The Route of Gothic Sculptures. Madonnas and Pietas

The Route of Gothic Sculptures

The Route of Gothic Sculptures

DESTINATION KUJAWSKO-POMORSKIE VOIVODESHIP EUROPEAN HERITAGE DAYS – 2016

The Route of Gothic Sculptures

Kuyavian-Pomeranian Culture Center in Bydgoszcz

Bydgoszcz 2016

The author of the concept and publication coordinator: Ewa Krupa Written by: Bogna Derkowska-Kostkowska: Introduction, 3, 5, 8, 9, 23, 30, 31, 32, 33, 34, 42 Agnieszka Wysocka – 1, 2, 7, 14, 16, 22, 24, 25, 29, 48, 49 Krzysztof Bartowski – 6, 10, 17, 26, 40, 43 Lech Łbik – 13, 15, 21, 27, 28, 35, 36, 41, 44, 45, 47 Piotr Winter – 4, 11, 12, 18, 19, 20, 37, 38, 39, 46 Photographs taken by: Archive of the Parish in Skępe – p. 142 Alina Bartłomiejus-Samołyk – p. 188, 198 Piotr Drzewiecki – p. 144 Bogna Derkowska-Kostkowska – p. 8, 108–109, 203, 216 Maciej Eich – p. 87 Andrzej Goluch – p. 151 (after restoration) Sylwia Jastrzębska – p. 90, 91 Fr. Krzysztof Kamiński – p. 21, 82 Krzysztof Kostkowski – p. 151 (before restoration) Ireneusz Kucharski – p. 126, 129 Fr. Dariusz Lewandowski – p. 52 Lucyna Lipkowska – p. 24, 38, 63, 118, 121, 130, 190, 208 Paweł Matyjewicz – p. 104 Fr. Wiesław Michlewicz – p. 194 Katarzyna Milczarek-Kozak – p. 146 Fr. Andrzej Pacer – p. 184 Juliusz Raczkowski, PhD – p. 64 Łukasz Reszczyński (IKONA Publishing House) – p. 181, 182 Fr. Witold Sadłowski – p. 138 Fr. Tadeusz Szczepaniak – p. 110, 112 Rev. Canon Szczepan Średziński – p. 68, 70, 72 Małgorzata Świtała – p. 207 Marek Wentowski – p. 54, 56 Wojciech Woźniak – p. 10–11, 12, 17, 26–27, 31, 34, 37, 43, 44, 48, 50, 59, 74, 77, 78, 80, 92, 96, 98, 100, 102, 114, 122, 125, 134, 137, 155, 156–157, 158, 161, 162, 164, 166, 171, 172, 175, 176, 178 Piotr Zieliński – p. 60 Preparation of routes and map, selection of photograms and coordination works: Krystian Strauss Kujawsko-Pomorskie Region

Subsidized from the budget of Kujawsko-Pomorskie Region

Kuyavian-Pomeranian Culture Center in Bydgoszcz Culture institution of the Local Government of Kujawsko-Pomorskie Region Coordinator of European Heritage Days in Kujawsko-Pomorskie Region www.edd-kpck.pl www.kpck.pl The publication was produced as a project of European Heritage Days in 2016 Proofreading: Hanna Borawska Graphic design: Iwona Dombrowska Printed by: Dom Wydawniczy Margrafsen, www.margrafsen.pl Translation: Centrum Języków Obcych Logos, Lucyna Tate First edition, 1,000 copies ISBN 978-83-65533-41-8

This publication was produced thanks to the generous support and involvement of many people.

We wish to acknowledge the help provided by: Sambor Gawiński Kujawsko-Pomorski Regional Conservator-Restorer Iwona Brzozowska Manager of the Regional Office for Protection of Historic Landmarks in Toruń / Bydgoszcz Division Danuta Walczewska Manager of the Regional Office for Protection of Historic Landmarks in Toruń / Włocławek Division Teresa Kuśmierska from the Regional Office for Protection of Historic Landmarks in Toruń Katarzyna Namysłowska from the Regional Office for Protection of Historic Landmarks in Toruń Lucyna Lipkowska from the Regional Office for Protection of Historic Landmarks in Toruń / Bydgoszcz Division Alina Walukiewicz from Dr. Witold Bełza Regional and Municipal Public Library in Bydgoszcz

Restorers: Alina Bartłomiejus-Samołyk Jarosław Dąbrowski Joanna Siemińska-Goluch Małgorzata Świtała

Priests: Rev. Canon Krzysztof Badowski (Chełmża), Rev. Prelate Zbigniew Cabański (Piotrków Kujawski), Fr. Włodzimierz Durbas (Obory), Fr. Jacek Dziel (Markowice), Rev. Canon Władysław Erdmański (Gostkowo), Fr. Dobromił Maria Godzik (Skępe), Fr. Leszek Grzela(Świecie), Fr. Grzegorz Kaiser (Nowe), Fr. Jan Kalinowski (Wąbrzeźno), Fr. Krzysztof Kamiński (Lubraniec), Rev. Canon Waldemar Karasiński (Lubraniec), Rev. Canon Wojciech Kiedrowicz (Toruń), Rev. Canon Ryszard Kobierowski (Kowalewo Pomorskie), Fr. Michał Krygier (Włocławek), Fr. Krzysztof Kurzątkowski (Rywałd), Rev. Canon Marcin Labuhn (Lembarg), Fr. Dariusz Lewandowski (Grabkowo), Rev. Canon Leszek Łobodziński (Dźwierzno), Fr. Wiesław Michlewicz (Wielkie Radowiska), Fr. Tadeusz Nowak (Żnin), Fr. Andrzej Pacer (Wąwelno), Rev. Canon Piotr Podlewski (Wabcz), Fr. Wojciech Radzikowski (Orzechowo), Rev. Canon Wiesław Roczniak (Grzywna), Rev. Prelate Marek Rumiński (Toruń), Fr. Witold Sadłowski (Siedlimowo), Fr. Piotr Stefański (Świerczynki), Fr. Tadeusz Szczepaniak (Orle), Rev. Canon Henryk Szczodrowski (Gruta), Rev. Canon Stanisław Szuca (Papowo Biskupie), Rev. Canon Szczepan Średziński, Rev. Canon Andrzej Zblewski (Golub-Dobrzyń), Fr. Dariusz Żochowski (Inowrocław) We would like to offer our special thanks to Jerzy Janczarski Director of the Department of Culture and National Heritage of the Office of the Marshal of Kujawsko-Pomorskie Voivodeship

Summary Foreword by the Marshal of Kujawsko-Pomorskie Voivodeship 9 

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A few words about the statues of the Madonna (style, history, symbols) 13 The Route of Gothic Madonnas in Kujawsko-Pomorskie Voivodeship 28 

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Sculptures of the Madonna and the Pietà en route 32

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Chełmża 34

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Papowo Biskupie 122

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Czarże 38

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Piotrków Kujawski 126

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Dźwierzno 41

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Ryszewko 130

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Golub-Dobrzyń 44

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Rywałd 134

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Gostkowo 48

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Siedlimowo 138

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Grabkowo 51

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Skępe 141

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Gruta 54

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Sławsk Wielki 146

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Grzywna 57

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Strzelno 149

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Inowrocław 60

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Świecie 153

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Jastrzębie 65

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Świerczynki 158, 162

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Kijewo Królewskie 67, 71

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Toruń 165, 169, 173

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Kowalewo Pomorskie 74

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Wabcz 176

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Lembarg 78

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Wąbrzeźno 179

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Lubraniec 81

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Wąwelno 183

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Markowice 85

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Wielka Łąka 187

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Nieżywięć 89

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Wielki Mędromierz 190

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Nowe 92, 96, 100

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Wielkie Radowiska 194

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Obory 103

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Więcbork 197

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Orle 110

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Włocławek 201

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Orzechowo 113

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Żnin 205, 208

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Ostromecko 117, 120 

Bibliography 211

INOWROCŁAW

Włocławek Cathedral

I want to invite you to a unique trip across our region, Kujawsko-Pomorskie Voivodeship, following the route of Gothic sculptures of the Madonna, distinguished by their beauty and delicacy, full of lyricism and elegance.

In the sacred space of places of worship, statues of the Madonna are often lonely, but in this way they are able to convey their message of both worship and art. Medievalists highlight that according to the general opinion of that period, a medieval artist was a tool of God. Serving Him, he reflected materialized presentation of divinity in art. How true is this statement? You can judge for yourself by looking at the statues of the Madonna in Kujawsko-Pomorskie Voivodeship.

This unique route of Gothic sculptures of the Madonna, which I strongly encourage you to travel, confirms also our European roots and our common European heritage. These artworks are very original, moving with their artistic and spiritual message. Looking at them, let’s admire their surrounding – beautiful, distinctive, well-preserved historic sites of architecture and sacred art.

You are cordially invited.

Piotr Całbecki Marshal of Kujawsko-Pomorskie Voivodeship

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FOREWORD BY THE MARSHAL OF KUJAWSKO-POMORSKIE VOIVODESHIP

Gothic historic sites that have survived to this day belie the popular thesis of the “Dark Ages.” Whatever we say about them, a lot of masterpieces were made during the Middle Ages.

Art treasures, which we can admire today, prove not only the craft of artists, but also that beauty was one of the basic categories in their perception and presentation of the world as well as telling about their religion.

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INOWROCŁAW

INOWROCŁAW

Cathedral in Chełmża

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Statue of the Virgin and Child with Saint Anne, the church in DĹşwierzno

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A few words about the statues of the Madonna (style, history, symbols) A deeply rooted devotion to Mary, reflected in names of churches and popularized by religious orders, contributed to spreading of depictions of Mary and Jesus. Popular presentations included the Madonna and Child as well as the Pietà, depicting the Virgin Mary cradling the dead body of Jesus Christ.

In the age of Gothic, in addition to devotional images, which helped the faithful to establish their contemplative link during prayer, winged altarpieces appeared. Their central part frequently featured a group of sculptures with a statue of the Virgin and Child placed between statues of saints, known as Sacra Conversazione (holy/sacred conversation).

The wings of triptychs were covered with series of paintings, often in Christological and Mariological themes. The open retable presented scenes from the lives of Mary and Jesus, and the closed altar showed to the faithful images illustrating the sorrowful road to Redemption.

These days, there are no more such altars dedicated to the Virgin Mary in interiors of historic places of worship in the region of Kujawsko-Pomorskie Voivodeship. Many medieval churches and parishes had a statue of the Madonna and Child or the Pietà, sometimes even several of them. Today, only some of them boast Gothic sculptures of Mary and Jesus, designed as devotional depictions or saved from old altars. They include miraculous images visited by pilgrims, worshipped by the faithful (Markowice, Obory, Rywałd, Skępe), and other depictions – decorated with crowns that prove their former glory, close to local communities – that confirm their devotion in the past. There are also images that are part of

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A FEW WORDS ABOUT THE STATUES OF THE MADONNA

interior design with no miracles ascribed to them, but blended in a natural way in the sacred space.

Journeys of all these images to the places where we can find them today were very different, just like the time of their arrival. Some of them were placed in their current location just after they were made. Other artworks, following an unknown path, arrived to their churches in modern times. Statues were made in various times, in many different workshops, imported or from local works of art, representing a host of styles, which evolved from Early Gothic forms, through the style of Beautiful Madonnas, a more realistic style called Zackenstil, to Late Gothic forms. Therefore, although all statues are combined by one topic, everyone is different in terms of emotional charge and artistic expression. In the same time, all of them constitute invaluable devotional and heritage assets.

All of them, with the exception of the famous stone statue from the Church of Saint John the Baptist and Saint John the Evangelist in Toruń known for its replica, were made by medieval woodcarvers over a period of about 200 years, starting from the 14th century to the early 16th century.

The gallery of Gothic Madonnas carved in wood from the area of Kujawsko-Pomorskie Voivodeship is opened by statues of the Madonna Enthroned from churches in Ostromecko dating from 1325–1350 and Gruta (made a little bit later than the one from Ostromecko). The sculpture from Gruta is full of hieraticality. It combines the composition of figures with Early Gothic setting, typical of Romanesque art. In the case of this small, devotional sculpture, experts have not been able to explicitly determine its origin. Taking into consideration the analogies indicated by Tadeusz Chrzanowski, it is probably imported from the northwest of Europe, but it was also ascribed to a workshop from Pomerania.

It is similar in the case of many statues described in this guide, since lack of sources allows to

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On the other hand, in churches located on the described route, we can find sculptures made in workshops operating in Toruń, Brodnica, Wielkopolska, Pomerania, Chełmno Land, in areas under the influence of the Teutonic State in Prussia, and even Silesia. Thus the statues can be distinguished by their diversity of sculpting materials. An additional value of these sculptures is ornamentation in the form of polychromy and gilding, highlighting the specificity of artwork. Unfortunately, this aspect is distorted with secondary paintings. In this case, restorers successively bring back medieval artworks to their historical condition.

In the beginning of the 14th century, mysticism emerged in art of the Rhineland. Artworks inspired by this style dazzled with sadness, terror related to the drastically depicted signs of the Passion of the Christ and suffering of His Mother. It was kind of a reaction to religiousness based on characteristic mysticism, the will to follow Jesus and be a partaker of His suffering. It led to emergence of presentations of the Passion, very expressive, filled with pain and suffering, carrying a heavy emotional load. Mysticism, distinguished by a wince of pain, anatomical misery of the human body and certain, almost decorative treatment of wounds and blood clots, represented mainly by Silesian historic objects. It also appeared in the region of Kuyavia and Pomerania in the second half of the 14th century, in the area occupied by the Teutonic State (typical subdued expression). The region described by the guide features several devotional statues with the distinctive sorrowful depiction of the topic. They include sculptures of the Pietà that can be seen in Świerczynki (“particularly harsh”) and Piotrków Kujawski. During the period of Early Gothic, a new

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A FEW WORDS ABOUT THE STATUES OF THE MADONNA

link many artworks to specific woodcarving centers only through an in-depth analysis of styles carried out by art historians. In this field, studies have been continued for many decades. Therefore there are discrepancies in dates and workshops.

A FEW WORDS ABOUT THE STATUES OF THE MADONNA

style is Madonnas on a lion, which derives from presentations of the Madonna Enthroned, sitting on a throne with lions as supports. This iconographic type led to development of an image of the Madonna on a lion in a standing position, with a foot resting on the lion, symbolizing the defeat of evil (Satan) or above the base, like on a silhouette of an invisible animal.

Sculptures blended in the style of Madonnas on a lion can be distinguished by slender figures, stiff posture, restricted gestures and linear depiction of folds of timeless robes. This style was originated in the mid-14th century, in the community of Silesian woodcarvers. It is represented by the statues of Kijewo Pomorskie (Pietà), Wabcz and Wielki Mędromierz, featuring flattened solids, shallow, linear modelling and smooth faces. From among historic objects of the described area that represent to the style of Madonnas on a lion, we need to mention the statue from Inowrocław, which was made in a Pomeranian workshop, indicating its artistic ties to Silesia.

The charming sculpture of the Madonna presenting the Child Jesus combines features of the style of Madonnas on a lion seen in the face with the sculpting style that followed it, called the Soft, Beautiful or International Gothic, due to its territorial range. One of varieties of this style was the style of Beautiful Madonnas. It developed in Bohemia or Lower Austria and spread at a very fast pace. One of the most outstanding examples of this style was the missing statue from the Church of Sts. Johns in Toruń. Beautiful Madonnas are particularly charming, since sculptors were giving them a slender, youthful silhouette, wearing cascades of softly folded, freely modeled drapery, an idealized girlish face, expressing undisturbed tranquility, lightened by a delicate smile. The Madonna and Child were establishing various relations – games or presentations, always highlighted with courtly elegance, full of refinement. It is perfectly depicted by the statue

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INOWROCŁAW

A replica of the Beautiful Madonna on the console with Moses, 17 Church of Sts. Johns in Toruń

A FEW WORDS ABOUT THE STATUES OF THE MADONNA

of the Virgin Mary and Child from Włocławek Cathedral, despite the degree of its destruction, as well as sculptures from Sławsk Wielki, Świerczynki and Wąbrzeźno.

The Beautiful Style featured not only images of the Madonna and Child, but also presentations of Our Lady of Sorrows and the Pietà, typical of mysticism. Under its influence, it started losing the features of exaggerated Dolorism. As a result, the sense of suffering of the Mother and Son, although visible, was suppressed by the style blending with International Gothic and the style of Beautiful Pietàs. This style is represented by historic objects located in Nowe and Ostromecko. In the period of Late Gothic, we notice resurfacing of Dolorist presentations, which example is the Pietà from Golub-Dobrzyń dating from the early 16th century.

In the first half of the 15th century, sculpture and painting feature Zackenstil; it originated in bourgeoisie communities and was distinguished by realistic tendencies. It contrasted with the Beautiful Style, which though idealization and courtly exaltation made artworks of sacred themes very distant from reality and deprived them of emotions appealing to the faithful. In the second half of the 15th century, we notice a gradual change of styles; the International style disappears along with departure from idealistic aesthetics. We can see emergence of tendencies to more realistic depiction of figures; there is also evolution in the way of presenting costumes with more angular folds. In the late 15th century, we can find sculptures that are characterized by slender silhouettes, blown, wrinkled robes and fragmentation of forms. They were related to the so-called Zackenstil, which is weakly represented in the described area. In the case of Late Gothic sculptures, like the statue from Wąwelno, our attention is focused on crisp folds reminding crumpled paper, moved and twisted like blown in the wind. However, it’s only a semblance of the art of Veit Stoss who carved St. Mary’s Altar

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The early 16th century brought coexistence of Late Gothic forms with components announcing a new period in the art, which was the Renaissance.

Sculptures from this transitional period, in terms of sculpting craft, are rooted in Gothic art, whereas the depiction of topic and details of modernized costume represent Renaissance art. An example is the sculpture in the village of Papowo Biskupie made in a Gdańsk workshop. The sculptor depicted Mary in a relaxed pose, in a robe inspired by costumes from that epoch, with a chubby Baby Jesus.

Therefore the sculptures from Gruta and Papowo Biskupie represent the turn of epochs, namely the Romanesque period preceding Gothic art and the Renaissance that followed it. Various images of Gothic art allow to look at some exceptional woodcarving masterpieces seen in several dozen places of worship spread on the route running across the region of Kujawsko-Pomorskie Voivodeship, outlined by the statues described in this guide.

In addition to the style issues mentioned above, related to the Gothic Madonnas, some iconographic matters have to be explained.

These sculptures can be distinguished not only by significant differences in styles, but also the way of depiction of Mary and Child Jesus. There is also a significant diversity in the topic of the Madonna and Child. Theoretically, the most popular is the traditional depiction of the Virgin Mary and Child.

This common topic contains varying emotional load and content. A unique image in terms of ideology is the depiction of Mary with the moon under Her feet, popularized in the 4th quarter of the 14th century by the style of Madonnas on a lion, which was preserved in the Beautiful Style in Silesia.

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A FEW WORDS ABOUT THE STATUES OF THE MADONNA

in Cracow, an outstanding piece of Zackenstil, which appeared in the Cracow community around the year 1500.

A FEW WORDS ABOUT THE STATUES OF THE MADONNA

Presentations of the Madonna with the moon under Her feet usually refer to the description of the Woman of the Apocalypse from Chapter 12 of the Book of Revelation by St. John the Evangelist.

They serve as a reference to his vision of a Woman clothed in the Sun, with the moon under Her feet, and upon Her head a crown of twelve stars, who gave birth to a son, who was later snatched up to God. Such depiction of the topic is illustrated by sculptures seen in Wąwelno, Ryszewko, Wąbrzeźno, and Papowo Biskupie. Sometimes, the moon at the feet of Mary is replaced with angels. They feature quite different content. The crescent moon becomes a symbolical boundary between the zone of Heaven and Earth, which was crossed by Mary, taken into Heaven by angels. The Child shown in the scene of the Assumption explains the reason of this event – Mary is the Mother of Jesus – Queen of Heaven and Earth. In paintings, this topic is presented descriptively, whereas in sculpture it was reduced and depicted in the form of composition consisting of symbols. The sculptures that reflect the topic of the Assumption can be seen in the Toruń Church of St. James, in Świerczynki and Grzywna.

In terms of iconography, the most prominent sculpture is the frontal statue of the Madonna from the Toruń Church of St. James, slender in the Mannerist style. It was made in a local workshop under the influence of the Master of Madonnas on a Lion, second to none on the described route. Here, the Mother of God is depicted as Queen wearing a crown and a scepter in the right hand. She stands on a halfmoon with a mask of a sleeping man looking down.

Jesus, who rests on the left arm of Mary, holds in both hands a baby pelican pecking Him in a finger.

It is a symbolical figure of Redemption, “washing away” of sins with the blood of Christ and defeating evil trapped under the feet of Mary, Queen of Heaven and Earth, Our Lady of Victory. This sculpture, from among the statues presented in this publication, contains the highest emotional load of symbolical contents related to the history of Salvation.

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A FEW WORDS ABOUT THE STATUES OF THE MADONNA

High altar, church in Lubraniec

In depictions of Mary carrying Child Jesus in Her hands, whether there is any emotional eye contact between the Mother and Son or not, the expression on Mary’s face remains intriguing. The Madonna, usually with the face of a young woman, looks straight ahead or looks at the Child, but we won’t notice the joy of a young mother in this image.

Her face is quiet, serious, lightened with a delicate smile, but she always looks sad. She seems dejected, worried about Her Son, who will die a horrible death on the cross, which is sensed by the mother’s heart. Therefore, Mary’s sad face is an inseparable component symbolizing the Passion of the Christ and the role of Mary in Redemption in images of Mary.

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A FEW WORDS ABOUT THE STATUES OF THE MADONNA

In medieval art, but not only, many contents were conveyed with the use of components with a very extensive range of layers of meaning. Painting provided greater possibilities in this matter. However, painters also managed to convey hidden messages, inserting symbolical components in the hands of figures.

Among the described statues of the Madonna and Child in Dźwierzno, Strzelno, Wąwelno and Wielki Mędromierz, Jesus is presented with a globe in His hands. Many meanings have been ascribed to the globe, but the one placed in the hands of the Infant Jesus is perceived as a symbol of the universe, the eternity of God, His omnipresence and omnipotence.

Pseudo-Dionysius the Areopagite saw also in it an image of God’s love spreading across the universe.

Other sculptures, like the one seen in the church of Nieżywięć and the Museum of Sacred Art in Żnin, the globe in the hands of the Child is replaced with presentation of a goldfinch. This inconspicuous-looking bird, which is a symbol of freedom, blended in the symbolism of Redemption, since goldfinch is a symbol of the Passion, death on the cross and the Resurrection of Jesus Christ. In addition to this layer of meaning, there is a legend that ties the bird with the suffering of Jesus. According to it, a goldfinch was pulling thorns from the crown put on the head of Jesus, and the blood coming from His wounds colored the bird’s feathers around its beak.

A reference to the Passion of the Christ is also the pomegranate fruit, which appears in presentations of the Virgin Mary. Pomegranate is a symbol of the Church, shining through the suffering of Jesus with the magnificent redness (love), which overwhelms crowds of those saved by Him in the unity of faith and love. In the same time, the pomegranate fruit, in its layer of meaning, refers directly to Mary, symbolizing Her beauty and many virtues. During the Middle Ages, it was also perceived as a symbol of infinite attributes and the goodness of God. The pomegranate fruit was put in the hand of the Madonna by artists who made the statues decorating the churches of Gostkowo (an added cross), Orzechowo and Toruń (Church of Sts. Johns).

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Traveling the route of the Gothic statues of Mary, we will notice the repeating pattern of clothes worn by figures. In the case of the Madonna, we can see predominant, timeless costume consisting of a long dress, a full-length or knee-length coat and a maphorion, a garment covering the head. This latter component seems to be omitted in depictions of Mary as a girl. In Late Gothic presentations it seems that sometimes Mary wears a fashionable dress. It reflects design or finish components typical of the time, in which an artwork had been made.

Woodcarvers, in order to highlight that Saint Mary is the Queen of Heathen and Earth, depicted Her in a noble or royal crown; sometimes the crown was in a shape reminding crowning of a fortified wall with crenellation (so-called corona muralis). The crowns on the heads of Mary and Jesus symbolized power, authority and triumph. When a statue was decorated with additional crowns, they meant the worship of the statue. The crowns included noble metal crowns (open), but mainly royal crowns (closed, arched, and finished with a cross). The custom of crowning miraculous images was popularized at the turn of the 18th century. Its special variety was coronation with the use of papal crowns, signifying the status of a shrine with a wider than regional range. In Kujawsko-Pomorskie Voivodeship such coronation took place in Skępe. The statue of Our Lady of Skępe received the prestigious papal crowns as the fifth miraculous image within the current boundaries of Poland.

Going back to clothing – in early presentations the Infant Jesus was shown in a long tunic-robe, which was later partially covered with drapery,

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A FEW WORDS ABOUT THE STATUES OF THE MADONNA

In terms of iconography, a separate example is the statue of the Virgin Mary, the Humble Servant of the Lord from Skępe. There is also an interesting sculpture in Markowice made in a Silesian workshop, which initially was depicting Mary and Child Jesus in a rare presentation as a bust. The statue was enlarged to a full size only in 1948.

A FEW WORDS ABOUT THE STATUES OF THE MADONNA

The Madonna in the church of Sławsk Wielki

a folded fabric, followed by depictions of Jesus without clothes. The dead body of Jesus lying on Mary’s knees in presentations of the Pietà has His hips covered by perizoma, a loincloth with a ranging width of fabric.

In addition to the artworks described in the guide, in some churches of Kujawsko-Pomorskie Voivodeship there are preserved Gothic sculpted Passion groups featured on rood beams. They feature statues of Our Lady of Sorrows, standing under the cross on the left side and St. John the Evangelist, from the right. They can be seen in Gąsawa, Straszewo, Siedlimowo, Kruszwica, and Kamieniec.

When you stay in Kujawsko-Pomorskie Voivodeship, we recommend trips to the sites, where you can find traces of spiritual and material heritage dating back to the Gothic period. Gothic sculpture enthusiasts are invited to museums that feature some statues moved from places of worship of Kujawsko-Pomorskie Voivodeship to their collections.

They include sculptures from several churches of Toruń – Sts. Johns (Our Lady of Sorrows, ca.

1330–1350), Gostkowo (Our Lady of Sorrows, 4th quarter of the 14th c.) – District Museum in Toruń; Chełmno (Pietà, 1st half of the 15th c.) – Diocesan Museum in Toruń; Kościeszki (Our Lady of Sorrows,

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Unfortunately, certain historic events and human recklessness made that some of this charming heritage disappeared. Many statues were destroyed in fires, which consumed churches over the centuries.

Some of them disappeared, like the Beautiful Madonna of Toruń or the Virgin Mary and Child from Linowo Królewskie, Przysiersk, Wielkie Radowiska, Żmijewo, and maybe there are still some waiting to be discovered.

In the meantime, we invite you to the route, to visit the Gothic statues of Our Lady, discover the charming sacred architecture and interior design in places of worship in Kujawsko-Pomorskie Voivodeship.

Bogna Derkowska-Kostkowska

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A FEW WORDS ABOUT THE STATUES OF THE MADONNA

early 16th c.) – Archdiocesan Museum in Gniezno; Orle (Madonna Enthroned, ca. 1370), Włocławek (Madonna and Child, ca. 1420–1430) – Włocławek Diocesan Museum; Chełmża (Madonna in a radiating glory, 1510–1520), Gronowo (Madonna and Child, 1500–1525), Koronowo (Madonna and Child, early 16th c.), Kurkocin (Madonna Enthroned, ca. mid-14th c.), Łążyn (Virgin Mary and Child, ca. 1420), Niedźwiedź (Pietà, ca. 1410), Radzyń Chełmiński (Madonna and Child, 1500–1525) – Diocesan Museum in Pelplin (outside the described region, but with a rare collection of Gothic sculptures). On the other hand, the statue from the church of Samoklęski Duże (Church of the Virgin Mary, the Humble Servant of the Lord, 14th /15th c.) was moved to the newly established Diocesan Museum in Bydgoszcz. The statue of Our Lady (ca. 1500) from Boluminek was moved to the chapel of the Seminary of the Diocese of Toruń.

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A FEW WORDS ABOUT THE STATUES OF THE MADONNA

The church in Papowo Biskupie

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A FEW WORDS ABOUT THE STATUES OF THE MADONNA

The Route of Gothic Madonnas in Kujawsko-Pomorskie Voivodeship By inviting you to the tourist route of Gothic Madonnas in Kujawsko-Pomorskie Voivodeship, we offer to you six sample itineraries featuring locations with the statues of Our Lady described in this guide. They were planned as one- or twoday trips by car or bicycle. While on the route, you will have an opportunity to visit Kuyavia, Krajna in Wielkopolska, Pałuki, the Chełmno Land and Dobrzyń Land, as well as the northeast edge of Eastern (Gdańsk) Pomerania. We also encourage you to visit places marked as “additional sites,” which are interesting due to their history and unique historic objects featured in them. In the majority of cases, the suggested itineraries start and end in larger towns that offer accommodation. The majority of sites can be easily accessed by public transport.

1st itinerary:

“The Shrines of the Dobrzyń Land” Type of trip: one-day trip Type of route: motor road or biking trail Length of route: 90 km  Program: First day – Włocławek – Skępe – Obory – Szafarnia (additional site) – Golub-Dobrzyń

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2nd itinerary:

“Three Lands in One Day – Kuyavia – Pomerania – Krajna” Type of trip: one-day trip Type of route: motor road Length of route: 260 km

3rd itinerary:

“From Kuyavia to Pałuki” Type of trip: two-day trip Type of route: motor road Length of route: 120 km + 170 km  Program: First day – Włocławek – Grabkowo – Lubraniec – Orle – Piotrków Kujawski – Markowice – Inowrocław Second day – Inowrocław – Sławsk Wielki – Strzelno – Siedlimowo – Ryszewko – Gąsawa (additional site) – Biskupin (additional site) – Żnin – Bydgoszcz

4th itinerary:

“Alongside the Vistula River” Type of trip: two-day trip Type of route: motor road Length of route: 125 km + 120 km  Program: First day – Bydgoszcz – Ostromecko – Czarże – Kijewo Królewskie – Chełmno (additional site) – Wabcz – Gruta – Grudziądz Second day – Grudziądz – Nowe nad Wisłą – Świecie – Topolno (additional site) – Bydgoszcz

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THE ROUTES

 Program: First day – Bydgoszcz – Świecie – Nowe nad Wisłą – Wielki Mędromierz – Więcbork – Wąwelno – Koronowo (additional site) – Bydgoszcz

5th itinerary:

“In the Heart of the Chełmno Land” Type of trip: two-day trip Type of route: motor road or biking trail Length of route: 40 km + 70 km

THE ROUTES

 Program: First day – Toruń – Świerczynki – Gostkowo – Grzywna – Chełmża Second day – Chełmża – Papowo Biskupie – Dźwierzno – Orzechowo – Kowalewo Pomorskie – Wielka Łąka – Toruń

6th itinerary:

“From the Beautiful Madonna to Our Lady of Gypsies” Type of trip: two-day trip Type of route: motor road Length of route: 60 km + 120 km  Program: First day – Toruń – Wielka Łąka – Kowalewo Pomorskie – Wielkie Radowiska – Wąbrzeźno Second day – Wąbrzeźno – Rywałd – Nieżywięć – Lembarg – Brodnica (additional site) – Jastrzębie – Golub-Dobrzyń Krystian Strauss

High altar, the church in Grzywna

31 TR ASY

TUCHOLA

37

SĘPÓLNO KRAJEŃSKIE

ŚWIECIE

30 CHEŁMNO

39 35

11 Mrocza

2

21 NAKŁO N. NOTECIĄ

BYDGOSZCZ

ŻNIN 41

9 INOWROCŁAW 24

15 28

MOGILNO

KUJAWSKO-POMORSKIE VOIVODESHIP

29

R

m ap legen d 1. Chełmża 2. Czarże 3. Dźwierzno 4. Golub-Dobrzyń 5. Gostkowo 6. Grabkowo 7. Gruta 8. Grzywna 9. Inowrocław 10. Jastrzębie 11. Kijewo Królewskie 12. Kowalewo Pomorskie 13. Lembarg 14. Lubraniec

15. Markowice 16. Nieżywięć 17. Nowe 18. Obory 19. Orle 20. Orzechowo 21. Ostromecko 22. Papowo Biskupie 23. Piotrków Kujawski 24. Ryszewko 25. Rywałd 26. Siedlimowo 27. Skępe 28. Sławsk Wielki

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29. Strzelno 30. Świecie 31. Świerczynki 32. Toruń 33. Wabcz 34. Wąbrzeźno 35. Wąwelno 36. Wielka Łąka 37. Wielki Mędromierz 38. Wielkie Radowiska 39. Więcbork 40. Włocławek 41. Żnin

17

GRUDZIĄDZ 7

25

33

13 WĄBRZEŹNO

22

3

1

16

BRODNICA

38

20

10

12

8 31

34

5

4

36

GOLUB-DOBRZYŃ

TORUŃ

RYPIN

32 18

27 ALEKSANDRÓW KUJAWSKI

LIPNO

WŁOCŁAWEK

RADZIEJÓW

23

BRZEŚĆ KUJAWSKI

40

14 19

6

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1. CHEŁMŻA

a town in Toruń County

Cathedral Basilica of the Holy Trinity A statue of the Virgin Mary from the Resurrection Group, featured on the wall at the end of the northern aisle A lyrical image of Mary is part of the Resurrection Group, which consists of the crucifix, the Mother of Jesus and St. John. The polychromed wooden statues are big, about 1.80 meter high, thus we can assume that they were originally placed very high, on the rood beam. They were made in the 1st half of the 15th century. The static sculpture of Our Lady of Sorrows, a mother suffering at the cross is enlivened by movement of the head tilted to the left.

She has an exceptionally beautiful face. An image of quiet dramatism depicted in a grief-stricken figure is magnified by the eyes. It seems that Mary run out of tears to mourn the death of Her Son. A scarf wrapping softly the head, falling down with folds on the chest and held by the Madonna with both of Her hands, reminds the burial shroud, which will be used to wrap the dead body taken from the cross.

Mary wears a dark-red dress and a blue coat, shown in soft folds, covering anatomical details, falling down all the way to the many-sided base. Under the heavily draped fabric we can see an outline of Her right leg, bent in the knee. The author of the Resurrection Group is anonymous, but researchers, due to a unique beauty of the composition call him the Master of the Crucifixion from Chełmża. They also look for similarities with the statues from the

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CHEŁMŻA

workshop of the Beautiful Madonna of Toruń and influences of the Gdańsk workshops operating in the early 15th century. This sculpture is one of the oldest historic objects among the gems of the Chełmża place of worship, which had luckily survived to this day. Its value had already been noticed by museologists in the interwar period, sending the statue to an international exhibition of medieval art in Paris, which was organized in the 1930s.

The Cathedral Basilica of the Holy Trinity is the oldest brick church in the Chełmno Land. Church construction started by the decree of Heidenreich, first bishop of Chełmno on July 22, 1251 as the Cathedral of the Diocese of Chełmno, established in 1243. Completion of construction of the main structure took place in 1359 and the entire church was finished in the 14th century. The cathedral suffered heavy damage during the invasion of the Polish-Lithuanian army in 1422.There was also a destructive fire in 1950. The interior design of the cathedral dates from various periods and represents different styles, starting from Gothic art to the present. These days the church features eleven altars.

The most impressive is the 17-meter high Baroque high altar, funded around 1650 by Bishop Andrzej Leszczyński. In addition to the mentioned Crucifixion Group, the church features a hundred years older Crucifixion Group from the rood beam (with an additional figure of St. Mary Magdalene). Other must-sees in the church include a statue of Christ Carrying the Cross made in the late 16th century, and Rococo sculptures of bishops, St. Stanislaus of Szczepanów and Wojciech Leski dating from the mid-18th century.

Agnieszka Wysocka

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 Contact: Parish of St. Nicholas the Bishop ul. Tumska 14 87-140 Chełmża tel. (56) 675 61 12 e-mail: parafiachelmza@op.pl Website: www.parafiachelmza.pl  Access: The town is located on the main road no. 91 (Toruń – Gdańsk). Access by bus (PKS) and train (PKP).

CHEŁMŻA

 Feasts: February 14 – Feast of St. Valentine First Sunday after Pentecost (Eighth Sunday after Easter) – Feast of the Holy Trinity October 7 – Feast of Our Lady of the Rosary

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2. CZARŻE

a village in Bydgoszcz County

Church of the Nativity of the Blessed Virgin Mary The Pietà in the church, placed on the console on the northern wall of the nave This small, 34-centimeter high group was carved in linden wood, most likely in the first quarter of the 15th century. It is a frontal sculpture.

The slender statue of Mary sits on a profiled bench without backrest. She put her head on the right arm and with great sadness looks at the body of Her Son taken from the cross. Her subtle outlines are highlighted by a softly modeled scarf, flowing to the narrow shoulders of Mary. Her figure is covered by a gilded coat, which drops down with heavy folds, spread on a four-sided pedestal. The sculpture depicting the dead body of Christ is placed stiffly on Mary’s knees. Mary, with Her last ounce of strength, holds the body with Her right hand under His back, holding lightly the left wrist of Jesus. The figure of Christ has marks of the nails and the wound on His side. The gilded perizoma covering the hips of Christ blends with the robe of the Virgin Mary. During the Baroque period, the background of the statue featured five rays of glory, reminding with their simple form the swords of sorrow that symbolically pierced Mary’s heart during the Passion of Her Son. The Gothic Church of Czarże was built in the early 14th century. A steeple was added to it in the 17th century, which unfortunately collapsed. It was rebuilt in the 1970s in the style that did not match

39

the existing structure. Inside the church there are Baroque altars. The most valuable historic objects, in addition to the described Pietà, are the Baroque statue of the Risen Lord and a granite stoup made in the 15th century.

Agnieszka Wysocka

CZARŻE

 Feasts: Sunday before September 8 – Feast of the Nativity of the Blessed Virgin Mary  Contact: Parish of the Nativity of the Blessed Virgin Mary in Czarże ul. Chełmińska 18 86-070 Dąbrowa Chełmińska tel. (52) 364 66 16  Access: The village is located on a local road, east of the regional road no. 550. PKS bus service.

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3. Dźwierzno

a village in Toruń County, in Chełmża Township

Parish Church of the Assumption of the Blessed Virgin Mary Sculpture of the Virgin Mary and Child in the chancel, on the southern wall This half-relief of Mary and Jesus in Her hand is also perceived as bas-relief. Its current form is a result of redoes of the statue, which undoubtedly was deteriorating and was trimmed from the bottom and from the back, repainted and mounted on a wooden board. It was carved in wood and polychromed, distorted with secondary painting. It was made most likely in the early 16th century in a workshop operating in the Chełmno Land, perhaps in Toruń.

The workshop was not known for great art, thus the statue can be distinguished by a certain degree of primitivization, seen for instance in the making of wide hands and simplified modeling of robes.

The Madonna, rigidly upright, is shown in a frontal position, with barely noticeable bending of the left leg. In a gesture of the right hand she embraces the Infant Jesus and holds Him in her arm. In Her left hand, close to her body, Mary holds a cornflower blue coat with a golden trim. It is buttoned up to the neck, but underneath its open parts we can notice a red dress with vertical pleats.

Mary’s face is oval, full, with clear outlines of brow ridges and the chin. An open crown is seen on Her head, featuring also long, dark hair. Jesus with a simplified physique leans His little head slightly to the back, looking up. The Child holds a globe in

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DŹWIERZNO

both hands, which though its symbolism indicates His divine nature.

The origins of this old altar sculpture are not known. It can be assumed that along with the statue of the Virgin and Child with Saint Anne seen in the church it comes from the initial church design. They probably were made in the same workshop.

The origins of the Dźwierzno Parish are linked to the Teutonic Knights who established it in the 13th century. Around 1300 they built a small church in it. The church, built from stones with brick gables, was reconstructed in the 17th century. A steeple was added to it in 1864. Inside the church, which features Baroque décor, we can also find the Renaissance tombstone of Rafał Konopacki, the former owner of the Dźwierzno estate who died in 1589.

In the church, our attention is focused on the high altar with a painting depicting the Transfiguration of Jesus on Mount Tabor. This image, recognized as miraculous, gained indulgences granted by the pope.

Bogna Derkowska-Kostkowska

 Feasts: August 15 – Feast of the Assumption of the Blessed Virgin Mary August 6 or the Sunday that follows – Feast of the Transfiguration of Jesus  Contact: Parish of the Assumption of the Blessed Virgin Mary Dźwierzno 6 87-140 Chełmża tel. (56) 675 98 19  Access: The village is located on the regional road no. 551, it has PKS bus service.

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43

44

4. GOLUB-DOBRZYŃ county seat

Parish Church of St. Catherine of Alexandria (in Golub on the Drwęca River) The Pietà on the high altar (on the screen, a painting depicting the Coronation of the Blessed Virgin Mary by the Holy Trinity dating from the second quarter of the 17th century) The statue of the Pietà, featuring the suffering Virgin Mary with the dead body of Christ resting on Her knees, was made during the 1420s or 1430s, probably in one of the Pomeranian workshops, by an imitator of the Master of Beautiful Madonnas.

It was carved in linden wood and polychromed. In the second half of the 18th century, it was decorated with a silver, repousse dress with silver laces featuring Rococo ornaments. The statue is surrounded with silver, repousse and engraved votive plaques dating from the 17th and 18th centuries, confirming the worship and gratitude of the faithful for graces and miracles ascribed to the statue of the Virgin Mary. The miraculous image was also decorated with crowns at an unspecified time. Originally the Pietà was placed on the altar in the Holy Cross Chapel, but these days it is seen on the high altar of the church. The statue of the Virgin Mary sitting is not very clear, since it is covered with a monolithic silver dress. Her head is slightly tilted with delicate, girlish features and the eyes, full of sorrow look at the dead Christ. Her left hand, emerging from under

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GOLUB-DOBRZYŃ

the dress, touches the golden scarf, maphorion, and the right hand holds the body of Christ lying on Her knees. A disproportionate figure of the dead Jesus features a skinny, battered body with crossed arms and perizoma covering the hips, covered with a silver, beautifully embossed material that depicts the fabric covering the body. The head of the Christ is slightly tilted, featuring a quiet, clear face with the eyes closed, and dark stubble. A crown of thorns is seen on His head to which a silver crown was added in a later period. Over the head of the Virgin Mary a solid silver crown with diadems was placed, finished with a ball and cross, the symbol of the royal reign over the world. The sculpture was slightly restored in 1953, preserving the original character of the composition.

The Gothic Church of St. Catherine of Alexandria was erected slowly on the site of the previous wooden place of worship at the turn of the 14th century. In 1293, the brick chancel was built, which in 1320–1350 was expanded by the nave covered with a wooden ceiling and a massive, six-story defensive tower, which was part of the fortification system of the city. The chancel, maintaining its Gothic style, is reinforced with exterior buttresses, finished with spires. It features a cross vault and keystones with bas-relief sculpture depicting the Virgin Mary, Jesus and God the Father. Over the centuries, the church was damaged many times by fires, plundered and also rebuilt. In 1414, it became a victim of the war and in 1689 its tower was damaged by lightning.

Thanks to the efforts of the then parish priest Szefler it was rebuilt, but this time in the Renaissance style. The church received its current shape in the 19th century. The church interior is mainly in the Baroque style, which best example is the high altar dating from 1640. It presents paintings depicting the Coronation of the Blessed Virgin Mary, St. Catherine and the Annunciation as well as statues of Saints Peter and Paul, Saint Adalbert, Saint Stanislaus, Saint John the Evangelist and Saint John the Baptist.

There is also a Gothic Pietà, which confirms the

46

Piotr Winter

 Feasts: First Sunday of Advent – Feast of St. Catherine September 15 – Feast of Our Lady of Sorrows  Contact: Parish of St. Catherine of Alexandria in Golub ul. Kościelna 11 87-400 Golub-Dobrzyń tel. (56) 683 23 26  Access: It can be accessed by the regional roads no. 534, 554, and 569. It has bus service.

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GOLUB-DOBRZYŃ

importance of Marian devotion. There is a unique sculpture portraying a seven-figure Resurrection Group, placed under the Gothic arch on an ornamental, massive, wavy rood screen. Our attention is also focused on the Baroque baptismal font with a bowl supported by an angel, an ambo and a matroneum in the chapel, with rich woodcarving. A very valuable historic object is the Renaissance tombstone of Krzysztof Kostka, Governor of Pomerania and Starost of Golub, shown as a knight in armor, dating from 1594. Inside the tower, we can find the bell funded in 1623 by King Sigismund III Vasa, brother of Anna Vasa, Starost of Golub.

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5. Gostkowo

a village in Toruń County, Łysomice Township

Parish Church of the Assumption of the Blessed Virgin Mary A statue of the Virgin Mary and Child in the central niche of the high altar This statue, carved most likely in linden wood, polychromed and gilded, was made around 1420, probably by one of the Toruń woodcarvers. The Beautiful Madonna of Gostkowo is depicted in a graceful shape of the letter “S,” bending lightly Her right leg. She holds the Infant Jesus in Her left hand who sits on Her hip. Mary is dressed in heavily draped golden attire, consisting of a long dress flowing down to the base and the coat that goes down in arched folds to the knees. The outerwear is so lavish that it covers anatomical details of the figure. A top of the right shoe is seen from under the edge of the coat. Madonna’s head is decorated with the royal crown, under which we can notice a delicate maphorion, covering the dark hair. Mary holds a pomegranate fruit in the right hand, at the shoulder height, which undoubtedly was changed, by adding a cross, into the globus cruciger (cross-bearing orb). The youthful face of the Virgin Mary, full of internal sorrow, predicting the future suffering of Her Son, remains related to the pomegranate fruit symbolizing the Passion of the Christ. The pensive little Jesus, the Ruler of the World, has his legs crossed and sits proudly, a crown on the head and the globus cruciger on the left side. His right hand rests on the neckline of His Mother, pointing Her as the Queen of Heaven and Earth.

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GOSTKOWO

The local stone and brick church was built at the turn of the 14th century. In 1928, it was expanded by a tower added to it.

In its interior there are several Gothic artworks, including the Crucifixion Group on the rood screen, comprising a crucifix dating from the mid-14th century, statues of the Virgin Mary and St. John the Evangelist made around 1400, and a sculpture of St. Benno (?) from around 1500. In addition, there are many objects of Baroque décor dating from the first half of the 18th century, a Regency-style baptismal font and a Rococo ambo.

Bogna Derkowska-Kostkowska

 Feasts: August 15 – Feast of the Assumption of the Blessed Virgin Mary  Contact: Parish of the Assumption of the Blessed Virgin Mary Gostkowo 24 87-148 Łysomice tel. (56) 678 44 36  Access: The village is situated at the crossing of the regional roads no. 646 and 499, in the close proximity to the regional road no. 552. It has PKS bus service.

6. GRABKOWO

A village in Włocławek County, Kowal Township

Parish Church of St. Mary Magdalene A statue of the Virgin Mary and Child, in the parish hall The described wooden statue dates from 1420– 1430. This polychromed, full body sculpture depicts Madonna holding a naked Baby Jesus. The entire composition is made from one piece of wood with the distinctive S-shaped layout. Mary is shown as a young, slenderly built woman, out of proportion.

Her head is too big, slightly tilted to the left and set on a long neck, on the narrow shoulders. Shortened legs are seen from under the robes. The Virgin Mary wears a sweeping dress and a coat fastened at the neckline with a rhomboid brooch. A tall crown is placed on Madonna’s head, with a lightly folded maphorion featured underneath. Mary has an oval face, large forehead and big eyes, looking up, a straight nose and low-set lips. The Child is held by both hands with unnatural lightness, and His body rests on the left hand of Mary, who holds the feet of the Child with Her right hand. Jesus is rather big, but slight built, depicted in a half-sitting position and slightly tilted. He holds the globus cruciger in front of Him. Madonna’s robe fits tight to the shoulders, serving as a background for Child Jesus. In the lower part, folds are adjusted to the body, emphasizing the bends of the left hip and the right leg. The left part of the coat, moved slightly to the right hip, creates a fold. The drapery that falls down creates a V-shaped system of folds. The flattened cascades of the decoratively fastened robe fall from Mary’s

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GR ABKOWO

The first information about the parish and indirectly about the wooden church date from 1325.

Another wooden place of worship was built in Grabkowo in the 15th century. The village, until the partitions of Poland, was the property of the Bishops of Włocławek. In 1889, a new, brick, Neogothic church was built on the site that was previously occupied by the wooden church. The church, situated picturesquely among old trees, is surrounded by a brick fence and has a 19th-century belfry. The side altars in the Rococo style that date from the second half of the 18th century come from the old church.

The statue of the Virgin Mary and Child was found in the attic of the old church during the roof remodeling project carried out in 2014. It most likely comes from the original décor of the Grabkowo church, which has not survived.

Krzysztof Bartowski

 Feasts: July 22 or the Sunday that follows – Feast of St. Mary Magdalene August 16 or the Sunday that follows – Feast of St. Roch

 Contact: Parish of St. Mary Magdalene Grabkowo 18 87-820 Kowal tel. (54) 284 22 33  Access: The village is located about 0.5 km west of A1 Highway and 1 km south of the regional road no.

269; it does not have PKS bus service.

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GR ABKOWO

forearms. The dress falls with regular flows from under the coat and spreads on the pedestal in a fan shape. The Baby has a round face, surrounded with rather long hair, featuring a big forehead.

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INOWROCŁAW

7. GRUTA

a village in GrudziÄ…dz County

Church of the Blessed Virgin Mary A statue of the Madonna Enthroned in the church, on the side, northern altar dedicated to Our Lady of the Rosary (a niche with sculpture covered with a screen with a painting of the Adoration of the Woman of the Apocalypse by St. Dominic)

The statue from linden wood, polychromed, dating back to the second half of the 13th century or the early 14th century, was made in the northwest of Europe, possibly in a Pomeranian workshop. It depicts Mary sitting on a low bench covered with a pillow. She is shown in a frontal position, holding the Infant Jesus on Her left knee and a long scepter in the right hand. Her face with a big forehead is surrounded by dark hair, styled in curls, decorated with a narrow diadem, falling down all the way to the waist. The Child, tilted to the right, holds the right hand in the gesture of blessing, holding the globus cruciger in the left hand. The figures do not establish any contact, focusing their attention on the faithful. This statue with simplified modeling is very charming. Inventory reporters surprisingly discovered in 1966 that the medieval sculpture is part of a later feretory. Until the 1970s, the sculpture of the Madonna around which the faithful often gathered and prayed for special intentions was placed in the

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GRUTA

vestibule. It was not taken to the Diocesan Museum in Pelplin, since it was venerated by the local community. In 1971, the sculpture was restored and moved to a more visible place to the side altar.

The statue is located in a Gothic church that has a deep-rooted history. The local parish established by the Teutonic Knights was mentioned in the foundation charter dating from 1282. The present place of worship was erected in the early 14th century. It was significantly damaged during the Polish-Swedish War in the 17th century. The church was restored after 1670 and a steeple was added to it. Its interior décor is uniform, in the Late Baroque style dating from the first quarter of the 18th century.

Agnieszka Wysocka

 Feasts: August 15 – Feast of the Assumption of the Blessed Virgin Mary  Contact: Church of the Blessed Virgin Mary Gruta 284 86-330 Mełno tel. (56) 468 38 32  Access: The village is located on the county road no.

538 and has PKS bus service.

8. Grzywna

a village in Toruń County, Chełmża Township

Parish Church of St. Catherine of Alexandria A statue of the Virgin Mary and Child, in the central field of the reredos Carved in wood, polychromed and gilded statue of the Madonna and Child was made around 1500 by an anonymous master, most likely from Toruń.

Its style combines Late Gothic features, seen in the design of the coat with wrinkled folds typical of the Zackenstil, with a modest attempt of updating, seen in finish of the dress and a certain freedom in positioning Jesus, characteristic of the Renaissance.

The Virgin Mary stands mildly bent, in a small counterpose, resting her right foot on a crescent moon. Madonna’s face is focused, oval in shape, with a big forehead, delicate features, and a lightly pink glow on Her cheeks. She wears a headband and has wavy long dark hair. The metalized costume of the Madonna consists of a red dress with a golden belt and a golden coat fastened under the neck, with a deep blue lining. Mary holds a specter in the right hand at the waist height, whereas the Child sits in Her left forearm, just like the Mother presented in the frontal pose. The Child Jesus with the infant’s physique, with His little legs crossed, tilts slightly to the side. His hips are wrapped in a belt of golden drapery. The right hand of Jesus is raised and touches Mary’s chin in a chin-chuck gesture; He holds the globus cruciger in the left hand. At the feet of the Madonna, near the base, we can notice angels dressed in metalized robes, which carry Her up to heaven. The statue personifies the Blessed Virgin Mary Assumed into Heaven, Queen of Heaven and Earth. The heads of the Virgin and Son are decorated with metal, gilded, royal crowns, which

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GRZYWNA

confirm that the statue of the Virgin Mary and Child of Grzywna was worshipped in the past.

This simple, aisleless church that was built at the turn of the 14th century is one of the oldest sacred buildings in the Chełmno Land. The place of worship has two vestibules – the western vestibule in the Gothic style, which was supposed to serve as foundation of the tower and the southern vestibule added in the Baroque period. The existing tower was constructed in 1906. The church interior was decorated between the 16 th and 18 th centuries; therefore it features Renaissance, Baroque and Gothic décor. Interesting historic objects are seven Gothic reliefs made from glazed terracotta, dating back to the mid-14th century. One of the bas-reliefs depicts the Madonna Enthroned and Infant Jesus on Her knees, whereas the other ones feature images of saints, including St. Catherine and St. Mary Magdalene. They were built in the western gable of the church. These days, after renovation, they are displayed in the nave, close to the chancel. In addition, there is a mysterious medieval bas-relief that shows a two-headed unicorn or deer running in opposite directions.

Bogna Derkowska-Kostkowska

 Feasts: Sunday after November 25 – Feast of St. Catherine of Alexandria Sunday after June 13 – Feast of St. Anthony of Padua  Contact: Parish of St. Catherine of Alexandria Grzywna 108 87-140 Chełmża tel. (56) 675 71 02  Access: The village is located on the regional road no.

589, in the proximity of the main road no. 91.

PKS bus service.

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GRZYWNA

GRZYWNA

9. INOWROCĹ AW county seat

Parish Church of the Holy Name of Mary A statue of the Virgin Mary and Child – The Smiling Madonna, in the apse closing the chancel, on a stone protrusion

This polychromed statue from linden wood was made in a Pomeranian workshop between 1370 and 1380. The Madonna, in a standing pose, in a clear S-shape, is depicted in a frontal position. Her costume, consisting of a silver robe, golden coat and silver maphorion covering her hair, highlights the body position. Jesus sits on the right forearm of Mary. He is depicted in a long, silver tunic, bending in the direction opposite to His Mother. There is no eye contact between Them. The relation between the figures is shown by the way of holding the globus cruciger, which is seen in the hand of the Madonna, whereas the Child holds it in both hands. This way, the Smiling Madonna is classified as a three-handed depiction. The statue can be distinguished by diverse modeling, which is graphic in the face and hair, but in the frontal part, particularly the robe, is more artistic and softer. It is a perfect example of the so-called Madonnas on a lion, a style that developed in the Salzburg area and was popular in the regions of Wielkopolska and Silesia. Everyone can be charmed with the mysterious, perhaps archaic smile of the Virgin Mary looking out.

The statue was surely a part of the reredos. It could belong to the central part of the greater altar

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of the Blessed Virgin Mary, mentioned in 1585.

However, the circumstances of its arrival to the church are unknown, but it had been reported since the early 16th century. The history of the veneration of the statue of the Virgin Mary and Child is also unknown. It had to be very active in the past, since the gold, Rococo crowns were put on the heads of Mary and Jesus in the 18th century. The statue of the Smiling Madonna was twice miraculously saved from disasters, which damaged Her church. First, in 1779, when the chancel wall and vault collapsed, crushing the high altar with the statue of Mary, and in 1834 from conflagration.

These days, when the forgotten devotion was reactivated after decades, Madonna’s crown was restored and a new crown was donated to the Child thanks to the generosity of the local parishioners and supporters of the church. The re-coronation ceremony of the miraculous statue of the Smiling Madonna of Inowrocław was performed by Metropolitan Bishop of Gniezno, Archbishop Henryk Muszyński on September 12, 2000. Six years later, in May 2006, pilgrims from Inowrocław gave a replica of the statue to Pope Benedict XVI. In the end of the 12th century, the first parish church was established in Inowrocław, which was completed in the beginning of the next century.

The Romanesque structure was built from granite rocks, as an aisleless church preceded with a twin-tower western building, closed with a shallow chancel with an apse. In the 15th century and the 18th century the place of worship was reconstructed and expanded. Unfortunately, in 1816, due to cracked walls the church was closed down. In 1834, it was consumed by a horrific fire and fell into ruin. The term “ruin” was ascribed to the church, which in 1901–1902 was reconstructed thanks to the efforts of the Rev. Antoni Laubitz, according to the design by the Prussian Conservator-Restorer Juliusz Kothe. Further restoration works were conducted in the 1950s. In its austere interior, in the apse of the stately church the statue

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of the Virgin Mary and Child occupies a prominent place.

Bogna Derkowska-Kostkowska

 Contact: Parish of the Holy Name of Mary ul. bpa Antoniego Laubitza 9 88-100 Inowrocław tel. (52) 357 31 31 e-mail: bazylika@imienia.pl Website: www.imienia.pl  Access: The town is located on the main roads no. 15 and 25, and the regional road no. 252; it has a railway station, PKS bus service and public transport.

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 Feasts: September 12 – Feast of the Holy Name of Mary

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10. JASTRZĘBIE

a village in Brodnica County, Bartniczka Township

Parish Church of the Visitation of the Blessed Virgin Mary and Bl. Priest Stefan Wincenty Frelichowski A statue of the Virgin Mary, in the chancel, on the left-side wall This statue of the Virgin Mary dates from the second half of the 15th century. It is a polychromed half-relief with the cut, flat back. The figure of the Madonna is depicted in a frontal, static, upright position, with her arms down and hands placed together on the stomach. Mary is shown as a mature woman, wearing a long dress with long, loose sleeves, with a shallow neckline, draped around under the chest, and a coat, tossed on the head and falling down. The robes are lightly folded, but the sleeves are densely and laterally folded, draped in the lower part in loose flows, falling down vertically to the base. The coat on the head and arms fits loosely to the figure and falls freely to the back, its left side is held in Mary’s hands, from which it falls with a short, cascaded festoon. The face of Mary is painted white and the coat is shown in the dark-blue color.

The oldest information about the village dates from 1239. The local parish was founded in the early 14th century, which became the property of the Bishops of Płock in 1325. During the war with the Teutonic Knights in 1414 the church was damaged.

In the late 14th century the village was owned by the Teutonic Knights for a brief period. After the

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Peace of Toruń in 1466, Jastrzębie returned to the Bishops of Płock. Information about the wooden Church of St. Leonard comes from 1618. Another, also wooden church was built in 1682. In 1700, the church was consecrated and dedicated to the Blessed Virgin Mary in the Mystery of the Visitation to St. Elizabeth and Saint Leonard, the Abbot. In 1821, the parish of Jastrzębie was incorporated to the Diocese of Chełmno and the present church was built in that year. In 1992, the parish became part of the Diocese of Toruń.

This wooden church, built as a log building, faces the east. From the west, a square, tall tower is built in the nave, to which a brick vestibule with an imitation of wattle and daub was added in 1960.

The church interior features a flat, polychromed ceiling built in 1858. The church had undergone remodeling and renovation projects in the second half of the 19th century as well as the 1920s and 1960s. A comprehensive renovation of the church was performed in the 1990s.

Near the church there is a wooden belfry dating from the second half of the 19 th century, in which a Late Gothic bell was mounted in 1510.

Krzysztof Bartowski

 Feasts: February 23 – Feast of Bl. Stefan Wincenty Frelichowski Sunday after July 2 – Feast of the Visitation of the Blessed Virgin Mary

 Contact: Parish of the Visitation of the Blessed Virgin Mary and Bl. Priest Stefan Wincenty Frelichowski Jastrzębie 7 87-322 Jastrzębie tel. (56) 495 58 02, 692 702 421  Access: The village is located about 2.5 km south of the regional road no. 544; it does not have PKS bus service.

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11. KIJEWO KRÓLEWSKIE a village in Chełmno County

Parish Church of St. Lawrence The Pietà, in the nave niche

This polychromed and gilded statue was carved in linden wood in one of the workshops of the Chełmno Land in 1380–1390. It depicts a dramatic scene with the Virgin Mary sitting in a frontal position, in great pain, holding the half-naked dead body of Jesus on Her knees. Mary’s face, full of expression, with delicate, regular features and dark hair covered by a white maphorion with a golden trim falling to the chest, is turned to Her Son. Her body is covered with a heavily draped, light blue coat with a golden trim, flowing down with cascades of soft, thick folds, unveiling in lower parts the dark red, densely folded dress. Her right hand holds the body of the Christ and the left hand rests on His hips. The drama of the scene is enhanced by the skinny, stiff body of the lying Jesus, with His stretched and straight arms, with the visible bloody wounds on the chest, feet and hands. He has a dark-skin, long and expressive face, with His eyes half-closed, dark stubble, and a dark-green crown of thorns on the head. The white perizoma, highlighted with a gold trim, is tied around the hips.

The entire composition is in the type of the Gothic Pietà, popularized since the early 14th century in Europe, maintained in the local style.

The aisleless, brick and stone Gothic church was built in the late 13th century or the early 14th century.

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Piotr Winter

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It has survived in its essential shape to this day, but it possibly replaced the previous wooden structure.

It is certain that starting from 1647 the church has been dedicated to St. Lawrence. Historic records dating from 1277 mention parish priest Henryk Sonenberg, determining the origins of the local parish. In that time, at least part of the village and the surrounding estates belonged to the Cistercian Nuns of Chełmno. In the 15th century, the Kijewo estates became the property of the Holy Ghost Hospital in Chełmno. In 1452, they were transferred to the Commander of Starogród. The church was seriously damaged by a fire in 1616, which is documented by a plaque mentioning this event. The church was rebuilt, consecrated and restored to its functions only in 1674 after another conflagration during the Swedish Deluge by the Dominican Friars of Chełmno, who took over the church in 1645. In that time, a new chancel was added to the previous one and the sacristy was raised. The wooden steeple was added in 1704 (it can be confirmed by a metal vane with that date). The next restoration and remodeling of the church took place in 1900. Several objects from the old interior design have been preserved to this day, the most valuable of which, in addition to the presented Pietà include a sculpture of the Virgin Mary and Child dating from 1420–1430 and the Late Gothic Resurrection Group from the first half of the 16th century. Our attention is also focused on the Late Baroque high altar with paintings depicting St. Lawrence, which constituted the original finial of the altar in the Dominican Church of Chełmno (since the Dominican Friars rebuilt the church in Kijewo). There are also two statues of an unknown pope and bishop dating from the turn of the 19th century and two Baroque cartouches from the 18th century. In the western part of the church, just near the tower, there is an organ made in 1910 at the Neoclassicist organ front, thus the Pietà is the most valuable object in the church.

KIJEWO KRÓLEWSKIE

 Feasts: Sunday before August 10 – Feast of St. Lawrence Sunday within the Octave of Corpus Christi – Feast of St. Roch  Contact: Parish of St. Lawrence ul. św. Wawrzyńca 8 86-253 Kijewo Królewskie tel. (56) 686 70 39  Access: Access to the main road no. 91 and the regional road no. 550, and further by township roads.

12. KIJEWO KRÓLEWSKIE a village in Chełmno County

Parish Church of St. Lawrence A statue of the Virgin Mary and Child, feretory This statue of the Virgin Mary holding the little Jesus, carved from linden wood, polychromed and gilded, was made in 1420–1430 in a workshop referring to the best patterns of Gothic art representing the Beautiful Style and features of the Master of Beautiful Madonnas, distinguished by the far-reaching idealization, lyricism and courtly elegance. Another important characteristic is the tender, close relation between the Virgin Mary and Child. The statue shows Mary in a frontal position, in a light counterpose, girlish, of slender proportions.

She has a shapely, oval head with regular, delicate features, with lips in a half-smile, the head slightly titled to the left, and the eyes looking straight ahead.

The dark hair is covered with a gilded maphorion, falling down with thick, smooth flows of cascading folds to the sides and back. The S-shaped body is covered with heavily draped cloth and a dress with delicate and crisp folds that are decidedly decorative. The hands coming from under the folds hold the naked body of the little, light-skin Jesus, who sits in a half-lying position on the left arm of Mary, turning his head and eyes to the side. His features are expressive, the face is oval, and even chubby. In his hand, He holds the orb and cross, which is gilded. The sculpture is mounted on the wooden, profiled many times, rectangular pedestal with right-angled openings from the front for rods,

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making possible moving of the statue; it serves as a feretory in the Parish Church of St. Lawrence of Kijewo Królewskie. It is one of these devotional presentations that frequently are independent of liturgical space. It is not known where this type of figure of Mary and Child originated; most likely in Bohemia, from where it had spread across Europe.

Information about the church, feasts, contact and access – catalog position no. 11.

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Piotr Winter

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13. KOWALEWO POMORSKIE

a town in Golub-Dobrzyń County

Parish Church of St. Nicholas, the Bishop A statue of the Virgin Mary and Child, in the central field of the high altar, behind a screen with a painting of the Virgin Mary and Child

This statue carved in linden wood, dating back to the late 14th century, depicts the Virgin Mary in a crown and Child in Her left hand with a richly decorated royal specter in the right hand. The statue of Mary is slightly bent, which gives Her a lightly outlined S-shape. The Madonna wears a golden dress with sleeves, wrapped in a light, golden coat with a green lining. The green color can symbolize the hope for salvation, purity and humility. Her face, surrounded by light, shoulder-length hair, emanates tranquility. The cheerful mood of Mary emphasizes Her uncommon beauty, reflected by Her big eyes looking straight ahead, dark eyebrows, a narrow, straight nose, and finally a discrete smile on the delicate, red lips. With Her beauty, grace and elegance She looks like an international lady, coveted by medieval poets. The beauty of the Madonna does not match the little face of the chubby, naked Baby Jesus, featuring simple, light hair, who holds the right hand in the gesture of blessing, holding the golden globus cruciger in the left hand. Both figures have natural complexion.

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It is not known who made the artwork and where it was made (perhaps in a sculpture workshop of nearby Toruń). It is also possible that the statue comes from the Castle of the Teutonic Order in Kowalewo (later owned by the starost),which was destroyed during the Swedish deluge, since the Castle Chapel features two unspecified Gothic images of Mary. Regardless of what happened, in the 18th century the described statue was for sure in the Kowalewo church. It was worshipped in the local church, which in the second half of the mentioned century led to the parish coronation of Mary and Child and their decoration with a Rococo silver robe.

This robe, gilded crowns and the specter were robbed by thieves who in 1982 broke to the Kowalewo church. They took the statue out of town and threw it away, damaging the left hand of Infant Jesus.

The statue was found quickly, but only in 1995 it had undergone restoration that took several months in order to fill the missing parts and restore it to its original appearance. After renovation and placing of new crowns the statue returned to its original place in the niche of the high altar. What’s interesting, Marian devotion has been rediscovered and is alive, which ironically resulted from the theft that took place over thirty years ago.

The parish was funded by the Teutonic Order, which was most likely concurrent with the chartering of the town around 1275. This brick, hall parish church, which has survived to this day, was built most likely in the beginning of the 14th century. In the second half of the 14th century or the early 15th century the building was expanded by two spans.

At the turn of the 18th century it was thoroughly renovated, which led to Baroquization of the church interior, extension of the tower over the Gothic western gable, and adding a chapel to the southern wall.

The place of worship, which is unique, occupies the northwest frontage of the market square. The church décor dates primarily from the 17th and 18th centuries. The Baroque high altar, decorated with the described statues, was made around 1700. The

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niche for Our Lady of Kowalewo was established in a frame with fifteen painted medallions depicting the Mysteries of the Rosary. The statue is covered by a screen featuring an oil painting of the Virgin Mary and Child made in the 19th century.

 Feasts: December 6 or the Sunday that follows – Feast of St. Nicholas July 26 or the Sunday that follows – Feast of St. Anne  Contact: Parish of St. Nicholas, the Bishop Plac 700-lecia 24 87-410 Kowalewo Pomorskie tel. (56) 684 20 35 Website: www.parafia.kowalewopomorskie.pl  Access: The town is located on the main road no. 15 and the regional road no. 554. There is a railway station and PKS bust stop.

KOWALEWO POMORSKIE

Lech Łbik

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14. LEMBARG

a village in Brodnica County

Church of Saints Peter and Paul A statue of the Virgin Mary and Child, on the high altar (placed on the console, sometimes it is covered with a screen depicting Jesus Christ and St. Peter)

This wooden statue portraying the Virgin Mary holding the Infant Jesus in Her left arm was made in 1520–1530. The figures wear robes with gold thread embroidery and a purple lining; their heads feature closed crowns finished with even-armed crosses, set in balls, made most likely in a goldsmith’s workshop from Toruń in the late 18th century. Such decoration of the statue along with votive offerings hung around it confirms that it was worshipped in the past. Elegant robes cover carefully all details of the figure.

If we would remove them, we would see the Virgin Mary standing in a graceful counterpose. Her head, surrounded with lightly curled hair, is disproportionately big in relation to the rest of the body. Her face is emotionless, she looks like She is in a deep thought. Mary wears a lavish, gilded coat that flows with soft folds all the way to the base. In Her right, outstretched hand Mary holds a scepter, presenting in Her left forearm the naked Baby Jesus. The little Jesus looks far to the right, resting His right hand on Mary’s neck, holding the globus cruciger in his left hand, and crossing his legs with the left leg placed freely on the right leg.

The history of the parish in Lembarg dates back to the early 14th century. During the so-called

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Hunger War in 1414 and the Thirteen Years’ War (1454–1466) the church was seriously damaged.

In the end of the 15th century and the early 16th century it was rebuilt and once again consecrated in 1507. The Gothic church is distinguished by a quadrilateral tower added from the west. The vault and the western wall feature polychromy painted by Stanisław Cichoniowski of Chełmno in 1700.

LEMBARG

Agnieszka Wysocka

 Feasts: June 29 – Feast of Saints Peter and Paul Sunday after November 2 – Feast of Our Lady of Perpetual Help  Contact: Parish of Saints Peter and Paul Lembarg 18 87-330 Jabłonowo Pomorskie tel. (56) 498 08 23  Access: The village is located about1 km west of the regional road no. 543.It has PKS bus service.

15. LUBRANIEC

a town in Włocławek County

Parish Church of Our Lady of the Scapular A statue of the Virgin Mary and Child, on the tabernacle of the high altar This statue made in linden wood, dates from the early 16th century (ca. 1520), flattened in the back, mounted on the wall, designed for frontal viewing. It depicts the Virgin Mary and Child in Her left arm. The Madonna wears a beige robe with narrow shoulder straps and a full-length, blue dress with sleeves, which is a low cut and high waist robe, marked with a belt over the waist. The dress is covered with a carelessly tossed, big, red coat with crisp folds, thrown over the left arm of the Madonna and supported by the right arm. The head of the girlish figure of Mary is too big compared with the whole slender body, slightly tilted to the left shoulder. She has an oval and ruddy face, an outlined chin, beautiful lips, a simple nose, shapely eyes, and dark, curly hair falling to the back. The naked, chubby Infant Jesus has dark, short hair and a cheerful, ruddy face. His right hand is raised in the gesture of blessing, and He holds His left arm, bent in the elbow, on the side, over his left leg. Both figures have natural complexion.

Under Mary’s feet we can notice a half-moon with a face of an elderly man. Most likely it was gold in the past and now is in a shade of red. Its presence corresponds with description of the Woman of the Apocalypse from Chapter 12 of the Book of Revelation by St. John the Evangelist. The Woman was clothed in the Sun, with the moon under Her

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The local parish church, undoubtedly wooden, had already existed for some time in 1325. Another brick building was erected in 1495–1497 from the funds of the wealthy and influential owner of Lubraniec, Grzegorz Lubrański. Lubrański brought to the area the Canons Regular of St. Augustine, who had administered the parish until their order was disbanded in 1819. The present church, which stands on the site of the previous Late Gothic structure, utilized some of the old walls and was built in the Neogothic style in 1905–1906, designed by architect Tomasz Pajzderski. It is an aisleless church, featuring a straight, closed chancel, a transept and a soaring steeple from the west. Its interior design dates primarily from the first half of the 20th century.

Its décor contains single objects from the previous place of worship, including the Gothic foundation plaque made from stone with the date 1497, commemorating its erection (the majority of historic

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feet, and upon Her head a crown of twelve stars, who gave birth to a son, who was later snatched up to God. John’s vision was reduced in the Lubraniec sculpture to a peculiar, personified moon. Certain contents are also conveyed by the colors of the costume, where the light blue symbolizes Heaven and spiritual faith, and the red means love and royal majesty.

The Lubraniec statue differs from other Marian images over lack of royal insignia, such as crown, scepter and globus cruciger, which raise the Mother and Son to the dignity of the rulers of Earth and Heaven. What’s more, the local Madonna does not wear timeless, royal robes, but is dressed in a costume that corresponds with fashion popular in Late Gothic and Early Renaissance periods. In applies in particular to the Renaissance robe, which could be worn proudly by an affluent townswoman from a big city aware of latest trends. It is not known who made the described statue and where, but exaggeration of the human figure of the Madonna and certain roughness indicate a provincial sculpture workshop, perhaps local – from Kuyavia or Wielkopolska.

LUBR ANIEC

objects from the demolished church are displayed in the Parish Museum, situated on the floor of the northern addition, near the chancel).

On the right side altar, our attention is focused on the modern painting of St. Joseph and Child, which was worshipped in the past, thoroughly repainted in the 19th century. It features a Baroque, silver robe from the early 18th century, to which Rococo crowns were added in the middle of that century. The high altar, with the described statue of Mary, contains a sculpted scene of the Baptism of Jesus in the Jordan in the central area.

Lubraniec has different names of the parish (St. John the Baptist) and its present parish church (Our Lady of the Scapular). The earlier church was just like the parish dedicated to St. John the Baptist.

Lech Łbik

 Feasts: March 19 – Feast of St. Joseph June 24 – Feast of St. John the Baptist July 16 or the Sunday that follows – Feast of Our Lady of the Scapular  Contact: Parish of Our Lady of the Scapular ul. Świętego Józefa 2 87-890 Lubraniec tel. (54) 286 20 64 Website: www.parafia-lubraniec.pl  Access: The town is located on the regional road no. 270. It has a PKS bus stop.

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16. MARKOWICE a village in Mogilno County

Church and Monastery of the Oblates of the Visitation of the Blessed Virgin Mary.

Shrine of the Blessed Virgin Mary, Queen of Love and Peace, Our Lady of Kuyavia in Markowice – basilica minor A statue of the Madonna and Child, in the church, on the high altar (central field, covered with a screen with a painting of the Madonna Enthroned and Child) The slender figure of the Virgin Mary and Child, carved in linden wood and polychromed, was made in a Silesian workshop in 1470–1480. It depicts a young, dark-hair Mary and Child held in Her left forearm.

She holds a specter in the right hand. The little child turns to the front, holding the globus cruciger in the left hand, resting His right hand on Madonna’s breast.

The statue can be distinguished by the very long lower body, wearing a heavy, folded, silver robe, featuring the left shoe protruding from underneath. The upper part of the sculpture is original, but the lower part was added by conservator Henryk Kucharski of Poznań in 1948. In the local tradition, it is called the Stubborn Madonna, since it did not want to leave Markowice.

Before the statue of the Madonna and Child appeared in the central field of the Rococo high altar in the Markowice Church, it traveled a long journey.

This charming statue was carved in linden wood by

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an unknown artist in one of the sculpture workshops of Silesia. It was made in 1470–1480. First, it was placed inside the convent of the Cistercian Nuns of Trzebnica. From there, it was moved to Strzelno, where it decorated an interior of another convent, this time of the Norbertine Sisters. It stayed here until 1630. Unfortunately, it was not a good year. Cholera epidemic swept across Strzelno and its environs. The Sisters loaded to carts their most valuable possessions and run away with their confessor, Fr. Michał Widzyński to Markowice. The priest was supposed to take over the local parish. In the meantime, help had to be given to the sick who looked for consolation, praying to the statue of the petite, smiling Virgin Mary and Child brought by the Norbertine Sisters.

In 1636, the owners of Markowice, Helena and Andrzej Bardzki, funded a wooden chapel for the statue, which started attracting pilgrims. The Bardzkis were very grateful to the Madonna. Their prayers saved their sick daughter Marianna. Several years later, in 1642, the Bardzkis, Marianna of Leszno and Anna nee Rozdrażewski brought the Carmelite Friars to Markowice from the Bydgoszcz Monastery and built a new home for them. Despite the fact that the Norbertine Sisters spared no efforts on bringing the statue back to Strzelno, the Virgin Mary and Child remained in Markowice under the care of the Carmelites. This miraculous site was becoming more and more popular, attracting an increasing number of pilgrims, thus the decision was made to build a new, brick church (1763–1765) and a monastery (1767–1774). The Prussian authorities disbanded the Carmelite Monastery in 1825. Afterwards, it was under pastoral care of the Ludzisko Parish. Flocks of pilgrims continued to arrive to local feasts. After the period of the partitions of Poland, the Missionary Oblates of Mary Immaculate arrived to Markowice in 1921. The Rev. Card. Edmund Dalbor handed over administration of the former Carmelite Monastery and shrine to the friars. The Oblate priests vigorously started the renovation process of the church and monastery, turning Markowice into the cradle of the Polish Oblate Province. Novitiate was also established here.

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During World War II, the Germans, appreciating the value of the historic statue, decided to take it to the Berlin museum. Two Oblate brothers, risking their lives, hid it on the farm of the Roszak family. In this way, it had luckily survived the occupation. In June 1965, the Rev. Card. Stefan Wyszyński performed the coronation of the statue, naming it the Queen of Love and Peace, Our Lady of Kuyavia. In 2013, the seminary finished its activity, the Oblates left this place and the Markowice Shrine was transferred to the Archdiocese of Gniezno.

The deep-rooted history of this site is reminded by the Museum of the Markowice Shrine, which has collections of photographs, paintings, documents, and liturgical vessels.

Every year, pilgrimages from Pakość arrive to Markowice. The first one was organized in the 18th century, when the town was struck by cholera outbreak. The Madonna of Markowice listened to their prayers and since that time residents of Pakość travel to the shrine.

Agnieszka Wysocka

 Feasts: First Sunday of July – the main Feast of the Visitation of the Blessed Virgin Mary Second Sunday of July – Feast of Our Lady, Health of the Sick  Contact: Shrine of the Blessed Virgin Mary Queen of Love and Peace, Our Lady of Kuyavia, Markowice 5, 88-320 Strzelno, tel. (52) 318 17 67 e-mail: sanktuarium@markowice.eu website: www.markowice.eu The Museum is open on Saturday between 10:00 am and 2:00 pm, on Sunday between 10:00 am and 4:00 pm, and on weekdays after previous arrangements by phone – tel. (52) 318 17 64  Access: The village is located on the main road no. 25 and has PKS bus service.

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17. NIEŻYWIĘĆ

a village in Brodnica County, Bobrowo Township

Parish Church of St. John the Baptist A statue of the Virgin Mary and Child, on the high altar The wooden, polychromed statue of the Virgin Mary and Child was made in the early 16th century.

The figure of Madonna is in a standing position, holding the Infant Jesus in Her right, bent arm, holding Jesus’s feet in Her left hand. She is dressed in a long, light blue dress with a shallow neckline.

The purple coat with gilded ornaments covers the shoulders and falls down with a lavish cascade of folds. Her arms are bent and covered with heavily draped sleeves. The Madonna has an oval head, set on a short neck, featuring a face with delicate features. Dark, modeled, hair, hanging down on the shoulders is seen on the sides of the head. A royal gold crown is placed on Mary’s head. The Child, having His face in a light right profile, holds a goldfinch in His hands. The Infant Jesus wears gilded robes and a royal crown on the head.

The parish was most likely founded at the turn of the 14th century, and the church was built in the first half of the 14th century. During the Thirteen Years’ War, just like many other places of worship, the Nieżywięć church was seriously damaged. In 1609, the church was renovated and most likely dedicated to St. John the Baptist. Further renovation works were conducted in the 18th century and in 1882, 1957, and 1964.

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It is an aisleless, Gothic brick building facing the east, featuring a four-story octagonal tower from the west. In its interior, our attention is focused on a magnificent, Regency-style high altar, made after 1730, crowned with a baldachin supported on four detached columns and two columns lifting an entablature and statues of angels.

NIEŻYWIĘĆ

Krzysztof Bartowski

 Feasts: Sunday after June 24 – Feast of the Nativity of St. John the Baptist Sunday after August 29 – Feast of the Martyrdom of St. John the Baptist  Contact: Parish of St. John the Baptist Nieżywięć 31 87-326 Nieżywięć tel. (56) 495 17 19  Access: The village is located about 4 km north of the regional road no. 548, it does not have bus service.

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18. NOWE

a town in Świecie County

Affiliate Church of St. Maximilian Maria Kolbe (former Franciscan church) A statue of Our Lady of Sorrows, on the high altar The statue of the Virgin Mary was made in the late 14th century by an unknown artist, although he undoubtedly was inspired by the Toruń art community, which is seen in the way of shaping the folds and the cascading robes. It was made from linden wood, polychromed and gilded. This full-size, slender figure of Mary is full of harmony and female grace. Our attention is focused on the beautiful, oval face with regular features and a unique expression of surprise in Her look. The silver maphorion that is shown in soft folds covers tightly the head and flows down in a decorative festoon to the chest. The Virgin Mary holds the scarf edge with Her left hand, covering Herself with Her hand turned in the gesture of a fear.

The edges of a gilded coat, clasped on the chest, unveil here and there the dress and cover the entire body of Mary, flowing down with soft, lavish folds, breaking slightly at the base. Great workmanship and attention to detail confirm that the statue was made in one of the best workshops that were active in that period.

The statue comes from the Passion group – the Crucifixion Group, which also included the statue of St. John and the Crucified Jesus. The entire composition was earlier displayed on the rood screen of the church, but it did not represent a uniform style, since

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the sculpture of the Crucifixion was made in the Late Gothic period, around 1520. In can be assumed that the previous sculpture did not survive and was replaced with the present one. In 1983–1985, the church was restored for the first time by a team of conservators from Gdańsk. The polychromy of the sculpture of Our Lady of Sorrows was restored in Toruń in 2012–2014. These days, the Crucifixion Group with the distinct statue of the Madonna can be seen on the altar stone of the high altar.

The Franciscan church of Nowe is a perfect example of medieval architecture in the north of Poland. This church and the nonexistent monastery buildings that joined it from the south were situated in the southeast corner of the town, within the city walls. The best preserved structure is the chancel, closed from three sides, featuring elongated proportions. A crypt from around 1311 is seen under it, which in the past was accessed from its interior.

The Franciscans arrived here in 1282 and in 1542 the church was taken over by the Protestants. In 1581, the monastery returned to the Catholics and was administered by the Bishop of Kuyavia. The empty monastery was finally taken over by the Bernardine Monks who were brought here by Jerzy Konopacki, Castellan of Chełmno in 1604. During that time, three church chapels were built, dedicated to the Immaculate Conception of the Blessed Virgin Mary and St. Francis, and the grave chapel of the Konopacki family, mentioned already in 1604.

During the wars with Sweden in 1627 and 1656, both the monastery and church suffered significant damages. Repair works started as early as 1658.

From the artistic point of view, the most important work of this rebuilding project was building a decorative, wooden ceiling in the chancel. It was adorned with eight bas-relief medallions with Marian scenes, including the Annunciation, the Immaculate Conception, the Nativity of Jesus, the Adoration of the Magi, the Presentation of Jesus at the Temple, the Assumption, the Coronation and the Triumph of Mary. The ceiling was painted by Malthus Scholler.

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Piotr Winter

 Feasts: August 14 – Feast of St. Maximilian Maria Kolbe  Contact: Parish of St. Maximilian Maria Kolbe ul. Krótka 7 86-170 Nowe tel. (52) 332 75 11 e-mail: pnowe@diecezja-pelplin.pl Website: www.parafianowe.pl  Access: The town is located on the main road no. 91; it has PKS bus service.

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Unfortunately, the 19 th century brought destruction to the church and significant changes in its appearance. The Nowe Convent was disbanded in 1823 and in 1838 its buildings were taken over by the Protestant community. The monastery was pulled down in 1844 and the church was changed later into a Protestant place of worship. In 1899, part of the town was consumed by fire, including the former Bernardine Church. All its wooden parts were burnt down and the vault of the nave collapsed under the weight of the falling western gable. Rebuilding, which was conducted in 1899–1902, became an opportunity to implement many new additions (e.g. the tower), maintained in the Neogothic style.

Massive matronea were built in the western span of the nave and the northern aisle. Starting from the 1970s, the place of worship has been serving as an affiliate church of the Parish of St. Matthew, Apostle and Evangelist. The high altar comes from a 16th-century Crucifixion Group taken from the Nowe parish church (Fara).

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19. NOWE

a town in Świecie County

Parish Church of St. Matthew, Apostle and Evangelist The Pietà in the so-called Little Treasury, separated by grating on the right side of the nave, in the chancel The statue depicting the Virgin Mary with the dead Christ in the style of the Pietà was made in the beginning of the 15th century, in a Pomeranian workshop. It was carved in linden wood, painted in full, reflecting the complexion of bodies and the color of robes, delicately gilded in some places and placed on a solid base. What’s interesting, this dramatic scene features no emotional relations between the figures. The focused, clear and worried face of Mary gazes out, not at Christ. The Madonna holds in one hand the lifeless body of Her Son, and in the second, slightly raised, she holds a short sword. Mary’s head is covered with a softly draped maphorion, falling to the back, and the body is wrapped with a tightly fitting coat, which flows down with wide folds and cascades to the base, with a robe seen underneath. The body of Christ, modeled rather schematically, with visible bloody wounds, is covered over the hips with the delicately outlined perizoma. His left hand rests alongside the body, and the right hand falls down inertly. His head is slightly tilted to the back, featuring a crown of thorns with dense, lavish plaits.

Jesus has a long face with thick, dark stubble, clear outlines, and closed, deeply set eyes. The sculpture

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underwent renovation in 1974, which restored and unveiled the original look of the figures, their colors and gilding.

The parish church is the main historic landmark in the picturesque town of Nowe. It is situated in the northwest part of town, in the proximity of an old line of city walls. Its construction continued since the mid-14th century for about a hundred years on the site that was probably occupied previously by a wooden place of worship. Construction works started most likely after chartering of Nowe as a town by the Teutonic Knights, which took place on January 2, 1350. Considering the dates of the Nowe murals, particularly the one depicting St. Christopher, they were completed in the mid-15th century.

Over the centuries, the church was reconstructed many times, but preserved completely its medieval character as a perfect example of Pomeranian Hall Gothic. The stepped buttresses and slender, lancet windows make the structure beautiful, but the main exterior decorations of the church are its three steeples, some of the best examples of Gothic architecture in the north of Poland. There is also a distinctive tower standing on the side. Starting from at least the mid-14th century, the parish has been dedicated to St. Matthew, Apostle and Evangelist. Around the middle of the 16th century, both Nowe churches were taken over by the Lutherans.

According to their tradition, they painted the walls of the Fara Church in white. When in 1822, the last Bernardine monk of Nowe, Fr. Roman Wax died, the Bernardine property was disposed. Several altars and other objects were donated to the Nowe Fara Church. In 1911–1914, it was thoroughly reconstructed to the design of Berlin architect Bäcker. The structure, despite these interferences, has retained its Gothic style, determining the cityscape of this town and giving it a special charm.

During removal of plaster, remains of rich Gothic murals were discovered, depicting saints, Bible characters and Christian symbols, serving as the main ornaments of the church. During the interwar

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period, Władysław Drapiewski made polychromes in the place of worship. The owners of the Kozielec estate (members of the Konojadzki family of the coat of arms of Prawdzic) had their grave crypt in the Nowe Fara Church.

Piotr Winter

 Contact: Parish of St. Matthew, Apostle and Evangelist ul. Krótka 7 86-170 Nowe tel. (52) 332 75 11 e-mail: pnowe@diecezja-pelplin.pl Website: www.parafianowe.pl  Access: The town is located on the main road no. 91; it has PKS bus service.

NOWE

 Feasts: Sunday before or after September 21 – Feast of St. Matthew, Apostle and Evangelist

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20. NOWE

a town in Świecie County

Parish Church of St. Matthew, Apostle and Evangelist The Pietà in the so-called Little Treasury, separated by grating on the right side of the nave, at the chancel (it comes from the old city gate)

The sculpture is made from linden wood, polychromed and gilded, carved in one of the Pomeranian workshops in the first half of the 16th century. The Pietà is a full-body presentation of the Passion, showing a young, girlish Virgin Mary, full of emotions, holding on Her lap the dead body of Christ. The delicate, slender hands of the Mother hold from one side the stiff, dead body of Her Son, holding tenderly His folded hands from the other side. The mild, expressive face of the Mother looks with concern, concentration and sorrow at the lifeless face of the deceased. A distinctive feature of the sculpture in the type of the Pietà is the emotional relation between figures, expressed in gestures and look. Mary’s head is slightly tilted, directed to Her lying Son and covered with a maphorion, falling with folds to the chest. Her body is covered by a coat with a yellow lining and gold trim, shaped in wide, crisp folds with a cascading layout at the bottom. From underneath, we can notice a brown dress and tops of shoes. The naked body of Christ is covered only with white perizoma, with visible traces of bloody wounds. His legs are lifeless, kept

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together, and His hands rest on Mary’s hand, highlighting the close relation between the figures. The head of Jesus, featuring a face with clear features, with the eyes closed is tilted to the back. He has a dark beard and long hair, with a crown of thorns placed on it. The sculpture had survived until the 3rd quarter of the 20 th century as only partially deteriorated object. In 1974, it was renovated. The project included restoration of some of the missing components of the figures, repainting and gilding.

Before the sculpture was moved to the rectory and later to the little treasury, it was standing in a niche situated in one of the city gates. The impressive city walls, encompassing four gates, three wickets and 16 fortified towers, dated from the times of the Teutonic Knights; structures that have survived to this day include a stretch of fortifications that is about 500 meters long and fragments of 13 towers.

Piotr Winter

Information about the church, feasts, contact and access – catalog position no. 19.

21. OBORY

a village in Golub-Dobrzyń County, in Zbójno Township

Carmelite Monastery and Parish Church of the Visitation of the Blessed Virgin Mary Shrine of Our Lady of Sorrows The Pietà, in the central field of the high altar

This statue carved in linden wood with its back hollowed dates from the turn of the 15th century and the first half of the 15th century. It depicts the Virgin Mary sitting, holding on Her lap the battered body of the Christ taken from the Cross. It comes from Bydgoszcz, from the old Carmelite Monastery, founded in 1397–1398. It arrived to Obory situated in the center of the Dobrzyń Land in 1605 with possessions of the Bydgoszcz friars, who were brought to the village by Łukasz and Anna Rudzowski and moved in to the Carmelite Monastery built for them.

Legend has it that the Pietà had already been known as a miraculous statue in Bydgoszcz. Further miracles were ascribed to it in Obory. However, when in 1617 the Carmelite Convent of Obory became fully independent of the Bydgoszcz Order, the brothers from the parent monastery requested the return of the Gothic statue. It led to a dispute, which ended after a decade. During that time, the Pietà returned twice to Bydgoszcz and departed from it twice. The whole thing became legend, according to which

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the statue that was twice taken back to Bydgoszcz, where it was watched over, returned later to Obory without human support.

The Madonna in royal robes dominates in this relatively small image. Her head, which is slightly too big in proportion to the whole body, is covered with a silver veil glimmering with gold, flowing down to the back. The high waist robe in the same color is tied around the chest and heavily ruffled below. The belt and trim of the robe are golden, just like the large, heavily draped coat with a blue lining (gold represents divinity, silver – the purity of Mary, and blue – Her despair). The still young, gracious Madonna leans over the dead Savior. She has a noble, long face with a slightly upturned, prominent nose and clear, half-closed eyes. The Madonna radiates tranquility with an undertone of melancholy in clash with the dignity of death.

Although Christ who lies stiffly across Mary’s lap is a mature, bearded man, he has a body of a slim teenage boy. The face of Jesus is cheerful, like in deep sleep. His head features a modern, metal and gilded crown of thorns. The Mother holds the shoulder and head of Her Son in Her right arm, holding in Her left arm His right leg over the knee, to which the golden loincloth reaches. The hands of the Savior are unnaturally outstretched and placed on the left hand of Mary. His hands, feet and chest feature the bloody nail and lance wounds; and the course of blood that once dripped down is seen on the right leg. It is assumed that the artwork was carved in a provincial workshop of Kuyavia (perhaps Bydgoszcz?) or the Chełmno Land (Toruń?).

It represents a transitional type between the Pietà corpusculum (in free translation “mourning over the child’s body”) and the Pietà depicted by the series of Beautiful Madonnas, distinguished by proper anatomy proportions of Jesus. The purpose of the conscious reduction of the dead Savior was to bring Him back to the size of a child, since many privileges and merits derived from Mary’s divine maternity, including Her participation in the redemptive suffering of Christ.

OBORY

Devotion to Our Lady of Sorrows has for centuries been continued in Obory, which can be confirmed by numerous votive offerings. Due to the growing number of special graces, the heads of the Mother and Son were decorated with silver, gilded crowns in 1747, and nine years later, the figure of Mary was covered for the first time with a Rococo, silver coat (later, several other metal robes were made, which were removed after restoration of the statue in 1971–1972). Starting from the 18th century, the local faithful had spared no efforts on applying for coronation of the image with the papal crowns. It finally took place in 1976, which turned the Obory Shrine from a regional to a national center.

The Obory Monastery, which was initially built from wood, had been consumed by fires many times.

The Baroque structure seen today consists of a three-winged monastery, built along with a tower in 1741–1753, and the related aisleless church with a straight chancel. The church was constructed in two stages; the nave was built in 1642 and the chancel in 1694. The rich Baroque and Rococo décor of the church interior dates primarily from the 18th century. The Pietà was displayed in the niche of the high altar dating from 1696. Several years later, the niche was framed with a silver, elaborately decorated metal sheet. The frame was made most likely from votive offerings which were melted down and used for sure in making of the silver antependium (altar frontal) in 1750.

What’s interesting, in 1996, the Pietà of Obory returned as a replica to Bydgoszcz, where it adorns the Fordon Church of Our Lady, Queen of Martyrs (5 Gen. Mikołaja Bołtucia Street).

Lech Łbik

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 Contact: Carmelite Monastery Obory 38 87-645 Zbójno tel. (54) 280 11 59 e-mail: oprzeor@obory.com.pl Website: www.obory.com.pl  Access: Access from the regional road no. 556 by a local road via Pęcherek or from the regional road no. 557 by a local road via Pinino and Chojno.

PKS bus stop.

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OBORY

 Feasts: March 19 – Feast of St. Joseph May 31 – Feast of the Visitation of the Blessed Virgin Mary July 16 or the Sunday that follows – Feast of Our Lady of the Scapular August 15 – Feast of the Assumption of the Blessed Virgin Mary September 15 or the Sunday that follows – Feast of Our Lady of Sorrows

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High altar, the shrine in Obory, 2006

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22. ORLE

a village in Radziejรณw County

Church of St. Dorothy A statue of the Madonna and Child, in the church, on the high altar (central field) This sculpture carved in linden wood was most likely part of a nonexistent altar, which is indicated by a hollowed backrest. The statue has survived in parts, since its base and lower part are missing. It dates from the early 16th century. Mary, shown in a graceful counterpose, holds the Child in Her left forearm. She holds His feet in a gesture of motherly love. Experts in medieval sculpture point out its similarity to the statue of the Madonna and Child from Strzelno (catalog no. 33). They also assume that it was funded by the Bishop of Kuyavia who administered the church. Until the middle of the 1960s, the statue had been in the church attic and was moved to the church in 1975.

The wooden Church of St. Dorothy was built during the 1770s. It was expanded during the interwar period. In addition to two Gothic statues of the Madonna, there are other 18th-century sculptures as well as an altar and ambo dating from the 19th century.

During World War II, the Nazis kept slave laborers in the church interior.

Agnieszka Wysocka

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 Feasts: Sunday after February 6 – Feast of St. Dorothy Sunday after June 13 – Feast of St. Anthony

ORLE

 Contact: Parish of St. Dorothy Orle 46 87-875 Orle tel. (54) 286 92 11 e-mail: parafia.orle@onet.pl  Access: The village is located on a local road connecting the regional roads no. 270 and 266. It has PKS bus service.

23. Orzechowo

a village in Wąbrzeźno County

Parish Church of St. Mary Magdalene A statue of the Virgin Mary and Child, in the church, on the right side altar of St. Roch, on the right side of the reredos

The statue was carved in the early 16th century, probably in a workshop from the Chełmno Land.

The Madonna of Orzechowo is depicted in a frontal position, in a standing pose, leaning slightly to the back. Her hands are bent in elbows, placed at the level of the waist. The Infant Jesus sits on Her left forearm, in the gesture of presentation, with His head turned to the faithful. A pomegranate fruit that has many meanings is seen in Her right hand.

In the context of the image, it can be perceived as a symbol of the Church, God’s blessing, the love of Mary and Her inner beauty, hidden under the outer layer. The red pomegranate seeds and juice from this fruit, in the distinctive color of blood, announce the martyrdom and death of Her Son. Mary wears a modern, silver robe, tied around the chest, and a skirt with rhythmic folds (which can refer to the style of parallel folds popular in the Swabia and Bavaria?), featuring protruding shoes with pointed toes. A gold cape, lightly draped with the tail held under the right arm, fits close to the body. Mary’s head features a simple crown of a princess, revealing underneath long, dark hair falling on Her back.

The face is full and oval, modeled primitively, show-

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The Parish of Orzechowo was founded in 1274 and in the 14th century a little Gothic church was built from stone with brick gables. During the wars with Sweden, the aisleless church was damaged. In 1685, on the initiative of the Toruń City Council,

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ing distinctive, highly raised brow ridges, a simple nose and the eyes that look at an unspecified space.

The Madonna does not establish any emotional connection with the Child. The body of the Infant Jesus has disproportionate anatomy, His limbs are too short and his thin hands are folded together on the torso. The head, which is too large, was set on a chunky neck, whereas the face, which shows an expression of sadness, does not present any features of a child. The complexion of the figures, which is undoubtedly secondary, is in the dark beige color.

This Late Gothic statue combines features of the Zackenstil, which can be seen a little bit in the coat design, with the Realism, announcing a new period in art.

The initial place of the statue exposition is not known. It is possible that it comes from an old winged altarpiece with the Sacra Conversazione group, which can be indicated by a statue of St. Mary Magdalene that is also seen in the Orzechowo Church, made in a similar style. However, the local tradition points out that the statue of the Virgin Mary comes from nearby ZajÄ…czkowo. It is probable, since a ruin of a 13th-century church can be found in the village, in which the last Holy Mass was celebrated in 1834. Desecularization could have contributed to distribution of the church assets to the nearby places of worship. The sculpture of the Madonna was possibly moved to a new place along with the statue of St. Mary Magdalene. However, taking into account the name of the church, the statues that were made in the same time and in the same workshop were placed in Orzechowo right away or they were connected by the move of Mary.

These days, both statues stand on the sides of a 17th-century altarpiece. Therefore the issue remains an object of speculation and local tradition.

it was rebuilt. The church interior has retained its Baroque and Rococo décor dating from the late 17th century and the 18th century. Decorations also feature earlier, Late Gothic sculptures. In addition, a granite stoup dates from the Middle Ages.

Bogna Derkowska-Kostkowska

ORZECHOWO

 Feasts: July 22 or the Sunday that follows – Feast of St. Mary Magdalene  Contact: Parish of St. Mary Magdalene Orzechowo 17 87-213 Ryńsk tel. (56) 688 50 57  Access: The village is located on the regional road no.

551; it has PKS bus service.

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24. OSTROMECKO a village in Bydgoszcz County

Church of Saints Nicholas the Bishop, Stanislaus, Bishop and Martyr and John the Baptist A statue of the Madonna Enthroned, in the parish hall The statue of Mary sitting, holding the Child on her lap is the oldest historic object in the Ostromecko church. It was carved in such a way that it can be viewed only from the front (it is flat in back with an elongated hollow). The statue was made in the second quarter of the 14th century, but it appeared in Polish art history only in 1965 thanks to an inventory of historic objects performed in Chełmno County. The statue of Ostromecko represents the Early Gothic type of the Madonna Enthroned, which developed in 13th-century France. The Virgin Mary sits on a throne and the Infant Jesus sits on Her left knee. The statues were damaged, but the conservators assumed that Mary was holding a scepter in Her missing right hand, whereas Jesus was outstretching his little hand toward His Mother’s face.

In 2014, the statue had undergone restoration and the missing limbs were added to the figures. The works were performed by a team led by Mirosław Wachowiak of Toruń. Teresa Mroczko, who analyzed the statue in detail, noticed analogies with the carved apostles on the pillars of the Parish Church of the Assumption of the Blessed Virgin Mary in Chełmno. The “Pensive” Madonna and Child from

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The brick church of Ostromecko was built in 1630 –1932 on the site that was previously occupied by a wooden place of worship. This 17th-century structure was funded by the then heir of Ostromecko, Jan Dorpowski of Krowiczyn of the coat of arms of Junosza. The church décor is uniform, in Baroque and Late Baroque styles, completed with a Neobaroque organ front.

Agnieszka Wysocka

 Feasts: May 8 – Feast of St. Stanislaus, Bishop and Martyr December 6 – Feast of St. Saints Nicholas the Bishop  Contact: Parish of Saints Nicholas the Bishop, Stanislaus, Bishop and Martyr and John the Baptist Ostromecko, ul. Parkowa 2 86-070 Dąbrowa Chełmińska tel. 881 064 644 e-mail: parafiaostromecko@o2.pl Website: www.ostromecko.parafia.info.pl  Access: The village is located on the county road no.

551; it has PKS bus service and additionally in the summer season (May – September) MZK public transport bus service from Bydgoszcz has its stop in Ostromecko.

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Ostromecko was made during colonization of the Chełmno Land by the Teutonic Order, when the art, introduced here by talented artists and craftsmen was similar to the movement taking place in that time in the Rhineland, and primarily in Swabia.

25. OSTROMECKO a village in Bydgoszcz County

Church of Saints Nicholas the Bishop, Stanislaus, Bishop and Martyr and John the Baptist The Pietà, in the church, in a niche, on the northern wall of the nave The second treasure from the Middle Ages that is stored in the church of Ostromecko is a wooden, polychromed Gothic Pietà. The statue was supposed to stand with its back to the wall, which can be confirmed by its flattened and hollowed back part. The figures are stiffly modeled, featuring visible anatomical imperfections. The sculptor enlarged the upper body of the Madonna in relation to the diminutive lower part. Mary who sits on a straight, low bench does not look at the battered body of Her Son. She leans to the right and looks ahead. Her schematically modeled face does not express any deeper emotions.

Our attention is focused on Mary’s costume, which was designed with attention to detail. The Virgin Mary wears a headdress worn usually by widows, which was popular in the Middle Ages, knowns as a wimple. A large veil made from white linen covers the neck and sides of Her face. It was tied at the top of head and covered with the second headscarf. In this case, it was a dark blue headscarf with a golden trim. The headscarf matches the color of the robe, draped in heavy folds, flowing to the base. The Christ taken from the cross rests stiffly on Mary’s knees.

The Mother supports Her Son’s head with the right hand and holds the left hand on His chest. This sculpture group was made in the second quarter of the 15th century. The Baroque, gilded openwork and ornamental backrest was made as a background for the statue, most likely in the early 18th century.

Agnieszka Wysocka

Information about the church, feasts, contact and access – catalog position no. 24.

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26. PAPOWO BISKUPIE rural community in Chełmno County

Parish Church of St. Nicholas the Bishop A statue of the Virgin Mary and Child, on the high altar, in the niche The statue of the Virgin Mary and Child dates back to the early 16th century. The wooden, polychromed figure of the Madonna, in a hip-shot position typical of this period, features the left leg moved slightly to the front. The Madonna wears a long robe with a large, square neckline and three silver, little puffs, placed on a narrow, long sleeve. Under the tight corsage, trimmed with frills at the bottom, we can see a finely pleated skirt. A gilded coat with a silver lining is tossed on the dress, flowing down from the left arm of Mary, seen before the figure. Madonna holds its rich drapery with fine folds in fingers of Her left hand. In Her right, bent arm she holds a chubby, naked Baby Jesus, sitting with His profile to the viewer. The Little Jesus, in half-profile, embraces Mary’s neck with His left arm and cuddles His little head to the slender neck of His Mother, holding his right hand in the gesture of blessing. Royal crowns are seen on the Heads of Mary and the Child. Very long, curly, dark brown hair comes from under the crown of the Madonna. The Mother and Child look up. Mary rests Her left foot on a flattened crescent moon with the lunar mask. The statue comes from a winged altarpiece. In the church, there are two more statues from the same altar.

The first records that mention Papowo Biskupie date from 1222, when Gedko, Bishop of Płock gave it

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to Christian, Missionary Bishop of Prussia. Krystian, parish priest of Papowo was mentioned in 1284.

Information about the local parish appeared twice in the first half of the 15th century. In 1466–1505, the village was a crown land of the Kings of Poland, and later donated by King Aleksander Jagiellończyk to the Bishops of Chełmno. The church was restored twice, in 1882 and 1906–1907.

The church of Papowo Biskupie is an example of an aisleless church facing the east, built from stone and brick, with a four-sided tower from the west, featuring a brass bell made in the 14th century. In the 16th century, the village was known for its devotion to St. Hubert. Therefore, around 1590, Piotr Kostka, Bishop of Chełmno allowed to build a chapel dedicated to the patron saint of hunters in the church cemetery. In the following centuries his cult continued, since 43 votive offerings were reported in the chapel in 1754. This chapel collapsed and the side chapel that was added to the church in 1768 was turned to the local Shrine of St. Hubert. An image of St. Hubert dating from 1675 can be seen in it.

In September 1939, the German invader started to damage wayside crosses and statues in the Papowo Parish. Afraid of potential destruction of the church décor, residents of Papowo Biskupie hid some of the decorations in their properties. The valuable statue of the Virgin Mary and Child was hidden in a barn by the local sacristan.

Krzysztof Bartowski

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 Contact: Parish of St. Nicholas the Bishop Papowo Biskupie 14 86-221 Papowo Biskupie tel. (56) 676 81 16 Website: www.parafia.papowobiskupie.pl  Access: The village is located on the regional road no.

91; it has PKS bus service.

Church tower, Papowo Biskupie

PAPOWO BISKUPIE

 Feasts: Sunday after December 6 – Feast of St. Nicholas August 26 – Feast of Our Lady of Częstochowa

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27. PIOTRKÓW KUJAWSKI a town in Radziejów County

Parish Church of St. James the Apostle The Pietà, in the central field of the high altar The statue was carved from linden wood and dates from around 1400. Due to its hollowed back, it has been designated for altar display. It depicts a relatively young Virgin Mary sitting, holding the lifeless body of Christ, taken from the cross. The Madonna wears royal robes. Her head features a white veil with gold trim, which fells over the chest. The costume is completed by the red dress, which color symbolizes the Passion of the Christ. It is covered with a large, golden coat with a light blue lining; the gold symbolizes divinity and the light blue – the despair of Mary. The robes in the feet area are placed in cascades of tubular folds, connected by deep crosswise folds. Madonna’s head is tilted to the right, toward Her Son’s head. Her doll-like, beautiful face, surrounded with carefully styled, braided hair, expresses the pain with Her lightly twisted, narrow lips and forehead tightened, which features a V-shaped wrinkle between the clear eyebrows.

Mary’s knees create a unique throne for Her Son’s body. Mary holds the left hand of Jesus in Her left hand bent in the elbow, whereas Her right hand, placed under His right arm and back holds the deceased in a half-lying position. The head of the Savior is titled lifelessly to the back. The bloody wounds left by the crown of thorns, lance and nails, along with bloodstains coming from wounds are seen on the face with a beard, the neck, the right

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side, arms and legs. The right hand of Christ rests with its elbow on Mary’s knee, whereas the torso, with His visible ribs, is turned to the viewer. His hips are wrapped by a golden loincloth and the legs are stiffly hanging down. Both figures are shown in natural complexion.

The statue can be distinguished by proper body proportions. Due to the way of placing the body of the Savior, it is known as the stepped type of the Pietà, which developed in 14th-century cloisters of the Rhineland. The artwork represents the style of Madonnas on a lion, but it also shows the influence of the style of Beautiful Madonnas that was emerging in the late 14th century. An anonymous artist who made this statue was possibly employed in one of the sculpture workshops of the Prussian State of the Teutonic Knights (from Toruń?).

During the modern times, a silver cross with the letters INRI inscribed on a plaque was mounted in the altar niche behind the Pietà. It also features Arma Christi, known as the Instruments of the Passion, including the Crown of Thorns, the nails, the Holy Lance, the whips, and the Holy Sponge set on a reed, dipped in vinegar. The head of the Virgin Mary features a metal, gilded crown with crossed arches and a cross, whereas the head of Christ is decorated with a metal, gilded crown of thorns. The local devotion to the described statue is also documented by numerous votive offerings in display cases on the chancel walls.

The Piotrków Parish was mentioned for the first time in 1259. It had undoubtedly a wooden church at that time. The present Late Gothic, brick place of worship was erected in the first half of the 16th century as an aisleless structure, with a separated chancel closed from three sides. In 1864, the church was expanded by extension of the nave, construction of a steeple and two Neogothic chapels.

The Baroque high altar with the described Pietà dates from around 1700. Its décor consists of statues depicting Saints Peter and Paul, two angels, a bust of God the Father, and an octagonal painting of the

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Lech Łbik

 Feasts: Friday before Palm Sunday – Feast of Our Lady of Sorrows July 25 – Feast of St. James the Apostle (Greater)  Contact: Parish of St. James the Apostle ul. Świętego Ducha 4 88-230 Piotrków Kujawski tel. (54) 265 40 51 Website: www.diecezja.wloclawek.pl/parafia/piotrkow  Access: The town is located on the regional roads no.

266 and 267. There is a PKS bus stop.

PIOTRKÓW KUJAWSKI

Risen Lord. Our attention is focused on by a small side altar, which arrived to Piotrków from the wooden church of Kaczewo after it was consumed by fire in 1939. The altar fills the expressive statue of the Crucified Jesus, dating most likely from the 17th century, decorated with a metal crown of thorns and a loincloth. The local devotion to this crucifix can be confirmed by votive offerings, including some in the shape of a hand and leg.

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28. RYSZEWKO

a village in Żnin County, Gąsawa Township

Parish Church of St. Mary Magdalene A statue of the Virgin Mary and Child, incorporated to the upper part of the high altar This stately wooden statue, dating back to the early 16th century, depicts the Madonna in a light counterpose. She holds the naked Child in Her left arm and the royal scepter in the right hand.

A crown rests on the head of Mary, recognized as Queen of Heaven and Earth. Long tresses fall to Her shoulders from under the crown. The Madonna has a full face, a large forehead, eyes wide open, a small, slightly upturned nose, small, full lips, and a long neck. The rich attire of Mary consists of a robe with sleeves and a heavy coat, tossed over it, falling with folds to the ground.

The Child Jesus looks cheerful. He outstretches His arms that are bent in elbows, like in a gesture ready for clapping. Perhaps originally He held the orb. His left leg is placed on the right leg. His head is slightly too big. He has a large forehead and short, curly hair. Mary’s robes, crown and scepter are gilded, whereas the bodies and hair of both figures are repainted white in oil paint, which makes quite an unsettling impression. An anonymous artist was coming most likely from one of the Wielkopolska sculpture workshops, perhaps from Poznań.

Ryszewko had for centuries been part of the properties of the Order of Canons Regular in Trzemeszno. The local parish was established in the 13th century, possibly from the funds of the men-

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tioned friars who administered it as local parish priests until their religious order was disbanded in 1836. The aisleless, wooden church, which has survived to this day, features a separated chancel closed from three sides, built around 1780 and consecrated in 1788 (a ridge turret was mounted on the roof in 1860). The detached belfry dates back to 1727.

The present place of worship features many preserved historic objects of sacred artworks which come from earlier churches, undoubtedly built from wood. These historic landmarks represent styles from Gothic to Renaissance, Mannerism, Baroque and Rococo, and objects dating from the 19th century. The Mannerist high altar dates from the first half of the 17th century. It is a triptych, in which the described statue of the Madonna was built in. The central field of the altar is occupied by a 19th-century painting of the Virgin Mary and Child in a copper robe, which along with the votive offerings confirms the local devotion to the image.

The statue of Mary is not the only Late Gothic sculpture in the church, since there are other sculptures and bas-reliefs made in the first half of the 16th century seen in the nave. They depict the Risen Lord and several saints, including Mary Magdalene, Dorothy, Barbara, an unidentified female saint with a book, and Bishops Stanislaus and Adalbert.

Lech Ĺ bik

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 Feasts: July 22 – Feast of St. Mary Magdalene

 Access: The village is located on the local road running from Żnin via Gąsawa and Szelejewo to Ryszewo. It also can be accessed from the main road no. 5 by a local road via Ryszewo. It has a PKS bus stop.

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 Contact: Parish of St. Mary Magdalene Ryszewko 2 88-411 Ryszewko tel. (52) 302 57 29

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29. RYWAŁD

a village in Grudziądz County

Church of the Nativity of the Blessed Virgin Mary and St. Sebastian, Martyr Shrine of Our Lady of Rywałd, Comforter of the Afflicted and Our Lady of Gypsies A statue of the Madonna Enthroned, in the church, on the high altar (the niche with the sculpture is covered with a screen with an 18th-century painting of Our Lady of the Scapular made by Szymon Czechowicz) Our Lady of Rywałd, also known as Our Lady of Gypsies reigns inside the 18th-century church of the Capuchin Friars. It is a wooden, polychromed statue depicting the Madonna sitting on a cushioned throne. She holds the Child on Her left knee to whom She hands over the globus cruciger, on which the Infant Jesus rests both hands. Both figures smile. The group is covered with color polychrome from the turn of the 18th century, featuring also little wigs made from dark hair and large, gold crowns. Starting from the 18th century, the figure has been dressed in a coat with golden embroidery.

According to researchers it was made at the turn of the 15th century and is an example of the Madonna Enthroned classified as the later stage of the Madonna on a lion.

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Its origins are described by a local legend, according to which the statue was carved by a talented, but unknown knight of the Teutonic Order of Holy Mary, from the commandry of Radzyń Chełmiński. Its first seat was the castle chapel. A watchful tourist will notice a niche, in which it supposedly was standing. After some time, the Teutonic Knights placed it in a wooden shrine of Rywałd. The building was too small to fit all pilgrims, so the statue returned to Radzyń Chełmiński, this time to the church. In the late 17th century, the old shrine of Rywałd was replaced by a new, stately structure, which was a new church.

It was funded by Sebastian Czapski, Castellan of Chełmno and owner of Rywałd (thus the name of the church). A miracle, confirmed by the inspector, happened during the church construction. A boy was resurrected when he was brought by his desperate parents before the statue of the Madonna.

Another, this time Baroque reconstruction was performed at the request of Piotr Czapski in 1710.

In 1748, the Capuchin Friars were brought to Rywałd by Bishop Stanisław Leski, and have been administering this place to this day.

Starting from the 1930s, the Virgin Mary and Child from Rywałd is particularly close to the Romani people. In 1930, during a stop of their wagons nearby the monastery, a young Gypsy brought her sick baby to the Madonna. When the child was miraculously healed, his mother, in a spontaneous gesture cut her beautiful braid, from which little wigs were made for the statue. After World War II, in 1949, the Polish Romani arrived to the shrine to thank for saving them from German pogroms and Nazi concentration camps. This event is reminded by a golden heart, a votive offering. The Rev. Card.

Stefan Wyszyński was kept in isolation in Rywałd between September and October 1953. On September 3, 1972, he performed the solemn ceremony of the coronation of the miraculous statue of Our Lady, Comforter of the Afflicted.

The church interior retained its uniform, Late Baroque and Rococo style. Our special attention

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is focused on an 18th-century stoup in the shape of an angel lifting a bowl with a sculpture of St. John the Baptist.

Agnieszka Wysocka

 Contact: Parish of the St. Sebastian (Shrine of Our Lady of Rywałd) Rywałd Królewski 48 87-220 Radzyń Chełmiński tel. (56) 688 68 97 e-mail: kaprywald@o2.pl Website: www.rywald.kapucyni.org.pl  Access: The village is located on the county road no.

543; it has PKS bus service.

RYWAŁD

 Feasts: May 31 – Feast of the Visitation of the Blessed Virgin Mary Sunday after September 8 – Feast of the Nativity of the Blessed Virgin Mary – Feast of Our Lady of Rywałd

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30. SIEDLIMOWO

a village in Mogilno County, Jeziora Wielkie Township

Parish Church of St. Michael the Archangel A statue of the Virgin Mary and Child, in the church, in the central field of the high altar The statue was made probably from linden wood, polychromed and gilded, around 1420–1430.

It comes from a workshop in Wielkopolska. It depicts the Madonna in a slight S-shaped, standing position. Her left forearm features Jesus with His legs in a horizontal position, resting on the right hand of the Mother. Mary is dressed in a gilded robe with delicate pleats and a heavily draped, golden coat fastened at the top with a buckle. From the front, it looks like an apron with folds in an archlike shape, featuring tubular cascades falling down on sides. The Child gazes out, with no connection established with the Madonna. He is naked and holds a silver globus cruciger in both hands.

The uniqueness of the sculpture from Siedlimowo consists in the fact that it combines the style of Madonnas on a lion, seen in particular in modeling of the face and the style of Beautiful Madonnas, reflected in the general shape of the figure. The long, brown hair styled in corkscrew curls fall down on shoulders and back, highlighting the oval face. The face of the Virgin Mary features a barely noticeable smile and Her eyes look at an unspecific space.

The sculpture, designed for frontal viewing, was initially standing in the reredos of the winged

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altarpiece, which can be indicated by its layout.

Around 1786, the statue was placed on the present, Baroque altar, cutting away its lower part with the base. It was consecrated twice – around 1958 and in 2012, when it regained its former glory.

We don’t know the exact date of the parish foundation and the time of construction of the first church, and when the statue of Mary arrived to Siedlimowo. Perhaps it came to the local place of worship just after it was made, along with the altar?

The present wooden church was built on the initiative of Parish Priest Stanisław Kamieński in 1786. Its interior received new, Late Baroque décor with a splendid high altar, designed as an impressive setting for the miraculous statue. The crowns placed on the heads of Mary and Jesus as well as votive offerings displayed on the claret velvet, which is used as a lining of the niche with the statue, confirm the devotion to the statue in the past.

The rood screen featuring the Crucifixion Group dating from the fourth quarter of the 15th century remained from the old décor of the church. There are also 19th-century Baroquizing components of interior design.

Bogna Derkowska-Kostkowska

 Feasts: September 29 – Feast of St. Michael the Archangel  Contact: Parish of St. Michael the Archangel Siedlimowo 7 88-324 Jeziora Wielkie tel. (52) 318 72 58 e-mail: admin@parafiasiedlimowo.pl Website: www.parafiasiedlimowo.pl  Access: The village is located about 3.5 km away from the regional road no. 25; it does not have public transport.

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31. SKĘPE – WYMYŚLIN

a town in Lipno County (Wymyślin – formerly a village, now – part of Skępe)

Church and Monastery of the Bernardine Monks of the Annunciation of the Blessed Virgin Mary Shrine of Our Lady of Skępe, Pregnant Virgin Mary, Queen of Mazovia and Kuyavia A statue of the Pregnant Virgin Mary, Our Lady of Skępe, in the church, on the high altar (a niche with a statue covered with a screen featuring a painting of the Annunciation of the Blessed Virgin Mary) A miraculous statue from linden wood, polychromed, was made in a Poznań workshop in 1496.

It depicts a girlish figure of Mary, Servant of the Temple with Her hands clasped together in prayer.

Mary is shown in a frontal position, a standing pose, with the head slightly tilted to the left shoulder. The delicate oval of the face surrounded with light hair, combed to the back, as well as vertical folds of a golden robe falling to the dark red base show features of graphic modeling. The sculpture can be distinguished by a slender, S-shaped figure and delicate outlines of the face. In modern times, the statue was covered with a silk coat woven with gold threads.

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The local shrine was originated by the mentioned wooden chapel in so-called Borek. Afterwards,

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Before a shrine was built for the statue in the village of Wymyślin, a boulder was lying at a crossing close to Skępe in the second half of the 15th century. According to testimonies of local residents and travelers, there was bright light and apparitions of the Blessed Virgin Mary on it. Pious furrier Jan of Pobiedziska, who had a vision during the plague of 1495, convinced the owner of Skępe, Mikołaj Kościelecki of the coat of arms of Ogończyk, to build a chapel. The following year, Zofia, Mikołaj’s daughter was miraculously saved from leg disease. As a votive offering she brought a statue of the Madonna from Poznań, which started to become popular as a religious object of Marian devotion. Two years later, Mikołaj’s uncle and namesake, Mikołaj Kościelecki, Bishop of Chełmno and owner of Skępe brought from Koło the first Bernardine Monks, who took over administration of the statue and pilgrims coming from Mazovia, Kuyavia and the Dobrzyń Land.

In the history of the statue attributed with miraculous healings and graces to those praying for offspring, there were also some disturbing events.

During the war between Poland and Sweden over the Vistula River estuary, for fear of the Swedes the statue of the Madonna was taken to Łowicz in 1629. After its return efforts had been initiated for its coronation. On May 18, 1755, Rev. Fabian Pląskowski, Suffragan Bishop of Płock, performed a solemn ceremony of coronation of the miraculous statue with papal crowns. It confirmed the importance of the devotion to the statue of Skępe at that time. Unfortunately, the papal crowns were stolen in 1980. Four years later, another coronation of Our Lady of Skępe took place. In 1996, the statue was crowned once again with a golden rosary.

During World War II the statue was hidden in the attic of the church. A Nazi, who searched every nook and cranny of the church did not find it, since he fell down and broke his leg. Needless to say, he had never come back to the attic.

Bishop Mikołaj built a monastery and church for the monks brought by him to the area. The Late Gothic church, which was consecrated in 1511, received the nave and chancel, which was extended twice in the Baroque style. In the second half of the 18th century, its tower was reconstructed and interior obtained magnificent Baroque décor. Before 1755, the walls were covered by polychromes made by Walenty Żebrowski from the Bernardine Order. The present high altar was made in 1792 and the old one was moved to a church of Lipno. In 1726–1732, cloisters with the Stations of the Cross were added to the monastery. The present paintings, made by an unknown artist, date from the late 18th century.

After construction of the cloisters, the Chapel of St. Barbara was built between them. This picturesquely

situated complex dedicated to Our Lady of Skępe had developed gradually, since the early 16th century to the late 18th century. These days, the renovated site serves not only as a place of prayer, but also a valuable historic landmark of the Dobrzyń Land.

 Feasts: February 2 – Feast of the Presentation of the Lord March 25 – Feast of the Annunciation of the Blessed Virgin Mary May 18 – Feast of Our Lady of Skępe, Pregnant Virgin Mary, Queen of Mazovia and Kuyavia June 13 – Feast of St. Anthony of Padua August 2 – Feast of Our Lady of the Angels of the Portiuncula August 15 – Feast of the Assumption of the Blessed Virgin Mary September 7 and 8 – Feast of the Nativity of the Blessed Virgin Mary October 4 – Feast of St. Francis of Assisi December 8 – Feast of the Immaculate Conception of the Blessed Virgin Mary 7 weeks after Easter Sunday – Feast of Pentecost  Contact: Monastery of the Bernardine Monks ul. Klasztorna 5, 87-630 Skępe tel. (54) 287 70 35 e-mail: skepe@bernardyni.ofm.pl Website: www.bernardyniskepe.com  Access: The town is located on the main road no. 10, it has a railway station and PKS bus service.

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Bogna Derkowska-Kostkowska

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32. SŁAWSK WIELKI a village in Inowrocław County, Kruszwica Township

Parish Church of St. Bartholomew A statue of the Madonna and Child, in the nave of the church, on a base mounted on the wall close to the chancel, on the side of the Epistle

Carved in linden wood, polychromed and gilded, the statue was made around 1420 in a Wielkopolska workshop, in the style of Beautiful Madonnas. This S-shaped statue of Mary stands in clear counterpose, holding the naked Child sitting vertically on Her left forearm. Her right hand holds the feet of Jesus. The Madonna, with Her head slightly tilted and youthful, idealized, delicate features, gazes out. The Infant Jesus, presented by Her, outstretches His hands with concentration and has no eye contact with Her. The golden costume of Mary, consisting of a robe, a coat fastened under the neck, and a maphorion (veil/headscarf), covering the dark hair, accentuates the figure.

The depiction of the Virgin Mary and Child from Sławsk Wielki shows far-reaching analogies with the statue of Siedlimowo (catalog no. 30), but the Sławsk sculpture shows a uniform style, modeled in a more artistic way, with a clear departure from frontalism, which was typical of the previous style.

In the past, the statue of the Madonna and Child, venerated by the local faithful, was standing on the side altar of St. Bartholomew.

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The parish was founded in the 13th century and had a little wooden church, mentioned in 1315. Two centuries later, it was replaced with a new place of worship. It’s not known how the presented statue arrived here, but it can be related to some old reredos. The present Late Baroque brick church was built by Antoni Kossowski of Głogowa of the coat of arms of Abdank in 1760. Unfortunately, it was first damaged by thunderstorms and later by a fire, from which its interior was saved. It was rebuilt in 1819. The solemn consecration took place on April 29, 1824. A quarter century later, Emma Schwanenfeld, the owner of Kobylniki, financed construction of a ridge turret. The aisleless church with the chancel and a sacristy added to it has primarily Late Baroque décor, dating from the second half of the 18th century. Here, our attention is focused on the presentation of the Communion of St. Jerome, mounted on the high altar. This painting, which was venerated in the past, was decorated in the 18th century and the early 19th century by votive plaques, hung by pilgrims in thanksgiving for graces received.

Bogna Derkowska-Kostkowska

 Feasts: August 24 – Feast of St. Bartholomew  Contact: Parish of St. Bartholomew Sławsk Wielki 55 88-150 Kruszwica tel. (52) 351 63 70  Access: The town is located on the regional road no. 62; it has PKS bus service.

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33. STRZELNO

a town in Mogilno County

Auxiliary Church of St. Procopius (in the proximity of the former Norbertine Church, presently the Parish Church of the Holy Trinity and the Blessed Virgin Mary) A statue of the Virgin Mary and Child The statue, carved in linden wood, polychromed and gilded, was made in a workshop operating in Western Kuyavia in the fourth quarter of the 15th century. It is perceived as a statue originating carving with suppressed Late Gothic features in the local sculpture community. The Madonna, shown in a frontal pose, stands and presents the Infant Jesus sitting on Her left forearm. Her body leans slightly in counterpose, and the head is tilted to the left, toward the Child, with whom She has no eye contact. In this composition, there are echoes of the style of Beautiful Madonnas, which had resurfaced in the late 15th century and the early 16th century.

An oval, conventionally designed, youthful face of Mary features a delicate smile and reflection. The Virgin Mary wears a red robe. We can notice a protruding shoe with pointed toes. She is dressed in a long, golden coat with a blue lining, fastened at the top with a buckle. Folds in a shallow, graphic pattern are laid schematically and fall down to an oval base. Long, dark brown, wavy hair falls from under a gold, invisible diadem to the back of the Madonna. The child, slightly built, naked with His

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legs crossed, holds a blue ball in His hands. The heads of the Mother and Son feature arched royal crowns, placed most likely in the second half of the 18th century.

The statue, with a deeply hollowed back part, was designed for front viewing. Therefore, it was undoubtedly part of the reredos. The circumstances of the statue arrival to the church are not known.

However, it can be assumed that when the Strzelno church received its chapel with an altar of St. Restitut (with the casket with the relics of the saint placed on the altar stone), the Gothic statue was installed on a prominent place in a niche under it. It had to be venerated at that time, since it was decorated with crowns.

In 2011, after restoration, the statue of the Madonna and Child was moved to the Chapel of St. Barbara, and placed on a stylized console. However, in the middle of 2016, the statue once again changed its location. Its new site is the interior of the little Church of St. Procopius.

The rotunda is a Romanesque structure, built from granite rocks and reconstructed several times. It was built in the 12th century and finally completed in the second decade of the 13th century.

While visiting the Madonna, you have to stop in the Romanesque, former Norbertine church, which was built in the same time. It was Baroquized in the 18th century. It has a basilica layout with the nave, two side aisles with the transept, an elongated chancel closed with an apse and surrounded with chapels. The western façade is lined with towers topped with Baroque domes. Inside, our attention is focused on the Romanesque columns carved in sandstone, unveiled during remodeling works in 1946. Two of them are covered with figural reliefs with depictions of virtues on one of them and vices on the other. Other rich dÊcor of the place of worship includes Baroque altars, exceptionally beautiful confessionals and the choir loft, decorated with paintings and a number of other components, which are worth seeing. Among them, we need to mention

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in particular the Holy Cross Altar. It is a unique reliquary altar, which features as many as 658 relics. The main field is occupied by the miraculous, Gothic statue of the Crucified Jesus. The complex also includes the parish museum, which displays components of the former décor.

STRZELNO

Bogna Derkowska-Kostkowska

 Feasts: Sunday after Pentecost (on the 56th day after Easter) – Feast of the Holy Trinity October 7 – Feast of Our Lady of the Rosary  Contact: Parish of the Holy Trinity Plac św. Wojciecha 1 88-320 Strzelno tel. (52) 318 92 81 e-mail: parafia@parafiastrzelno.pl Website: www.parafiastrzelno.pl  Access: The town is located on the regional roads no.15, 25 and 62; it has PKS bus service.

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34. ŚWIECIE county seat

Parish Church of the Immaculate Conception of the Blessed Virgin Mary A statue of the Virgin Mary and Child, on a console mounted on the wall of the nave, on the side of the Epistle The depiction of the Madonna, carved most likely in linden wood, was polychromed and gilded. It was made in a Pomeranian workshop in the first half of the 15th century. The statue, in a frontal pose, portrays the Virgin Mary as Queen, presenting the chubby Child who sits in Her left forearm, featuring crossed, disproportionate legs that rest in His Mother’s hand.

The Baby Jesus holds a silver specter in his right, raised hand, whereas His left hand, pressed against His Mother’s heart is held in the gesture of blessing.

The slender Mary stands at ease, straight. A high, gold crown is seen on Her head. Her body is covered with a gold coat, which softly modeled folds fall down with cascades to the knee height, revealing the silver, flowing robe, revealing a shoe top under its edge. The Madonna shows with pride the Son of God with Her right hand. Her oval face shows concentration, the eyes looking up and eyebrows that express sorrow, but the lips display a barely noticeable smile.

The history of the Gothic sculpture of the Mother shown as Queen was lost in the mists of time. It’s hard to determine when and how it arrived to the Bernardine Monks. These days, the statue that was one situated in the niche of the gate tower from the side of the courtyard, was moved to a prominent place inside the modern church. The form of the statue allows to assume that it originally was the central decoration of the winged altarpiece. The altar could

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have been part of the décor of the Old Fara Church, from which – in the face of damages – the statue of Mary was moved to a safe place.

At the turn of the 18th century, the Bernardine Monks who were moved to Świecie from Bydgoszcz built a Baroque church that was consecrated in 1721.

Three years earlier, they moved to a monastery constructed for them. In 1741, the complex that was built on an irregular, pentagonal floor plan was completed with cloisters and the gate tower surrounding it. The non-uniform interior design, featuring a Rococo high altar filling the entire width of the chancel, is supplemented with polychromes covering the vault and walls of the church. The high altar features a replica of the miraculous image of Our Lady of Świecie made in 1903, which in 1602 was shipped by the Vistula to Gdańsk and remained in Świecie. According to legend, a storm broke during one of the stops of the ship, which was interpreted as a sign that the image of the Madonna should not go any further. The painting was placed in the Old Fara Church and residents of Świecie gained the Patroness. Unfortunately the painting was consumed by fire and the devotion was moved to its copy, which just like the Gothic statue is one of the most valuable Marian artworks in the town on the Vistula River.

Bogna Derkowska-Kostkowska

 Feasts: December 8 – Feast of the Immaculate Conception of the Blessed Virgin Mary August 2 – Feast of Our Lady of the Angels  Contact: Parish of the Immaculate Conception of the Blessed Virgin Mary ul. Sądowa 21, 86-100 Świecie, tel. (52) 331 13 84 e-mail: pswiecienpnmp@diecezja-pelplin.pl Website: www.klasztorek-swiecie.pl  Access: The town is located at the crossing of the main roads no. 5 and 91, and the regional road no.

55; it has PKS bus service.

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ŚWIECIE NAD WISŁĄ

Courtyard in the complex of the Bernardine Monks of Świecie

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35. ŚWIERCZYNKI a village in Toruń County, in Łysomice Township

Parish Church of Saints John the Baptist and John the Evangelist The Pietà, in a wall niche, in the chancel near the high altar This detached, wooden statue, hollowed in the back, bates back to an unspecified period between 1350 and the turn of the 15th century. It depicts the Mother of God as an elderly woman, holding on Her lap the dead body of Christ taken from the cross.

Mary wears a long, red dress and a blue coat with gold trim, which also wraps Her head and falls down with cascades of folds under the knees. The red color symbolizes the Passion of the Christ and the light blue color is the sign of despair of His Mother.

Her face shows a grimace of pain, reflected by puffy eyes, swollen, twisted lips, and V-shaped wrinkles on the forehead, between the eyebrows.

The knees of Mary, who is motionless in desolation, create a unique throne for the lifeless, gaunt body of the Savior. Mary holds the naked torso of Jesus in her right hand, whereas Her left hand that is placed on His white loincloth (with gold trim) seems to grab the body. The face of bearded Jesus in a crown of thorns shows expressively the suffering, which is reflected by the sunken, half-closed eyes and lips, parted during agony. The lifeless eyes are placed alongside the torso, and the bloody wounds of the Passion are emphasized by blood stained effusions covering the entire body. The anatomy

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of the image is generally proper, exposing the rib cage, lifeless muscles and tightened veins. The only thing that is out of proportion is the too short legs of the Savior. The color of both figures is in natural complexion.

The Pietà of Świerczynki is one of the most interesting artworks of this type preserved in rural churches of the former State of the Teutonic Knights. The art could have been made in a sculpture workshop of nearby Toruń and was brought to Świerczynki only during modern times, after disbanding of one of the Toruń monasteries, to which it most likely belonged. Whatever the case may be, the present place of its exposition is secondary, since it stands at a clear distance from the faithful, in a shallow niche under the window behind the high altar.

The Świerczynki parish was founded by the Teutonic Knights. The stone and brick, aisleless church with a steeple and separated chancel, closed from three sides was built most likely in the first half of the 14th century. In 1345, at the request of the authorities of the Teutonic Knights, its administration was handed over to the Benedictine Nuns of Toruń, who tended it until disbanding of their religious order in 1833. Over the time (in 1415), the mentioned nuns took over the entire village.

They were good administrators, since thanks to their efforts the Świerczynki church is proud of its interior design, which décor dates primarily from the 17th and 18th centuries, ranked as the best artistic groups of modern sacred art in the Chełmno Land.

The Middle Ages are well represented as well.

In addition to the mentioned Pietà, four other Gothic sculptures dating from the 15th and early 16th centuries have survived in the church. All of them were installed later on the Baroque high altar made in 1696. They include the busts of St. John the Baptist and an unknown holy bishop, a statue of the Virgin Mary and Child, and finally the group Pietàs Domini (“The Pietà of Our Lord”), depicting God the Father who holds the lifeless body of the

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battered Christ (the dove representing the Holy Spirit is missing).

Lech Łbik

 Contact: Parish of Saints John the Baptist and John the Evangelist Świerczynki 8 87-148 Łysomice tel. (56) 674 06 78  Access: The village is located on the regional road no.

553. It has PKS bus stop.

ŚWIERCZYNKI

 Feasts: June 24 – Feast of St. John the Baptist December 27 – Feast of St. John, Apostle and Evangelist

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36. ŚWIERCZYNKI a village in Toruń County, in Łysomice Township

Parish Church of Saints John the Baptist and John the Evangelist A statue of the Virgin Mary and Child, in the central field of the high altar The wooden statue, dating from the third quarter of the 15th century or the turn of the 16th century, depicts the Virgin Mary in a hip-shot position, standing on a dark half-moon and raising in front of Her, with both hands, the half-lying, naked Child.

The Madonna is dressed in a long, red robe with sleeves, covered with a blue coat with gold trim, and decorated with gold stars. The coat, which is held in half by Mary with Her right hand, falls down with cascades of folds to Her feet. Between rolls of the robe we can notice two little angels who peek gracefully. They have gold hair and wings, and are dressed in green robes. Mary’s beauty is rather common, but Her asset is her youth. Her head is tilted to the left; She has a long neck, an oval, glowing face with shapely lips, a wide nose and a large forehead. The shoulder length hair is golden and wavy. The chubby-cheeked Baby Jesus has golden, curly, short hair. Crossing His legs and stretching the hands, He smiles. Both bodies have skin in natural complexion.

The image shows the Madonna as Queen of Heaven in a loose reference to the description of the Woman of the Apocalypse from the Revelation to St. John the Evangelist. He had a vision of a Woman

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clothed in the Sun, with the moon under Her feet, and upon Her head a crown of twelve stars, who gave birth to a son, who was later snatched up to God. The Madonna of Świerczynki has a crescent moon under Her feet, and the crown of stars is replaced by the stars on the coat.

An unknown artist who made the statue was coming most likely from the Late Medieval art community of Toruń. It seems that the artwork was linked from the beginning with the local parish church and probably decorated its high altar, which was first Gothic, later Mannerist, and finally Baroque since 1696. Possibly during its move to the last, Baroque altar, the figures of the Madonna and Child were crowned and decorated with a silver robe, which was removed along with the crowns several years ago. In addition to the crowns and robe, the local devotion to the statue is confirmed by votive offerings mounted around it to the wooden board of the altar, the oldest of which were donated in the 17th and 18th centuries.

Lech Łbik

Information about the church, feasts, contact and access – catalog position no. 35.

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Cathedral Basilica of Saints John the Baptist and John the Evangelist A statue of the Virgin Mary and Child, the Beautiful Madonna (replica), on the eastern wall of the northern aisle The original, now lost, Gothic statue depicting Mary and Infant Jesus was one of the most valuable, in terms of art, full body images of the Madonna and Child, made in medieval Europe at the turn of the 15th century, serving as a perfect example of sculpture in the type of Beautiful Madonnas. This masterpiece represents a new style in Gothic art, known as Beautiful, Courtly or International Gothic.

The statue of Mary was made from limestone, featuring traces of polychrome. It was made around 1390 for the Franciscan Church of St. Mary in the Toruń Old Town by an unknown artist, called the Master of Beautiful Madonnas or presently the Master of the Beautiful Madonna of Toruń. The drama of previous depictions of Mary was replaced with contemplation, beautiful body, lyrical atmosphere, elegance and sophistication of gestures and poses. The girlish, strikingly beautiful Mary is shown in the pose that agrees with the scheme of counterpose; Her slender body is in an S-shape position. The face is idealized, full of beauty; She has delicate features and eyes, covered slightly by lids. Her head is covered with a veil, on which we can see the crown. The artistic value of Her silhouette is enhanced by the heavily draped robes, which take the form of ornamental festoons with cascading folds. The Child is naked and sits on the right arm of the Mother, looking at the orb, which He touches shyly with the left hand.

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There is a strong bond between Mary and the Child Jesus, emphasized by a tender, delicate gesture of Mary, giving the orb to the Child. This relation of gestures, pose and drapery highlights harmoniously the dynamics of the sculpture composition. The statue of Mary and Child was standing on the original, decorative console, which is created by an almost full body statue of Moses among the flames of the burning bush.

In 1557, the Franciscan church was taken over by the Protestants who removed the statue from the place of worship. Most likely in the beginning of the 18th century, the statue of the Beautiful Madonna became property of the Jesuits, who moved it to their little church of Sts. Johns. In it, the statue decorated part of the reredos of the old altar of St. Stanislaus, placed in the northern aisle. These days, it features a copy of the Madonna. In the early 19th century, the statue was placed on the altar of St. Francis Xavier (which presently is dedicated to St. Francis of Assisi).

In 1921, Jan Rutkowski performed restoration of the statue, removing layers of old paint, but leaving traces of medieval polychrome. In that time, it was moved to the chancel and was placed on the console with Moses. In 1942, German conservators restored the statue once again, filling up many missing parts.

Two years later, the statue was removed from the console and stored in the conservation workshop of Grębocin. In fear of the approaching Red Army, the statue was taken to an unknown place, most likely deep into Germany. In 1956, Toruń sculptor Witold Marciniak made a faithful copy of the missing artwork, placing it in situ on the original console with Moses. The devotion to the Beautiful Madonna of Toruń continued, despite the loss of the original statue. It became an iconic symbol in the culture of Toruń and social awareness.

The brick Church of Sts. Johns, the old Fara Church of the Toruń Old Town, is one of the best examples of Gothic architecture in the Chełmno Land.

Its construction started during the first decades of the 14th century. In the 15th century, the church received the basilica layout with the hall, the nave and two

TORUŃ

side aisles. In 1530–1583, the Fara Church of Sts. Johns was used by the Protestants; during that time, the church interior was covered with plaster and painted white. The church features many magnificent Gothic polychromes, which were discovered gradually under whitewash; the most valuable of them are seen in the chancel, with depictions of St. John the Baptist and St. John the Evangelist from around 1360. The high altar with statues of saints, including St. Wolfgang, St. Bartholomew and St. James, was made in 1502–1506. Among the preserved sculptures, there is a bas-relief with depiction of St. Mary Magdalene made in the early 15th century and a statue of the Pensive Christ from around 1420–1430. In addition, the Late Gothic sculpture is represented by depictions of the Risen Lord and St. John the Evangelist, both made in 1497 in the workshop of the Master of the Altar of St. Wolfgang.

Numerous Baroque and Rococo altars in the main structure and side chapels date from the 17th and 18th centuries. Poland’s biggest Gothic bell called Tuba Dei was made in 1500. During World War II, several other artworks disappeared in addition to the above mentioned Beautiful Madonna, including the epitaph of Jan Kot (made after 1454) and The Crowning with Thorns made in the 15th century.

Piotr Winter

 Feasts: June 24 – Feast of the Nativity of St. John the Baptist  Contact: Saints John the Baptist and John the Evangelist in Toruń ul. Żeglarska 16, 87-100 Toruń tel. (56) 657 14 80 Website: www.katedratorun.pl  Access: The city is located on the A1 highway and regional roads; it has public transport, PKS bus service and railway service with stations.

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Church of St. James the Apostle A statue of Mary and Child, in the nave, on the first pillar from the south The statue of Mary and Child, carved in linden wood, polychromed, gilded and silver plated, was made in the second half of the 15th century in a Toruń workshop, referring to the style of Madonnas on a lion that was popular in that time. It depicts the Virgin Mary and Child Jesus in Her arm, holding the royal scepter in the other hand, standing on a half-moon with the lunar mask. The Madonna is shown in a frontal position, standing, accentuating Her slender, S-shaped figure. Both figures have clear features, slightly darker complexion, and the eyes that look straight ahead. She wears a dark-blue robe, which is covered with a golden coat with a white lining, wrapped around the hips and tossed over the arm, highlighted with wide, graphic folds falling with a cascade to the base. A little bird with its wings outstretched is seen in the hands of the Christ Child. The Child’s legs are covered by a long, sweeping, light blue fabric with floral motifs, falling down. In 1770, the Madonna was placed under a decorative, golden, Rococo baldachin with figures of little angels, where it has been standing to this day. Over the time, the Virgin Mary and Child received crowns. In addition, a gold scepter was put to Mary’s hand.

The cornerstone for construction of the Church of St. James in Toruń, a “gem of Gothic architecture,” was laid by Herman, Bishop of Chełmno in 1309. The church has remained in its almost

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unchanged condition since the Middle Ages, but it differs from other Gothic churches of Toruń with the use of the basilica layout. The slender chancel along with the sacristy was built in the early 14th century. The fires that broke out in 1391 and 1455 had seriously damaged the church; the rebuilding project that followed also involved construction of a four-story tower decorated with lancet windows.

The unique atmosphere of its interior is created

by Gothic vaults and numerous polychromes. In 1375–1390, murals depicting Saint James the Greater and Saint Philip were made in the chancel.

The remaining ones – in the nave – date from two periods, the earlier ones from 1350–1360 and the later ones from 1380–1390 (Christological and Mariological scenes and depictions of saints). The same period is also represented by scenes from the legend about St. Mary Magdalene and a fresco showing angels adoring Veraicon (the Holy Face of Jesus whose image was imprinted on the Veil of Veronica). The southern aisle features an Early Renaissance painting of the Woman of the Apocalypse, accompanied by Saint Dorothy and Saint Sebastian, made in the first quarter of the 16th century. The richly sculpted rood screen dating from 1733 is seen over the entrance to the chancel. It features a two-sided crucifix – Gothic and Baroque – from the direction of the nave. The high altar of St. James was made in a Chełmno workshop in 1732–1733. Late Renaissance stalls, made in the early 17th century, are seen on both sides of the chancel. The chancel wall also features a painting depicting the Passion in 22 scenes. The so-called Tree of Life displays the Mystical Crucifix with figures of twelve prophets dating from the late 14th century. In the southern aisle there is the Black Crucifix, the miraculous statue of the Crucified Jesus dating from the first half of the 15th century. All side chapels are lined with wooden paneling installed in the first half of the 18th century, linked with confessionals and pews. The organ front over the entrance to the nave, made in 1611, can be distinguished by its high artistic value. In 1557–1667, the church belonged

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to the Protestants who removed from the place of worship the medieval side altars and covered the magnificent murals with whitewash and plaster.

After removal of the Protestants, the Benedictine Nuns returned to the church and run it until disbanding of their religious order.

A breakthrough moment for restoration of Gothic art in the church was the revealing conservation works on the vault and walls of the chancel, conducted in the western part of the church in 1933–1936 and during the 1950s.

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Piotr Winter

 Feasts: last Sunday of July – Feast of St. James the Apostle July 16 – Feast of Our Lady of the Scapular  Contact: Parish of St. James the Apostle Rynek Nowomiejski 6 87-100 Toruń tel. (56) 622 29 24 Website: parafiaswietegojakuba-torun.pl  Access: The city is located on the A1 highway and regional roads; it has public transport, PKS bus service and railway service with stations.

39. TORUŃ

Parish Church of St. James the Apostle A statue of Our Lady of the Rosary, on the reredos of the Altar of the Fraternity of the Rosary, the southern aisle The statue of the Virgin Mary and Child, carved from linden wood, polychromed and gilded, was made around 1500. The girlish and charming Virgin Mary is depicted in a frontal position, standing, holding the Baby Jesus in Her left forearm. She stands on a half-moon with the lunar mask. In Her right hand she holds a long scepter, a typical attribute of Our Lady of the Rosary. She wears a golden robe tied with a belt, which gathers a bunch of vertical folds, and a golden coat with a claret lining, falling over the arm with artistic folds. At the bottom, the robe spreads at the feet of Mary, which trample on the lunar mask. The half-moon that lies below is held by two little angels. The sculpture can be distinguished by its elegance, delicate features and slender proportions of the Madonna. The statue represents the Zackenstil and is a Late Gothic type of Regina Coeli, combining the motifs of the Woman of the Apocalypse and Assunta (the Assumption of Mary). Its origin is related to the Toruń workshop of the Master of the Altar of St. Wolfgang. Initially, it was placed in the Dominican Church of St. Nicholas, serving as the central part of the reredos. The devotion to the statue is confirmed by a host of votive offerings and gifts dating from the 17th century, related to the involvement of the Dominican Friars in pastoral activity in Toruń and support of the Fraternity of

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the Rosary. Unfortunately, descriptions of graces to which we owe the devotion to the Madonna have not survived to this day.

In 1750, the statue was installed on the expanded reredos with statues of St. Dominic and St. Catherine of Siena on sides. In that time it also received the Rococo robe, a gilded maphorion, a cover on the half-moon, and attributes. Over the years, it was decorated with silver pendants and crowns on heads of both figures. Until the disbanding of the religious order, the altar and statue had been looked after by the Fraternity of the Rosary, and later by the Sodality of the Blessed Virgin Mary, dedicated to Our Lady of the Rosary. The statue of the Madonna was relocated to the Church of St. James with the entire altar, with only some small modifications.

In 1785, thirteen silver votive plaques, hearts and pendants were reported around the sculpture. There were also many rosaries, scapulars, reliquaries and images of the Virgin Mary. Unfortunately, the majority of them disappeared. The remaining ones come, among others, from the miraculous Black Crucifix, which was moved along with the statue of the Virgin Mary from the Dominican Church. One of the thanksgiving gorgets near the statue features an inscription that says “Thank you for passing an exam W.K. 1929.”

The statue was seriously damaged in the 18th century. Only in 1961 it had undergone comprehensive conservation, its missing parts were restored, and it was polychromed and gilded.

Piotr Winter

Information about the church, feasts, contact and access – catalog position no. 38.

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40. WABCZ

a village in Chełmno County, Stolno Township

Parish Church of St. Bartholomew the Apostle A statue of the Virgin Mary and Child, on the reredos of the high altar This full-body wooden statue, polychromed, was made around 1500. The figure of the Madonna stands on a half-moon turned down with an added later (18th century) crescent moon and a snake wrapped globe. The Madonna is shown in a frontal position, in a slight S-shaped pose with an 18th-century glory in the background. In Her right hand she holds the Christ Child who is sitting, supporting His hip with Her hand, and Her left hand holds a scepter. Mary’s waist is accentuated by a silver, draped coat, tossed on the shoulders, with its right half placed diagonally on the hips, and a gilded robe. Her full face, smiling, looks down. Mary’s head features a large, silver, royal crown, with carefully curled, long hair, combed to the back, seen underneath. The Child, in its right half-profile, with curly hair wears a gilded robe, tied in the waist. He raises His right hand in the gesture of blessing. A silver royal crown is seen on the little head.

Wabcz was reported for the first time in the endowment of Prince Conrad of Mazovia to Christian, Missionary Bishop of Prussia in 1222. During the Middle Ages, Wabcz was a village paying rent to the Teutonic Knights, which was part of the Starogród commandry. Another document mentioning the

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village with a brick church dates from 1288, when Meinhard von Querfurt, Provincial Master of Prussia renewed the foundation charter of Wabcz. After the Peace of Toruń in 1466, the village was a crown land, and in 1505, King Alexander Jagiellończyk handed it over to the Bishops of Chełmno.

The church, which faces the east, was built from field stone and broken granite, and in upper areas from brick in the 13th century. The place of worship has a separated chancel and a massive, four-story tower, which is attached to the nave from the south.

Both the chancel and tower were added in the middle of the 14th century. In 1706, the Chapel of St. Anne was added to the church. Vaults inside the church date from the late 19th century. It features primarily Baroque and Rococo décor. The church of Wabcz was reconstructed many times – in the 14th, 18th, 19th and 20th centuries.

Krzysztof Bartowski

 Feasts: – Feast of St. Bartholomew Sunday after July 26 – Feast of St. Anne  Contact: Parish of St. Bartholomew the Apostle Wabcz 86-212 Stolno tel. (56) 686 51 04  Access: The village is located on the regional road no.

55; it has PKS bus service.

41. WĄBRZEŹNO county seat

Parish Church of Saints Simon and Jude Thaddeus, Apostles A statue of the Virgin Mary and Child, on the left side altar The wooden statue, dating from around 1500, depicts the Virgin Mary and Child in Her left arm.

She holds a silver royal specter in Her right hand.

The Madonna is called Our Lady of the Castle, since it arrived to the Wąbrzeźno Fara Church in the 18th century from the chapel of the local Gothic Bishop’s Castle, which was burned down by the Swedish army in 1655 and left in ruins.

The statue can be distinguished by an expressive, almost Baroque pose of the Madonna of the Castle, shown in an unnatural, S-shaped bent. Her robes, flowing all the way to the ground, are truly royal attire, consisting of a robe with sleeves, tied around the waist and ruffled in the bottom and a coat with a blue lining, loosely tossed on the shoulders. An unknown artist (perhaps from Toruń?) modeled a young and seriously looking Mary as a medieval beauty, although with the head that is too big and raised proudly. Therefore the face is full and ruddy, with a big forehead, the hair is short and curly, falling to the back; she has a small chest, slim waist and figure. The naked, ruddy Child Jesus is a bit too small in proportion to His Mother. He has a pretty face, lively eyes, and a short, golden and curly hair. He raises His right hand in the gesture of blessing, whereas His left, outstretched hand holds the globus cruciger. Both bodies have natural complexion.

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Under the feet of the Madonna, there is a barely visible silver half-moon with the face of an elderly man. His presence allows to notice in Her the Woman of the Apocalypse from Chapter 12 of the Book of Revelation by St. John the Evangelist. According to John’s vision She was clothed in the Sun, with the moon under Her feet, and upon Her head a crown of twelve stars, who gave birth to a son, who was later snatched up to God. Only a unique, personified moon is seen in the Wąbrzeźno sculpture from the recalled vision, whereas the sun and a crown of twelve stars are somewhat replaced by gold dominating in the color of the statue, symbolizing divinity and heavenly perfection. On the other hand, the royal insignia raise Mary and Christ Child to the status of Rulers of Heaven and Earth.

In the 18th century, both figures were adorned with metal decorations in the form of robes (presently removed) and crowns, which have remained to this day. These ornaments along with other numerous votive offerings, the oldest of which were mounted next to the statue in the 18th century, confirm modern devotion to this image.

From 1246 to 1773, Wąbrzeźno had been property of the Bishops of Chełmno, who chartered it as a town, most likely in the first half of the 14th century. The local parish was founded by one of these bishops before 1334. Construction of the brick, Gothic parish church is usually referred to the pontificate of Bishop Otto (1323–1349). In 1779, a tower was added to the church, which was raised in 1902 during expansion of the church by side aisles.

The church décor dates primarily from the 17th and 18th centuries. Both Baroque side altars date back to the first half of the 18th century.

The Baroque high altar, made in the same time, features a 17th-century painting of the Pregnant Virgin Mary, moved to Wąbrzeźno from nearby Kowalewo in 1685 and recognized since then as a miraculous image. This painting makes the

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Wąbrzeźno Fara Church a regional Marian shrine, which also includes the described statue as an object of devotion..

Lech Łbik

WĄBRZEŹNO

 Feasts: August 15 – Feast of the Assumption of the Blessed Virgin Mary October 28 – Feast of Saints Simon and Jude Thaddeus, Apostles  Contact: Parish of Saints Simon and Jude Thaddeus, Apostles ul. Górna 13 87-200 Wąbrzeźno tel. (56) 687 12 62 Website: www.sanktuarium-wabrzezno.pl  Access: The town is located on the regional roads no.

534, 548, and 551. It has a railway station and PKS bus station.

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42. WĄWELNO

a village in Sępólno County

Parish Church of St. Mary Magdalene and Saints James and Philip, Apostles A statue of the Madonna and Child – formerly known as Our Lady of the Teutonic Knights, on the base mounted at the rood screen, in the south This Late Gothic statue of the Virgin Mary and Infant Jesus was carved most likely from linden wood, polychromed, gilded and silver plated. It was made in the late 14th century or around 1500 in a Pomeranian workshop, representing the style known as the Zackenstil. Mary is shown in a frontal position, standing, featuring a half-moon at the base. With Her hands clasped, she cuddles the disproportionately small Child, sitting in Her right arm. The statuesque figure of the Madonna is covered by a large golden coat with a silver lining, clear creases and the distinctive crisp, spirally twisted fold over the right knee. Mary has an oval face and symbolically treated features, with focused, sad facial expression; she wears a narrow headband, under which we can notice dark brown layers of curly hair. Jesus is slightly built; He has a rounded face, surrounded with short, curly hair. He holds in front of Him a gold ball, which color is a sign of the Divine Reign, whereas a perfect shape, that

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This Late Baroque, brick church was built from funds of Stanisław Wałdowski, the then heir of Wąwelno in 1758–1767. It is an aisleless church, facing the east, without a separated chancel, but with a tower, which over time fell into ruin and was demolished. The place of worship was dedicated in 1767, but the solemn consecration ceremony took place only after its remodeling, on September 10, 1963. The rural church of Wąwelno is slightly bigger than a similar church in Więcbork. A local legend explains this fact by an error of the designer, Dawid Fecel, a builder from Chojnice. He made a mistake and changed the plans, thus the concept of a smaller structure was implemented in the town, whereas the village of Wąwelno received a more spectacular building. Wąwelno became present on the map of Polish shrines thanks to an 18th-century painting of the Virgin Mary placed on the Rococo altar. Its decoration with a silver robe and numerous votive offerings confirm devotion to the image in the past, which was recognized as miraculous in the 19th century.

Bogna Derkowska-Kostkowska

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knows neither the beginning nor the end, symbolizes the absolute omnipresence and omnipotence of God. The sculpture composition refers this presentation of the Madonna to a reduced depiction of the Madonna as the Woman of the Apocalypse, which resulted from limitations in shaping of the sculpting material.

Initially, the statue was probably part of the Gothic reredos. Later, it was placed on a Rococo altar that was undoubtedly made for it, standing in the chapel, in the northern part of the chancel. The altar was consecrated by Antoni Jan Chrząstowski, the Abbot of the Cistercian Order of Koronowo in 1767.

 Feasts: July 22 – Feast of St. Mary Magdalene

WĄWELNO

 Contact: Parish of St. Mary Magdalene ul. Wąska 6 89-413 Wąwelno tel. (52) 389 30 02 e-mail: wawelno.mm@wp.pl  Access: The town is located about 6 km north of the regional road no. 243. It has PKS bus service.

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43. WIELKA ŁĄKA

a village in Golub-Dobrzyń County, Kowalewo Pomorskie Township

Parish Church of Saints Catherine and Margaret A statue of the Madonna and Child, on the left side on the wall in front of the rood screen

The statue of the Madonna and Child dating from the late 14th century, polychromed, shows the figure in a frontal position, in a slight S-shaped pose. In Her left arm, bent in the elbow, She holds the Child, supporting the Jesus’s hip. The right hand is moved to the front from under the coat fold, at the waist height. The Madonna wears a tight robe and a coat with folds. The majesty and dignity are represented by a peaceful facial expression and the eyes that look straight. Mary’s head is decorated with a noble crown, with stylized, leaf-like arches, featuring under it long, loose hair falling to the back. The Madonna wears a draped coat, laid in soft folds, half of which is held in Mary’s hand, on which the Christ Child is sitting. The Child, who is sitting, wears a long robe, which just like Mary’s robe has a trim. The Child has a round face and eyes that look straight ahead, as well as curly hair. Jesus raises His right hand in the gesture of blessing, and holds the orb in the left hand.

The first historic records give the date of church construction in Wielka Łąka as 1442, and its consecration in 1494. Most likely these dates are related to damages during the wars with the Teutonic

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Knights and relate probably to its rebuilding.

Originally, it was a Gothic brick church, built from erratic boulders and bricks.

In 1861–1863, the church was expanded by a chancel, a side chapel from the south and a sacristy from the north. A tall, square tower with an octagonal spire was built from the west. After its expansion, the church received Neogothic attire.

 Feasts: Sunday before or after November 25 – Feast of St. Catherine Sunday before or after July 20 – Feast of St. Margaret  Contact: Parish of Saints Catherine and Margaret Wielka Łąka 3 87-410 Kowalewo Pomorskie tel. (56) 684 38 01  Access: The village is located on the regional road no. 15; it has PKS bus service.

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Krzysztof Bartowski

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44. WIELKI MĘDROMIERZ a village in Tuchola County, Gostycyn Township

Parish Church of St. Stanislaus, Bishop and Martyr A statue of the Virgin Mary and Child, on a highly mounted console in the nave

The wooden statue, dating from the third quarter of the 14th century, depicts the Virgin Mary and Christ Child in the left hand and a short scepter in the right hand. The Madonna, who wears a royal crown, stands on a half-globe that symbolizes the Earth. An intensive counterpose makes that Her body is in an S-shaped position. Mary’s head is lightly tilted to the left and Her eyes look down. She has a long face and a large forehead, shapely eyes and fine eyebrows. She has long, shoulder-length hair, smoothly styled. Her rich attire consists of a robe and large coat, falling with dense folds all the way to the ground. Almost everything is gilded, with the exception of red lips, dark hair and a dark scepter, which also features gilding. The bodies of the Mother and Son have light complexion.

The Infant Jesus, who wears a silver and golden robe, holds in both hands a golden orb, which just like the scepter and crown is a symbol of royal reign.

He has a round, wide face with a large forehead, half-closed eyes, narrow lips and delicately outlined eyebrows. Jesus has short and dark hair. Elegance, majesty and dignity emanate from both figures.

What’s more, gold (symbol of divinity), the globe, and the insignia of royal reign reveal distinctly that

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in the case of this beautiful pair we deal not only with the rulers of the world, but first and foremost with the rulers of heaven. The statue was made by a fine, although unknown artist, who worked most likely in one of the larger sculpture centers of the former State of the Teutonic Knights. The artwork represents the style of Madonnas on a lion, although contradictory to this name, not all Madonnas in this group (including the one from Mędromierz) had a lion under their feet. The statue was for many years stored in the presbytery. In 2016, after its most recent renovation (the previous one took place in 1992), it was moved to the church interior.

The parish of Wielki Mędromierz was founded

by Winrich von Kniprode, Grand Master of the Teutonic Knights in 1356. The local church was wooden for centuries. During the Middle Ages it was decorated with Gothic sculptures, several of which have survived to this day (most of them are exhibited in the Diocesan Museum of Pelplin). The present parish church was built from granite rocks as a Romanesque aisleless church in 1839. In 1981, it was expanded by a tall steeple, which as a result of lining with granite stones was perfectly harmonized with the older part of the church.

The main décor of the church consists of sacred artworks that date from 17th–19th centuries, although there is also a Gothic crucifix from the turn of the 16th century and a Renaissance candlestick dating from the 16th century. These historic objects come from earlier, wooden church buildings of Wielki Mędromierz. Recently, the mentioned statue of Mary was added to them, which undoubtedly is the most valuable reminder of the original church in this village in the Tuchola area.

Lech Łbik

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 Contact: Parish of St. Stanislaus, Bishop and Martyr Wielki Mędromierz 15 89-520 Gostycyn tel. (52) 336 11 24 e-mail: pwielkimedromierz@diecezja-pelplin.pl  Access: The village is located on the local road connecting the regional roads no. 237 and 241. It can be accessed from the direction of Brzuchowo, Łyskowo and Gostycyn.

PKS bus stop.

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 Feasts: May 8 – Feast of St. Stanislaus Sunday after the Octave of Corpus Christi – Feast of the Sacred Heart of Jesus August 26 – Feast of Our Lady of Częstochowa

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45. WIELKIE RADOWISKA a village in Wąbrzeźno County, Dębowa Łąka Township

Parish Church of St. James the Apostle A statue of the Virgin Mary and Child, in the central field of the high altar This magnificent wooden statue, dating from the period between the late 14th century and the early 15th century, depicts the Virgin Mary and Child in Her left hand and a royal scepter in the right hand. The long, gold scepter is decorated with an ornamental motif of a cuplike flower. The golden, folded robes that flow all the way to the ground worn by the S-shaped statue of the Madonna consist of a dress with very wide sleeves, covered with a light coat, which half is held by Her left hand. Mary’s head is slightly tilted to the left. This still young matron has a serious face, featuring a straight, narrow nose and shapely lips, thick eyebrows, and gazing, almost absent eyes. She has dark, lightly waved, shoulder-length hair. The heads of the Mother and Son are decorated with two modern, metal crowns, closed with crossing arches and topped with little crosses, which confirm the devotion to the mentioned statue in the area.

The cheerful Christ Child has a cute face and short, dark hair. He raises His small right hand in the gesture of blessing, holding the cross-bearing orb in His left hand. Along with His Mother, they are the Rulers of Heaven and Earth, which is indicated by the royal insignia and gold that is the dominating color of the statue (symbolizing heavenly divinity and perfection). Both bodies have natural complexion This artwork represents the style of Beautiful

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Madonnas, constituting a religious reflection of the courtly and knightly cult of a woman in the Gothic period. An unknown artist who made the statue was perhaps employed in one of the sculpture workshops of Toruń.

The parish of Wielkie Radowiska was founded

by Betko von Bonstedt, Commander of the Teutonic Knighst of Kowalewo in 1340. The local brick, hall church, which can be seen today, was built after 1340, most likely during the second half of the 14th century. The church steeple, which lower part is built from bricks and the upper part is wooden, was constructed in two stages, in 1580 and 1805. In addition, a square chapel was added to a relatively small space of the nave in the 18th century. The church décor, primarily in Baroque and Rococo styles, dates from the 18th and 19th centuries. The Late Baroque high altar, decorated with the described statue, dates from the first half of the 18th century. What’s more, this statue was not the only historic object of medieval sculpture in the Radowiska church. Inside, until recently, there was the second Late Gothic statue depicting the Virgin Mary and Child, artistically poorer than the described sculpture, made in the late 15th century (the artwork has been missing since at least 2006).

Lech Łbik

 Feasts: Sunday after July 25 – Feast of St. James the Apostle (Greater) December 4 – Feast of St. Barbara the Great Martyr  Contact: Parish of St. James the Apostle Wielkie Radowiska 60 87-207 Dębowa Łąka, tel. 791 051 242  Access: The village is located on the regional road no.

534. PKS bus stop.

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46. WIĘCBORK a town in Sępólno County

Parish Church of the Assumption of the Blessed Virgin Mary and Saints Simon and Jude Thaddeus, Apostles A statue of the Virgin Mary, on the high altar This statue of the Madonna, carved in linden wood, polychromed, was made in the early 14th century in an unknown workshop, most likely in the Chełmno Land. It depicts a slender figure of the Virgin Mary with delicate hands, clasped together in prayer. She is shown in a standing position, in counterpose, with one leg bent in the knee, in a frontal pose with the head slightly tilted to the left.

The elongated oval face of Mary, distinguished by surprisingly schematic, irregular features, the eyes closed, tell a lot about great skills of the artist. An impressive aesthetic effect is created first of all by gilding, covering all robes of Mary, a heavily draped maphorion on Her head, a coat tossed on the shoulders and a dress, falling down with rich cascades to the ground.

The sculpture comes most likely from the rood screen of the previous church. These days, it constitutes an integral part of the high altar dating from 1779, placed under the arcade on the left side of the altar. The statue stands on an angular, decorative, gold pedestal, covered with golden acanthus leaves. The sculpture had undergone renovation

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The first parish and church in Więcbork were mentioned as early as 1405. The present church with simple Baroque features was built in 1772–1778 from funds of the then owners of the town, Aleksander Hilary and Michał Bonawentura Potulicki, designed by Dawid Fecel of Chojnice.

The works utilized some of the walls from the previous place of worship, built since 1694. The church was remodeled and expanded many times, in 1895, 1908, 1911 and 1925. In 1937, it received a new chancel, vestibule and sacristy from the west and east. The reconstruction project was led by architect Zygmunt Knothe of Toruń. The majority of furnishings and décor inside the church were made shortly after completion of the church construction in 1779. It has a uniform style, Rococo and Classicism, supplemented only in the early 20th century. The main components of the interior design include the high altar, which features the described statue of the Virgin Mary, two side altars and a Late Baroque stoup, all of them made around 1779. Other parts of church décor include an ambo made in the 1770s, two confessionals dating from the late 18th century and patrons’ pews, kneelers, armchairs, two taborets and a small table made in the 1920s, standing in the chancel.

Piotr Winter

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works in 1908 and 1970, which seriously changed its appearance. Only the most recent restoration, conducted in 2012–2014, brought back its Late Gothic, original style.

WIĘCBORK

 Feasts: August 15 – Feast of the Assumption of the Blessed Virgin Mary October 28 – Feast of Saints Simon and Jude Thaddeus, Apostles  Contact: Parish of the Assumption of the Blessed Virgin Mary and Saints Simon and Jude Thaddeus, Apostles ul. Jana Pawła II 14 89-410 Więcbork tel. (52) 389 70 21 Website: www.parafiawiecbork.pl  Access: The town is located at the crossing of the regional roads no. 241 and 189; it has bus service.

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47. WŁOCŁAWEK county seat

Cathedral Basilica of the Assumption of the Blessed Virgin Mary A statue of the Virgin Mary and Child, mounted high on the right pillar supporting the rood screen This stately statue of the Virgin Mary and Child, carved in linden wood and dating from the early 15th century or around 1420–1430, is seriously damaged, since due to damages, it lost its base and lower part of Madonna’s legs, as well as both feet and hands of the Child. The entire area of the statue with a hollowed back, deprived of most of its original polychrome, shows heavy destruction with traces of covering the missing areas with linen. Despite all of that, the damaged artwork captivates with its beauty, since it represents the style of Beautiful Madonnas, serving as a religious response to the courtly and knightly cult of a woman in the Gothic period.

The folded robes of the Madonna, falling all the way to the ground, consist of a dress and a large coat, which left half is tossed over Her right forearm. Mary’s head is slightly tilted to the right and is covered with a veil, under which we can notice plaits of hair divided by a parting. A young, full face of the Madonna, brightened with a delicate smile, shows inner peace. Her half-closed eyes look at the naked Christ Child, depicted in a half-lying position, turned to the viewer. The weight of the Child rests on the left hand of the Mother, who

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supports His thighs and legs with Her right hand.

The Christ Child has short, curly hair, a shapely and cheerful face, which childish beauty matches the prettiness of the Madonna.

The masterly way of making this artwork by an unknown artist indicates a high quality sculpture workshop, in which it was made, perhaps from Toruń. A new hypothesis suggests that the described statue could have been part of the cathedral high altar, consecrated in 1411, which in the past featured a statue of the Blessed Virgin Mary. The altar has survived until 1587, when it was replaced with a new altar, funded by Hieronim Rozdrażewski, Bishop of Włocławek.

Whatever the case may be, Włocławek Cathedral is one of the oldest places of worship in Kuyavia. It appeared as early as the 12th century, along with the local diocese, initially as a wooden building, and later as a Romanesque brick structure. The third, Gothic cathedral, preserved to this day, was built in its basic form in 1340–1411.

During that time, it was built as a basilica, with the nave and two side aisles, and an elongated chancel closed from three sides. Further construction works, related to expansion of the cathedral by steeples, a ring of chapels, the chapter house, and the northern sacristy, had continued between the second half of the 15th century and the first half of the 17th century.

Another church expansion project, connected with its re-Gothicization (including superstructure added to both steeples), had been continued in stages, from 1875 to 1978.

Its interior design is made primarily in the Neogothic style, in the 19th and 20th centuries, since its Renaissance and Baroque décor was removed during re-Gothicization of the church, with the exception to gravestones, epitaphs and stalls. In addition to the described statue, there are single Gothic objects. They include an altar triptych dating from the late 15th century, related to an unknown Master of Polyptych from Szadek, a painting of the Assumption of the Blessed Virgin Mary coming

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from Warta and made a quarter century later, ascribed to Franciszek of Sieradz, and finally a marble tombstone of Piotr of Bnin, made by Veit Stoss before 1496. Our special attention is focused on the cathedral cross known as “Krzyż Tumski,” a large crucifix situated in the symbolical center of the place of worship, at the meeting point of the nave and chancel, the only cross of this type in Poland, funded by Bishop Wawrzyniec Gembicki in 1609–1615.

WŁOCŁAWEK

Lech Łbik

 Feasts: August 15 – Feast of the Assumption of the Blessed Virgin Mary  Contact: Cathedral Parish of the Assumption of the Blessed Virgin Mary Plac Kopernika 7 87-800 Włocławek tel. (54) 231 22 32 e-mail: katedra.wloclawek@op.pl Website: www.katedrawloclawek.pl  Access: The city is located on the main roads no. 62, 67, and 91. It has a railway station and PKS bus station.

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48. ŻNIN county seat

Parish Church of St. Florian The Pietà, on the northern side altar of the Sacred Heart of Jesus (a niche with the statue on the predella) This painted, gilded, wooden statue depicts Mary mourning the Christ taken from the cross. The group, dating from the early 16th century, was carefully designed from all sides and placed on a low pedestal. Mary sits on a low bench. She turns Her pained face towards the Son, holding with Her left hand the wrist of the lifeless body lying on Her lap.

Her back is slumped, looking like she is crushed under the weight of pain and despair. Therefore, the statue blends in the style of Mysticism in sculptures depicting the Passion. An unknown sculptor concentrated on careful presentation of Mary’s robes. She is dressed in clothes worn by married women and widows in the Late Middle Ages.

A white headscarf that looks like a bonnet covers the neck and wraps the head, featuring a face that is barely visible. The gilded head cover falls down to the shoulders and connects with a golden coat.

Its thick folds rest on the knees and flow down to the base. Mary, carrying the dead body of Her Son, “presents” His sacrifice to the faithful. Muscles are delicately marked on the lifeless body and traces of nails are seen on the hands enlarged by the artist.

The statue was restored in 2016.

The Gothic Fara Church of Żnin dates from the early 15th century. It replaced the previous Romanesque place of worship. Cut stones from the earlier

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church were used during its construction. One of them, built in the northern part of the Fara Church, is decorated with a rider’s image. The church interior is in Baroque and Late Classicist styles, but there are also some earlier objects, including a Late Gothic Crucifixion Group on the rood beam.

ŻNIN

Agnieszka Wysocka

 Feasts: May 4 – Feast of St. Florian October 7 – Feast of Our Lady of the Rosary – Feast of Our Lady of Żnin  Contact: Parish of St. Florian – Fara Church ul. św. Floriana 4 88-400 Żnin tel. (52) 302 04 03  Access: The town is located on the regional road no. 251 (access from Bydgoszcz and Poznań).

PKP railway and PKS bus service.

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49. ŻNIN county seat

Museum of Sacred Art – suffragan diocese building (at the Parish of St. Florian) The Madonna and Child, displayed at the permanent exhibition of the museum This exceptionally beautiful statue of the Madonna and Child, decorating the Museum of Sacred Art, is very mysterious. Its origin is unknown. It was donated to the museum collection by the Rev. Edmund Ruta (1922–2013), since 1982 the parish priest of the Church of St. Florian in Żnin. According to information collected, the statue was donated to the parish priest by one of the parishioners.

However, it is not known if it arrived to Żnin from Inowrocław, Wylatowo or Ostrowo nad Gopłem, where Fr. Edmund Ruta served in local churches.

The statue is in the style of Beautiful Madonnas, made in some high quality woodcarving workshop.

It can be assumed that it was made in the second half of the 15th century.

An unknown artist carved figures in wood, covering them with polychrome and gilding. The slender, youthful Madonna, standing in counterpose, has a large forehead, narrow, arched eyebrows and almond-shaped eyes, in accordance with the medieval fashion. She has a delicate smile. Her head features a royal crown with streaks of gold hair flowing down on sides. She wears a dark red robe, which is covered by a golden coat with a dark blue lining falling from narrow shoulders. Mary shows with pride the little, naked Christ Child, sitting on Her left forearm. The

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baby is depicted with a great freedom. His left foot cuddles against the hand of the Virgin Mary, and He holds a goldfinch in both hands. This colorful bird is not here by accident. According to St. Isidore of Seville, it symbolizes the suffering, death and Resurrection of Jesus Christ. According to a medieval legend, the goldfinch was pulling thorns from the crown set on the head of the Crucified Christ. During that time, the blood dropping from the wounds of the Savior colored in red the feathers around the bird’s beak. Another apocryphal tale recalls birds as well.

According to it, the little Jesus fashioned out birds from clay, and when he was lectured by a pious Jew that doing work is not lawful on the Sabbath, he animated them and they flew away. This history can be interpreted in a symbolical way. Clay birds are common people and when they are alive, they are the faithful filled with the Holy Spirit.

The Museum of Sacred Art in Żnin, operating since March 1999, is located across from the Parish Church of St. Florian, in the old suffragan diocese building. The manor for Bishop Stefan Łubieński was built in the late 18th century. A magnificent portico supported by columns invites to its interior.

Museum collections feature sculptures, paintings, coins, vestments, liturgical paraments, and historic furniture.

Agnieszka Wysocka

 Contact: Suffragan – The Museum of Sacred Art ul. 700-lecia 24, 88-400 Żnin tel. (52) 302 83 44 The Museum is open from Tuesday to Friday, between 9:00 am and 5:00 pm, and on Saturday and Sunday after previous arrangements.  Access: The town is located on the regional road no.

251 (access from Bydgoszcz and Poznań). PKP railway and PKS bus service.

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BIBLIOGRAPHY Unpublished studies – typescripts: Collections of the Regional Office for Protection of Historic Landmarks in Toruń Toruń Division, ul. Łazienna 8,

87-100 Toruń – [DT] Bydgoszcz Division, ul. Jezuicka 2,

85-102 Bydgoszcz – [DB] Włocławek Division, ul. Łęgska 42,

87-800 Włocławek – [DW] I. Movable heritage records: • Boluminek, oprac. Barbara Chojnacka, 1988. [DB] • Brzyskorzystew, oprac. B. Kaczyńska, 1972 (karta adresowa). [DB] • Chełmża, oprac. Marian Dorawa, 1992. [DT] • Czarże, oprac. Barbara Chojnacka, 1989. [DB] • Dźwierzno, oprac. Piotr Birecki, 2001. [DT] • Golub, oprac. Jacek Kriegseisen, 2004. [DT] • Gostkowo, oprac. Maria Żurowska-Gangi, 1982. [DT] • Grabkowo, oprac. ks. Dariusz Lewandowski, 2015. [DW] • Gruta, oprac. Katarzyna Kałamajska-Liszcz, 1987. [DT] • Grzywna, oprac. Jan Dettlaff, 1984. [DT] • Inowrocław, oprac. Lucyna Lipkowska, 2005. [DB] • Jastrzębie, oprac. Juliusz Raczkowski, 2006. [DT] • Kijewo Królewskie (1), oprac. Ewa Rygielska, 1983. [DT] • Kijewo Królewskie (2), oprac. Ewa Rygielska, 1983. [DT] • Kowalewo Pomorskie, oprac. Ewa Rygielska, 1981. [DT] • Lubraniec, oprac. Wanda Puget, 1977. [DW] • Markowice, oprac. Bogna Derkowska-Kostkowska, 2001. [DB] • Nieżywięć, oprac. Bolesław Sądowski, 1986. [DT] • Nowe n. Wisłą (1), oprac. Bolesław Sądowski, 1991. [DB] • Nowe n. Wisłą (2), oprac. Bolesław Sądowski, 1991. [DB] • Nowe n. Wisłą (3), oprac. Bolesław Sądowski, 1991. [DB] • Obory, oprac. Danuta Wiśniewska, 1981. [DT] • Orle, oprac. Izabela Mastalerz, 1983. [DW] • Orzechowo, oprac. Maciej Ambrosiewicz, Emanuel Okoń, 1985. [DT] • Ostromecko (1), oprac. Barbara Chojnacka, 1987. [DB] • Ostromecko (2), oprac. Barbara Chojnacka, 1987. [DB] • Papowo Biskupie, oprac. Maria Żurowska-Gangi, 1982. [DT] • Piotrków Kujawski, oprac. Izabela Mastalerz, 1983. [DW] • Ryszewko, oprac. Bogna Derkowska-Kostkowska, 1998. [DB] • Rywałd, oprac. Ewa Gryczyk, 1987. [DT] • Samoklęski Duże, oprac. Maria Grzybowska, 1998. [DB]

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BIBLIOGR APHY

• Siedlimowo, oprac. Barbara Chojnacka, 2007. [DB] • Skępe, oprac. H. Sygietyńska, 1962. [DW] • Sławsk Wielki, oprac. Adrian Kozak, Katarzyna Milczarek, 2013. [DB] • Świecie n. Wisłą, oprac. Małgorzata Winter, 2012. [DB] • Świerczynki (1), oprac. Jan Dettlaff, 1984. [DT] • Świerczynki (2), oprac. Danuta Dettlaff, 1984. [DT] • Toruń (1), oprac. Katarzyna Kluczwajd, 1989. [DT] • Toruń (2), oprac. Katarzyna Kluczwajd, 1990. [DT] • Wabcz, oprac. Danuta Dettlaff, 1985. [DT] • Wąbrzeźno, oprac. Bolesław Sądowski, 1985. [DT] • Wąwelno, oprac. Zofia Wernerowska, Maria Grzybowska, 1994. [DB] • Wielka Łąka, oprac. E. Kolasińska, 1980. [DT] • Wielki Mędromierz, oprac. Piotr Winter, 1992. [DB] • Wielkie Radowiska, oprac. Jan Dettlaff, 1984. [DT] • Więcbork, oprac. Danuta Pałys, 1994. [DB] • Włocławek, oprac. Danuta Wiśniewska, 1988. [DW] • Żnin, oprac. Bogna Derkowska-Kostkowska, 2002. [DB] II. Preservation documents: • Inowrocław, oprac. Maria Kiepuszewska, Piotr Kiepuszewski, 2000. [DB] • Ostromecko, oprac. Mirosław Wachowiak, Bartosz Sobolewski, Ilona Głuchowska, 2014. [DB] • Strzelno, oprac. Joanna Siemińska, 2011. [DB] III. Archive of the Gdańsk University in Gdańsk: • Rogowski Grzegorz, Dzieje parafii św. Mateusza w Nowem nad Wisłą w XVI–XVIII wieku, praca magisterska UG, Gdańsk 1993.

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Zalewski Wincenty, Sanktuaria polskie. Katalog encyklopedyczny miejsc szczególnej czci Osób Trójcy Przenajświętszej, Matki Bożej i Świętych Pańskich, Warszawa 1988.

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Włocławek Cathedral

Destination Kujawsko-Pomorskie