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ST. PETER'S CHURCH WEST FACADE AND TOWER - A NEW DECORATIVE PARADIGM IN THE 17TH CENTURY ARCHITECTURE OF RIGA AND LATVIA (Sv. Petera baznicas tornis un fasade - jauna dekorativa paradigma Rigas 17. gs. otras puses sakralaja arhitektura)

100%
Ancane A.
Materiali Latvijas makslas vesturei
|
2008
|
vol. 7
47-58
EN
Riga St. Peter's Church is an architectural monument that dominates the present-day panorama of Riga. We are accustomed to ascribe the laconic designation of Baroque to the 17th century St. Peter's Church tower and restored façade, but for the today's art historian this term seems too general and insufficient from the viewpoint of formal analysis. A time has come to return to this phenomenon of Riga architecture to reassess the traditional assumptions and provide a wider stylistic description. The year 1675 when Rupert Bindenschu was appointed the Master Builder of the city marks a new era in the Riga 17th century architecture. Riga's architectural landscape in this period can be typified as international, but activities of Dutch architects in Eastern Baltic region had a direct influence upon the local art phenomena. The fresh classical trends taken over from Holland introduced by Bindenschu in Riga architecture significantly changed the city's character. Bindenschu is the first to introduce in Riga the contemporary standards of Northern European classical style - first the colossal order and all related aesthetic system. It is important to modify the idea of this architect as the introducer of Baroque in Riga, as his principles and style cannot be formally defined by the term 'Baroque architecture'. His style is based on a well-considered system of smooth planes with plastic Baroque accents, a result of mastering leading architectural tendencies of Northern Europe.
2

Baroka laikmeta dzīvojamais nams Rīgā, Miesnieku ielā 8: Būvvēsture un mākslas vērtības

88%
Ancāne A.
Makslas Vesture un Teorija
|
2015
|
vol. 18
6-17
EN
The house at 8 Miesnieku Street is among Riga’s most outstanding late 17th – early 18th century monuments that have come down to us. This house has fortunately retained its initial basic volume despite several reconstructions and changes of interior layout. Several periods stand out in the construction history of the house at 8 Miesnieku Street. Marten Kröger (also Kruger) acquired the building plot in September 1700 and built a house there the same year. After Kröger’s death in 1702, it was inherited by his son-in-law, Small Guild craft member Christian von der Heyde. There is information that the builder was the city master mason Hinrich Hänicke (also Hönnicke). The house had three floors of dwelling space with office premises on the ground floor, ceremonial and living quarters on the first and second floor as well as two attic floors for the storage of goods and a basement. Both façades feature four pilasters in the Tuscan colossal order along the first and second floor, supporting a very protruding, profiled cornice. The decorative finish of the façades is enhanced by corner rustication. The limestone portal initially faced the main Miesnieku Street but in the early 19th century, it was relocated to the Mūku Street façade. The portal represents the so-called decorative group in which the interpretation of order elements is decorative rather than tectonic. The Miesnieku Street façade has a pompous two-level gable with a rich cascade of volutes and smooth pilasters. This design represents the most lavish type of Riga’s volute gables in the Baroque period architecture. Such an array of elements pointed towards Northern Dutch innovations in residential houses introduced by the noted architect Philips Vingboons around the mid-17th century. Initially the interior could boast of an opulent finish that was subsequently lost in numerous reconstructions and repairs during the later centuries. The plafond painting from the first floor ceremonial room, dismantled during the reconstruction of 1931, is one of the best preserved monuments of Riga’s Baroque interiors, demonstrating the period’s typical local striving towards luxury based on French examples adapted via Sweden and Northern Germany.
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