The Radziwiłł Mausoleum
in Nesvizh.
Research

A nobleman’s coffin (See more: Lithuania. History: Threads of the Past and the Present) was one of the signs of his status and material well-being. So it is not by chance that the greatest part of the remains of the members of the Radziwiłł family placed in the crypt of the Corpus Christi Church in Nesvizh rest in luxurious, abundantly decorated metal sarcophagi. They accurately reflect the greatness of the deceased and their entire family. It is not excluded that there was a practical aspect to it too. In the Baroque epoch, the resurrection of the body at the Last Judgment was a non-negotiable Christian doctrine, and the death itself was perceived as a temporary dream. This stimulated the desire to stop a natural decomposition of the body, therefore the bodies of the diseased were begun to be embalmed. Tightly sealed sarcophagi with wooden coffins inside them were air-tight and moisture-tight – all that also slowed down the decomposition of the body. Nonetheless, the main purpose of the sarcophagi was to become an individual tombstone testifying to the noble origin of the deceased or his family, the influence and power he/she had when alive.

For example¹Information and generalisations in the present text are presented on the basis of research material on 11 burials (sarcophagi) in the crypt of the Corpus Christi Church in Nesvizh conducted in 2016 and 2017. Sarcophagi No 1, 2, 3, 5, 6, 11, 14, 15, 17, 19, and 72 were studied. The numbering of the sarcophagi is hereinafter referred to in accordance with the Inventory carried out by the Department of Cultural Heritage (Lithuania) in 1999, see [Gintaras Kazlauskas, et al.], Kunigaikščių Radvilų mauzoliejaus inventorizacija: [the manuscript; preserved at the Department of Cultural Heritage under the Ministry of Culture (Lithuania)], 1999, p. [18] [the scheme]., an embellished copper sarcophagus with beautifully gilded parts²Aistė Paliušytė, “Vizualumas Radvilų laidotuvių iškilmėse XVIII amžiuje”, Menotyra, 2017, no. 4, p. 246. is mentioned in the description of the funeral of Urszula Franciszka Wiśniowiecka Radziwiłł (1705-1753). And it has survived unchanged to this day: with gilded edges and cartouches; the cartouches contain the coats of arms of the Radziwiłł, Wiśniowiecki and Leszczyński families, i.e. relatives of the princess’s mother and father³Sarkophagus No 17. Also see [Gintaras Kazlauskas, et al.], op. cit., p. [14]..

The sarcophagi of three brothers Michał Kazimierz Rybeńko (1702-1762), Mikołaj Krzysztof (1695-1715) and Hieronim Florian (1715-1760) are very similar3⁴Sarcophagi No 11, 14, and 15.. They are not too elaborate as befits men, are decorated with the crown of the prince, the monograms of the buried person, heraldic motifs of the eagle and Vytis (an armour-clad knight on horseback holding a sword and shield), with the legs of a predatory bird in a claw-like shape firmly resting on the ground; which convincingly demonstrates the brothers’ exceptional position in society.

The gilded sarcophagus with black-contour painting on it, supposedly attributed to Albrycht Władysław Radziwiłł (1589-1636), stands out from others in its decoration and high artistic value⁵Sarcophagus No 5..

At the head of the sarcophagus5 a couple of angels holding the prince’s crown is portrayed; a cute chubby angel carelessly blowing soap bubbles is depicted at the foot of the sarcophagus creating a cheerful and optimistic mood. Representing angels and cherubs on the tombstones symbolized a happy eternal life and a joyful resurrection⁶Mindaugas Paknys, Mirties reiškinys LDK XVI–XVIII a., Vilnius: Aidai, 2008, p. 193.. According to the restorer Gintaras Kazlauskas, this is a unique work; no analogues to it are known to have existed in the former Grand Duchy of Lithuania⁷Gintaras Kazlauskas‘ comment ad locum.. However, we share his opinion that in its décor this sarcophagus would be more suitable to a young man or woman than a serious statesman⁸Marija Matušakaitė, Išėjusiems atminti. Laidosena ir kapų ženklinimas LDK, Vilnius: Vilniaus dailės akademijos leidykla, 2009, p. 100..

There are also “more modest” burials. The remains of Voivode of Vilnius Karol Stanisław Radziwiłł Panie Kochanku (1734-1790) are placed in an oak coffin⁹Sarcophagus No 19.. The coffin is solid, its corners are bound with brass and it has elegant bronze handles. The text on the cover is laconic, written in white paint and specifies who the “owner” of that coffin is.

Concern about the protection of the old sarcopgagi was expressed as far back as 1905. Then through the care of the Radziwiłłs themselves some part thereof (those in bad condition) was placed in wooden protective “cases” (See more: Nesvizh. 1905) made specially for that purpose¹⁰For example, sarcophagi No 1, 3, and 6..

Vytautė Lukšėnienė

Having compared the data of the expeditions to the crypt of the Corpus Christi Church in Nesvizh carried out in 1999 and in 2016, it becomes obvious that the condition of the metal sarcophagi or metal parts of the wooden coffins is changing, it is deteriorating. The sarcophagi become deformed due to corrosion, and elements of their décor (the legs, handles, edges, tin-plate coats of arms, monograms etc.) come off and there is a risk to lose them. Today one can see the condition of only those sarcophagi, which were not placed into the “cases” made in 1905. There are 14 of them.

In 2016, the restorers restored an element of one sarcophagus¹¹Sarcophagus No 53. – a coat of arms cartouche, which had come off its surface. This element was damaged by oxidation and dust and dirt, and it has lost its original beauty¹²Also see Gintaras Kazlauskas, “Kunigaikščių Radvilų sarkofagai Nesvyžiaus mauzoliejuje”, Liaudies kultūra, 2017, vol. 2, p. 40-45..

Research was carried out by restorer-expert, cultural (fine arts) heritage expert Gintaras Kazlauskas
The text was prepared by Audronė Vyšniauskienė