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EIGHTEENTH-CENTURY 'UMGEBINDE' AND 'QUASI-UMGEBINDE' CHURCHES IN THE VALLEY OF THE NOTEC

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Jankowski A.

Kwartalnik Historii Kultury Materialnej

2005

vol. 53

issue 2

1470-180

In the present territory of Poland there are over 2000 surviving wooden temples of various religions, built in the 19th c. or earlier.. The classifications used so far overlook sacred buildings with a double structure of outer walls. In such cases a log construction (German Blockwand) or vertical-post log construction (German Bohlenständerwand) wall is surrounded with a very closely adjoining skeleton on a ground beam. Among the 260 wooden temples surviving in Great Poland such a structure is found in 35, built in the 17th and 18th c. and exhibit several variants of solving the roof-bearing function. When the roof is supported solely by the skeleton and the carcass does not carry its load, we are dealing with the so-called 'Umgebinde' construction. Another variant, in which the load of the roof is carried by both elements of the double-wall structure, the carcass and the skeleton, can be called a 'Quasi-Umgebinde' construction. Both 'Umgebinde' and 'Quasi-Umgebinde' temples can be found in the valley of the Notec River. 'Umgebinde' churches have survived in Chojna and Jaktorowo (in the Paluki region), and 'Quasi-Umgebinde' ones in Nowe Dwory and Herburtowo (in the Walcz region). The Catholic churches in Chojna and Jaktorowo were founded in the 18th c. by noblemen and estate owners, Jakub Mielzynski and Jakub Lakinski, respectively. They were built by the same carpenter, which is evident from their architectural shape, characteristic construction solutions, material treatment and assembly markngs. The ones in Nowe Dwory and Herburtowo are former Protestant churches in Dutch order villages. The church in Nowe Dwory was built by Jan Czarnkowski in the 17th c. for Dutch and Flemish settlers. It is the only sacred building preserved connected with Dutch settlement in Poland. Its original log construction was transformed into a 'Quasi-Umgebinde' one around the year 1700. The church in Herburtowo, built by the carpenter Johan Schöneecke in 1782, is probably a copy of an earlier temple, built there by the same carpenter who transformed the log church in Nowe Dwory into a 'Quasi-Umgebinde' one. The application of the 'Umgebinde' and 'Quasi-Umgebinde' construction in the four above-mentioned churches was almost certainly connected with the natural conditions in the valley of the Notec, which in the 17th and 18th c. was a wet area plagued with floods and strong winds. Additionally, there were not enough forests that could supply high-quality timber, while sparse roads and the unregulated river did not facilitate transporting wood from other regions. 'Umgebinde' and 'Quasi-Umgebinde' constructions were considered a guarantee of the durability and stability of churches in such conditions. The same applies to other double-wall wooden churches in Great Poland, most of which were erected in wet river valleys or on boggy ground near lakes. (20 Figures).

AUGUSTINIAN THOUGHT AS REVEALED IN THE ICONOGRAPHIC PROGRAMME OF BAROQUE MURAL PAINTINGS IN A WOODEN CHURCH OF WIELKOPOLSKA

100%

Jankowski A.

Biuletyn Historii Sztuki

2004

vol. 66

issue 3-4

267-303

In the wooden church at Gasawa, once belonging to the canons regular of Trzemeszno, a unique group of mural paintings was discovered occupying a number of layers that can be dated to four distinct periods, ranging from the 17th century, the years 1705-6 and the most recent from 1807. The 18th-century decoration possesses the most clearly legible iconographic programme, assumed to have been funded, like the two predating it, by the monastery of Trzemeszno, and being carried out by no fewer than two painters, almost certainly Augustinian canons regular belonging to a single workshop. Catechetical painting is dominated by the redeeming contents of Christology as interpreted in the spirit of St. Augustine's theological reflections. The original, simultaneous composition of The Resurrected Christ with Disciples and Mary Magdalen displays message of faith on the canonical Word. Episodes are portrayed from the life of the canonised bishop of Hippo and Job and the previously conceived synthesis of motifs gave rise to messages of a moralising nature.Depictions conventionally defined by musical themes are an echo of the Augustinian reflections on the essence of universal harmony. The instruments and verses of the Psalms depict musica instrumentalis, while the more highly valued musica mundana - sounding the eternal praises of God, are personified in King David playing the harp and St. Cecelia at the organ pipes, a choir of angels and the accompanying duet with violin and lute. Thanks to the effect of trompe l'oeil, the interiors open onto the painted world and true architectural space becomes that of the events pictured, lending a vision of the world of sacrum. This refined illusionism, harnessed during the late-Baroque to the service of catechetical duties as conducted in the wooden church of the Wielkopolska province lends continuity and permanent relevance of conceptually arranged mural paintings as originally worked out during the Middle Ages, most certainly with the decisive contribution of the Augustinian canons regular.

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EIGHTEENTH-CENTURY 'UMGEBINDE' AND 'QUASI-UMGEBINDE' CHURCHES IN THE VALLEY OF THE NOTEC

AUGUSTINIAN THOUGHT AS REVEALED IN THE ICONOGRAPHIC PROGRAMME OF BAROQUE MURAL PAINTINGS IN A WOODEN CHURCH OF WIELKOPOLSKA