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The most remarkable element of the spatial composition in the plan is a manor house, an outstanding empire-style monument, which has retained its exterior appearance. There is a high-quality landscape structure in the centre of the manor with a park on the bank of Rūja River, which has been carefully maintained over the period of time until nowadays. The major part of the building pattern of the manor has remained in its initial location. It still creates the spatial structure of the plan characteristic of the 19th c.
The plan is a copy of revision made by E. Kristiani in 1865 -1869 and the revised plan by R. R. Jacobsen in 1880 and 1881. The plan shows the whole household complex of the manor with its peasants’ farms, borders of the land and other. The living and household buildings were situated in the center of the manor round the yard, including the manor house, the stable with a shed, the barn with a cellar, the cheese dairy, and the cattle-shed somewhat further away. A round entrance road was situated in front of the manor house, and there was a park along the river towards the family chapel.
This church built by the project of Jesuit architect Tomas Žebrauskas, showed a step forward in using the centric organisation of planning. Moreover, it was built in close dialog with the ideas of Vilnius Late Baroque and Rococo with its elaborated stucco wall décor. Unfortunately, this building was destroyed during the First World War. There are two outstanding publications in the Polish and Lithuanian sources8, but the monument is undeservedly forgotten by the Latvian art history. Unlike scholars in Lithuania and other Catholic countries, our scholars have to deal more with “phantoms” than with the real objects so there is a need to refer to one more example of the Jesuit heritage in Latvia.