Pidhirtsi Castle

Pidhirtsi Castle occupies a roughly square plan, measuring about 100 meters on each side. It stands on a plateau at 399 meters elevation on the northern slope of the Voroniaky hills, overlooking the upper Styr River valley. The castle’s construction uses primarily brick and stone, creating a solid and imposing fortress-palace.

Each corner of the castle is reinforced with pentagonal bastions topped by sandstone watchtowers, known as cavaliers. These offered vantage points for observation and defense. The fortress was protected by a deep moat lined with stone and surrounded by earthen ramparts on the east, south, and west sides. Between the inner and outer walls lie casemates—vaulted chambers with smooth stone slab roofs that serve as terraces. These terraces were used for walking and positioning artillery, encircled by balustrades that served as protective railings.

The palace originally rose to two floors with three-story pavilions and a central tower. Eighteenth-century renovations introduced a third story and saw removal of the drawbridge and some pavilions, reflecting the transition from military fortress to more comfortable noble residence. The main entrance features an imposing portal with two columns topped by a marble plaque bearing a Latin inscription commemorating a military victory and a period of rest, linking the castle to its martial origins.

Inside, the castle once contained richly decorated rooms named for their distinctive themes. These included the Chinese Room, noted as a prime example of chinoiserie decoration in the region, as well as the Golden, Dining (later known as Knight’s), Green, Mirror, and Mosaic Rooms. Interiors were adorned with paintings and richly patterned wallpapers. Marble tiled floors and marble fireplaces enhanced the elegance of each chamber. Furniture included trophies from battles against the Turks and Tatars, such as Persian carpets and Turkish tents, illustrating the martial and cultural connections of the owners.

Pidhirtsi Castle housed an impressive art collection, reputed to have included up to 900 paintings by renowned Flemish, Italian, and Polish painters. The artworks featured portraits of important political and religious leaders, along with historical battle scenes that reflected the owners’ status and interests.

The castle complex extended beyond the main building to include auxiliary structures supporting daily estate life. These included a granary for storing grain, a private menagerie for animals, vineyards, an apiary for bees, trout ponds, and a wheelwright’s workshop responsible for making and repairing wheels.

Adjacent to the castle lay an Italian-style park laid out on three terraces connected by baroque staircases and sequences of arcades. The park originally contained parterres—formal garden beds—along with fountains and marble sculptures imported from Italy. Most of these sculptures were removed during the Soviet era, and the terraces are now sealed off for safety.

A notable religious structure near the castle is the Roman Catholic Church of the Exaltation of the Holy Cross and St. Joseph. Built between 1752 and 1766 by architect Karol Romanus, this Baroque rotunda measures 12 meters in diameter. It functioned as a family mausoleum for the castle’s owners. A lime tree avenue approximately 300 meters long leads from the church to the castle, flanked by 18th-century sculptures of St. Joseph and the Virgin Mary, providing a ceremonial route linking the sacred and secular spaces.

Today, the castle’s fortifications and main structure remain largely intact and well-preserved. However, much of the original interior decoration was lost to war, fire, and neglect. Ongoing restoration and conservation projects, supported by local and international bodies, continue to stabilize and revive the castle’s historical character.