point of the ensemble is the graceful cross, which crowns the hexagonal lantern. Rarely in baroque churches does the hexagonal space open so widely. However, four chapels placed around the entrance hall and presbyter optically enlarge the space in Pazaislis.

The light pouring from the cupola creates a beautiful view. Black and red marble were used to decorate the interior. The space was coordinated with colorful frescoes and white stucco moldings. The wall frescoes were painted in warm and soft tones. The arches were done in fresh and rich colors. Some 140 frescoes of different sizes survived in the premises. Each one is an independent work of art, which is included into separate cycles developed in more than one room. Everything is connected by the main theme – the Coronation of Mary. Mary's monogram is ciphered along the churchyard paths from the sacred gate to the portal of the church, and from the doors of the north and south wings of the guest house to the gallery gate to the north and south buildings of the monastery.

The progression of the theme of Mary begins with the sculptural group called "The Visitation" in the facade of the church. The further development of the theme is concentrated on the inside of the church at the highest point of the longitudinal axis. The fresco called "The Visitation" is in the entrance hall, and "The Assumption" is in the choir area. "The Coronation of the Virgin Mary in Heaven" is the last fresco to complete the cycle and is found in the church cupola.

A secondary theme of saints begins at the Holy Gate with frescoes depicting Sts. Romuald, Benedict, Christopher, Francis de Sales, and Mary Magdalene de Pazzi. The theme culminates with a fresco in the cupola showing a circle of praying saints.

For a long time Pazaislis Monastery was famous for having the painting "Mary with Child", also called "Mother of Fair Love". Catholics especially venerate this painting. In 1661, Pope Alexander VII gave this painting to Pacas, who placed it in the church. The painting was placed in the Kaunas Cathedral Basilica in 1948 and never returned. In addition to this change in the church other events throughout its existence took their toll on this church and monastery. In 1812 retreating soldiers of Napoleon's army robbed the monastery. In 1832, after suppression of the rebellion of 1831, the monastery was closed by order of Czar Nicolas the First. The Camaldolese were sent into exile and their property confiscated. The monastery was given to the Orthodox monks. In 1842, "The Assumption" Monastery was established. At that time, the decor of the ensemble was destroyed and changed. The Orthodox monks confiscated the biggest part of the valuable art and archives and sent them to Russia in 1914. After they left, German soldiers occupied Lithuania and established a military hospital in Pazaislis Monastery. By 1920, Mother Maria Kaupaite, the foundress of the Sisters of St. Casimir, arrived from the United States with four sisters to settle and care for the ensemble until 1948. During the years of the Soviet occupation, the Monastery and Church was the central republican archive, a home for the elderly, a psychiatric hospital, and a tourist center.

From 1967 to 1992, the Kaunas State M. K. Ciurlionis Art Museum owned the monastery; the research and restoration of the Pazaislis ensemble started at that time. From 1992 the Sisters of St. Casimir have settled back in the Monastery and Church to continue to restore one of the most valuable creations of 17th century mature baroque in Northeast Europe.