DOI issue:
Nr. 3
DOI article:Artykuły
DOI article:Tajchman, Jan; Iwanek, Anna [Contr.]: Więźba wieszarowa ko¬ścioła pw. ¬św. Anny w Lubartowie
DOI Page / Citation link:https://doi.org/10.11588/diglit.71010#0663
WiĘŹBA WIESZAROWA NAD KOŚCIOŁEM PW. ŚW. Anny W LUBARTOWIE
653
Queen Post Roof Structure of St Anne 's Church
in Lubartów
Raised in 1733-38, the Parish Church of St Anne in
Lubartów, features the only as yet discovered in
Poland collar rafter roof with queen posts in which
element joints are strengthened with wooden
wedges.
The design was worked out by Paolo Antonio
Fontana (1696-1765), court architect of Paweł Karol
Sanguszko, Grand Marshal of Lithuania. The most
accomplished work of Fontana is the Lubartów
Parish Church, artistically serving as a direct model
for other churches of the architect.
The analysis of this unique roof structure is
preceded by a selection of examples of other queen
post truss solutions.
The composition ofthe Lubartów church focuses
on the three-span nave in the form of an elongated
octagon, over which the above-mentioned com-
bination of strutted collar beam with queen truss was
shaped. The octagonal plan of the roof is divided
into three parts: the middle one shaped as a
rectangle, and two outermost trapezoidal ones. The
consistent system of carpenter's assembly marks,
present only in the central section, testifies to its
genuine character. Whereas the lack of these in the
trapezoidal outermost parts suggests that those
structures were raised later, most likely in 1880
during the roof repair. They, however, repeat the
former roof framing arrangement.
The central rectangular part is made up of 9
trusses: five full trusses (with queen posts) and four
incomplete trusses (without queen posts). Among
full trusses, there is only one incomplete truss. The
trapezoidal outermost elements are made up of four
trusses: one full truss and three incomplete trusses.
The difference between the full trusses in the central
part and in the outermost sections consists in the
means of joining the queen post with the tie-beam.
In the truss of the central part (before 1738), the
queen posts are joined with the tie-beam by means
of a tenon, strengthened by a vertical wedge,
whereas in the truss ofthe outermost part (1880) the
joint is with an iron flat bar; the use of the latter
suggests a later creation of the queen post. This,
however, is the only difference, since the joining of
the queen posts with the straining beam and braces
in both cases is the same, including the use of a
horizontal wedge for sealing. Thus for this part of
the 1880 truss no metal connector was introduced,
but the solution from before 1738 was applied.
In the further part of the article, carpenter's
assembly marks are discussed; their analysis points
out to two essential observations:
1. The roof assembly was begun from the central part
formed on the rectangular layout, not from the
beginning ofthe frame. This may have resulted from
the octagonal frame shape.
2. In the trapezoidal outmost part one full truss was
foreseen, this reconstructed in 1880, however, it was
not connected with the tie-beam with a bottom
wooden wedge, but with an iron flat bar.
Translated by Magdalena Iwińska
653
Queen Post Roof Structure of St Anne 's Church
in Lubartów
Raised in 1733-38, the Parish Church of St Anne in
Lubartów, features the only as yet discovered in
Poland collar rafter roof with queen posts in which
element joints are strengthened with wooden
wedges.
The design was worked out by Paolo Antonio
Fontana (1696-1765), court architect of Paweł Karol
Sanguszko, Grand Marshal of Lithuania. The most
accomplished work of Fontana is the Lubartów
Parish Church, artistically serving as a direct model
for other churches of the architect.
The analysis of this unique roof structure is
preceded by a selection of examples of other queen
post truss solutions.
The composition ofthe Lubartów church focuses
on the three-span nave in the form of an elongated
octagon, over which the above-mentioned com-
bination of strutted collar beam with queen truss was
shaped. The octagonal plan of the roof is divided
into three parts: the middle one shaped as a
rectangle, and two outermost trapezoidal ones. The
consistent system of carpenter's assembly marks,
present only in the central section, testifies to its
genuine character. Whereas the lack of these in the
trapezoidal outermost parts suggests that those
structures were raised later, most likely in 1880
during the roof repair. They, however, repeat the
former roof framing arrangement.
The central rectangular part is made up of 9
trusses: five full trusses (with queen posts) and four
incomplete trusses (without queen posts). Among
full trusses, there is only one incomplete truss. The
trapezoidal outermost elements are made up of four
trusses: one full truss and three incomplete trusses.
The difference between the full trusses in the central
part and in the outermost sections consists in the
means of joining the queen post with the tie-beam.
In the truss of the central part (before 1738), the
queen posts are joined with the tie-beam by means
of a tenon, strengthened by a vertical wedge,
whereas in the truss ofthe outermost part (1880) the
joint is with an iron flat bar; the use of the latter
suggests a later creation of the queen post. This,
however, is the only difference, since the joining of
the queen posts with the straining beam and braces
in both cases is the same, including the use of a
horizontal wedge for sealing. Thus for this part of
the 1880 truss no metal connector was introduced,
but the solution from before 1738 was applied.
In the further part of the article, carpenter's
assembly marks are discussed; their analysis points
out to two essential observations:
1. The roof assembly was begun from the central part
formed on the rectangular layout, not from the
beginning ofthe frame. This may have resulted from
the octagonal frame shape.
2. In the trapezoidal outmost part one full truss was
foreseen, this reconstructed in 1880, however, it was
not connected with the tie-beam with a bottom
wooden wedge, but with an iron flat bar.
Translated by Magdalena Iwińska