Laurynas Gucevičius
LAURYNAS GUCEVIČIUS (1753–1798)
Laurynas Gucevičius was an accomplished architect and a professor of architecture, topography, and cartography at the School of Engineering Corps of Lithuania and Vilnius University. In 1789, he was elevated to the nobility and played an active role in the 1794 Tadeusz Kościuszko Uprising, serving as a colonel in the Lithuanian Army. Born on August 5, 1753, in the village of Migoniai in what is now the Kupiškis district, he began his early education in Kupiškis before advancing to the Dominican monastery school in Palėvenė. After completing his studies at the Piarist College in Panevėžys, he arrived in Vilnius in 1773 to pursue higher education.
In Vilnius, he became affiliated with the Missionary Monastery, where he studied mathematics at the Lithuanian University (now Vilnius University) and architecture under Martynas Knakfus, a pioneer of Lithuanian classical architecture. His exceptional talent caught the attention of the Bishop of Vilnius, Ignatius Jakub Masalski, who sponsored his education.
Upon completing his studies, the ambitious young architect traveled abroad to broaden his knowledge. He first explored German cities such as Königsberg, Berlin, Hamburg, Lübeck, and Bremen, immersing himself in their architectural styles and urban life. His journey continued through Denmark and Sweden, and then to Paris, where he honed his skills for two years at Jacques-François Blondel’s esteemed School of Architecture and the French Academy of Fine Arts.
In the heart of Paris, already dominated by classical architecture, he absorbed Enlightenment ideas and refined his architectural vision. His esteemed instructors included noteworthy architects such as Pierre La Patte, Jacques-Germain Soufflot, Jean-Baptiste Rondelet, and Claude-Nicolas Ledoux, the latter renowned for his unique and conceptual utopian projects, famously declaring the undivided cube to be the perfect architectural form. Following his time in France, Gucevičius ventured to Italy for two additional years, primarily residing in Rome, where he immersed himself in the rich heritage of Roman antiquity and Italian Renaissance architecture.
The authors of the projects for the bust and the memorial plaque of L. Gucevičius are sculptors Mindaugas Šnipas and Gediminas Kavaliauskas.
L. Gucevičius’s Professor Diploma from Vilnius University, 1793.
Reproduction from: E. Budreika, Architect Laurynas Stuoka Gucevičius, Vilnius: State Publishing House of Political and Scientific Literature, 1954..
Reproduction from: Vladas Drėma, Lost Vilnius, Vilnius: Studio “Versus”, 2021.
L. Gucevičius’s First Project for Vilnius Town Hall with a Clock Tower (Side Facade). 1786.
Reproduction from: E. Budreika, Architect Laurynas Stuoka Gucevičius, Vilnius: State Publishing House of Political and Scientific Literature, 1954.
Upon his return to Lithuania, Laurynas Gucevičius, commissioned by Bishop Masalskis, set to work on the grand project and construction of the Verkių Manor estate complex, a venture that would last until 1790. At the heart of this composition were three palatial buildings, although the largest and central structures have unfortunately not survived. The entire estate included various noteworthy structures, particularly the stables and a pavilion that complemented the palace ensemble, all thoughtfully arranged within a broad, contoured river valley and ravine. This endeavor encompassed not only architectural design but also landscape shaping, along with the creation and management of the surrounding park.
Gucevičius’s most significant contributions include the restoration and reconstruction of Vilnius Cathedral (St. Stanislaw and Vladislaw) and the City Hall, both of which were completed posthumously. These projects began when the buildings were in a dire state of disrepair, particularly following the collapse of their towers. This circumstance likely afforded Gucevičius the opportunity to entirely recompose their forms in a revitalized spirit of classicism.
The Cathedral, constructed between 1783 and 1801, saw its completion under the guidance of Gucevičius’s student, architect Mykolas Šulcas. The heart of the sanctuary is composed of the surviving walls of the Gothic cathedral built around 1420 by Vytautas the Great, complemented by the supporting pillars and some of the original vaults, alongside the St. Casimir Chapel, which was added in the first half of the 17th century under the aegis of Sigismund Vasa. To attain complete symmetry and harmony, Gucevičius introduced a new sacristy volume in the northeast corner, mirroring the St. Casimir Chapel. He standardized the side chapels that line the cathedral, enclosing them with elegant colonnaded galleries on the exterior. The heights of the columns and pilasters, along with their corresponding entablatures and cornices, were meticulously designed to align with the overall order established by the sacristy and St. Casimir Chapel. He also incorporated two additional chapels—St. Vladislav and the current Chapel of the Exiles—into the architectural volume at the western corners, expanding the sanctuary from 58.5 x 23.4 meters to a more expansive 72.0 x 52.5 meters.
A striking six-column portico commands attention on the western facade, designed on a monumental scale. Remarkably, during its construction, these columns were obscured by surrounding buildings, suggesting that Gucevičius had planned to demolish certain structures and carve out a new thoroughfare—now known as Gedimino Avenue—through the suburban estates to the west. This foresight is also illustrated in the city plan project created in 1817. By seamlessly uniting the portico with the remaining roof of the building, Gucevičius extended the cathedral’s overall volume, imparting a distinctive monumental quality. This effect is further amplified by the sculptural representations of Abraham, the four Evangelists, and Moses integrated into the niches of the western facade, coupled with the striking depiction of Noah’s sacrifice in the portico’s pediment. These sculptures were crafted by the sculptor Thommaso Righi, who was invited from Rome by Bishop Masalskis between 1785 and 1791.
The construction of the City Hall took place from 1785 to 1799. In this endeavor, Gucevičius also utilized remnants of the old City Hall, including some walls, rooms, and cellars that date back to the mid or early 14th century. He proposed three design variations, of which the simplest and most cost-effective was implemented, coinciding with the tumultuous final days of the Polish-Lithuanian Commonwealth. The architectural plan approximates a square, characterized by a straightforward volume enlivened chiefly by its imposing six-column portico, reminiscent of ancient sanctuaries. The entablature motif of the portico encircles the entire building, resulting in architecture that is both understated and grand, asserting its monumental presence within the square. Notably, this project signifies Gucevičius’s first public space designed in Vilnius for the leisure of citizens—transforming the former commercial row and orienting the main facade toward the new square, as well as towards Pilies Street and Vilnius Castle itself.
The City Hall, its architecture, and especially the interiors, soon underwent significant changes, as in 1811 the imperial authorities abolished the city’s self-government, moved the administration/magistrate to other premises, and eventually (by 1845) transformed the City Hall building into a theater. The main internal spaces of the building were altered, and many valuable architectural elements and details of the interior were destroyed. The theater operated until 1922. Later, it was finally planned to adapt the building for city representation purposes. From 1936 to 1939, according to the project of architect Steponas Narembskis and under his supervision, the facades were restored, the key hall spaces were reinstated, and the columns that had been destroyed at the ends of the main hall were reconstructed. Narembskis also installed monumental internal stairs leading to the second floor, which matched very well in style and proportion with Gucevičius’s classicist architecture, adding extra representativeness and solemnity to the building. Narembskis was also responsible for all the exterior and interior doors of the building and other elements of the revived interior equipment.
Nevertheless, the first variant of Gucevičius’s design for the Vilnius City Hall (the second one does not survive) should not be forgotten. It envisioned a much larger and more ornate building, but the most significant and distinctive part was a column/tower with a clock and a statue of the last PLC ruler, Stanisław August, attached to the southern facade of the building. This colossal, extremely restrained Doric-style structure would have rivaled the height of St. John’s Church’s bell tower and was likely intended to emphasize the power and importance of the civil self-government of Vilnius citizens. On the other hand, it was a striking manifestation of the neoclassical utopias of the Enlightenment period in Europe, inspired by the works of Boullée and Ledoux in Vilnius, Lithuania.
Other notable buildings and complexes attributed to Gucevičius are located in the Lithuanian provinces, particularly in the southeastern part of the country. However, the authorship of some of these structures remains a topic of debate.
The complex featuring the Church and Rectory of St. James the Apostle in Jonavos, along with the Trinitarians’ monastery, began development in the latter half of the 18th century, with the church constructed between 1791 and 1793. Together, these buildings form a harmonious ensemble, flanked by a two-story rectory and monastery on either side. During the interwar period, from 1934 to 1935, two towers were added to the church based on a design by architect Karolis Reisonas, which significantly altered the architectural character of the facade and impacted the ensemble’s visual presence within the urban landscape.
The Čiobiškis Manor estate complex is situated near Jonavos along the banks of the Neris River, within the modern Širvintos district. This modest collection of buildings features a primary residence—an elegant single-story structure with a two-story portico that boasts four central pilasters. While the attribution of this complex to Laurynas Gucevičius is debated, it is suspected that the nearby Church of St. John the Baptist in Čiobiškis may also be his design, sharing a clear stylistic connection with the Jonavos sanctuary.
The authorship of the Cirkliškiai Manor complex, located near the town of Švenčionys, is less defined—some sources suggest it was built according to Gucevičius’s design around 1796 and later underwent significant repairs and minor reconstructions in the first half of the 19th century. Recent discussions have raised the possibility of construction dates between 1823 and 1830, potentially involving an Austrian architect. Nonetheless, the architectural elements of the main facade and the preserved interior decor suggest that Gucevičius’s involvement in its design and construction cannot be easily dismissed.
There is little doubt that the Church of the Holy Trinity in Sudervė, located approximately 20 kilometers northwest of Vilnius, was designed by Laurynas Gucevičius. Its construction, however, was completed in 1803 by Laurynas Bortkevičius, a Dominican monk and fellow native of Gucevičius, who was also known for compiling and translating religious texts into Lithuanian. This church stands as a monumental rotunda, confidently dominating the surrounding landscape, with the dome height and diameter both measuring nearly 30 meters (the lantern was added later). The main entrance is accentuated by a circular Doric colonnade integrated into the building’s perimeter, which features niches housing monumental statues of the four Evangelists and, in this case, Saints Peter and Paul, evoking the grandeur of Vilnius Cathedral.
In present-day Belarus, the Dziarečyna Manor complex, built by Laurynas Gucevičius in 1786 for the Sapiegas, likely still stands—a testament to the architect’s early work, showcasing ornate palace facades that reflect the Parisian Blondel school’s influence and tradition. Unfortunately, during the interwar Polish occupation, the palace fell into neglect and abandonment.
Furthermore, attention should be given to another distinctive building in Vilnius’s Old Town—the house at 16 German Street, formerly Dr. Leiboshits’s residence—where Eduardas Budreika also attributes its design to Gucevičius.
Thus, the legacy of this esteemed Lithuanian architect merits not only admiration and respect but also further research and evaluation. Laurynas Gucevičius’s architectural contributions—characterized by strict classicism and occasional visionary elements—reveal an ideology and worldview that resonate with the Masonic movement. He was initiated into the Masons on March 18, 1778, at the Vilnius St. John’s Lodge “Good Shepherd” (du Bon Pasteur), following the recommendation of lodge member and architect Martynas Knakfus. Later, he became a member of the Vilnius St. John’s Lodges “Good Shepherd” (1778–1780), “Diligent Lithuanian” (1788), and served as the lodge’s second guardian (1788), in addition to his membership in the Grand Duchy of Lithuania’s Lodge “Perfect Unity” (1781).
Ultimately, this architecture reflects not only the spirit of its creator but also, in light of Gucevičius’s Highlander heritage and life experiences, an intrinsic connection to Lithuanian identity.
AUGIS GUČAS
Literature
Eduardas Budreika, Architect Laurynas Stuoka-Gucevičius, Vilnius: State Publishing House of Political and Scientific Literature, 1954.
Hugh Honour, Neoclassicism, Warsaw: Państwowe Wydawnictwo Naukowe, 1972.
Ad. Juškevičius, J. Maceika, Vilnius and Its Surroundings, Lithuanian Academy of Sciences Publishing, 1937; 3rd (photographic) edition, Vilnius: Mintis, 1991.
Cultural Heritage Department of the Ministry of Culture NKP Register Data.
Mikalojus Vorobjovas, Art in Vilnius, Kaunas: Printing Fund, 1940.
Unveiling of Laurynas Gucevičius’s Bust and Commemorative Plaque on September 13, 2022 | VIDEO
https://wilno.tvp.pl/62758188/popiersie-gucewicza-w-ratuszu
Military and Military-Educational Activities of Laurynas Gucevičius
While working as an architect, Laurynas Gucevičius was actively involved in the civic and patriotic movements influenced by the reforms of the Four-Year Sejm. During this period, civilian architecture was closely intertwined with military architecture, as many cities had their fortifications. Consequently, an architect needed to grasp the fundamental principles of military architecture, particularly regarding urban planning, the construction of military and dual-purpose buildings, and other critical aspects.
In 1789, Lieutenant Colonel Jakub Jasinski, a student at the cadet corps and an organizer, received orders in Vilnius to establish the Lithuanian Engineers Corps. This military unit was responsible for constructing durable field fortifications, conducting mining operations, setting up obstacles, and creating maps. Kazimieras Nestoras Sapiega, the Marshal of the Sejm of the Grand Duchy of Lithuania and General of the Lithuanian Artillery, served as the head and patron of the corps, holding prominent positions among Lithuanian Freemasons. With assistance from several officers, Jasinski founded an engineering school in his home, where engineering conductors and miners were trained in both theoretical disciplines and practical skills.
Naturally, Gucevičius’s expertise as a professor of topographical maps proved invaluable to this significant undertaking. Between 1790 and 1791, essential instruments for the school were acquired in Vienna, allowing Gucevičius to begin his work with the corps in 1791. The first officer to assume these duties was the Austrian officer Saint Urbain, although the exact date of his departure remains unknown, and Gucevičius continued his involvement until the 1794 uprising.
It is only natural that Colonel Jasinski, the secret leader and driving force behind the uprising, closely collaborated with Gucevičius, who served as a lecturer at the school he led. Jasinski assigned Gucevičius critical tasks related to preparing the citizens of Vilnius for the uprising and subsequently appointed him as the commander of the Vilnius city guard. A protective force of 1,500 to 2,000 soldiers was created, responsible for city defense, safeguarding the gates, and patrolling the streets around the clock. The guard was organized into divisions, with the capability of forming battalions of 500 soldiers as needed. While the guards were outfitted with uniforms and arms, their weaponry was not particularly advanced. Due to a shortage of soldiers, they also participated in the construction of fortifications and the defense of the city.
Colonel Gucevičius commanded the Vilnius city guard until the Battle of Salaspils on June 26, where he sustained injuries that ultimately led to his relief from leadership in the city’s defense. It is conceivable that the injury contributed to Gucevičius’s early demise. In their first battle for the defense of Vilnius, the guard distinguished itself, earning praise and recognition from the uprising’s leader. Some of Gucevičius’s soldiers continued to fight alongside the insurgents until the uprising’s conclusion in November 1794. Subsequently, later civil guard leaders displayed less combativeness and decisiveness compared to their predecessors in the early months of the uprising.
Gucevičius maintained close ties with a group of graduates from the Warsaw Cadet School and became a key figure linking the military with the civic society of Vilnius. This role represented a unique blend of scholarship, artistry, military service, patriotism, and public engagement—hallmarks of the emerging revolutionary era. For his dedication, he sacrificed his position as a professor in the Architecture Department at Vilnius University. Nevertheless, the fundamentals of military architecture continued to be taught at the university in Gucevičius’s final years.
Prof. Dr. Valdas Rakutis
Literature and Sources
Lietuvos valstybės istorijos archyvas (LVIA) – Old Records, File 18334. Reports of the Lithuanian Artillery Corps and Engineering Corps (Liquidation) 1789–1790, especially pp. 475–524.
Eduardas Brusokas – The Vilnius National Guard in the 1794 Uprising, in Laurynas Gucevičius and His Epoch (Acta Academiae artium Vilnensis. Art, No. 32), Vilnius: Vilnius Academy of Arts Publishers, 2004, pp. 47–51.
Jarosław Gdański, Marusz Machynia, Czesław Srzednicki, Kamil Stepan – Officers of the Crown Army 1777–1794. Vol. 4: Targowica Formations. Military Education. Miscellaneous. Additions, Księgarnia Akademicka, 2003, pp. 95–96.
Karolis Podčašinskis – Biography of Laurynas Gucevičius, in Laurynas Gucevičius and His Epoch (Acta Academiae artium Vilnensis. Art, No. 32), Vilnius: Vilnius Academy of Arts Publishers, 2004, pp. 170–175.
Information about Laurynas Gucevičius, Professor of Civil and Military Architecture at Vilnius University, Dziennik Wileński, vol. IV, year 1516, No. 22, pp. 274–280. Translated into Lithuanian in Laurynas Gucevičius and His Epoch (Acta Academiae artium Vilnensis. Art, No. 32), Vilnius: Vilnius Academy of Arts Publishers, 2004, pp. 168–170.
Coat of Arms Sirokomlė
Reproduction from: Tadeusz Gajl, Herbarz Polski od śriedniowiecza do XX wieku, Gdańsk: L&L, 2007
