Rogoźno V. Fastiv Church Construction and reconstruction of 7 November 2003 (No. 11) P. 49
The first Roman Catholic Church in Fastiv appeared in the late XVI century. Then, in 1593, Joseph beresinski, the first Latin Bishop of Kiev, built in Fastiv the castle and the Church, and soon opened a printing office.
In the XVII century in Fastov there were also Catholic orders: the Jesuits and Bernardines. The Jesuits engaged in education in the city, they opened a gymnasium, but also in pastoral work in the parish. The Bernardines were preaching activity.
In “geographical Dictionary of Polish Kingdom and other Slavic lands” (Warsaw, 1880) include the following information about the first Fastiv churches. In 1723 Samuel biskup Authorities built a new Church on the old site. In 1768 the Gaidamak troops, led by Shvachko and Bondarenko, robbed and burned it. The new Church was only built in 1793.
At the beginning of 1902 in the office of the Kiev-Pechersk and Volyn Governor-General received a letter from the Governor of Kiev, where it was stated: “. existing in the town of Fastov, the wooden Church, very old and not spacious enough. The Church is located behind the buildings inhabitants city of Fastiv in a distance of several miles from the f stovskij resurrection Church and about 1 mile from the Fastiv Church of the intercession. Due to insufficient capacity and disrepair of the existing Church building instead of novohostal with increasing size such that in effect meets the need”.
Having considered the letter and attached three projects of new construction, the Governor-General replied: “. from the superior edge is not encountered obstacles to the satisfaction of this petition of asylum”.
What projects considered by the Governor-General, who were their authors-the documents are silent. Preserved only approved the project of architect V. Dombrovsky, which began in 1903, the construction of the Church. Some documents (project plan) has been preserved in the collections of the archive of the Kiev region.
In 1906-1908, in the construction of the Church was attended by Ukrainian architect A. F. Troupyansky (1874-1949 years) – co-author of the project and the construction Manager.
In 1909 the main construction works were completed, however, collected by the community funds were insufficient for the decoration of facades and interior of the Church. The priest of the Church of S. Sheptytsky almost two years was forced to scatter petitions and “petition” of the provincial authorities of cash grants, which would enable to complete the construction of the temple.
In August 1911, the Kiev Governor again wrote a letter to the Governor: “the Former rector, Fastiv, Kyiv is now the Abbot of St. Alexander Roman Catholic parish, the priest Sheptytsky, due to the lack of funds to complete the construction of a new Church in Fastov, approached me with a request for permission to arrange in the building of the Church of the future September a religious concert featuring Sulinskogo, Boronat, Bartsevich and priest Pavlovich so that the net income from this concert was drawn to the completion of the Church”. The program included works by Bach, Handel, Rabier, Corelli, Schumann. The answer came from the Ministry of the interior: “. allow to arrange the future of 11 September in the Fastiv Church religious concert. with the treatment of the income from the said concert at the end of the building of the Church in Fastiv. ”
In the same year the construction of the Church was completed and it appeared in all its glory and grandeur.
The Church was built in Romano-hotice-ski forms characteristic of the architectural constructions of the last quarter of the nineteenth century. On a Foundation of rubble stone wall built of yellow brick. Roof structures were made of pine and covered with green and red tiles. Base overlaid slabs of unpolished granite. Window openings decorated with stained-glass Windows, and wall – reliefs from the sandy concrete. In the interior of the Church immediately attracted the attention of the gallery, the choir, the floor is made of patterned ceramic floor tiles, slender pilasters and columns with magnificent capitals.
Trenerry traditional Basilica with a transept stretched from West to East and has the shape of a cross (Basilica – a rectangular structure, divided columns on a range of longitudinal galleries (naves). In the mid-nineteenth century this architecture began to use the Church. Transept – the transverse part (or transverse nave) of the Basilica construction.
The main, Western façade attracts the most attention. It is crowned by two towers, between which is located the main entrance to the Church. Above the entrance is a large round window (rose), a traditional element of Gothic churches. The facade is crowned by a pediment.
The Church has a significant feature. The Western façade of the building asymmetrical. The asymmetry is manifested in everything, starting with architectural volumes and finishing details: elements, forms, window openings, etc. its Two towers are identical in plan, outwardly completely different. South almost twice as high as the Northern, rectangular over the entire height, with a through coaxial arches in the upper part. North tower at the level of the first tier externally repeats the contours of the South, but above the design is complicated. It’s already almost two towers – the slender faceted round and squat.
This unusual reception of structure of a facade – first of all, a tribute to art Nouveau, the style that occupy at that time one of the main places in the European architecture. The modern influence was so strong that it changed the appearance of not only houses and public buildings, but also such stable and traditional structures, as a cult.
In the artistic manner of performance of the expressive bas-reliefs also felt the influence of art Nouveau. On the main facade is placed a statue of the Bishop and subject composition “Christ blessing children”. In the tympanum of the pediment of the Northern branch of the transept is a bas – relief “Christ carrying the cross” and the sculpture of the virgin and child above the side entrance; the tympanum of the pediment of the Northern branch of the transept is a bas – relief of “the agony in the garden”. According to E. V. Tomanovich, a well-known expert on the history and theory of architecture, these narrative compositions made by the sculptor of Italian origin Elio Salia, who arrived in Kiev in the late 90-ies of the XIX century at the invitation of Vladimir Gorodetsky, to create a sculpture for the Museum of antiquities and arts (today the State Museum of Ukrainian art). In addition, he carried out the sculptural decoration of the “house with chimeras” on Bank 10, St. Nicholas Catholic Church, the Bank.
Fastiv Church with its emphatic asymmetry in the solution of architectural forms and modernist interpretation of subjects of bas-reliefs illustrative construction, as it reflects the process of formation of architecture of Ukraine artistic principles of the new style – art Nouveau. Not all architects took it and introduced in their works, especially in religious buildings, where must be cured of established norms and canons. So the Church created Dombrovskyi and V. F. Trojanskim is the result of the original worldview of architects, who, combining tradition and innovation, managed to create an outstanding work.
Ruin and decay
During Soviet times the Church was converted into a storage room. Stretched gray and empty, monotonous years of abandonment. Temple died slowly.
In the early 80-ies of XX century in the Church decided to place the Museum. Institute “Accroitre-restoring” conducted the necessary research, developed a project for restoration of the building. But all remained on paper.
In 1988, Fastiv city Executive Committee applied to the same Institute with a request to change a project: instead of a Museum, the Church decided to convert into an organ concert hall. By the time construction had already came to a complete desolation: was completely ruined floors, broken doors, destroyed the stained glass Windows and part of the tile covering of the roof, blasted and even sometimes dismantled the plinth of rubble stone. The facades were covered with numerous cracks, elements of architectural decoration, seemed hopelessly broken.
The revival of traditions
In 1991 the Church was handed over to the rightful owner – the Roman Catholic community, which popechitelstvuet Dominicans. Paraffin Abbot and prior of the monastery became the father of Sigmund Kozar. On his initiative, the Church began restoration work on the project of Kiev architect Yury Dmitrievich.
Restoration work performed by Polish company “Budimex”, “Budo-Paul” and “energy field”. Recent years on the restoration of the temple worked Leonid Bentsia, Fastiv engineer, and the Polish firm “Tarbut”. 20 September 2003 a solemn mass, dedicated to the 100th anniversary of the Fastiv Church.