Permanent exhibition “The Sacral Art” presents the decorative sculpture and paintings of the churches in Latvia from the 14th century until 1920s. The formation of the unique collection dates back to the end of the 19th century, when the Dome Museum in Rīga received several wooden sculptures from churches. In 1936 they were transferred to the State Historical Museum (the present National History Museum of Latvia). An important contribution in the developing of the collection is related to the active work of the Board of Monuments, which identified and gathered monuments of the sacral art.
The Medieval wooden sculpture in Latvia covers the period from the beginning of the 14th century till the first third of the 16th century. The majority of the church furnishings were destroyed in the church riots during the Reformation, therefore only a few examples of the Gothic sculpture have been preserved. Madonna with the Child, St. Anna and the Bishop (around 1320) from Ruhnu island (in the 14th – 15th century the Ruhnu island was a part of the Bishopric of Courland) are the most ancient wooden sculptures of the Early Gothic period in Latvia. Madonna and St. Anna are depicted in majestic postures, sitting on the throne, showing the influence from the Romanesque sculpture. The Gothic traits are shown in the sharp V-shaped breach of the gathers of long dress among knees, but in their faces one can scarcely see the smile, so characteristic to the Gothic Madonnas.
One of the most outstanding examples of the Early Gothic sculpture, which, probably, characterizes the traditions of the local sculpture, is the Triumph cross (around 1380) from St. Jacob’s Roman Catholic church of Rīga. In the carving of the naked figure of Christ there is some contingency, the hands are spread almost parallel to the cross-beam of the cross, the massive curved thorax is covered with symmetrical ribs, the head is weakly bent to the shoulder. The crucified figure expresses peace, even indifference in front of the passionate and agonizing death.
The composition Pietà (around 1400) from St. Jacob’s Roman Catholic church of Rīga is also of local origin. It depicts Mother of Christ Mary, who holds her dead son on the lap. In the first half of the 14th century Mary was depicted as an elderly woman with painful expression, but the tortured figure of Christ in a sitting position was placed on the lap of Madonna. Starting from the middle of the 14th century the figure of Christ was significantly reduced. In the beginning of the 15th century Mary, under the influence of the style of “beautiful Madonnas” was depicted as a young and beautiful woman with a calm facial expression, but the statue of Christ obtained natural proportions. The Pietà from St. Jacob’s Roman Catholic church of Rīga still shows the manner of decreasing the figure of Christ, characteristic to the second half of the 14th century, but in the figure of Mary one can already see the new traits.
At the end of the 14th century – beginning of the 15th century in the Late Gothic art in Europe formed and widely expanded the so-called “soft style” with the characteristic decorative features and aspiration for idealization. The woodcarvings of the “soft style” are characterized by stretched proportions, delicate limbs, decorative gathers of clothes, beautiful and dreamy faces. The sculptures of the 15th century – St. George and three sculptures of the Saints – have been created in the influence of this style.
Professionally high-quality example of the Gothic sculpture is the sandstone Pietà (the beginning of the 15th century), which in the sense of mood is one of the most beautiful and lyrical works of the Gothic art in Latvia.
During the period from the last quarter of the 16th century till the middle of the 17th century Latvia was influenced by the tendencies of the so-called Nordic Renaissance and the trends of Mannerism manifested. In respect to stylistic influences it is one of the most interesting periods in the art history of Latvia.
In the Mannerism sculpture there appeared a peculiar portrayal of a human figure – unstable bearing, curved hips and elongated proportions, which was called figura serpentinata. In the ornamental composition (1652) of Zlēkas church, which is crowned by the allegory of virtue Caritas (Love), the ornament – ear’s cartilage and decorative masks – typical to the Mannerism is used.
One of the oldest examples and artistically important samples of the sacral painting is the leaf altar of Kalnamuiža church, which the reeve of the Kalnamuiža church Alexander von Hoenastenberg-Wigandt donated to the church. There is “The Golgatha” depicted in its central part. For its composition two etchings of Dutch painter Hendrik Goltzius have been used. There is the portrait of Alexander von Hoenastenberg-Wigandt with his four sons depicted on the left leaf. There was the portrait of his wife Elisabeth, born von Henning, and her daughter on the right leaf, but it was lost during the World War II. “The Last Supper” from the predella is in the collection of the Rundāle palace museum.
The flourishing of the Baroque time (the second half of the 17th century – 18th century) decorative wooden sculpture can be seen in the Duchy of Courland and Semigallia, where the development of art had more favorable conditions. The figure of Christ’s Resurrection (early 18th century) from the altar of Dzirciems church (initially the altar was located in the chapel of Ventspils castle) and the Angel (around 1720) from Salgale church by woodcarver Johann Mertens, are connected with the woodcarving workshop of Ventspils.
The sculptures of Subate Lutheran church (late 17th century – early 18th century), Mary and St. John (late 17th century – early 18th century), possibly from Kaldabruņa Lutheran church, St. Helen and two angels (the first quarter of the 18th century), which initial location is unknown, fit in the sphere of influence of Subate woodcarving workshop. The sculptures of Gārsene Lutheran church altar (1793) are carved with similar stylistic comprehension.
The oldest examples of Baroque sculpture in Rīga in this exhibition are the three figures of angels (around 1680) from the altar of St. Jacob’s Roman Catholic church of Rīga. The author of these sculptures is the sculptor Christoph Mittelhausen.
Catholicism and the close historical relations with the art traditions of Poland and Lithuania determined the distinctive character of the sacral architecture and art of Latgale in the 18th century. An integral part of the culture-historical landscape of Latgale is the roadside crosses with the figure of Christ, carved in wood. The figure of Christ (19th century) and small-sized figures of Saints were carved in wood by unknown masters. The woodcarvings are characterized by conditioning and stylization in the portrayal of a human body.