The ruins of the palace of Barbara Radziwiłł

Lithograph after Pietro Rossi.

The painter Karol Rypiński (1809–1892) lived in Vilnius and studied painting at the university. He married in 1833 and had 12 children. In order to provide for his large family, he had to take whatever work he could find: he gave private lessons, painted portraits and pictures for churches, made lithographs, and illustrated books. He made a lithograph of the drawing by the architect C. J. Rossi in 1800, called The ruins of the Palace of Barbora, wife of Sigismund Augustus. It shows the south façade of the main building of the palace, with an arched entrance, a giant order of pilasters, an open arcade at the top, and a round tower on the corner. By 1800, the palace was already a ruin, with no roof, and overgrown with weeds. There was no longer a neat park with hedges and floral compositions of coats of arms. According to the art historian Birutė Vitkauskienė, the palace had been a sort of Tuileries of Vilnius, based on the residences of the French nobility (B.R. Vitkauskienė, ‘Fragmentas iš Vilniaus miesto istorijos: Radvilų rūmų užgrobimas’, Atrasti Vilnių: skiriama Vladui Drėmai, compiled by G. Jankevičiūtė, Vilnius, 2010, p. 128).

Text author Laima Laučkaitė.

Source: Law firm Valiunas Ellex art album VILNIUS. TOPOPHILIA I (2014). Compiler and author Laima Laučkaitė, RES PUBLICA (2018). Compiler and author Rūta Janonienė
Expositions: “Vilnius. Topophilia. Views of Vilnius from the collection of the law firm Ellex Valiunas”, 5 October – 26 November 2017, National Gallery of Art, Vilnius (curator Laima Laučkaitė)

Lithograph after Pietro Rossi.

The painter Karol Rypiński (1809–1892) lived in Vilnius and studied painting at the university. He married in 1833 and had 12 children. In order to provide for his large family, he had to take whatever work he could find: he gave private lessons, painted portraits and pictures for churches, made lithographs, and illustrated books. He made a lithograph of the drawing by the architect C. J. Rossi in 1800, called The ruins of the Palace of Barbora, wife of Sigismund Augustus. It shows the south façade of the main building of the palace, with an arched entrance, a giant order of pilasters, an open arcade at the top, and a round tower on the corner. By 1800, the palace was already a ruin, with no roof, and overgrown with weeds. There was no longer a neat park with hedges and floral compositions of coats of arms. According to the art historian Birutė Vitkauskienė, the palace had been a sort of Tuileries of Vilnius, based on the residences of the French nobility (B.R. Vitkauskienė, ‘Fragmentas iš Vilniaus miesto istorijos: Radvilų rūmų užgrobimas’, Atrasti Vilnių: skiriama Vladui Drėmai, compiled by G. Jankevičiūtė, Vilnius, 2010, p. 128).

Text author Laima Laučkaitė.

Source: Law firm Valiunas Ellex art album VILNIUS. TOPOPHILIA I (2014). Compiler and author Laima Laučkaitė, RES PUBLICA (2018). Compiler and author Rūta Janonienė
Expositions: “Vilnius. Topophilia. Views of Vilnius from the collection of the law firm Ellex Valiunas”, 5 October – 26 November 2017, National Gallery of Art, Vilnius (curator Laima Laučkaitė)