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1

RIGA CHIEF ARCHITECT JOHANN DANIEL FELSKO AND THE PINKI ST. NICHOLAS'S CHURCH (Rigas pilsetas buvmeistars Johans Daniels Felsko un Pinku Sveta Nikolaja baznica)

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Lace D.
Materiali Latvijas makslas vesturei
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2003
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vol. 3
44-54
EN
The old, deteriorated wooden churches were replaced with new stone buildings in the Riga Patrimonial District during the 19th century. Churches at the Pinki estate (Pinkenhof) that belonged to the Riga city were designed by the Riga chief architect and builder Johann Daniel Felsko (1813-1902). In 1856, Felsko designed the project of the St. Nicholas's Church in the so-called semi-circular arch style (Rundbogenstif). It was a hall church with a nave, two aisles, a polygonal apse and a Western tower. The complicated arrangement of premises at the Eastern side of the church coincides with designs of the Danish Neo-Classicist Christian Frederik Hansen (1756-1845), Felsko's instructor at the Copenhagen Royal Academy of Art. In 1862 the Cash Board of the Riga City Council examined the second, Neo-Gothic project of the St. Nicholas's. Considering the previous objections, the architect had prepared a design with a simple planning and ascetic, early Gothic decoration. If the project was accepted in general, except some small comments on decoration, financial and technical problems were just coming to the fore. In 1864 the parish members wrote to the City Council that it is impossible to build the church with their own powers. The State Inspectorate for Heritage Protection of Latvia keeps the third variant (photocopy) of the St. Nicholas's project. Dated by the year 1871, this one was used for building of the church. The architect had especially elaborated on the composition of tower and the arrangement of decorative elements. The foundation stone of the Pinki St. Nicholas's Church was laid on May 25, 1872, and the consecration took place two years later, on June 16, 1874. It is a hall church with a Western tower and a polygonal apse with symmetrical extensions. Rubble was used as the main building material but decorative elements are made in red brick. The church interior has retained most of Felsko's ideas from the first project - rood-screen (Lettner), direct ascent from the priest's dressing room to the pulpit and elevation in the covering of the central part of the nave.
2

JOHANN DANIEL FELSKO AND RECONSTRUCTION OF THE SMALL GUILD HALL IN RIGA (Johans Daniels Felsko un Mazas gildes parbuve Riga)

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Lace D.
Makslas Vesture un Teorija
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2004
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vol. 3
17-28
EN
The basic publications on the Riga Small Guild (or St. John's Guild) so far have not considered the different versions of the reconstruction project offered by the architect in the 1860s. However, the history of the Small Guild published in 1902 says that City Architect (Stadt-Architekt) Johann Daniel Felsko (1813-1902) had repeatedly prepared three such projects. An unrealised project, intended to supplement the old building of the artisans' guild with Neo-Gothic decoration, has survived from 1858. Small Guild members wanted more spacious premises and even considered choosing a construction site on Riga's ring of boulevards. In spring 1862, the Small Guild Building Commission invited Stadt-Architekt Johann Daniel Felsko to provide an estimate for a new building on the historical site of the Small Guild Hall. In spring of 1862 Felsko submitted a particularly splendid Neo-Gothic project. It envisaged a monolithic three-storey building with a prolonged, rectangular basic planning. The main entrance portal was placed in the longitudinal facade. Felsko's decorative finish for the second project is much simpler. Events took a turn in spring 1864. Felsko was still working on his third project but at the same time he signed agreements with particular groups of craftsmen on the construction works of the Small Guild's new building. The project was approved on 3 March 1864. The third project was realised without significant alterations. Examining the project, one discovers the compromise between the architect's respect for the requirements of the commission and his opponents while retaining his initial conception as far as possible. The decades after the consecration of the building have proved that architect Felsko's initial solution had been farsighted. Unfortunately, the financial situation and opposition's stance stopped its realisation. But the completed building became too small and competitions for its enlargement had to be organised again. Unfortunately 20th century wars wrecked these plans and the guild halls retained their 19th century appearance.
3

DESCRIPTIONS OF NEO-GOTHIC ARCHITECTURE IN THE LITERATURE (Neogotikas arhitekturas atspogulojums literatura)

100%
Zilgalvis J.
Materiali Latvijas makslas vesturei
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2001
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vol. 2
55-68
EN
Neo-Gothic architecture has never been studied separately from other styles in Latvia. It has been reviewed as one of a number of styles in several publications. The first serious studies were done by the Rigensian architect and art historian Wilhelm Neumann, who understood the need to preserve information for future generations about work that young architects were doing during his time. In publications about the history of architecture that appeared in the 1920s and I 930s, there was much criticism of buildings that had been put up in the latter half of the 19th century, but here, too, we find a considerable amount of information for the architectural research of that period. Information about the work of architects and builders in Kurzeme and Vidzeme between 1400 and 1870 was provided by the architect Pauls Kampe. A book by Heinz Pirang, 'Das baltische Herrenhaus', which was written in the 1920s and 1930s, provided the first overall look at the way in which manor houses in Latvia developed from the Middle Ages until 1914. In the 1950s and 1960s there were several publications in which authors looked at the architecture of specific manor houses or concrete eras in time, but the objects that were studied were all built far before the mid-19th century. New breezes in the study of architecture from the period of Eclecticism appeared in the 1970s, when Janis Krastins began to publish his studies. In the 1970s and 1980s, Imants Lancmanis, IIze Janele and other specialists studied the architecture of manor houses. This process continued in the early 1990s. Lancmanis is continuing to study the architecture of specific manor houses, and his books and articles lead the field when it comes to researching the 18th century and the early 19th century. Work by Dainis Brugis and Ojars Sparitis, both of whom have focused on the same period, is also worthy of attention. In 1996, there was a very significant event in the research of manor house architecture in the latter half of the 19th century and in the early 20th century - the publication of the monograph 'Manor Houses of the Historicism Period in Latvia' by Dainis Brugis.
4

MONUMENTS OF NEO-GOTHIC ARCHITECTURE IN LATVIA IN THE EUROPEAN CONTEXT (Neogotikas arhitekturas pieminekli Latvija Rietumeiropas buvmakslas konteksta)

88%
Zilgalvis J.
Materiali Latvijas makslas vesturei
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2000
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vol. 1
37-50
EN
The spread of Neo-Gothic architecture in Latvia was facilitated by processes that were occurring in the arts in Western Europe, and it remained significant from the mid-18th until the 20th century. Interest in Medieval architecture and art was first demonstrated in Great Britain, so the Gothic revival in that country has been chosen as the context for an analysis of the most distinguished Neo-Gothic monuments in Latvia. The description of some specific objects in Latgale includes a brief look at this area of the construction art in Poland. The earliest surviving applications of Neo-Gothic elements in Latvian architecture date back to the first quarter of the 19th century (the Mazstraupe castle, the Kalsnava and Pure churches, etc.). Small Neo-Gothic constructions were found in parks of baronial estates (the viewing tower of the Medze estate, the chapel of the Svitene estate, etc.). In the second half of the 19th century, Neo-Gothicism was already popular throughout Latvia, and stylistically unified buildings and ensembles of buildings appeared (a reconstruction of the Medieval Edole castle, and the earliest example of Tudor Neo-Gothicism - the castle of the Vecauce estate). Until the mid-19th century, Neo-Gothic architecture in Latvia was found largely in the castles of baronial estates (the castle of the Odziena estate, the Aluksne estate), but beginning with the third quarter of the 19th century, there was a boom in the construction of Neo-Gothic churches (Old St. Gertrude's Church in Riga, St. Trinity Church in the Sarkandaugava neighborhood of Riga, St. Paul's Church in Riga, etc.). New St. Gertrude's Church in Riga and the Garsene church in Augszeme (Courland) were designed similarly to the asymmetrical composition of the Daugavpils Lutheran church - a building that is an early and innovative example from the broader perspective - e.g., when we compare it to churches in Northeastern Poland. One of the most distinguished Neo-Gothic churches not only in Latvia but in the entire Baltic region is the Liksna church - a modern building that was designed with various Gothic elements in it.
5

MEDIEVAL ARCHITECTURAL FORMS IN LATE-19TH-CENTURY BUILDINGS OF KULDIGA (Viduslaiku arhitekturas formu izpausmes Kuldigas 19. gs. otras puses apbuve)

75%
Zilgalvis J.
Materiali Latvijas makslas vesturei
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2007
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vol. 6
125-136
EN
Kuldiga (Goldingen) is one of Latvian towns whose historical-style buildings feature a particular, original accent valued by its inhabitants. Romantic images of buildings are possibly sought after more than in other small towns. Wooden and stone dwelling and public buildings are always constructed with taste, expressive details and elaborated small parts. One of the most interesting Neo-Gothic buildings is the Court House at 25 Kalna Street (c. 1880). It is a symmetrical two-storey building with a wide central projection, covered by a steep two-pitched roof. Stylistic forms are consistently realised in the splendid façade. Here we see both decorative small towers in the corners and middle part of the projection. Towers rise from the façade at the point where the first-floor ceiling rests, rising quite a lot above the cornice. Cornices entwining the upper part of openings are typically Neo-Gothic and all alike - with somewhat back-bended ends. The Court House could be compared with some buildings designed by Theodor Seiler who was active in Southern Kurzeme, surroundings of Talsi and Kuldiga. Kuldiga stands out by wide-spread use of towers in comparison with other Latvian towns. A massive three-storey tower with battlement and arcature decorates the corner of the building at 2 Pils Street (last quarter of the 19th century). Several important Neo-Gothic details are lost over time, still seen on photos from the 1950s. Kuldiga inhabitants know this Neo-Gothic house by the name of the town mayor Armin Theophil Adolphi. A corner tower similar to that of 2 Pils Street is seen also at 17 Kalna Street (2nd half of the 19th century) but no Neo-Romanesque or Neo-Gothic décor elements are found; they might have been lost during reconstructions. But the very idea of building a tower at the corner of a house dates back to medieval architecture. A bulky hexagonal tower is attached to the building at 35/37 Liepajas Street that is a part of the present hospital complex but from 1912 to 1932 housed a post office and the tower was used for the needs of telegraph.
6

REFLECTION OF SOCIAL PRESTIGE IDEA IN RIGA EARLY ART NOUVEAU ARCHITECTURAL DÉCOR (Sociala prestiza ideju atspogulojums Rigas agra jugensdtila arhitekturas dekora)

75%
Grosa S.
Materiali Latvijas makslas vesturei
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2007
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vol. 6
137-166
EN
As a result of economic boom, Riga had become a metropolis in the second half of the 19th century, featuring industrialisation accompanied by wide-scale construction of multi-storeyed stone buildings, widening of respectable areas, urbanisation and workers' districts appearing in suburbs. Huge social inequality and strong contrasts characterise Riga as a typical Western city of the period, still at least two aspects were specific to Riga: firstly, being part of the Russian Empire and a zone of special interest as one of the few cities with a developed industry; secondly, the complicated national issue resulting from German minority's traditional privileges. In this situation early Art Nouveau décor acquired a very pronounced dimension of social prestige, becoming not just a self-advertisement of the rapidly growing bourgeoisie but also a symbol of an imagined aristocracy and the proprietor's prestige: at the beginning of the period the richest sculptural décor is found on buildings in Old Riga and the so-called Boulevard District where comparatively rich decorative sculpture was created since the 2nd half of the 19th century as well as in the former suburban districts that were gradually added to the respectable area after city's building regulations were modified. The visually most attractive embodiment of the ideas of social prestige in building décor appear in widely-spread cartouches and shields with the proprietors' monograms as well as with symbolic representation of professional attributes or elements derived from heraldry or emblematics. These elements, taken over from the 19th century, were endowed with a new meaning at the turn of the 20th century. Popularity of the ideas of social prestige created preconditions for persistent neo-style solutions of façades: Art Nouveau with its asymmetry, biomorphic décor and self-sufficient aesthetics of linear rhythms was ill-adapted to the traditional idea of respectability. So late-19th-century and early-20th-century façades feature a certain dualism; typical Art Nouveau motifs coexist with attempts to glorify ancient cultures, reflections of interests in theosophy, freemasonry etc.
7

Georgs Francs Bernharts un 19. gs. otras puses neogotiskie altaru retabli Latvija

75%
Lace D.
Materiali Latvijas makslas vesturei
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2012
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vol. 8
55-72
EN
The article deals with Georg Franz Bernhardt (1831-not before 1908), a relatively unknown master carpenter of Riga. Over thirty years he had created anew and reconstructed thirty six church furnishings in Latvia, Lithuania and Estonia. The latest researches allow us to connect Bernhardt’s name with the altars of ten churches in Latvia. The figures of apostles in the altars made by Bernhardt are examined with particular regard to their historical prototypes. With a recommendation from the Berlin Academy of Art, Bernhardt came to Riga in July 1860 to teach drawing at a private boys’ school. In 1862 he gave up teaching and set up a carpenter’s workshop to make furniture. In 1881, aged fifty one, Bernhardt was admitted to the carpenters’ corporation of Riga Small Guild, and he started active public work. In 1890 he left his enterprise in Riga. In 1905 the above-mentioned memoirs were published in Germany. In 1909 Bernhardt’s name disappears from the Riga address book and the directories do not mention his widow Wilhelmine Bernhardt either. Therefore he might have returned to Germany in 1908, not in 1905 as Campe’s lexicon states. The place and time of the master’s death remain unknown. Neo-Gothic altar retables created by Bernhardt for churches in Latvia are items complying with the current artistic trends of the time. The frame construction of the altars was appropriated from the Neo-Gothic solutions found in the Berlin edition of Architektonisches Skizzenbuch. But he himself selected figural images for altar compositions, examining the most prominent medieval artistic monuments. Further research could clarify some remaining obscure details, as there is no doubt that Bernhardt’s contribution to the 19th century local arts and crafts is significant enough to be included in the history of art of Latvia.
8

THE WHITE PALACE OF VECGULBENE MANOR - ITS BUILDERS, ARCHITECTS AND FORTUNES (Vecgulbenes muizas Balta pils: celeji, arhitektura un likteni)

63%
Zilgalvis J.
Makslas Vesture un Teorija
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2009
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vol. 12
22-26
EN
Vecgulbene (Alt-Schwanenburg) manor is situated in Gulbene District within the territory of the town of Gulbene, which has been a crossroads since ancient times. The manor is known as one of the most prominent and splendid ensembles in Latvia and possibly in the Baltic region. This place suffered considerably during the wars and the Soviet period. Construction and reconstruction of the so-called White Palace at 12 Brivibas Street has been dated differently by various sources. First it was stated that the central part had already been built in 1763 and reconstructed in 1840s-1870s. Art historian Dainis Brugis holds that the Palace was built around 1840, which seems to be a more plausible version; construction was carried out by the Wolff family, possibly by Rudolf Gottlieb Magnus von Wolff (1809-1847) and entries in his daughter Isabella's diary attest to this. Rudolf von Wolff had traveled to many countries including Italy. The style of Italian villas evident in the White Palace surely comes from Rudolf's taste and interests. The Palace was inherited by Rudolf's son Johann Heinrich Gottlieb von Wolff (1843-1897) who reconstructed and enlarged the building in the last quarter of the 19th century. The architecture of the Palace was influenced by the Renaissance. The project resembles the Renaissance villas found among Andrea Palladio's works. The central two-storey block was almost cube-shaped and flanked by single storey wings at both ends. The façades were lavishly decorated. The central volume featured wide, fluted colossal order pilasters; triangle-shaped, plastic frontons were placed over the ground floor window openings.
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