Tingsted Church, located on high ground in the village of Tingsted, dates from c. 1200. Built in the Romanesque style, it is best known for its frescos from the end of the 15th century. At an early stage, the pink-plastered church was dedicated to St Peter. As the name Tingsted implies, the place was originally associated with early lawmaking in the area. In 1329, King Christopher II concluded an agreement with Marsk Ludvig Eberstein, head of the armed forces, after his surrender at Hammershus and in 1329 made peace with Count Johann of Holstein. In 1511, Falster's landsting (regional council) was held in the churchyard and the following year King Hans presided over a dispute between his vassal and the bishop. Jacob Christian Lindberg, who translated the Bible into Danish and, together with Grundtvig played an active part in religious reforms, was named parish pastor in January 1844.
Built of local fieldstone with limestone framing around the windows and doors, the church initially consisted of the nave,chancel and a half-domed apse. Traces of the original rounded windows highly positioned in the nave and apse can still be seen. Around 1500, the Late Gothic tower and porch were added and the flat ceiling in the nave was replaced by cross-vaulting. The windows were later adapted to the positioning of the vaults. The tower probably had stepped gables until it received the pyramid-shaped spire. It is thought the relatively steep roof above the nave resulted from the need to provide room for the top of the arches used for the vaulting.
The panel on the 17th-century altar is the work of Antonius Clement, Queen Sophia's court painter. Its three niches have female figures representing Faith, Hope and Charity and are bordered by slim figures representing the cardinal virtues: Temperance, Justice, Prudence and Fortitude. The elaborately-worked Renaissance altarpiece (1616) contains a painting of the Last Supper. The carved baroque pulpit (1633) by Jørgen Ringnis with paintings by Anthonius Clement bears similarities to the one in Kippinge Church. The Romanesque font has a wide, rounded bowl.
The frescos in the chancel and the nave from the late 15th century are the work of the Elmelunde Master and his workshop. Rediscovered under the whitewash in 1877, they depict the baptism of Jesus, the suicide of Judas, the rich man and the poor mantogether with the Fall and the Expulsion. It is interesting to see how the rich man, kneeling before Christ, wears a long-tailed hood, an article of clothing reserved for the more affluent of the time.References:
Tyniec Benedictine abbey was founded by King Casimir the Restorer probably around 1044. Casimir decided to rebuild the newly established Kingdom of Poland, after a Pagan rebellion and a disastrous Czech raid of Duke Bretislaus I (1039). The Benedictines, invited to Tyniec by the King, were tasked with restoring order as well as cementing the position of the State and the Church. First Tyniec Abbot was Aaron, who became the Bishop of Kraków. Since there is no conclusive evidence to support the foundation date as 1040, some historians claim that the abbey was founded by Casimir the Restorer’ son, King Boleslaw II the Generous.
In the second half of the 11th century, a complex of Romanesque buildings was completed, consisting of a basilica and the abbey. In the 14th century, it was destroyed in Tatar and Czech raids, and in the 15th century it was rebuilt in Gothic style. Further remodelings took place in the 17th and 18th centuries, first in Baroque, then in Rococo style. The abbey was partly destroyed in the Swedish invasion of Poland, and soon afterwards was rebuilt, with a new library. Further destruction took place during the Bar Confederation, when Polish rebels turned the abbey into their fortress.
In 1816, Austrian authorities liquidated the abbey, and in 1821-1826, it was the seat of the Bishop of Tyniec, Grzegorz Tomasz Ziegler. The monks, however, did not return to the abbey until 1939, and in 1947, remodelling of the neglected complex was initiated. In 1968, the Church of St. Peter and Paul was once again named the seat of the abbot. The church itself consists of a Gothic presbytery and a Baroque main nave. Several altars were created by an 18th-century Italian sculptor Francesco Placidi. The church also has a late Baroque pulpit by Franciszek Jozef Mangoldt.