TYTUVĖNŲ ŠVČ. MERGELĖS MARIJOS BAŽNYČIOS DIDŽIOJO ALTORIAUS PAVEIKSLO DIEVO MOTINA SU KŪDIKIU VAIZDO IR MEDŽIAGINĖS STRUKTŪROS TRANSFORMACIJOS.

The article analyses the painting Our Lady with Child of an unknown Lithuanian artist from the 1620s (wood, canvas, engraved chalk ground, gilding on bole, tempera/oil 199.3 x 119 x 2.5 cm). It starts with a short overview of historical, religious and cultural milieu of the creation of the painting and religious events leading to eventual proliferation of Marian cult in the Grand Duchy of Lithuania. Among such are the Order of the Observant Friar Minors (St Bernardino branch) taking root and becoming active in Samogitia. Highlighted are also such factors as the determination of the Valavičius to fund the construction of a monastery in Tytuvėnai and the role of Eustachijus Valavičius in commissioning the painting for the high altar of the church. The article analyses the shape, colour scheme and proportions of the painting, their harmonious co-ordination and how they influence the beholder. The material structure of the painting is compared to materials and techniques employed in other works painted on wooden supports in the 16th and 17th centuries. The stratigraphical examination of the painting Our Lady with Child of Tytuvėnai demonstrates the alterations taking place with time in the painting. In the early 18th century, the image was restored. The figures and, partially, faces and hands were repainted, significantly altering the material structure and the look of the painting. The overall impression was even further altered when the figures were dressed in silver casings and the background in red velvet. The article discusses how tradition and aesthetic tastes in Christian art influenced the look of the painting. The article details the condition of the painting prior to its conservation and records the conservation and the restoration work done on it. Described is also the condition of the silver casing prior to its conservation, the work of conservation and restoration. The question is raised whether the restoration of the work of art to its original state by removing the historically formed overpainted layers is always possible and the most effective approach. [ABSTRACT FROM AUTHOR]