Metalo dirbiniai

LTVeliuonos bažnyčioje per netrumpą jos egzistavimo laiką susikaupė gana nemažai skirtingų metalo dirbinių. Tarp jų svarbiausią vietą užima liturginiai indai. Keli jų turi ypatingą vertę Lietuvos dailės istorijai - tai 1634 m. Veliuonos klebono Augustino Tugrovskio įgyta mišių taurė, kuri buvo naudojama dar senojoje medinėje Veliuonos bažnyčioje. Taurė Lietuvos dailės istorijoje užima išskirtinę vietą- kartu su prelato Martyno Žagelio taure iš Ašmenos (?) bažnyčios (pagaminta 1633 m.)' ir Vilniaus Šv. Petro ir Povilo bažnyčios 1635 m. analogišku indu ji žymi baroko pradžią Lietuvos taikomojoje dailėje. Visoms šioms taurėms būdingos šešiakampės pėdos, vazos pavidalo kojelės, dekoruotos angelų galvutėmis ir išlenktomis juostelėmis — šie elementai aptinkami Lietuvos auksakalystėje dar kelis dešimtmečius. Taurę sukūrė nežinomas Vilniaus auksakalys. Kitas ankstyvojo baroko stiliaus dirbinys yra komuninė. Indas pagamintas apie 1643 m. kaip mišių taurė, o 1841 m. perdirbtas į komuninę. Vertingiausia jos dalis yra aštuonkampė pėda - šiuo metu tėra žinoma tik viena mišių taurė, turinti panašios formos pagrindą - ją Naujojo Daugėliškio bažnyčiai užrašė Trakų vaivada Petras Pacas. Indo kojelė dekoruota trijų angelų atvaizdais, su iš plokštumos išsikišusiomis jų galvutėmis ir viso tūrio į viršų pakeltais sparnais. Šis sprendimas neturi analogų Lietuvoje, tačiau kaimyninėje Mazovijoje jų yra nemažai ir dauguma datuojami XVII a. 5 deš. Neatmestina galimybė, kad taurė padovanota Veliuonos bažnyčiai 1644 m. jos konsekracijos proga. [Iš straipsnio, p. 236]

ENThe church in Veliuona has a rich collection of metal wares. Liturgical vessels are the most important in the church. Some of them have an exceptional value for the history of Lithuanian art. A chalice acquired for the old wooden church by parson Augustyn Tugrowski in 1634 is the oldest piece of goldsmith’s art in Veliuona. Along with the chalice of prelate Marcin Żagiel from the Ashmyany (?) church (1633) and the ware from St Peter and Paul church in Vilnius (1635), it denotes the beginning of Baroque in the Lithuanian applied art. These three chalices created by an unknown goldsmith in Vilnius have the hexagon base and the vase-shaped stems decorated with angel heads and bent stripes. Another piece of Baroque art is a chalice made circa 1643 and was probably donated on the church’s consecration. In 1841, it was altered to a ciborium. The octagonal base is the most original part of it. In Lithuania, only two chalices with a base of the same shape are known. The second one is a chalice donated by Trakai Voivode Piotr Pac, 11642 from the church of Naujasis Daugėliškis. The stem of the chalice is decorated with images of three angels with their heads protruding from the plane and the wings raised all the way upwards. Such a form is very rare in Lithuania but was pretty common in neighbouring Mazovia in the 1640s. The Baroque monstrance made by the workshop of Lorenz Hoffman’s widow (?) in 1690 represents the goldsmithing of Konigsberg. In 1691, it was donated by a citizen of Veliuona Georgius Piotrowicz to the Fraternity of the Holy Rosary. However, already in 1740, the monstrance was reconstructed by Brest of Lithuania Voivodeship Governor Adam Chodkiewicz.The monstrance is one of the best works of the ‘mature’ Baroque in Konigsberg. A ciborium made by another goldsmith Balthasar Keucks in Konigsberg in 1705 is Protestantly restrained. Two secular reflective Regence style candlesticks should be mentioned among other metal wares, probably also made in Konigsberg in the first half of the 18th century. Two pieces of art represent the local masters of the Rococo period. It is a monstrance commissioned by the prepositor of Veliuona Wiktorin Grincewicz to the filial church of Sintautai in 1764. A filial priest of Sintautai Petrus Pawlowski has also contributed to its production. Several similar monstrances have remained in present-day Belarus, such as in the churches of Dzyatlava (1761), Novaya Mysh, and the Cathedral of Grodno (both from the 1740s - 1750s). Hence, the monstrance is most likely produced in Vilnius or was made by a ‘travelling’ goldsmith. Another craftsman who worked ‘a parte’ (separate from guild), living in Veliuona for three weeks and three days in 1767, made an altar cross for the Fraternity of the Holy Rosary and a silver crown for the painting from the silver accumulated by the Fraternity. The ‘guild’s period’ last work was a chalice of simple classicism forms purchased by the prepositor of Veliuona Cyprian Niezabitowski in 1820. The chalice has a historical value. The liturgical vessels and accessories purchased by the long-time prepositor of Veliuona Marcyan Giedroyc represent already another epoch. The liturgical vessels made by Norblin & Co. evidence the establishment of silver-plated wares of Warsaw producers in the Lithuanian market, which lasted for almost the entire second half of the 19th century. Their cheap but high-quality and sufficiently artistic wares outperformed many local goldsmiths and metalworkers.A chalice with an inscription purchased in 1862 consecrated in 1868 by Samogitian bishop Maciej Wolonczewski stands out. The oldest ware of the Norblin company in Veliuona is a cross of the High altar together with ten candlesticks made in 1851-1853 but purchased in Vilnius only in i860 for 36 and 285 roubles, respectively. At the same time, a reliquary of the Holy Cross (17 roubles), a large and luxurious ciborium of the neo-Renaissance made in the 1870s - 1880s and a lot of smaller altar candlesticks were purchased. Only a few wares in Veliuona represent another famous Jozef Fraget company in Warsaw: a processional cross (60 roubles) purchase with the funds of the Holy Rosary Fraternity and a monstrance of Historicism-style from the late 19th century. The indi vidual wares represent French, US, and Lithuanian manufacturers, among which the impressive procession shield (even 360 cm height), made in the metal workshop of Antanina Krupavičienė in Kaunas in 1932, stands out. Wares made of pewter (tin alloy) forms a separate group of articles, which were very popular in Lithuania until the mid- 19th century. As many as twelve candlesticks have survived in the church of Veliuona. Five Baroque-style candlesticks were made in Vilnius in the first half- mid-i8th century. Four of them can be attributed to the workshop of Vilnius tinsmith Jacob Feldtmann (for comparison: the candlesticks from in the church in Indrica and Rundale Castle, present-day Latvia). The two Rococo candlesticks are distinguished by the fact that they are not cast but soldered from repoussed (?) pewter-sheet elements (for comparison: candlesticks in the churches of Rudamina, Valkininkai, Volpa, Nesvizh, and Opin (present-day Poland)). Several post-Baroque (1792) and classicist candlesticks were made by masters in Samogitia. [...]. [From the publication p. 416-418]