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8 9 8. West wing of the Riga Dom Cross Gallery, decor of the vaulting console 9. Linköping Dom, capital decors of interior pillars
it was assumed by Wilhelm Neumann. An indication of the eastern block of the Cross Gallery being under construction even during Archbishop Albert Suerbeer’s rule (1253–1273) can be traced in the vaulting rib profiles of the Cross Gallery as well as the quarter-circle brickwork use, typical of the latter half of the 13th century, in the portal apertures of the Cross Gallery and the Chapter Hall. Considering that all arcades facing the yard are of the same form, we may assume that all three Cross Gallery passages were first built to the cornice level. A change in the moulding of vaults leads to the assumption of a gradual vaulting process. The construction works in the Riga Dom complex might have proceeded from first building the monastery living quarters in the eastern and southern wings of the Cross Gallery to continuing with gradual vaulting of the passages. The polychromy (reconstructed) of the Riga Dom Cross Gallery of the red-white-grey colour scheme with graphic ornaments on individual construction elements is largely independent of the brickwork, which testifies to a another range of influence. Imitated here is not only smooth surface and optics that is close to natural stone; there is also variety colour of the architectonic structural elements which was an inalienable visual part of medieval masonry architecture (sacral and profane). The variety of the Cross Gallery architectonic forms, the plastic structuring, range of colours and optic characteristics of natural stone masonry reveals the influence of late Romanesque sacral architecture of the Rheineland region with its typical aesthetics of plasticity and dynamic variety. Construction plasticity The research of the medieval plastic details of the Riga Dom ensemble is based on the review of the typological groups of plastic stone carvings. The decors of interior pillar colonnades and capitals of the cluster columns of the basilican elevation also have been analysed. Four motifs characterise the basic assortment of the Riga Dom medieval plastic building decors which have been flexibly variegated, stylized and arranged under the influence of a wide range of artistic inspirations. An arrival of new decors or stylistic development has not been traced. The interchange of the assimilated forms finds expression in the simultaneousness of decors of different periods of the style. The dominating bud motifs confirm the late origin of the building details of the Dom ensemble - c. 13th century or even later. It is problematic to provide a more precise dating because the chronological boundaries of comparative examples vary widely. An extensive 13th century typological and comparative stylistic analysis of the plastic building details led to the confirmation of the Westfalen, Rheineland and Saxony analogies that had been already mentioned in the literature of the field. The various formal and stylistic influences of art sources overlap and interact in the plastic building details of the Dom ensemble; however, it is possible to identify that they have reached Riga via the workshops of Westfalen, Bremen and Gotland. An in-depth analysis of the artistic genesis of the plastic building details surfaces the direct or mediated stylistic influence of decors of the Westfalen region. It is difficult to tell the touch of the Westfalen workshops from those working in this style. Only in individual cases it is possible to identify direct transfer of Westfalen forms and motifs; for example, in the case of bud motifs on the capitals of the double-aperture portal of the Chapter Hall. The convincing examples of repeatedly mediated motifs are capital decors of the cluster columns in the Chapter Hall, which combine fragments of Rheims, Magdeburg and Rheineland-Westfalen art motifs and forms, although they might have been created by the sculpture workshop of the Paderborn Dom (Fig. 6–7). The influence of various stages of the Westfalen regional style in the art development in the Baltic Sea region determined the localization of the style in this space. It can be traced on the consoles of the Riga Dom Cross Gallery in the south and west wings which were produced in the workshop of the Linköping Dom. As concerns the choice of stylized stone-cutting forms, their outlines, plasticity and the treatment of the surface, the Westfalen style dominates. The contribution of the workshop of the Linköping Dom.in the second half of the 13th century can be seen in the augmented proportions of the décor and confusion of the motif (Fig. 8–9).
Page 1: 6 STIPENDIATI
Page 4 and 5: Projektu līdzfinansē Eiropas Soci
Page 6 and 7: Agnese Bergholde 1980 EDUCATION 200
Page 8 and 9: 1 2 1. South isle of the Riga Dom 2
Page 10 and 11: 4 5 4. Nave of the Riga Dom 5. St M
Page 12 and 13: 6 7 6. Chapter hall in the Riga Dom
Page 16 and 17: 10 11 12 13 10. The Riga Dom, North
Page 18 and 19: Nataļja Jevsejeva 1975 EDUCATION 2
Page 20 and 21: 1. Marija Leiko, 1931, SBM
Page 22 and 23: 2 3
Page 24 and 25: 4 5 2. The Patient, 1941, SBM 3. Se
Page 26 and 27: Ilze Kreituse 1984 WORK EXPERIENCE
Page 28 and 29: Annunciation, P. Sofronov, Rēzekne
Page 30 and 31: Church of Vecsloboda
Page 32 and 33: Christ, G.Frolovs, Rēzekne
Page 34 and 35: Laura Lūse 1981 EDUCATION 2010 Art
Page 36 and 37: 1. Promotion sample from the wallpa
Page 38 and 39: Maija Rudovska 1982 EDUCATION 2009-
Page 40 and 41: VEF Culture Palace
Page 42 and 43: Project of Zvejniekciems
Page 44 and 45: Iliana Veinberga 1984 EDUCATION 200
Page 46 and 47: 1 2 3 1. Railway construction 2. Pa
Page 48 and 49: 4 5 4. Border of Russia 5. Railway
Page 50: Coordination Laura Ozola Design Ing

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