Church of Virgin Mary

Słupsk, Poland

The Church of Virgin Mary is a three-aisle basilica church (the nave is higher than the aisles) with large separated chancel closed by five-side apse. It was erected in the second half of the 14th century and enlarged in 1500s. The church was partially damaged during II World War and rebuilt in 1948. In 2003 the spire and dome of the church tower were reconstructed.

More valuable monuments in the temple are pulpit coming from late Renaissance made in 1609-1630 by master from Słupsk, Paweł Waltersdorf and funded by the guilt of amber-processors (with 43 members at that time). The pulpit is covered with bass-relieves, richly ornamented polychromed and gilded. The entrance to the pulpit is embraced by a portal (the lock in the door comes from 1609). Marvelous, first final of the pulpit, the so called amber crown from the first half of the 17th century was taken away during II World War. Worth attention are also hanging candelabra – some Baroque from the 18th century, some Neo-Rococo from the 19th century – as well as numerous Baroque candlesticks form the 17th-18th centuries and later from the 19th century.

References:

Comments

Your name



Address

Nowobramska 2, Słupsk, Poland
See all sites in Słupsk

Details

Founded: 14th century
Category: Religious sites in Poland

More Information

www.slupsk.pl

User Reviews

Powered by Google

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Palazzo Colonna

The Palazzo Colonna is a palatial block of buildings built in part over ruins of an old Roman Serapeum, and has belonged to the prestigious Colonna family for over twenty generations.

The first part of the palace dates from the 13th century, and tradition holds that the building hosted Dante in his visit to Rome. The first documentary mention notes that the property hosted Cardinal Giovanni and Giacomo Colonna in the 13th century. It was also home to Cardinal Oddone Colonna before he ascended to the papacy as Martin V (1417–1431).

With his passing, the palace was sacked during feuds, and the main property passed into the hands of the Della Rovere family. It returned to the Colonna family when Marcantonio I Colonna married Lucrezia Gara Franciotti Della Rovere, the niece of pope Julius II. The Colonna"s alliance to the Habsburg power, likely protected the palace from looting during the Sack of Rome (1527).

Starting with Filippo Colonna (1578–1639) many changes have refurbished and create a unitary complex around a central garden. Architects including Girolamo Rainaldi and Paolo Marucelli labored on specific projects. Only in the 17th and 18th centuries were the main facades completed. Much of this design was completed by Antonio del Grande (including the grand gallery), and Girolamo Fontana (decoration of gallery). In the 18th century, the long low facade designed by Nicola Michetti with later additions by Paolo Posi with taller corner blocks (facing Piazza Apostoli) was constructed recalls earlier structures resembling a fortification.

The main gallery (completed 1703) and the masterful Colonna art collection was acquired after 1650 by both the cardinal Girolamo I Colonna and his nephew the Connestabile Lorenzo Onofrio Colonna and includes works by Lorenzo Monaco, Domenico Ghirlandaio, Palma the Elder, Salviati, Bronzino, Tintoretto, Pietro da Cortona, Annibale Carracci (painting of The Beaneater), Guercino, Francesco Albani, Muziano and Guido Reni. Ceiling frescoes by Filippo Gherardi, Giovanni Coli, Sebastiano Ricci, and Giuseppe Bartolomeo Chiari celebrate the role of Marcantonio II Colonna in the battle of Lepanto (1571). The gallery is open to the public on Saturday mornings.

The older wing of the complex known as the Princess Isabelle"s apartments, but once housing Martin V"s library and palace, contains frescoes by Pinturicchio, Antonio Tempesta, Crescenzio Onofri, Giacinto Gimignani, and Carlo Cesi. It contains a collection of landscapes and genre scenes by painters like Gaspard Dughet, Caspar Van Wittel (Vanvitelli), and Jan Brueghel the Elder.

Along with the possessions of the Doria-Pamphilij and Pallavacini-Rospigliosi families, this is one of the largest private art collections in Rome.