JOURNAL OF ARCHITECTURE AND URBANISM ISSN 2029-7955 / eISSN 2029-7947 2014 Volume 38(4): 234–246 doi:10.3846/20297955.2014.994809 ST. PETER AND ST. PAUL’S CHURCH IN VILNIUS: A STUDY IN META-CODAL SYMBOLIsm OF CHRISTIAN ARCHITECTURE Gytis ORŽIKAUSKAS Faculty of Architecture, Vilnius Gediminas Technical University, Pylimo st. 26/1, Vilnius, Lithuania E-mails: [email protected]; [email protected] Received 18 September 2014, accepted 1 December 2014 Abstract. The paper examines Christian architecture from the perspective of “meta-codal function”, i.e. through examination of architectural symbolism expressed solely by architectural means. Emphasizing symbolic and semantic content of architecture, the paper offers a broader research field of architectural artistry by using a wider iconographic comparison. As a representative of baroque architecture and the most prominent example of architectural symbolism, St. Peter and St. Paul’s Church in Vilnius (1668–1702) has been selected for the research. The iconographic programme of this church is compared to most distinct iconographic themes identified through the analysis of some examples of historic Christian architecture. By this method, the research detaches from the usual stylistic analysis and poses the most basic question in architectural artistry: is architecture capable of expressing the indepen- dent artistic content which can translate more than architecture’s general appearance. Keywords: historic Christian architecture, meta-codal function, architectural symbolism. Introduction In architectural theory, the research of semantics in of building, the social function relating to the social sacral architecture dates back to only the 19th cen- status and economic resources of the builder and the tury. At the time, rather primitive explanations were individual function relating to individual style of the used, for example, August Reichensperger (1808–1865) building (Mukařovský 1978: 241−244). As one can no- wrote that churches of Gothic style are the pure embo- tice, Mukařovský excluded architectural symbolism diment of piety. In his work, vertical spires were taken as an inadequate research subject. However, Donald as an expression of desire to become closer to God, Preziosi (born in 1941) continued researching multi- and the contrast between a dark interior and light co- layered functions of architecture with condensed five ming through stained glass windows was associated functions of architecture. In his opinion, the expressi- with medieval mysticism (Reichensperberger 1854). ve function of architecture manifests in the personal The research of architectural semantics in the 19th and style, the mode of architectonic self-representation of a 20th centuries was soon limited by a common precon- builder. The conative function of architecture suggests ception that architecture is basically an asemantic orientations, spatial interpretations and behaviour to art. It was thought to be neither communicative nor its user. The phatic function is connected to the envi- representing anything except for itself, as described ronmental framing of interpersonal interactions, or in “La Correspondence des arts” by Étienne Souriau architectural “territoriality”. The aesthetic function (1892−1979) (Wallis 1975: 40; Souriau 1947: 969). manifests when architecture is oriented toward its However at the beginning of the 20th centu- own mode of construction. At last, the meta-codal ry, some authors tried to encourage the use of more function is realised through historical references or complex methods of research into architectural artis- “quotations” (Preziosi 1979a: 49−55, 1979b: 68−72). try. Aesthetic theorist Jan Mukařovský (1871−1975) One of the most prominent authors of post-modern marked out four functional horizons of architecture, architectural theory Charles Jencks suggested, that ar- which included the immediate practical function, chitectural forms should also be analysed by multiple the historical function relating to previous modes means. The author claimed that in order to understand 234 Copyright © 2014 Vilnius Gediminas Technical University (VGTU) Press http://www.tandfonline.com/ttpa Journal of Architecture and Urbanism, 2014, 38(4): 234–246 235 what Nelson’s column really means, one should ana- ir architektūra”), “Symbol in Architecture: from lyse its physical–social context (Trafalgar Square as a Individuality to Universality” (2005, “Urbanistika ir political centre), semantics (naval victories, the perso- architektūra”) and others. This particular article is de- nality of Admiral Nelson) and syntax (standing alone, voted to explaining the artistic subtext of St. Peter and surrounded by a vast space and fountains) and histori- St. Paul’s Church in Vilnius (1668–1702, architects Jan cal connotations (phallic symbol, three classical orders, Zaor and Giambattista Frediani), which can be named a column as a feature of classical temples) (Jencks 1991: the most striking example of historic Christian archi- 49). However, the biggest part of the author’s research tecture in Lithuania. Rich in architectural and artis- into architectural semantics is devoted to analysis of tic influences, architecture of St. Peter and St. Paul’s historical architectural styles reused as quotations in Church expresses some main themes of Christian sym- post-modern architecture. The result of Preziosi’s and bolism. By methods of inductive reasoning and icono- Jencks’ research provides an opinion that semantics graphic comparison, this article attempts to analyse the of architecture is limited only to the ability of self-re- meta-codal function of sacral architecture through this ference, i.e. reuse of past architectural formulas. This particular church, in which architectural semantics is only supports the idea that architecture has no other compared to some motifs of Christian symbolism. artistic subtext or representation than its own form. Christian architecture, however, can prove this opi- The iconographic key to traditional symbolism nion wrong, as it has a strong connection with trans- of Christian churches cendental sacralisation of space. In Judaism, Solomon’s In early Byzantine theology, a dome symbolised Temple was first treated as a gathering place for the heaven because early Christianity pictured God as religious community. Those who did not meet the a circle or a sphere rather than a human form. The fixed standards of this community were left outside meaning behind this is explained by the 12th cen- the House of God. Christianity changed this attitude tury manuscript, which claims: “God is an intelli- drastically: the House of God became a metaphor, a gible sphere, whose centre is everywhere, and whose promise of the Heavenly Jerusalem, accessible to eve- circumference is nowhere” (Gurevičius 1989: 82; ryone who worships God, no matter in groups or indi- Biedermann 2002: 37). In Christian architecture, a vidually (Sverdiolas 1996: 134–135). For the very first dome was firstly used in the church of Hagia Sophia, time in the Western culture, a temple was treated firstly which was built in Constantinople in 532–537 funded as a mystical place, which had only to be channelled by Emperor Justinian. At the time, religion and po- down by architectural means. In most cases, sacral sition of the emperor were tightly connected, so for architecture has the ability to transfer much deeper means of political propaganda, Emperor Justinian independent artistic subtext, and it should be treated as tried to surpass the old Solomon’s Temple by building a major factor of meta-codal function of architecture. the new sacral centre of Christianity. In most cases, the history of architecture is written The construction of the church was unique: it had down as history of form and style. This way, the history a circular dome set over a square base, which was an of ideas and narrative is very much forgotten or treated unknown scheme in previous architectural styles. The as an irrelevant field of research. Aspects and problems whole weight of the dome had to be supported on four of sacral architecture in Lithuania have been covered massive pillars alone because outer walls of the church by a number of analytic articles, such as “Reformed were designed hollow. For this scheme, the builders Liturgy and Sacral Architecture” by Edmundas Arbas– of the church had to invent a new type of construc- Arbačiauskas (1990), “Some Features of Evolution of tion – pendentives – in order to successfully transfer Lithuanian Sacral Architecture in 20th–21st Centuries” the weight of the dome onto these pillars (Fig. 1). by Linas Krūgelis (2009), “Sacrality and Hierarchy of However, the symbolism of these four piers was Structure: the Reasons of Conflict between Reformers taken from Solomon’s Temple itself. The Holy of and Traditionalists” by Rugilė Žadeikytė (2013), “The Holies in Solomon’s Temple was decorated with four Church – between the House of God and the Object pillars and the veil adorned with images of four an- of Architecture” by Eugenijus Gūzas (2013) and so on; gels, each with four faces: a human, an eagle, a lion however, most of these writings are again dedicated to and an ox (Ramonienė 1997: 223–224). This symbol the analysis of styles and influences. Some works by was first described in the Old Testament. In his vi- Rimantas Buivydas are mainly dedicated to symbolism sion, Ezekiel called it merkabah, i.e. the carriage of of architecture in Lithuania: the monograph “Esotheric God, drawn by four animals,