Church of Our Lady of the Rosary in Radun - a historic parish church in Radun, in the Verevo region of the Grodno region of the Republic of Belarus. It was built in 1929-1933 in the "peculiar" style according to the project of the Vilnius architect Jan Borowski.

History of parishes and churches in Radun
. Over the centuries at least five churches stood here, all of them wooden until 1929, when the brick church, which still exists today, began to be built.

The first church in Raduń, the centre of a non-garden starosty, was probably built in the last quarter of the 15th century; the oldest known record of the temple dates from 1517. Another church, provided with additional funding, was built in 1556 on the initiative of Queen Bona. It was dedicated to the Assumption of the Blessed Virgin Mary, St John the Baptist and St Peter the Apostle. It was destroyed during the wars with Moscow before 1660, when another church, consecrated by Bishop Mikolaj Slupski, suffragan of Vilnius, was erected in the town square.

The mid-17th century temple burnt down in 1801, along with most of its furnishings. A temporary modest chapel was then erected in the cemetery.

The last wooden church was built in Raduń in 1838, thanks to the efforts of Father Wojciech Maciejewski, who, in view of the scarcity of parish funds, led to the transfer here of a temple building (with part of its furnishings) from the early 18th century, left over from the Discalced Carmelite monastery in Koleśniki (now Lithuania) in 1832. The acquired edifice was set up about 1 km from the town, on the territory of the Popiški fund manor. By the beginning of the 20th century, the church was leaning towards ruin.

In 1910, the architect Wacław Michniewicz drew up a project for Radunia for a neo-Gothic brick basilica, but for financial reasons it was not realised. It was not until 1929-1933 that the present brick church was erected in the "peculiar" style (modernist with elements of neo-Gothic) according to the project of the Vilnius architect Jan Borowski, thanks to the efforts of the parish priest Stanisław Szczemirski and the donations of the parishioners. The construction work was carried out by Vilnius guild master Antoni Bebko. The church was consecrated as Our Lady of the Rosary on 8 September 1933 by Vilnius Archbishop Romuald Jałbrzykowski.

The new church stood near a wooden church that had acquired the status of a monument, and the Novgorod Voivodeship Conservator had forbidden its demolition. It was burnt down under Soviet rule.

Radun between 1910 and 1912, and then 1922 and 1924, became a place of dispute over the language used in the liturgy with sharp conflicts between Poles and Lithuanians. In 1912, Apostolic Nuncio Casimir Michalkiewicz, on the basis of a census of the population taking into account nationality, determined the proportion of Polish and Lithuanian languages used at services. On 22 October 1922, a group of Poles dissatisfied with these regulations interrupted a Lithuanian service. Over the next two years, similar incidents, provoked by both sides, recurred repeatedly. In 1923, Vilnius Bishop Jerzy Matulewicz made minor changes to the service programme in favour of the Poles, threatening to close the church if the new order was not accepted. On 7 October 1923, the church was closed, the parish was divided among four neighbouring parishes, and the bishop gave permission for Mass to be celebrated in the chapel in Pielas. After petitions to the curia and the final acceptance by the local community of the order of services announced by the bishop, the Radun church was opened on 12 October 1924.

The Church of Our Lady of the Rosary was not closed after 1945 and continued to operate without interruption. It was renovated on the inside in 1954 and on the outside in 1986 and 2003.

Architecture and decoration of the church
The church is situated on the outskirts of the village, on the road leading to Vasilishki. It was built of brick and fieldstone, with contrasting plastered architectural divisions. Inside, the structures of the galleries and the music choir are made of ferro-concrete.

The temple has a Latin cross plan, consisting of a three-nave basilical body with a transept with shallow arms extended by much lower chapels. The presbytery is closed at three sides with a storied sacristy and treasury. The façade has two square, four-storey towers with a plain plastered triangular gable with an oculus between them. It is preceded by a low porch, equal in width to the body of the building, on the axis with an entrance closed with a pointed arch. The side elevations are divided by stepped scarps. The arms of the transept are decorated with plastered stepped gables. The windows are mostly rectangular, in the body arranged in two zones; in the transept and in the side walls of the presbytery, oculus windows; in the presbytery closure, a pointed-arch window.

Inside, above the side aisles and the arms of the transept, there are galleries opening into the nave with semicircular arcades. The vaults are in the form of cradle vaults divided by pointed-arched gourds in the nave and semicircular in the galleries. The cross aisle has a five-field blind dome (a kind of high mirror vault).

On the walls of the crossing of the naves there are preserved figural paintings made around 1933 by S. Dasikiewicz and K. Tatarkowski.

The church contains 5 altars transferred from the old church, 4 of which are Baroque from the 18th century. The altars contain Baroque paintings from the Carmelite church in Koleśniki: in the main altar "Vision of St. Simon Stock", "St. Magdalene de Pazzi" and "St. Mary Magdalene", and in the side altars: "SS. George, Joseph, Thomas and Matthias", "The Deposition from the Cross" and "Our Lady with Child".

Outline of artistic values
The church in Radun is an interesting building both for its form and for the person of its author - the architect Jan Borowski, whose designs had a strong influence on the Vilnius architecture of the interwar period. In these designs he freely used elements of historical styles as well as art déco or modenism. The Radun Church received a traditional ground plan and mass, referring to Gothic and Baroque transept basilicas, but elements of the complex mass and structure were treated in the spirit of modernism (e.g. the prominence of reinforced concrete structures in the interior), and the exposed decorative detail was given Art Deco forms. There are also references to regional architecture, such as the use of stone, which gives the architecture the characteristics of a search for a 'native' style. The aesthetic effect is achieved through the play of differentiated elements and the build-up of masses.