Oliwa Cathedral is dedicated to The Holy Trinity, Blessed Virgin Mary and St Bernard. The first Cistercian monastery on the site was founded by Sambor I of Gdánsk, Duke of Pomerania, in 1186. The first Romanesque oratory was burnt down in 1224 during the pagan Prussians crusade. It was rebuilt in 1234-1236, but destroyed again by Prussian crusade.
In 1350 fire that was caused by chimney soot excess completely consumed both the church and the monastery. The present shape of both of those buildings date back to the second half of the 14th century. During the rebellion of the city of Gdańsk the mercenary army attacked the monastery and burned it to the ground in 1577. The current church was rebuilt between 1578-1583 and inaugurated in 1594.
In 1831 Prussian authorities closed down the Cistercian monastery in Oliwa. The church, together with some of the buildings belonging to it, was handed over to a Catholic parish. It took until 1925, when under a papal bull issued, Pope Pius XI established the Diocese of Gdańsk and by that raised the Oliwa church to the dignity of a cathedral. Oliwa became the capital of the diocese and a seat of bishops.
Oliwa cathedral is a three-nave basilica with a transept and a multi sided closed presbytery, finished with an ambulatory. The façade is flanked by two slender towers, 46-metres tall each with sharply-edged helmets. It is enlivened by a Baroque portal from 1688, as well as three windows of different sizes and three cartouches. The crossing of the naves is overlooked by a bell tower, a typical element of the Cistercian architecture. The cathedral is 17.7m high, 19m wide and 107m long (97.6m of the interior itself), which makes it the longest Cistercian church in the world. It holds works of art in Renaissance, Baroque, Rococo and Classical style of great artistic value.
All the 23 altars of the cathedral are of great historical value. They are mainly Baroque and Rococo, partly made of marble. Their iconography depicts the main principles of the post-Trent church. Most outstanding are the present High Altar (1688), which is the most profound Baroque work of art in Pomerania; and the Netherland Renaissance style altar, which until 1688 played the role of the main one. The paintings in the altars, presbytery and main nave were made by the famous 17th- century artists: Herman Han (1574–1628), Adolf Boy (1612-1680), Andrzej Stech (1635–1697) and Andreas Schlütera (1660–1714). The interior also holds Rococo chapels of the Holy Cross and St John of Nepomuk, an ambo, tombstones, epitaphs, the Pomeranian Dukes tomb, the Kos family tomb, bishop’s crypt, antique chandeliers, canopies, and many other antiquities, including a feretory of great cultural value, showing Our Lady of Oliwa with an Infant Jesus. The feretory is always carried during the annual walking pilgrimage to the Calvary of Wejherowo. The archcathedral holds organ concerts all year round and the beautifully restored monastery (now belonging to Gdańsk Seminary) displays the collection of the Diocesan Museum. Oliwa Cathedral is very important place for the Kashubian culture.References:
The Old Town Hall of Wrocław is one of the main landmarks of the city. The Old Town Hall's long history reflects developments that have taken place in the city since its initial construction. The town hall serves the city of Wroclaw and is used for civic and cultural events such as concerts held in its Great Hall. In addition, it houses a museum and a basement restaurant.
The town hall was developed over a period of about 250 years, from the end of 13th century to the middle of 16th century. The structure and floor plan changed over this extended period in response to the changing needs of the city. The exact date of the initial construction is not known. However, between 1299 and 1301 a single-storey structure with cellars and a tower called the consistory was built. The oldest parts of the current building, the Burghers’ Hall and the lower floors of the tower, may date to this time. In these early days the primary purpose of the building was trade rather than civic administration activities.
Between 1328 and 1333 an upper storey was added to include the Council room and the Aldermen’s room. Expansion continued during the 14th century with the addition of extra rooms, most notably the Court room. The building became a key location for the city’s commercial and administrative functions.
The 15th and 16th centuries were times of prosperity for Wroclaw as was reflected in the rapid development of the building during that period. The construction program gathered momentum, particularly from 1470 to 1510, when several rooms were added. The Burghers’ Hall was re-vaulted to take on its current shape, and the upper story began to take shape with the development of the Great Hall and the addition of the Treasury and Little Treasury.
Further innovations during the 16th century included the addition of the city’s Coat of arms (1536), and the rebuilding of the upper part of the tower (1558–59). This was the final stage of the main building program. By 1560, the major features of today’s Stray Rates were established.
The second half of the 17th century was a period of decline for the city, and this decline was reflected in the Stray Rates. Perhaps by way of compensation, efforts were made to enrich the interior decorations of the hall. In 1741, Wroclaw became a part of Prussia, and the power of the City diminished. Much of the Stray Rates was allocated to administering justice.
During the 19th century there were two major changes. The courts moved to a separate building, and the Rates became the site of the city council and supporting functions. There was also a major program of renovation because the building had been neglected and was covered with creeping vines. The town hall now has several en-Gothic features including some sculptural decoration from this period.
In the early years of the 20th century improvements continued with various repair work and the addition of the Little Bear statue in 1902. During the 1930s, the official role of the Rates was reduced and it was converted into a museum. By the end of World War II Town Hall suffered minor damage, such as aerial bomb pierced the roof (but not exploded) and some sculptural elements were lost. Restoration work began in the 1950s following a period of research, and this conservation effort continued throughout the 20th century. It included refurbishment of the clock on the east facade.