On July 1, 1569, the Polish-Lithuanian Union, known as the Union of Lublin, was established. We invite you to explore the sites especially connected to this historic event, each distinguished with the European Heritage Label. This recognition is awarded to sites that have played a significant role in shaping Europe’s history and culture or in fostering the values underpinning European integration. These sites include the Holy Trinity Chapel, the Dominican Church of St. Stanislaus the Martyr, and the Union of Lublin Monument located in Lithuanian Square.
Holy Trinity Chapel
The Holy Trinity Chapel, located atop Castle Hill, is a remarkable fusion of Gothic architecture and Ruthenian-Byzantine frescoes, standing as one of the most valuable medieval monuments in both Poland and Europe. Built by King Casimir the Great in the late 14th century, the chapel's interior was adorned with vibrant frescoes directed by Ruthenian artists under Master Andrew. This commission, completed in 1418 for King Władysław Jagiełło, was realized through the “wet plaster” technique, which involved applying a layer of lime-mixed mortar with finely cut fibers, then painting frescoes on fresh sections each day. This meticulous method contributed to the frescoes' lasting vibrancy.
The frescoes themselves are arranged with descending hierarchy. At the presbytery vault, the Holy Trinity is depicted, surrounded by seraphim, cherubim, and Eucharistic themes. The nave features prophets and scenes from the Gospels, along with panels depicting the lives of Christ, the Virgin Mary, and various saints. The chapel notably includes two of the three remaining lifetime portraits of King Jagiełło, alongside historical inscriptions from 1569. One of these, etched into the choir staircase, bears the Latin inscription "unia facta Est cum ducatus Lytwanie"—"the union with Lithuania was concluded"—marking the Polish-Lithuanian Union.
Architecturally, the chapel exemplifies a two-story, single-pillar Gothic structure common in medieval Latin Europe. Both stories share a similar layout, featuring a square nave and an elongated, polygonal chancel. The upper story's star-shaped Gothic vault, supported by a central octagonal pillar, highlights the chapel’s historical and artistic significance.
Dominican Church and Monastery
One of the most significant monuments in Lublin is the Church and Monastery of the Dominican Friars. The Dominican order arrived in Lublin in the 1330s, and in 1342, following a Tatar invasion, King Casimir the Great commissioned a brick Gothic church dedicated to St. Stanislaus the Martyr to replace an earlier wooden structure. Over the centuries, the church underwent several expansions, with the largest reconstruction taking place after a fire in 1575. During this renovation, the church was transformed in the Lublin Renaissance style under the direction of architect Rudolf Negroni. Notably, in 1569, a thanksgiving service was held here following the signing of the Union of Lublin.
In 1967, Pope Paul VI honored the church by elevating it to the status of basilica minor. The adjacent monastery was built in stages from the 15th to the 17th century. The oldest part still retains elements from the 15th century, including cross-ribbed vaults and a preserved portal. A highlight within the monastery is the former refectory, notable for its distinctive palm vault supported by a single column. According to Dominican tradition, it was in this refectory that the Union of Lublin was signed in 1569.
For centuries, the Dominican Friars in Lublin were the custodians of one of the largest relics of the Holy Cross in the world, which arrived in Lublin from Kyiv in the 14th century. Tragically, the relic was stolen in 1991 and has never been recovered.
Union of Lublin Monument
Situated in Litewski Square, the Lublin Union Monument was erected at the initiative of Stanisław Staszic in 1826 to honor one of Lublin’s most significant historical events—the Polish-Lithuanian Union of 1569. It was here that Lithuanian nobility gathered for the Union Sejm. The monument’s concept was introduced by Feliks Bentkowski, with Paweł Maliński designing the bas-relief that depicts two allegorical female figures clasping hands, framed by the coats of arms of Poland and Lithuania.
