DOI Artikel:
Łopuski, Lech: Stalle w prezbiterium bazyliki archikatedralnej Trójcy Świętej w Oliwie
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43645#0158
Lech Łopuski
W swym pierwotnym kształcie stalle chórowe katedry oliwskiej musiały
prezentować się imponująco. Niewykluczone, że dalsze badania pozwolą rzu-
cić jeszcze więcej światła na twórców i pierwotne oblicze stalli.
Choir Stalls in the Chancel ofthe Oliwa Archcathedral Basilica ofthe Holy Trinity
Choir stalls, completed in 1604, originally able to sit about 70, were placed in the
nave within three spans: from the Crossing with the transept up to the fourth pier pair
in the nave. Following the suppression of the convent in 1831, the choir stalls were
dissembled and transferred to the cloister. Some of the fragments were used as wali
cladding in the so-called Peace Room. It was only as the result of renovation works
carried out in 1886-1889 by Heinrich Joseph Splieth that the choir stalls were moved
to where they are today, however significantly reduced in form.
Up to now, it has been generally believed that no fragments unused in the present
arrangement have been preserved. However, the National Museum in Gdańsk boasts
four panels representing the saints: John the Evangelist, Mark, Bartholomew, and Mat-
thew, as well as two sides. The reverses of three panels feature polychrome. The panel
with St John, lacking polychrome, may have been placed against a pier.
The choir stall fragments reached the museum collection already in the 1911' cen-
tury. They were on display and sińce at least 1917, have been presented in the so-called
Waisse Halle on the ground floor of the museum complex.
Bach element features some symbols, possibly assembly numbers. Regardless of
their dating, they may constitute the only tracę of the genuine arrangement of the
representations of the saints and ornaments, thus the reconstruction of the original
arrangement of the backrest panels can be attempted.
Saints’ effigies were presented in every third backrest panel, and not like today in
every other one, also occupying two extreme surfaces. Between them there were orna-
mental panels of two kinds, grouped in twos and arranged alternately: Ornament 1,
Ornament 2, figurę of a saint, Ornament 2, Ornament 1. The backrest surfaces were
separated by herma pilasters of two kinds, arranged as today, namely alternately.
The highest number featured on the backrest panels is ”XIX”. In their current form
the nine seats of the upper row of each stall are 748 cm wide in total. In the case of
19 seats the stalls, together with the sides, would be ca. 1,600 cm wide, namely morę
or less equal to the distance that is now between the Crossing of the transept and the
fourth pier pair of the Cathedrals nave. Additionally, if an assumption is madę that
originally there were two sets of seats in the lower row, each with eight (or possibly
nine seats), separated by the access to the upper storey, the number of seats in each
stall set would amount to at least 35 (37), thus 70 (74) in both stalls, eąualing the num-
ber given in literaturę.
The 19th century interference undoubtedly transformed the appearance and struc-
ture of the choir stalls. Moreover, it seems that respective representations were also
altered. The choir stalls of the Oliwa Cathedral must have looked really impressive in
their original form. It is also likely that further research will shed morę light on who
executed the stalls and what they really looked like.
156
W swym pierwotnym kształcie stalle chórowe katedry oliwskiej musiały
prezentować się imponująco. Niewykluczone, że dalsze badania pozwolą rzu-
cić jeszcze więcej światła na twórców i pierwotne oblicze stalli.
Choir Stalls in the Chancel ofthe Oliwa Archcathedral Basilica ofthe Holy Trinity
Choir stalls, completed in 1604, originally able to sit about 70, were placed in the
nave within three spans: from the Crossing with the transept up to the fourth pier pair
in the nave. Following the suppression of the convent in 1831, the choir stalls were
dissembled and transferred to the cloister. Some of the fragments were used as wali
cladding in the so-called Peace Room. It was only as the result of renovation works
carried out in 1886-1889 by Heinrich Joseph Splieth that the choir stalls were moved
to where they are today, however significantly reduced in form.
Up to now, it has been generally believed that no fragments unused in the present
arrangement have been preserved. However, the National Museum in Gdańsk boasts
four panels representing the saints: John the Evangelist, Mark, Bartholomew, and Mat-
thew, as well as two sides. The reverses of three panels feature polychrome. The panel
with St John, lacking polychrome, may have been placed against a pier.
The choir stall fragments reached the museum collection already in the 1911' cen-
tury. They were on display and sińce at least 1917, have been presented in the so-called
Waisse Halle on the ground floor of the museum complex.
Bach element features some symbols, possibly assembly numbers. Regardless of
their dating, they may constitute the only tracę of the genuine arrangement of the
representations of the saints and ornaments, thus the reconstruction of the original
arrangement of the backrest panels can be attempted.
Saints’ effigies were presented in every third backrest panel, and not like today in
every other one, also occupying two extreme surfaces. Between them there were orna-
mental panels of two kinds, grouped in twos and arranged alternately: Ornament 1,
Ornament 2, figurę of a saint, Ornament 2, Ornament 1. The backrest surfaces were
separated by herma pilasters of two kinds, arranged as today, namely alternately.
The highest number featured on the backrest panels is ”XIX”. In their current form
the nine seats of the upper row of each stall are 748 cm wide in total. In the case of
19 seats the stalls, together with the sides, would be ca. 1,600 cm wide, namely morę
or less equal to the distance that is now between the Crossing of the transept and the
fourth pier pair of the Cathedrals nave. Additionally, if an assumption is madę that
originally there were two sets of seats in the lower row, each with eight (or possibly
nine seats), separated by the access to the upper storey, the number of seats in each
stall set would amount to at least 35 (37), thus 70 (74) in both stalls, eąualing the num-
ber given in literaturę.
The 19th century interference undoubtedly transformed the appearance and struc-
ture of the choir stalls. Moreover, it seems that respective representations were also
altered. The choir stalls of the Oliwa Cathedral must have looked really impressive in
their original form. It is also likely that further research will shed morę light on who
executed the stalls and what they really looked like.
156