Slavuta (estate)

Classicism

The construction of the manor house began in 1782 by order of Prince Jerome Sangushko and according to the project of architect Ferdinand (?) Merck ^[1] . The stone palace was built next to the old wooden courtyard ("castle"). Construction was led by Johannes Ketler and Fabian Jumpar. The painting was done by Jozef Reyhan . It was a one-story house with two side wings. On the ground floor there was a canopy , study, dining room, rest "left", on the ground floor - living room, bedroom and other chambers. Unfortunately, iconographic materials of the Slavic palace have not been available since then.

During the second stage of the development of the Slavic residence in 1793 - 1795, the palace, like the palace expanse, was significantly expanded. The tradition of banquets and balls has been introduced.

19th Century Manor

After the death of Jerome Sangushko, the owner of the Slavuta is Eustachius Sangushko , so the further development of the residence took place on his initiative. In 1822 - 1841, a church of St. Dorothy was built near the palace , the temple, had a parish appointment. According to the observations of the employee of the princely office of Robert Nabelyak, the palace was then one-story and square in projection. Although it had a spacious, but not at all decorated facade. Next to it was an outbuilding, a kitchen, a ticket office and an office. In the distance were the stables. Behind the stables was a cloth factory. Directly the city is located on the opposite bank of the pond, through which masonry led from the palace. All buildings had red roofs, according to Nabelyak, decorated with the Slavic landscape ^[2] . Under the direction of architect A. Brunak, a second floor was erected above the palace. A portico with columns and a new staircase have been completed. The ground floor room has been renovated. Replaced joiner. The right wing is facing an arched passage, completed by a terrace. As modern iconographic materials show, the architectural processing of the palace was very scarce. This is confirmed by the Munich magazine “Das Ausland”, which on October 28, 1841 wrote that the Slavic palace, rebuilt from an old building, is not very different from it ^[3] .

After numerous reconstructions, the state of the residence was also recorded by Mizochky gentry Jozef Dunin Karvitsky ^[4] :

After the death of Prince Eustachius Sangushko († 1844 ), none of the Sangushki constantly lived in the palace. The palace itself was located on a sandy hill, not fenced from the city. Therefore, believers went to the church of St. Dorothy directly through the palace detinets . In 1866, the so-called archive of Princes Sangushko and related assemblies of porcelain, weapons, paintings were located on the ground floor and were transported to Slavuta from the Zaslavsky residence .

In 1810, a part of the Korets library was transferred to the Slavic residence, which amounted to several thousand volumes ^[5] .

Subsequently, Prince Roman Adam Sangushko settled in the Slavic residence, however, he chose the classic pavilion “under the stables” for living. It consisted of the last of three two-story houses interconnected by one-story volumes in which stables were once located. The prince settled in the middle building, which was a building dissected from the main facade by six wall columns, supporting beams and a triangular pediment .

In 1858, Prince Roman Adam Sangushko left the pavilion "at the stables" and moved to the hut behind the church, amid an oak grove.

The residence received a new breath for the rule of Countess Carolina de Thun Hohenstein, wife of Prince Roman Damian Sangushko . The palace complex was equipped with plumbing and sewage . The park is expanded. A large number of trees, bushes and flowers have been planted. Broken flower beds and lawns. The ground floor has been converted into a luxurious administrative apartment. Stairs and other chambers are decorated with old-world tapestries . A valuable tapestry depicting Titian cupids fluttering between the clouds adorned a large salon. Others depicted biblical scenes, forest landscapes on the so-called. reddish-brown ( fr. feuille morte ) background. Bronze plastic, old-world porcelain and Japanese vases brought from the Zaslavsky palace complemented the outfit of the palace interiors. A group of fountains decorated with sculptural compositions of Italian masters was built.

After the death of Prince Roman Adam Sangushko († 1884 ), the archive was transferred to the stables pavilion, and then it was again transferred to the former chapel opposite the palace behind the park. In the Slavic residence Sangushki lived only in the cold season, and for the summer moved to the villas built in the 1880s in Klimovka under the glory . The main part of the Sangushkiv assembly of painting was transferred there ^[6] .

Manor of the 20th Century

After the fire of 1905, the palace was reconstructed for the last time. Changed the palace roof. The main facade of the palace is accented by three risalits. The central semicircular risalit is completed by the attic , the two lateral ones are triangular pediments.

The finally formed palace complex was located in the middle of the park and, in addition to the palace itself, included a smaller palace - the so-called “Count's House”, stables, a kitchen, an office outhouse, a greenhouse, a guard house, a forge and a gazebo. Behind the park stood the church of St. Dorothy. From the small palace in a westerly direction to the railway station stretched the Park “Menagerie”, intended for recreation and hunting of the princes and their guests. On the opposite bank of the Derazhnya river, the Albena public park was planted. The territory of the residence was surrounded by a three-meter fence, about 3 km long ^[7] .

December 24, 1917 , the Cracow newspaper Czas , published the memoirs of an art historian, professor at the Jagiellonian University, Jerzy Mitselsky, about his visit to the Slavic residence in 1914 . From the publication it follows that the palace still contained a rather numerous collection of works of art from different eras, for the conclusion of the list of which Mitselsky was invited. From his memory, he recalled that in different rooms hung about 20 paintings of the 17th century , made by masters of the Dutch and Flemish schools. Among them: “ Feast ” by David Teniers Jr .; unknown work by Dirk Stupa; still life of Rachel Reisch, etc .. From Italian painting: a painting on a blackboard with the image of the truncated head of John the Baptist of the first quarter of the 16th century attributed to Luini Bernardino, a student of Leonardo . From the French: a work depicting a forest hunting scene by Jean-Baptiste Audrey and one of the first, everyday life in the Commonwealth, works of Jean-Pierre Norblin de la Gourdain “ The Battle of Zborov ” ^[8] .

The palace also had a collection of Sangushkov family portraits, among which Mitselsky singled out portraits of Janusz Modest Sangushko and his wife Aneli works of the Viennese artist Johann Baptista Lampi ^{[9] [10]} .

The interior of the palace chambers was decorated with several Chinese vases, dated to the 18th century, with a height of 0.5 to 1 meter.

A separate delight of the art historian was caused by the collection of more than twenty well-preserved tapestries , hidden in the 1890s , after an unsuccessful attempt to adapt the Slavic rooms to small sizes, in a storage specially located from the palace. Mitselsky divides them into three cycles:

1. Tapestries of the Flemish XVI century , with images of chivalrous and mythological scenes;

2. Larger sizes, typical, mainly with landscapes, Flemish, mid- 17th century ;

3. The most skillfully cost and perfect work of the French Etienne Blondel machines by Francois Boucher .

At that time, Mitselsky estimated the value of all three tapestry cycles at 10 million francs ^[11] , which amounted to 2903 kilograms in gold equivalent.

Before the First World War, most of the palace art collections were taken deep into Russia , from where, after the Peace of Riga in 1921 , it was transferred to Poland .

In the fall of 1917, during the riot of 264 reserve infantry regiment of the Russian army , stationed in Slavut, the palace complex, part of the art collections left before the war, were robbed and fired. The owner of the Slavic residence of Prince Roman Damian Sangushko was brutally killed, other residents of the palace managed to escape ^[12] . After the fire, the image of St. Tepreza remained unharmed, which was later solemnly transferred to the church of St. Dorothea of ​​Caesarea ^[13] . In 1922, by order of the Soviet authorities, the ruins of the palace were dismantled. Today, from the former residence there were only stables and the church of St. Dorothea ^[7] .

In 1800, the artist Sigmund Vogel visited Slavuta ^[14] , and in 1815, the German artist Peter von Hess , who was supposed to make sketches of Arabian horses that were cultivated by the Sangushki, to depict battle scenes on the walls of the royal palace in Munich ^[15] .

Also, the Slavic residence was repeatedly visited by Prince Vaclav Zhevusky ( "Emir Golden Beard" , "Ataman Revukha" ), who was a famous connoisseur of horses. In the middle of 1828, a chapel of bandura players Caetan Widort came with him and the choir of outland Cossacks of Cossacks from Savran , who presented a new collection of Arabic songs translated by Prince Wenceslas. The reviewers of this collection were Prince Eustachius Sangushko and poet Ivan Kotlyarevsky , who was not the first to visit the Sangushko Palace ^[16] .

At the end of the XIX century, Lesya Ukrainka was treated in the Slavic possessions of the princes Sangushko, and in the 1890s , Maria Zankovetskaya performed a concert. In 1884 - 1887, the research archaeographer Zygmunt Luba Radziminsky and the teacher of Slavic-Cyrillic paleography from the Lviv gymnasium Petro Skobelsky, the historian Alexander Cholovsky, together with the conservative of the Slavic archive Bronislav Gorchak, worked on improving and publishing the source materials of the archives of princes Sangushko ^[18] .

Also, the artists of Napoleon Orda , Jozef Brandt , Juliusz Kossak and others visited the Slavic residence of the princes Sangushko.

• According to Robert Nabelyak, an office clerk of Prince Eustachius Sangushko , the park, growing between the palace and the cloth factory, was no different except for its own guard. He was guarded by a veteran of the Napoleonic wars , an eccentric, visited the island of San Domingo and Moscow , but was unable to tell anything because of his melancholy state ^[2] .
• The darling of several generations of Slavic children, a resident of the palace, the dwarf Yakub Shpal, or as he was also called Yakubzo Deshpal, had a notable collection of snuffboxes . There was an informal tradition, each of the ladies who will visit the palace should replenish the collection with a new thing. Especially for the Sleepers, the stables contained several dwarf horses and a small yellow carriage. Shpal did not drink water; he preferred punch to other alcoholic drinks. He died on March 9, 1857. Princess Maria Sangushko erected a monument on his grave with the inscription: “Yakubu Shpala, named Deshpal. To a faithful comrade and host to five generations of the Sangushko princes. ” This monument in the form of a small iron sarcophagus still lies in an abandoned Slavic cemetery ^{[17] [18]} .
• The Volyn governor-general Mikhail Chertkov believed that Zaslavsky possessions, from 1907, will be called the Zaslavsky ordination , and in particular the town of Slavutu, "the den of the whole bastard." This attitude was due to the fact that in 1863 all the servants of the estates took part in the uprising against the Russians , and at the Slavic factories braids and peaks were made for the rebels ^[19] .
• A real-life story heard by Yuri Klen during a visit to the Sangushko Palace in Slavut became the basis of the short story “Medallion” . The children who wanted to save the kite scared the horses run by Princess Sangushko. A step away from death, the princess with her small daughter was saved by a poor man who, having refused any gratitude, went to the world. After some time, Sangushko, busy with good deeds, finds a medallion from the dead man by which he recognizes his rescuer. The princess quite sincerely tries to thank at least the children of her savior, not suspecting that her real savior was killed by the hand of a dead man with a medallion ^{[20] [21]} .

• Robert Nabielak. Pamiętnik więźnia stanu. Lwów 1875. (Polish)
• MJ Z wycieczki po kraju // Kronika Rodzinna. 1887. T. 14. No. 20. (Polish)
• Dunin Karwicki J. Wedrowka od zrodel do ujscia Horynia. Krakow 1891. (Polish)
• Antoni Werytus. Szmat Wołynia // Wędrowiec. No. 41-52. 1897. (Polish)
• Mycielski J. Sławuta // Czas. 1917. No. 592 (24 XII) (Polish)
• Antoni Urbański. Z czarnego szlaku i tamtych rubieży. Warszawa 1927. (Polish)
• Aftanazy Roman. Materiały do ​​dziejów rezydencji. Warszawa 1988.T. 5 a. (polish)
• Józef Skrabski. Fundacje artystyczne Sanguszków ze Sławuty // Sztuka kresów wschodnich. Kraków 2006. T. 6. (Polish)
• Władysław Berkowski. Sławuta jako rezydencja książąt Sanguszków od końca w. XVIII do początku w. XX // Zamojsko-wołyńskie zeszyty muzealne. T. II: Twierdzy kresowe Rzeczypospolitej. Cz. 2: Rezydencje. Zamość 2004. (Polish)
• Irina Magdish. Shlyakhami Volinі: Slavuta, Berezdіv, Krasnostav // "Ї". Volinsky mustache. Number 49.

• Tadeusz Jerzy Stecki Wołyń pod względem statystycznym, historycznym і archeologicznym. T.1. Lwów, 1864. (Polish)
• Pavlyuk V. Palace and park ensembles of magnates - the center of culture Wolin
• Władysław Berkowski. Sławuta jako rezydencja książąt Sanguszków od końca w. XVIII do początku w. XX (Polish)
• Małgorzata Śliż. Sławucka stadnina w świetle raportu z 1799 r. (polish)