Besides the Latin Cathedral, two more churches date back to the 14th century — Yura and Armenian.
The Armenian cathedral, one of the most precious relics of the Lviv architecture, wasfimilt in 1363. Its designer was the Lviv architect Doring. As many other buildings, the cathedral, in the course of centuries, fell prey to renovations, leans-to and extensions of various styles. The most ancient, the Eastern part goes back to the 14th c, the middle to the 17th c, and the most modern, the Western part to the early 20th century.
The best instance of the Lviv Renaissance architecture is the Assumption Church ensemble, a milestone in the history of the Ukrainian culture. In construction it represents several stages. What we see today, the fourth in sequence, was erected in 1591, whose designer and building superintendent was Paul of Rome. Since 1592 he was aided by Woitech Kapinos, a year later Ambrose Prykhylny gave a helping hand. The construction was brough to an end in 1629.
From the North the church is adjoined by the There Devotees’ chapel, built by Petro Krasovsky in 1578—1591.
The church is still decorated with cult objects which represent the 17— 18th c. culture. Particularly valuable are the icons of the passion cycle, remnants of the Assumption iconostasis of 1630—1638, ereated by the talented artists of Lviv Fedor Senkovich and Nicholas Petrakhnovich. The whole made up 20 icons, three of which are by F. Senkovich, fourteen by Petrakhnovich, the rest painted in the second half of the 18th century.
The Assumption Church ensemble is completed by a well proportioned 65-metre high bell tower built in 1573—1578 by the architect Peter Berbon at the expense of the Lviv merchant Constantin Korniakt.
Another valuable relic of the Renaissance style is the Boims’ Chapel in Rosa Luksemburg Square. It was built in 1606—1615.
The Northern part of the Latin Cathedral has a lean-to, the Campian Chapel, built in the early 17th century, presumably by Paul of Rome and W. Capinos.
The name of Paul of Rome is linked with another precious structure on the territory of the preserve — the church of the monks of Bernard. It takes the site of a more ancient building, the present one dating back to 1600— 1630. The monastery buildings, the bell tower (1734), the well rotunda (1761), the fortification walls and the decorative column (1736) make up a unique architectural ensemble. The first designer of the church was the monk Avelides, his successor was Paul of Rome upon whose death the construction was continued by Ambrose Prykhylny.
The monastery founded beyond the town walls was of necessity to be fortified and represented in itself a detached fortified complex. Fragments of the monastery defence walls are still preserved along Soviet and Valova Streets.
With the organization of public services and amenities in Soviet Square and the construction of the underground passage in 1976—1977 it was possible to completely reveal and restore the Hlyniany tower and gates leading to the monastery from the former Hlyniany highway (now Lenin Street).
Of the defence structures of the 16—17th century Lviv are preserved the Town and the Royal arcenal and the Powder Tower.
In 1977, in the square in front of the Royal arsenal, was erected a monument to Ivan Fedorov, the pioneer printer (B. Borisenko and V. Podolsky being sculptors, A. Konsulov — the architect).


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