Zbarazh Castle

The Zbarazky landlords erected a primeval wooden fortress in the town which nowadays is called Stary Zbaraż (Old Zbarazh), a quarter mile away from their own mansion. Soon after it was incinerated during a skirmish with the tatars. All the fortification's protectors, including Vasyl Nesvizky, the grandson of Theodore Kaributas, were killed on the burning battleground. Another castle was constructed in the same location using the same materials, and its end was enacted in the same deadly way. It was set on fire during a nomadic attack in the year of 1589 while Janusz Zbarski commanded the stronghold. Later in the beginning of the 17th century, his son decided to build a masonry structure in the new location receiving guidance from Western European architects.[2]

The first blueprints were drafted by Vincenzo Scamozzi for Krzysztof Zbaraski, but the project did not gain approval: it would remain more a palace then a marshal bastion. Scamozzi had envision his creation at first and described it in the tractate named "The idea of universal architecture", which he later on partially embodied into stone in the city of Zbarazh. It appeared that this architect took "Utopia" of Thomas More too close to his heart. Therefore, the contender won a different project by Henryk van Peene, who was quite familiar with the landlords due to his previous work on Zbaraski's palace in Kraków.

An escarped bulwark emerged from the mounds of dirt up to 12 m (39 ft) high, and a terrace for the castle troopers was laid out of 23 m (75 ft) wide. A rectangular courtyard inside had been plotted. Behind the walls arched chambers were constructed, that nowadays house specimens of arms and wooden sculptures of Pinzel's students. An entrenchment around bulwark was very wide, in some parts it is as much as 40 m (131 ft). In the middle of the fortress, regarding rules of "palazzo in fortezza", was developed a palace in the architectural style of Renaissance with early Baroque elements.

First ruination of the new fortification was endeavored by cossacks in 1648. Polish sources reported their amount as much as 100,000 strong. But it would rather be an exaggeration. There was no business for such a ferocious army to siege a small castle. Nonetheless the landlords became determined increasing security of the military outpost. In the year of 1649 it was improved complying to a design of architect Dubois from Lorraine. During some period of time the stronghold was vacant, but later on its ownership was transferred to the Wiśniowiecki family. In 1675, it was overcome and burned by Turks, and soon afterwards followed a restoration by Dimitry Wiśniowiecki. That was exactly a moment when castle was turned into a palace, losing its strategic military designation. Nevertheless, it did not stop Russian soldiers plundering a building in the years of 1707 to 1734. Dmitry Wiśniowiecki having died in 1682, the architectural complex became a property of the Potocki family. These were Joseph and later on Stanislav, Mayor of Kyiv. Zbarazh remained under the control of the Potoki family until the middle of the 19th century.

The castle was taken by the Cossacks in 1649 and the Turks in 1675. The events of 1649 are dramatized by Henryk Sienkiewicz in his novel With Fire and Sword. Ivan Bohun was heavily wounded under the castle's walls. Ivan Mazepa and Peter I are known to have visited it in 1707.

Today's outlook

View on the castle in 2012

Ukrainian Independence having been announced, the castle was included into a registry of national historical architectural heritage in the year of 1994.[3] The complex has a rectangular footprint, and surrounded on all sides by some marshland. This fortification demonstrated most advanced achievements of European marshal fortpost defense craft that included an escarped bulwarks, four bastions, and a moat encircling the building perimeter. Earlier, in the place of the palace, rectangular void was taken completely by the castles yard. The palace itself has two stories, being masonry built, with distinctive simplistic features of Renaissance era. The main entry way is emphasized by a balcony with a stone console. The outer corners of the palace are decorated with a field stone. Facades were risen in the Renaissance style as well. Gatehouse was aligned straightforward with the castle main entry. Pentagon bastions have been preserved partially. In everyone of them there are a tunnels connecting the castle yard and chambers.

Archeological excavations of Cucuteni-Trypillian culture near the village of Bodaky executed by National Preservation together with Saint Petersburg Institute Material Culture Russian Academy of Science, Ukrainian scientists and archeologists. Results of the research have yielded enough material to assemble a traveling exposition of Zbarazh countryside for presentations abroad. To the date of writing this note, it visited Varna, Orléans and Tours, Granada.

The Battle of Zbarazh entered into annals of Ukrainian history as one of the most patriotic stages of Revolutionary War for Independence. In the 1649 Zbarazh became an arena of combat straggle between Polish military and Cossack squadrons spearheaded by Bohdan Khmelnytsky. Precisely for this reason in the castle palace was created a Hall of Cossack's Fame. You would find there many busts of renowned warriors. Besides those sculptures, there is a portrait picture-show of Cossacks’ chieftains painted by Stanislav Kovalchuk Honored Artist of Ukraine .

Sacred Arts of Zbarazh countryside are represent three expositions. Castle palace three exposition halls house a collection of icons belonging to the period of 17th — first half of 20th century, that originate in Zbarazh District worship establishments. All the specimens of this assemblage were mindfully preserved by the employees. First category artist-instaurator of oil paintings Magynsky Vladimyr recovered most of them to the original state. Quite interesting is a property of parishes, that is situated in the halls of Sacred Arts securities. In particular, these are lithography and old prints, ritual and church service literature, ceremonial regalia of Christian worshiping.

Another feature deserving visitors’ attention is an exposition of Ivan Prasko's personal belongings; archbishop Ukrainian Greek-Catholic Church of Australia, Oceania and New Zealand; born in the City of Zbarazh, he was a minister during 1950–1994 period of time; died in 2001, but his individual items were returned to his homeland with father Michael Bedry's help and were saved in the castle repositories.

Hall of wooden sculptures.

In the separate exposition hall has been shown off sacred arts sculptures created by both Pensel's students as well as talented artist Antony Osinsky in the middle of 18th century. Their work material was a wood; polychrome technique was taken advantage of, as well as metal leaf layering of gold and silver applied. At one point of time these sculptures decorated Saint Antony's temple, but now they have become a museum collection cynosure of the castle palace. The icons and sacred sculptures collection, that were chosen out of State Historic Preservation fund, notably represented Zbarazh Castle out on a show of "Saved Relics" at Saint Sophia Cathedral in Kyiv transpired during April-May 2000.

Ethnography and a way of live in Zbarazh countryside represented by three palace show halls. A rare collection of Galych and Volyn embroidery have been situated there. Runners and tablecloths fabricated in different techniques on homemade and factory canvases using geometrical, floral, and zoological ornamentations. Alongside in the exhibition halls there are specimens of sacred art embroidery and gender specific folk dress code of Zbarazh District in history.

A story of most popular country craftsmanship and its evolution tells us an exhibition containing articles of everyday living at the last guarder of 19th – beginning of 20th century. These are things produced with homemade canvas, figure loom rugs, earthenware and carpenter goods, wickerwork of straw, osier, and bast. Prominent feature of Zbarazh Castle is Ukrainian Honored Artist Vladimir V. Lipyichuk's sculpture collection. It constitutes more than forty authorial artifacts crafted out of lime-tree. Some items are represented by a plot of particular genre. Others are combined into duplets or triplets by common name or quotation. Lipyichuk's art work is an attempt to embody characters from well known and cherished writing of Taras Shevchenko, Ivan Franko, Lesya Ukrainka. Fans of modern Ukrainian art also demonstrate acute interest to creations of Taras Levkiv, Honored Artist of Arts, native of the Village of Malla Beresovytsya of Zbarazh District.

Separate focus of attention require collection of arms that being housed in two castle exposition halls. It was assembled out of specimens from Stone Age era, Iron Age, epoch of early and late Middle Ages, as well as period of First World War.

A torture chamber

Ancient instruments of torture

There is a historical chamber [5] of torture opened in Zbarazh Castle recently. In the dark and humid cellars of the fortress next to the dungeon walls now has been installed ancient devices that used to inflict suffering. All the hellish instrument have been manufactured using original blueprints. The charts were looked for in old archives. All the equipment is in working conditions.

The subject of instrument of torture is a very peculiar topic. They were engaged mostly in the period of Inquisition, that had been widely practiced on the territory of modern Spain, Italy, and Germany, and latter on with the spreading of Catholicism in Ukraine as well. There was a decision made to show off this equipment in the cellars of Zbarazh Castle. Between the items of exposition there is a chair of witch. There is only three hundreds years passed by since last time women sat in it for suspicion in practicing an enchantment craft. Chiefly these were most of the good looking females. The interest to this artifact is particular, but there was no one trying to sit in the seat itself though.

As of this moment in the chamber of torture there are up to ten devil's mechanisms, but the exposition has been promised to be enriched.

• Castle views
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  Castle barracks board
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  The bastion and the bulwark
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  Main building
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  The barracks
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  Sculpture works in the main building
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  The gatehouse on the inner yard
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  The terrace
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  The exhibit of ancient armor and weapon
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  Sacred Arts Museum
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  Interior room with the hetman portrait painting

• Siege of Zbarazh