Inside the Cathedral of Wloclawek. Light, Detail, Silence

In the spring, we took a short trip to a spa located near Wloclawek in central Poland. We hadn’t planned on sightseeing, but on our way back, we decided to stop by the Cathedral of Wloclawek, as it’s a must-visit landmark in this part of the country. It was a Sunday afternoon. The cathedral was empty and most of the lights were off, but it was still open. When editing the photos, I had to brighten them up a bit. Still, even in the dim light, the impressive decorations of the interior were clearly visible.

Włocławek is a town located in central Poland. Already a thousand years ago, it was home to a settlement of the Goplan tribe. In the 10th century, the area was incorporated into the Piast state by Mieszko I, who is considered the first ruler of Poland. Włocławek is one of Poland’s oldest towns, having received its town rights in 1255. During the Middle Ages, it was an important trade and administrative centre.

In 1329, the Teutonic Knights attacked Włocławek as part of a broader campaign. The city was plundered, with many buildings, including the Romanesque cathedral, destroyed or severely damaged. This conflict with the Teutonic Order was only resolved after their defeat at the Battle of Grunwald. During the 15th and 16th centuries, Włocławek flourished as a significant trade hub due to its location on the Vistula River, a crucial trade route linking southern Poland with the Baltic coast. The river facilitated the exchange of goods such as grain, wood, salt, furs, and fish. Regular markets and fairs attracted merchants from various regions, contributing to the town’s prosperity. Craftsmanship was also a key part of the local economy, with numerous guilds operating in the town.

Like much of Poland, Włocławek suffered considerable damage during the Swedish wars in the 17th century. In the 19th century, following the partitions of Poland, the town came under Russian rule, generally viewed negatively in Poland. However, this period saw the town’s industrialisation, with the establishment of factories, including sugar refineries, mills, and chemical plants, making it a significant industrial centre. In 1873, Gustaw Becker founded the Faience Factory, whose products gained acclaim both domestically and internationally.

During World War II, many historic buildings in Włocławek were damaged or destroyed, but post-war restoration efforts aimed to revive them. The Cathedral of Wloclawek, one of the town’s key landmarks, suffered some damage but was restored and remains a major tourist attraction. After World War II, Włocławek also rebuilt its faience factory. To this day, I have quite a collection of decorative porcelain in my kitchen. However, the Faience Factory closed in 1991 after nearly 120 years of production due to changing market conditions following Poland’s political transformation. Despite the factory’s closure, Włocławek’s ceramic traditions continue through local craftsmen and artists who uphold the legacy of the town’s faience. When we visited Włocławek, we saw shops selling porcelain with designs reminiscent of those produced decades ago.

The construction of the Cathedral of the Assumption of the Blessed Virgin Mary in Włocławek, or simply the Cathedral of Wloclawek, began in 1340. Prior to this, there were at least two churches in Włocławek that might have served as the town’s main churches, but they were located in different places from the new cathedral. One of them was presumably a cathedral built in Roman style. The history of these early cathedrals still requires research, which can now only be provided by archaeological excavations.

The history of the third and current Cathedral of Wloclawek begins when the Teutonic Knights, supported by Czech forces, destroyed and plundered the city. The invaders ravaged the town, particularly targeting the bishop’s property. During this attack, the Romanesque cathedral was also burned down. The Teutonic Knights, under threat of death, forbade the rebuilding of the bishop’s town and cathedral, intending to subordinate the local diocese to the Order. In 1330, Bishop Maciej of Gołańcz decided to sign an agreement with the Teutonic Master, Werner von Orseln, which allowed him to some extent organise religious life in the devastated city.

The cornerstone was laid in 1340, with construction beginning in a new location outside the town, near the Vistula escarpment. The building process was lengthy, spanning several decades and reflecting the architectural styles and techniques of the period. The cathedral was consecrated in 1411 after the completion of the nave. By the end of the 15th century, the cathedral had assumed its impressive Gothic form, characterised by soaring arches, intricate stonework, and expansive stained glass windows. Over the centuries, the cathedral has undergone numerous modifications and restorations, each adding to its rich historical tapestry.

In the 17th century, Baroque elements were introduced, most notably in the form of altars and interior decorations. In the late 19th century, the cathedral underwent significant Gothic revival work, with the replacement of details and the heightening of both towers. This work also involved replacing numerous interior elements, which obscured the original Gothic character. Much of the modern-era furnishings were also removed. These works were completed in 1902, and in 1907, Włocławek Cathedral was designated a minor basilica.

We didn’t stay long, but it was enough for the cathedral to leave an impression. Sometimes you only notice things after the fact — in the photos, in the small details you missed at first. Maybe that’s why these unplanned stops often end up being the most memorable.

Inside the Cathedral of Wloclawek. Light, Detail, Silence

Art Nouveau District in Riga. Where Architecture Turns into Sculpture

When I first visited Riga nearly two years ago, I was there on a business trip, staying at a hotel situated on the edge of the historic city. This location gave me the opportunity to step out with my camera both in the morning and after work in the afternoon. At that time, I could only explore the historic city, which had developed in the Hanseatic tradition. However, my colleagues told me that after a business dinner, a small group of them, along with a few locals, went out to see a district with “beautifully decorated buildings”. It was evening, and some of the buildings were illuminated, allowing them to see the decorations clearly. A year later, when I returned to Riga and had the chance to take a guided tour early in the morning, we went straight to that place.

The Art Nouveau district in Riga, located primarily in its central part, especially around Alberta Street and Elizabetes Street, is a captivating area renowned for its unique collection of early 20th-century architecture. It comprises dozens, perhaps even more, houses designed in a highly ornamental style, adorned with elaborate sculptures. These elements are not just additions but are seamlessly integrated into the buildings, enhancing both their functionality and aesthetic appeal. The facades are well-maintained, and you can see the detailed restoration work.

Art Nouveau emerged as a response to the classical style, particularly the Neoclassical style, which dominated academic art and architecture. Academic art refers to the artistic style and practices promoted and taught in European fine arts academies, especially from the 17th to the early 20th century. This style is characterized by a strong connection to classical traditions, a focus on the idealization of forms, technical mastery, and often a high level of formalism. In architecture, historical styles such as Neoclassicism and Neo-Gothic were predominant, and a restrained use of decoration based on ancient arts was closely linked to the principles and aesthetics taught in academies.

Art Nouveau broke away from these conventions, introducing greater freedom in forms and experimenting with new materials and techniques. The main goals of Art Nouveau were the revival of craftsmanship and the promotion of the idea that decorative arts, such as furniture design, glass, and ceramics, should be treated with the same respect as traditional fine arts like painting and sculpture. Art Nouveau aimed to create a new aesthetic that was both beautiful and functional, utilizing innovative forms and materials and integrating art into everyday life.

Below is a gallery of photos that I took in the Art Nouveau district in Riga.

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Art Nouveau District in Riga. Where Architecture Turns into Sculpture

Le Roy d’Espagne

The Brussels Grand Place or Grote Markt in Brussels (Belgium) is probably the most glamorous central square of Europe. It is surrounded by very representative buildings funded by numerous Brussels craft guilds. All of them are carefully decorated with busts, sculptures, reliefs, ornaments, and quite much gold leaf. 

Le Roy d’Espagne (the King of Spain), also known in Dutch as Den Coninck van Spaignien, is house No. 1 on the Grand Place. Built in 1697, after the square’s reconstruction following the 1695 French bombardment, it occupies the site of the Serhuyghs family’s stone residence, one of Brussels’ seven noble families.

Originally, Le Roy d’Espagne served as the headquarters for the bakers’ guild, officially the Maison de la Corporation des Boulangers (House of the Corporation of Bakers). Above the ground floor entrance, there is a depiction of Saint-Aubert, the patron saint of bakers, overseeing the building.

A view onto the Grand Place. In Front from left to right the houses Le Renard, Le Cornet, La Louve, Le Sac, La Brouette and Le Roy d’Espagne. To the left the Grand Hall and to the right the King’s House.

The building got its name from an ornate bust of Charles II, the King of Spain in 1697, featured prominently on its second-floor façade. At that time, Charles II was not only the monarch of Spain but also the sovereign ruler over the southern Netherlands, now Belgium.

The first floor’s facade is decorated with medallions prominently displaying the likenesses of notable Roman emperors: Marcus Aurelius, famed for his philosophical wisdom; Nerva, who started the era of the Five Good Emperors; Decius, known for persecuting Christians; and Trajan, renowned for his military conquests and expanding the Roman Empire.

The King of Spain’s House is the only building on the Grand Place without a gable-topped façade. Instead, it boasts an attic balustrade adorned with statues symbolizing elements essential to baking: strength, wheat, wind, fire, water, and security. Hercules symbolizes the physical effort and endurance required in baking, from kneading dough to managing ovens. Ceres, the goddess of agriculture, represents wheat, the foundational ingredient for bread and pastries. A woman with a windmill symbolizes the historical use of windmills to grind grain into flour. Mercury represents the elemental force of fire used in baking. Neptune symbolizes water’s indispensable role in mixing dough. Minerva, with the horn of abundance and the hourglass, represents the foresight and wisdom necessary for securing ingredients and timing critical in baking processes.

The building has a unique dome topped with a gold-coated Fame blowing the trumpet. In Greek and Roman mythology, Fame (or Pheme in Greek and Fama in Roman) is personified as a goddess known for her swift ability to spread news, rumors, and the reputations of mortals and gods alike. She is depicted blowing a trumpet, symbolizing the broadcasting of information or acclaim being is a a metaphor for announcing important news, victories, or the esteemed reputations of individuals to the world, suggesting that their deeds or names are worthy of widespread acclaim and will be remembered through time.

The Roy d’Espagne’s suffered damage during the tumultuous period of the French Revolution. However, as part of a comprehensive restoration effort aimed at revitalizing the Grand Place, the building was restored in 1902. The overall design of the building changed, but the restoration brought back the sculpted décor and dome, missing since the 19th century, according to the original plans.

Le Roy d’Espagne