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Arts & Communication Altar “Passion of Christ” in Lviv

Scholz-Wolfowicz’s coat of arms (Figure 12), there is a shield, Death of Mary by Hugo van der Goes) lies in the approach
with three green branches with acorns at the ends emerging to plastic interpretation. Dutch altars are characterized by
from a golden ring in the center, above which a helmet, crest, correctly proportioned figures, spatial construction, rich
and mantling are placed. 18(рр.12-14) Around the medallion are nature, volumetric interpretation of forms, precise mood
the three Latin letters “J S W,” corresponding to the name depiction of characters, and attention to detail. The Ukrainian
Jan Scholz-Wolfowicz. On the coat of arms of J. Scholz- Scholz-Wolfowicz altar is notable for its rich fine detailing,
Wolfowicz’s wife Anna (Figure 13), which stems from the combining volumetric and flat interpretations of forms with
Hazy family, there is a hare in a divided shield, above which sometimes disproportionate figures, folk interpretations of
a knight’s helmet covered with a wreath is depicted, from clothing, and decorative elements such as cornices, friezes,
which mantling emerges, flanked by two Latin letters “A N,” columns, and capitals with vegetal ornamentation. The skill
corresponding to the name Anna and the surname Haz. 18(p.16) in the plasticity of the narrative scenes of this Ukrainian
The Passion of Christ altar is richly decorated with small alabaster altar impresses with artistic ingenuity and the effort
details: volutes adorned with flowers, garlands, and acanthus to reflect the emotional state of characters, blending Western
leaves. The style of the altar resembles Dutch pictorial altars European expressive style, light and shadow play, and space
but with certain differences. The difference between the with Ukrainian interpretation of characters.
Scholz-Wolfowicz altar and well-known Dutch altars (such as It is worth emphasizing that while working on the
the Portinari altarpiece (Nativity), the Monforte altar, and the sculptural pieces, Jan Zaremba combined traditions of late
Italian Baroque and Northern Renaissance, under certain
influences of Mannerism. While strongly accentuating
the altar’s horizontal elements, the abundance of small
bas-relief figures gains a vertical orientation, with a
restless upward movement along the broken lines of small
volutes and acanthus, combined with the massive forms of
columns, creating an impression of liveliness and a striving
toward verticality. 1(p.60)
Some parts of the altar were originally gilded, traces
of which could still be observed on the columns before a
restoration in 1990. Later, the altar was covered with a layer
of black oil paint, under which many carved details and its
light color were lost.
According to V. Lozinski, an unsuccessful restoration
was conducted on the columns of the altar and on the
Figure 12. Coat of Arms of Jan Scholz-Wolfowicz gilding of certain parts. The reliefs were covered with oil
Source: Author’s photo, 2024 paint intended to mimic marble. After this restoration, the
altar’s plasticity became crude and less distinct, as many
layers of paint obscured and even completely hid the
intricate carved details.

The history of the altar is closely linked to that of the
current Cathedral of the Protection of the Mother of
God (previously the Church of St. Nicholas). From 1961
to 1990, the cathedral was closed by Soviet authorities,
and its premises were used as a library branch. Since
1990, it has been functioning as an Orthodox Cathedral
of the Protection of the Mother of God. From August to
early December 1990, the Ukrzakhidproektrestavratsiya
Institute conducted restoration of the church interiors. They
also restored the alabaster altar of Jan Scholz-Wolfowicz.
During restoration, the altar was cleaned of numerous
coats of overpainting with oil paints and gilding. There
Figure 13. Coat of Arms of Anna Haz, wife of Scholz-Wolfowicz is a belief that the altar was originally polychromed, but
Source: Author’s photo, 2024 unfortunately, restorers could not restore the polychromy.

Volume 3 Issue 3 (2025) 9 doi: 10.36922/ac.4738