Kazio Varnelio namų muziejaus pastatų restauravimas XX a. 8–9 dešimtmečiais: atradimai ir netektys

LTApsilankę Vilniaus Didžiojoje gatvėje įsikūrusiame Kazio Varnelio namuose-muziejuje susiduria ne tik su dailininko sukauptomis vertybėmis, bet ir su intriguojančia senąja architektūra. Ne kartą degę, atstatyti ir perstatyti muziejaus pastatai šiandien suteikia progą pažinti net XIV a. siekiančius architektūrinius elementus. Dabartinė ansamblio išvaizda iš esmės yra XX a. 8–9 deš. restauravimo darbų rezultatas, gerokai besiskiriantis nuo pirminio jų užsakovų sumanymo. Straipsniu siekiama plačiau nušviesti šį sudėtingą pastatų istorijos etapą ir įvardyti aplinkybes, lėmusias ne tik atradimus, bet ir netektis. [Iš leidinio]Reikšminiai žodžiai: Kazio Varnelio namai-muziejus; Mažoji gildija; Masalskių namas; Restauravimas; Vilnius; Kazys Varnelis House-Museum; Minor Guild; Massalski House; Conservation; Vilnius.

ENThe article discusses a stage in the history of the buildings at 24 and 26 Didžioji Street in Vilnius – their conservation that took place in the 1970s and 1980s – and points out the circumstances that determined not only the discoveries made during the conservation, but also the losses that were experienced. The so-called House of the Minor Guild and the Massalski (or Merchant) House, which today contain the Kazys Varnelis House-Museum, occupy two historical real estate properties No. 43 and 44. These are one of the earliest brick buildings in Vilnius – archaeological and architectural research shows that the walls of the Minor Guild go back to the late 14th century. Having burned in fires and having been rebuilt several times, the houses received research attention in 1976. According to the project prepared by the House Committee, the houses had to accommodate a café, a textile shop, the offices of Maskva Cinema and the Microbiology, Epidemiology and Hygiene Institute. Architectural and historical research was planned while preparing the reconstruction project, and when the works started after the residents had been moved out, archaeological supervision was conducted. However, it was insufficient as the conditions were complicated and the project had serious flaws. It became particularly obvious in 1984, when additional research had to be made after the building’s function was corrected (the café was expanded at the expense of the textile shop). In the basement and ground-floor rooms of the Minor Guild, as well as on the.street façade of the Massalski House, unknown polychrome décor was discovered along with a great many architectural elements from the primary stage of construction, and the dating was specified. On the other hand, the fact that exploratory works were performed rather hastily and in parallel to construction determined that during the reconstruction quite a lot of valuable elements were lost: a large part of the cultural layer in the courtyards was destroyed, the nineteenth-century wing of the Minor Guild was demolished, and the earliest elements were damaged. When the ensemble was adapted for the museum, some things were partly restored. Thus, one can assert that the present appearance of the ensemble is basically a result of the conservation works of the 1970s and 1980s, which is considerably different from the original idea of those who commissioned the project. Alongside, this case perfectly illustrates the importance of high-quality artistic, archaeological and architectural research in working with heritage objects and the consequences of their neglect. [From the publication]

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