Drafts by Alante Valtaite-Gagac
The development and surviving examples of Lithuanian chandeliers have hardly received any researc... more The development and surviving examples of Lithuanian chandeliers have hardly received any research attention before. For the lack of all-inclusive and generalising research, the main problem of the dissertation is the reconstruction of the features of chandeliers, their place in historical interiors, their production and import in Lithuania and its historical territories. The main types of chandeliers developed in Europe and their production centres are presented. For the first time the author looks for manifestations of the functioning of chandeliers in different social contexts of Lithuania: the discovered references to chandeliers in the inventories of manors belonging to the nobles and the clergy, burgher’s homes, and descriptions of church chandeliers funded by patrons are analysed. The varying names of chandeliers in the written sources from the 17th to the 19th century are presented. Information of various nature found in documents is systemised: what types of chandeliers decorated residential, public and sacral buildings, from what materials they were manufactured, how many of them were hung on the premises and in what spots they were found. The thesis also reveals the value of the relatively recent chandeliers made during second half of the 19th century to the 1930s. The directions of their import in different political periods are traced. The surviving examples of chandeliers scattered in various repositories and locations have been collected and presented for the first time in The Catalogue of Surviving Chandeliers. The research has revealed the significance of chandeliers for the material culture of Lithuania. Not only the general cultural features, but also, in separate cases, the exceptionality of Lithuania in the context of the development of European chandeliers has been brought out.
Papers by Alante Valtaite-Gagac
During the restoration of the Palace of Рас family in Vilnius old town (Didžioji Street. 7), frag... more During the restoration of the Palace of Рас family in Vilnius old town (Didžioji Street. 7), fragments of papier-mache chandelier were found. The new material collected for the theoretical reconstruction of this luxurious artefact led to the publication of rare earlier unexplored papier-mache light fixtures in Lithuania. The topic has received very little research attention. Publication Japanned Papier Mache and Tinware c.1740-1940 (Woodbridge: Antique Collectors’ Club Ltd, 2012) by English author Yvonne Jones was helpful in describing the technique of papier-mache. Information on the activity of papier-mache chandelier workshops was provided by Igor Sichev’s comprehensive book Russian Bronze (Русская бронза. Энциклопедия русского антиквариата, 2003). This article shortly presents types of papier-mache techniques and workshops in the foreign countries. Data of the written sources are analysed, various survived and not survived examples are overviewed. The main focus of article is th...
Information about chandeliers manufactured in the 2nd half of the 19th century and the 1st half o... more Information about chandeliers manufactured in the 2nd half of the 19th century and the 1st half of the 20th century and, especially, chandelier factories of this period is scarce in published overviews of the evolution of European lighting fixtures. Perhaps most authors still hesitate whether this mass-produced equipment is of any value; it also seems that their preservation is not a major concern either. An overview of the historical and cultural context of the 2nd half of the 19th century and the 1st half of the 20th century reveals the reasons behind negative attitudes toward mass-produced items and the pioneering designers' efforts to change the standing situation by improving the design of everyday-use objects. In the discussed period, chandeliers were not produced in Lithuania industrially. The system of guilds, which survived until the end of the 19th century, produced a situation in which such household items were commissioned to local craftsmen or imported from abroad. ...
Kultūros paminklai Nr. 22, 2018, p. 144–153, 2018
During the restoration of the Palace of Pac family in Vilnius old town (Didžioji Street. 7), frag... more During the restoration of the Palace of Pac family in Vilnius old town (Didžioji Street. 7), fragments of papier-mache chandelier were found. The new material collected for the theoretical reconstruction of this luxurious artefact led to the publication of rare earlier unexplored papier-mache light fixtures in Lithuania.
The topic has received very little research attention. Publication Japanned Papier Mâché and Tinware c.1740-1940 (Woodbridge: Antique Collectors' Club Ltd, 2012) by English author Yvonne Jones was helpful in describing the technique of papier-mache. Information on the activity of papier-mache chandelier workshops was provided by Igor Sichev’s comprehensive book Russian Bronze (Русская бронза. Энциклопедия русского антиквариата, 2003).
This article shortly presents types of papier-mache techniques and workshops in the foreign countries. Data of the written sources are analysed, various survived and not survived examples are overviewed. The main focus of article is the chandelier found in the Palace of Pac. Stylistics of fragments of the item shows that it was made in the middle of the 19th century. As the top and the bottom parts of the item were lost, the search of analogue chandelier was made. Accidentally the photo of the Palace of Verkiai were discovered, where three identical chandeliers can be seen. Written and iconographic sources let raise hypothesis that fragments of chandelier found in the Palace of Pac belongs to the one of three chandeliers earlier suspended in the Palace of Verkiai.
The analysis of papje-mache chandeliers in Lithuania leads to several conclusions: 1) the small number of surviving examples and the data of the sources show that papje-mache light fixtures were rare items; 2) chandeliers made from this inexpensive material decorated luxurious interiors of noblemen’s palaces; 3) papier-mache chandeliers distinguished in their shape and ornament, and they did not repeat the lighting devices made from more expensive materials.
Kultūros paminklai, Nr. 17, Vilnius: Savastis, 2012, p. 144–155, 2012
There are very little chandeliers survived from XVII c. in Lithuania. Few examples that reached o... more There are very little chandeliers survived from XVII c. in Lithuania. Few examples that reached our days can’t show the whole panorama of chandeliers of XVII c. of Lithuania, therefore thorough analysis of written sources was initiated. The purpose of this article is to introduce the social prevalence and functioning of chandeliers: to find out where, how many and in which way chandeliers were hanging, what materials were used in manufacturing of chandeliers, how many branches they had and what forms were custom for chandeliers of Lithuania in XVII c. In order to better understand the theme of article, development of European chandeliers to XVII century is introduced in article as well.
Different Polish and Latin words (korona / corona, lichtarz / candelabra, jelenie głowa z rogami / cornibus cervini, swiecznik) that were used to describe chandeliers in written sources are introduced. They also show that various types of chandeliers existed: circular chandeliers reminiscent of a crown or wheel, whittled from wood in form of deer head with horns, orb chandeliers formed from decorated bars and one central stem having chandeliers. All these shapes were typical for Europe lands during IX–XVII centuries.
The records in documents showed, that chandeliers usually were hanging in the interiors of churches and houses of very rich people as noblemen and bishops. Meanwhile petty noblemen and citizens of Vilnius were using candlesticks. Numerous references of chandeliers in the inventories of churches in XVII c. let us know that usually there was only one chandelier in the church. Also that most often it was hanging in the center of church, sometimes in front of great altar. The majority of chandeliers in documents are named as lichtarz wiszący and probably chandeliers with one central stem were usually called by this term. Undoubtedly, must be said that XVII century was the age of chandeliers made from brass. According references in documents, six, also eight or twelve branch chandeliers were most popular.
To end with, valuable references of XVII c. documents showed that there were more various types of chandeliers than can be seen in Lithuanian museums or public interiors. Chandelier descriptions founded in the inventories revealed the basic information about chandeliers of Lithuania in XVII c., but also raised new questions and problems, which require new researches in future.
Tekstai apie dizainą: lietuviški ir tarptautiniai kontekstai. Acta academiae artium Vilnensis 61. Vilnius: Vilniaus dailės akademijos leidykla, 2011, p. 63–74, 2011
Information about chandeliers manufactured in the 2nd half of the 19th century and the 1st half o... more Information about chandeliers manufactured in the 2nd half of the 19th century and the 1st half of the 20th century and, especially, chandelier factories of this period is scarce in published overviews of the evolution of European lighting fixtures. Perhaps most authors still hesitate whether this mass-produced equipment is of any value; it also seems that their preservation is not a major concern either.
An overview of the historical and cultural context of the 2nd half of the 19th century and the 1st half of the 20th century reveals the reasons behind negative attitudes toward mass-produced items and the pioneering designers’ efforts to change the standing situation by improving the design of everyday-use objects. In the discussed period, chandeliers were not produced in Lithuania industrially. The system of guilds, which survived until the end of the 19th century, produced a situation in which such household items were commissioned to local craftsmen or imported from abroad. Surviving factory catalogues and equipment found in Lithuania demonstrate that particularly large numbers of chandeliers were imported from Warsaw – the metallurgy center of the neighboring Poland, as well as from Berlin (Germany) and Russia. The article discusses the factories of these countries and the goods they manufactured, and attempts to identify the workshops that produced the chandeliers surviving in Lithuania. The preservation of the examples stored in Lithuanian museums or still hanging in sacral and secular interiors would pay due tribute to an important and interesting remnant of the technical age.
Kultūros paminklai, Nr. 14, Vilnius: Savastis, 2009, p. 82–99. ISSN 1392-155X, 2009
Heritage of Chandeliers in Lithuania is the new object for investigation, which hasn‘t had deeper... more Heritage of Chandeliers in Lithuania is the new object for investigation, which hasn‘t had deeper researches in Lithuania yet. Therefore the main purpose of this article was to describe development of chandelier form in the period of XVII–XX a. first half.
It was found that Lithuania has had samples of almost all styles and type chandeliers, which were made at that time in Europe. The oldest chandeliers are from XVII–XVIII century and they were made mostly by local masters, while the bigger part of later centuries chandeliers are from foreign countries. The research also reveals that chandeliers in different interiors as religion places or mansions may differ in style and form. The survival age also depends on type and make of chandelier, where the longest age belongs to the bronze spider form chandeliers, also to Maria Theresa type and Empire crown-type chandeliers. XIX–XX a. discovery of electricity made big influence to the form and style of chandeliers all over the World and Lithuania as well. They started to lose their importance and since then on they play mostly decorative function in the interior.
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Drafts by Alante Valtaite-Gagac
Papers by Alante Valtaite-Gagac
The topic has received very little research attention. Publication Japanned Papier Mâché and Tinware c.1740-1940 (Woodbridge: Antique Collectors' Club Ltd, 2012) by English author Yvonne Jones was helpful in describing the technique of papier-mache. Information on the activity of papier-mache chandelier workshops was provided by Igor Sichev’s comprehensive book Russian Bronze (Русская бронза. Энциклопедия русского антиквариата, 2003).
This article shortly presents types of papier-mache techniques and workshops in the foreign countries. Data of the written sources are analysed, various survived and not survived examples are overviewed. The main focus of article is the chandelier found in the Palace of Pac. Stylistics of fragments of the item shows that it was made in the middle of the 19th century. As the top and the bottom parts of the item were lost, the search of analogue chandelier was made. Accidentally the photo of the Palace of Verkiai were discovered, where three identical chandeliers can be seen. Written and iconographic sources let raise hypothesis that fragments of chandelier found in the Palace of Pac belongs to the one of three chandeliers earlier suspended in the Palace of Verkiai.
The analysis of papje-mache chandeliers in Lithuania leads to several conclusions: 1) the small number of surviving examples and the data of the sources show that papje-mache light fixtures were rare items; 2) chandeliers made from this inexpensive material decorated luxurious interiors of noblemen’s palaces; 3) papier-mache chandeliers distinguished in their shape and ornament, and they did not repeat the lighting devices made from more expensive materials.
Different Polish and Latin words (korona / corona, lichtarz / candelabra, jelenie głowa z rogami / cornibus cervini, swiecznik) that were used to describe chandeliers in written sources are introduced. They also show that various types of chandeliers existed: circular chandeliers reminiscent of a crown or wheel, whittled from wood in form of deer head with horns, orb chandeliers formed from decorated bars and one central stem having chandeliers. All these shapes were typical for Europe lands during IX–XVII centuries.
The records in documents showed, that chandeliers usually were hanging in the interiors of churches and houses of very rich people as noblemen and bishops. Meanwhile petty noblemen and citizens of Vilnius were using candlesticks. Numerous references of chandeliers in the inventories of churches in XVII c. let us know that usually there was only one chandelier in the church. Also that most often it was hanging in the center of church, sometimes in front of great altar. The majority of chandeliers in documents are named as lichtarz wiszący and probably chandeliers with one central stem were usually called by this term. Undoubtedly, must be said that XVII century was the age of chandeliers made from brass. According references in documents, six, also eight or twelve branch chandeliers were most popular.
To end with, valuable references of XVII c. documents showed that there were more various types of chandeliers than can be seen in Lithuanian museums or public interiors. Chandelier descriptions founded in the inventories revealed the basic information about chandeliers of Lithuania in XVII c., but also raised new questions and problems, which require new researches in future.
An overview of the historical and cultural context of the 2nd half of the 19th century and the 1st half of the 20th century reveals the reasons behind negative attitudes toward mass-produced items and the pioneering designers’ efforts to change the standing situation by improving the design of everyday-use objects. In the discussed period, chandeliers were not produced in Lithuania industrially. The system of guilds, which survived until the end of the 19th century, produced a situation in which such household items were commissioned to local craftsmen or imported from abroad. Surviving factory catalogues and equipment found in Lithuania demonstrate that particularly large numbers of chandeliers were imported from Warsaw – the metallurgy center of the neighboring Poland, as well as from Berlin (Germany) and Russia. The article discusses the factories of these countries and the goods they manufactured, and attempts to identify the workshops that produced the chandeliers surviving in Lithuania. The preservation of the examples stored in Lithuanian museums or still hanging in sacral and secular interiors would pay due tribute to an important and interesting remnant of the technical age.
It was found that Lithuania has had samples of almost all styles and type chandeliers, which were made at that time in Europe. The oldest chandeliers are from XVII–XVIII century and they were made mostly by local masters, while the bigger part of later centuries chandeliers are from foreign countries. The research also reveals that chandeliers in different interiors as religion places or mansions may differ in style and form. The survival age also depends on type and make of chandelier, where the longest age belongs to the bronze spider form chandeliers, also to Maria Theresa type and Empire crown-type chandeliers. XIX–XX a. discovery of electricity made big influence to the form and style of chandeliers all over the World and Lithuania as well. They started to lose their importance and since then on they play mostly decorative function in the interior.
The topic has received very little research attention. Publication Japanned Papier Mâché and Tinware c.1740-1940 (Woodbridge: Antique Collectors' Club Ltd, 2012) by English author Yvonne Jones was helpful in describing the technique of papier-mache. Information on the activity of papier-mache chandelier workshops was provided by Igor Sichev’s comprehensive book Russian Bronze (Русская бронза. Энциклопедия русского антиквариата, 2003).
This article shortly presents types of papier-mache techniques and workshops in the foreign countries. Data of the written sources are analysed, various survived and not survived examples are overviewed. The main focus of article is the chandelier found in the Palace of Pac. Stylistics of fragments of the item shows that it was made in the middle of the 19th century. As the top and the bottom parts of the item were lost, the search of analogue chandelier was made. Accidentally the photo of the Palace of Verkiai were discovered, where three identical chandeliers can be seen. Written and iconographic sources let raise hypothesis that fragments of chandelier found in the Palace of Pac belongs to the one of three chandeliers earlier suspended in the Palace of Verkiai.
The analysis of papje-mache chandeliers in Lithuania leads to several conclusions: 1) the small number of surviving examples and the data of the sources show that papje-mache light fixtures were rare items; 2) chandeliers made from this inexpensive material decorated luxurious interiors of noblemen’s palaces; 3) papier-mache chandeliers distinguished in their shape and ornament, and they did not repeat the lighting devices made from more expensive materials.
Different Polish and Latin words (korona / corona, lichtarz / candelabra, jelenie głowa z rogami / cornibus cervini, swiecznik) that were used to describe chandeliers in written sources are introduced. They also show that various types of chandeliers existed: circular chandeliers reminiscent of a crown or wheel, whittled from wood in form of deer head with horns, orb chandeliers formed from decorated bars and one central stem having chandeliers. All these shapes were typical for Europe lands during IX–XVII centuries.
The records in documents showed, that chandeliers usually were hanging in the interiors of churches and houses of very rich people as noblemen and bishops. Meanwhile petty noblemen and citizens of Vilnius were using candlesticks. Numerous references of chandeliers in the inventories of churches in XVII c. let us know that usually there was only one chandelier in the church. Also that most often it was hanging in the center of church, sometimes in front of great altar. The majority of chandeliers in documents are named as lichtarz wiszący and probably chandeliers with one central stem were usually called by this term. Undoubtedly, must be said that XVII century was the age of chandeliers made from brass. According references in documents, six, also eight or twelve branch chandeliers were most popular.
To end with, valuable references of XVII c. documents showed that there were more various types of chandeliers than can be seen in Lithuanian museums or public interiors. Chandelier descriptions founded in the inventories revealed the basic information about chandeliers of Lithuania in XVII c., but also raised new questions and problems, which require new researches in future.
An overview of the historical and cultural context of the 2nd half of the 19th century and the 1st half of the 20th century reveals the reasons behind negative attitudes toward mass-produced items and the pioneering designers’ efforts to change the standing situation by improving the design of everyday-use objects. In the discussed period, chandeliers were not produced in Lithuania industrially. The system of guilds, which survived until the end of the 19th century, produced a situation in which such household items were commissioned to local craftsmen or imported from abroad. Surviving factory catalogues and equipment found in Lithuania demonstrate that particularly large numbers of chandeliers were imported from Warsaw – the metallurgy center of the neighboring Poland, as well as from Berlin (Germany) and Russia. The article discusses the factories of these countries and the goods they manufactured, and attempts to identify the workshops that produced the chandeliers surviving in Lithuania. The preservation of the examples stored in Lithuanian museums or still hanging in sacral and secular interiors would pay due tribute to an important and interesting remnant of the technical age.
It was found that Lithuania has had samples of almost all styles and type chandeliers, which were made at that time in Europe. The oldest chandeliers are from XVII–XVIII century and they were made mostly by local masters, while the bigger part of later centuries chandeliers are from foreign countries. The research also reveals that chandeliers in different interiors as religion places or mansions may differ in style and form. The survival age also depends on type and make of chandelier, where the longest age belongs to the bronze spider form chandeliers, also to Maria Theresa type and Empire crown-type chandeliers. XIX–XX a. discovery of electricity made big influence to the form and style of chandeliers all over the World and Lithuania as well. They started to lose their importance and since then on they play mostly decorative function in the interior.