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The study provides a new analytical model for interpreting early modern sacral architecture. The example of selected buildings from Moravia at the turn of the 16th and 17th centuries shows the possibilities of applying the „anachronistic model", an alternative to linearly defined autonomist art history, especially in the case of Renaissance studies. In contrast, the buildings under study present themselves as objects with a specifically heterogeneous temporal identity that simultaneously applies the principles of historicity and modernity to the buildings in question. [ABSTRACT FROM AUTHOR]

The 20th century saw a great breakthrough in architectural innovation; however, this was less evident in sacred buildings. The Evangelical Church of A. C. was inherently innovative, which was also reflected in the architecture of its churches. The innovativeness of the evangelical denomination can be seen in completely new spatial concepts, morphology, the use of new constructions, materials and building technologies, including modern technical equipment of sacral spaces. This article focuses on two buildings by one architect—Emil Belluš (1899-1979), a doyen of Slovak architecture, whose work significantly influenced the field of sacral architecture of the Evangelical Church of A. C. Innovative contributions can first be seen in the design and later in the construction of two evangelical churches in Nesvady and Senec, in Slovakia, built in the 1950s. The churches were part of a project originally intending to build ten new churches for people who had been resettled as part of the government's post-war migration policy. For several decades, these two churches have remained the last addition to sacral buildings constructed in Slovakia. The article deals with the reasons for the creation of church plans, the socio-political situation of that time, circumstances of their construction, and spiritual ideas and creative contribution of the architect Emil Belluš. The research is based on a detailed study of these temples, their layout, and the use of new technologies, construction principles, morphological elements, and other architectural means in which we seek and define an innovative approach to creation.

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Sacral buildings were an integral part of the fortresses, sometimes built on the ruins of older churches and monasteries in the early modern Eastern Adriatic, retaining their titles. Considering that there is a representative number of fortresses of high architectural value, the main focus is on the fortress churches and chapels of Šibenik and Split, which are studied based on field, archival, and archaeological research.

The study focuses on the sacral work of architect Klaudius Madlmayr (1881–1963), a graduate of the Vienna Academy under Friedrich Ohmann (1858–1927). Although Madlmayr began his professional career designing residential houses, and particularly state buildings (especially in Olomouc), from the second half of the 1930s he devoted himself almost exclusively to commissions for clients from the Catholic Church. In a simplified neoclassical architectural style he designed new church buildings in Brno-Židenice, Rozvadovice and Želeč, and in more than a dozen other churches he managed reconstruction work and designed a new layout, including a number of altars, mostly with retables. He collaborated with a number of conservative creative artists, among whom Julius Pelikán (1887–1969), Petr Pištělka (1887–1963) and the brothers Heřman Kotrba (1913–1989) and Karel Kotrba (1910–1973) stood out. He collaborated for a long time with the Brno Heritage Office, which consistently recommended his work and even discriminated in favour of it. The turning point came only with the arrival of a new generation of art historians who had reservations about his work. The aim of the study is to present not only Madlmayr’s sacral work, but also its perception by contemporaries and clients. It does not attempt to rehabilitate his work, assessed by art history as being rather below average and regressive, but to explain the circumstances under which it was created. [ABSTRACT FROM AUTHOR]

Although the parish church is a frequent concept in domestic medievalist literature, it remains mainly within the framework of somewhat stereotypical ideas about the development of church organisation. Absent is a deeper reflection on what the parish church and the parish meant or could have meant in the different sections of the medieval period. At the same time, this is an interdisciplinary problem that affects art-historical research in many ways. The following text aims to offer a stimulus to such reflection. The first part of the paper outlines a brief view of the parish church as an institution that has been the subject of a long journey of historical development but which, despite its fundamental influence on the lives of people of all social groups, remained without a generally binding ecclesiastical-legal definition until the publication of the Code of Canon Law in 1983. The second part focuses on the issue of parish and branch churches. Many of these needed a justifying cause for their establishment, which most often was the long journey to an existing parish church. Specific examples are used to illustrate the highly differentiated functional content and interrelationships of the churches forming the so-called lower church organisation, i.e., the parish system. The intention is to show that this differentiated functional content is combined with an undefined period terminology, which ultimately also influences the archaeological and architectural-historical interpretations of the individual objects. [ABSTRACT FROM AUTHOR]

The 20th century saw a great breakthrough in architectural innovation; however, this was less evident in sacred buildings. The Evangelical Church of A. C. was inherently innovative, which was also reflected in the architecture of its churches. The innovativeness of the evangelical denomination can be seen in completely new spatial concepts, morphology, the use of new constructions, materials and building technologies, including modern technical equipment of sacral spaces. This article focuses on two buildings by one architect—Emil Belluš (1899-1979), a doyen of Slovak architecture, whose work significantly influenced the field of sacral architecture of the Evangelical Church of A. C. Innovative contributions can first be seen in the design and later in the construction of two evangelical churches in Nesvady and Senec, in Slovakia, built in the 1950s. The churches were part of a project originally intending to build ten new churches for people who had been resettled as part of the government's post-war migration policy. For several decades, these two churches have remained the last addition to sacral buildings constructed in Slovakia. The article deals with the reasons for the creation of church plans, the socio-political situation of that time, circumstances of their construction, and spiritual ideas and creative contribution of the architect Emil Belluš. The research is based on a detailed study of these temples, their layout, and the use of new technologies, construction principles, morphological elements, and other architectural means in which we seek and define an innovative approach to creation. [ABSTRACT FROM AUTHOR]

Copyright of Czech Journal of Historical Heritage Preservation / Zpravy Pamatkove Pece is the property of Narodni Pamatkovy Ustav and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Housing Environment / Środowisko Mieszkaniowe is the property of Chair of Housing Environment, Faculty of Architecture, Cracow University of Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents archival, archeological and architectural survey of the parish church in Ludanice. Research was performed here concurrently with a total renewal of the building between 1998 and 2010, however for various reasons the research could have only partial character. Despite his limited extent, the study offers a complex view of the sacral building's history, which had its origins likely in the late Roman period. Apart from architecture, the article analyzes the church cemetery the original title of the church - St. Demetrius and the beginnings of the nearby village center settlement. [ABSTRACT FROM AUTHOR]

Within the topic of architectural design of a contemporary Serbian Orthodox temple, student competitions have been held for a few years at the Faculty of Civil Engineering and Architecture in Niš. The research of the current phenomenon of the contemporary Serbian temple through the innovation of competition practice directly advances the architectural science. The main goal of the work is to improve the institution of the competition through pre-defined evaluation criteria, which belong to the fields of architectural design, history and theory of architecture, but also to the teachings of the Serbian Orthodox Church. This paper documents the student competition for the memorial temple on Delijski Vis in Niš. In accordance with the design principles, the students' works and the results of their evaluations were analyzed. In the first part of the paper, the points awarded by the expert jury were presented. In the second part, the works are analyzed according to design principles. In the third part, in the synthesis of the research, the results of the first and second part of the research were compared by a comparative analysis. In the discussion, based on the discrepancy between the results of the first and second groups, it was concluded that it is necessary to define in advance the categories that the jury would evaluate in the evaluation phase. Candidates should receive the evaluation framework in the competition announcement. Since the members of the jury are not only architects, it is necessary to provide for areas from several disciplines, so that the candidate's answer is more comprehensive. In the conclusion of the work, specific evaluation criteria were proposed, created through the transformation of design principles.

This study explores the architecture and arrangement of prayer spaces in public buildings. It examines whether Polish airports have prayers spaces and whether a correlation exists between the name (e.g., “multi-faith space,” “place of prayer,” and “place of focus”) and design. The study is supported by analyses of ecumenical spaces, which have recently been brought into service and where a visible symbiosis exists between their names and functions. This study includes in situ investigations and is conducted based on a wide range of literature, statistical data, comparative methods, and logical reasoning. This study may provide an important indication for countries that are only beginning to face a design problem concerning architecture of multi-faith spaces.

Aim. The subject of this article is the role of the Finnish Church institution and its influence on shaping the local community. The article presents the possibilities of using and shaping the interiors of temples, depending on the period in which they were created and the function they were to perform. Methods. The authors of the article present the role of Church institution in Finland from the Middle Ages to the present day. The historical educational role of the church and its contemporary community-building function will be outlined. The authors will also present how these assumptions translate into shaping its architecture. Results and conclusion. Despite the considerable secularization of society, the Protestant church in Finland still plays a central role in the local community. The church, with its dominant and educational role in the past, became a companion of the inhabitants, providing them with spaces adapted to their needs, regardless of their age or religion. Once limited, single-space forms of temples, today with an extensive program function as local cultural centers and meeting places adapted to the needs of their users. [ABSTRACT FROM AUTHOR]

In the immediate near of the Piešťany city symbol - the crush breaker is situated small inconspicuous sacral building called Spa chapel. Only few metres from spa chapel was located older building, from 18th century, it was chapel of St. John of Nepomuk. This older chapel was demolished, but her main altar painting safed and removed to this chapel. One of the most historical important moments in the existent of this chapel was visitation of Karel Kašpar, cardinal and archbishop of Prague, in July 1936. By his invitation played spa orchestra and he celebrated short devotion and at the end gave believers his apostolic blessing. [ABSTRACT FROM AUTHOR]

The core problem of the present research are spatial images which appear in the Old Testament descriptions of ritual acts of the patriarchs Abraham, Isac, and Jacob. According to typology they represent a recognizable whole placed between biblical descriptions of the flood and Jahve’s instructions for building the tent of his dwelling. After man’s expulsion from Eden, these ritual acts can be understood as his attempt to re-establish friendship with Transcendence. With the use of literary, archetypical, and comparative analysis we want to present relationship between considered spatial images and attempts of Christianity (as a new religion) to find its own ritual space.

The article discusses the architectural features of the churches, dedicated to St. Hieronymus. Particular attention is paid to the characteristics in which their association with the patron can be identified. The research is set in two steps. The first refers to the identification and classification of the common characteristics of the churches in question, the second to their confrontation with the architectural archetypal matrix of the sacred, as their unique dimension. The comparison shows the richness of architectural archetypal elements in these, at first glance, modest architectures. The goal is to show the often overlooked richness of noble simplicity.

Are avant-garde elements added to historical objects as a temporary fashion to fulfill the aspirations of designers or an attempt to draw attention to themselves? It may be the exact opposite, and this type of controversial project is the best lifebelt for such monuments. This article explores issues related to external avant-garde elements added to adapted churches and their influence on the efficiency of such adaptation projects. Gothic churches located in the north of Europe that have changed their religious function, entirely or in part, were considered. This work examined former churches in Maastricht, namely, the Minorite Church, the Church of the Kruisheren Monastery, the Dominican Church, as well as Polish churches located in Gdańsk, including St. John's Church and St. Catherine's Church. This article attempted to identify the factors that contribute to the successful adaptation of former churches and the benefits and drawbacks of adopting avant-garde design solutions. Results of this study might provide valuable inspiration for other churches that are losing worshippers. This study was conducted on the basis of a wide range of literature, statistical data, logical reasoning, and comparative methods. Observations from selected edifices were checked for their correlation over time. This study also included in situ investigations.

In April 2021, the Institute of Archaeology and the Šibenik Town Museum continued the archaeolog- ical excavations at the Mukoše site near Goriš. This multi-layered site was created by the collapse of the upper part of a stone building of imposing size. The unique ground plan consists of a rectangle with one apse on each side, except for the eastern side, where there were two apses. When the building had already collapsed and was similar to a cairn, in the late Middle Ages, it had a watchtower on a corner. For now, most of what we can say concerns the final phase of the site, when the structure-turned-cairn was chosen for burials. The radiocarbon analyses of selected graves date these burials to the 16th century. In fact, in the second quarter of the 16th century, after the Šibenik hinterland had long been a deserted no-man's land, the wider area of Goriš was settled by a new population: Christian Morlachs. They first moved into properties that had been abandoned for some time, and then chose to conduct their burials at the nearest site with upright solid walls, believing it was a church, consecrated ground. [ABSTRACT FROM AUTHOR]

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The territory of what is today the northern part of Levice district, located on the border between the former Tekovian and Hontian Counties, belongs to less explored areas in terms of knowledge of lost medieval sacral architecture. In the four presented sites, literary sources reference the existence of medieval sacral buildings. However, no one has explored the previous form of their architecture more closely so far. Using non-destructive architectural exploration followed by geophysical research, it was possible to identify their lost medieval one-nave structures and several architectural details. The preliminary interpretation of the discovered ground plan structures in the context of historical written references point to the construction of the sacral buildings in question probably in the period between the 11th century and the period before 1419. These sacral structures were substantially rebuilt or even completely renovated between the 18th and the 19th centuries. [ABSTRACT FROM AUTHOR]

This paper aims to investigate and confirm the inseparable connection between: interior architecture, iconographic topography, inverse perspective as a system for representing space on a surface, light and liturgy in Byzantine churches on the territory of medieval Macedonia. The interior architecture in these sacral objects is methodically based on the superposition of all the aforementioned aspects. Any change in one of them can cause a disturbance in a series of others and disrupt the entire system. All these elements are in a methodically created superposition in order to be a visual support for the words of the liturgists and to convey a certain theological thought or concept in the church perceived as a model of the cosmos according to the Orthodox worldview. [ABSTRACT FROM AUTHOR]

In 870 the Bavarian bishops drafted a file Conversio Bagoariorum et Carantanorum (About conversion of the Bavarians et Carinthians, in short Conversio), in which they described their christianization activities in the area of Pannonia and Carinthia. The file was created in response to the appointmen of Methodius as the archbishop of Pannonia and papal legate for Slavic countries, in which their saw a threat to their jurisdiction and interference in their own interests. We have the only detailed information in this file about the troubled fate of Pribina - the ruler of Nitra. There is stated here that „Archbishop Adalram consecrated for him a church on his own property beyound the Danube in a place called Nitrava". This figure has already given a rise to lot of considerations and studies, which in many ways remain open to this days. In this context it is necessary to ask for answers, in what ecclesiastical and jurisdictional situation was this consecration happened, in what time period, where it is possible to assume that sacral building and what can be said about their architectonical conception. The following article will try to answer these and other questions. [ABSTRACT FROM AUTHOR]

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The author of this study focuses on the issue of the church topography of the city of Nitra, which has not been adequately addressed until now, as the research of the earlier history of this important Slovak city was hindered by an absence of relevant sources. The old archive of the city was destroyed by fire before 1679 and also the city and many of its sacral buildings were destroyed during the Ottoman occupation. The author focuses on the localization and patronage of key sacral objects in the privileged Lower Town (St Peter's Chapel, St Andrew's Church, the Monastery of the Virgin Mary, the Church of the Virgin Mary at Calvary and others). His conclusions allow us to correct the topographical map of the city and to draw up a new map of the topography of Nitra before the end of the 16th century, capturing definitively located sacral buildings in the privileged Lower Town.

The character of architectural space is dependent on the range of aspects that define it. Lighting presents a very significant component of architectural space. Apart from being functionally necessary for carrying out the planned activities, lighting also has a very important role in determining the ambient value of the segments or the entirety of the space. That role becomes even more important and dramatically evident in those architectural spaces that are meant to provide an intense experience for users, as in the case of sacral architecture. For centuries lighting has been a topic present in sacral architecture, and its significance becomes especially noticeable in newer interpretations of rigidly subdued contemplative spaces. The refined aesthetics of the architectural forms of the second half of the XX century often gives way to lighting as the central element of the architectural composition, which determines the mystical and suggestive ambiances that direct users to contemplation. The study is, in the first part, conducted through a theoretical analysis of the phenomena of natural and artificial lighting in architecture. Then, in the second part, an analysis of prominent examples of sacral architecture from the given period is applied in order to explore models of treating lighting as a key element in building expressive architectural spaces that invite spiritual reflections and contemplation. The goal of this research is to examine the potentials of lighting beyond its utilitarian function, and research the possibilities and potential of utilizing lighting as a carrier of the meditative and transcendental character of sacral architecture. The result of the research is a confirmation of the importance of lighting in sacral architecture, and an insight into the ways of thinking about light in the context of shaping suggestive and meditative architectural spaces that intensify the hyperphysical experience.

In the context of the Lands of the Bohemian Crown it was only in Upper Lusatia, and specifically in Bautzen, that medieval figural portraits of medieval and early Modern Age rulers survived, namely Matthias Corvinus and Rudolf II. Likewise, in different towns of the Lusatian League Bohemian kings’ coats of arms also survived to this day in diverse forms. The rulers left their marks on sacral architecture, too, which we can document with busts in Saint Nicolas Church in the Lower Lusatian town of Luckau or with keystones of Görlitz churches, as well as the overall building conception and the individual architectural details of the buildings (portals, vaults, cantilevers, ornamental decorations). The visual heritage of the Bohemian ruling power is in both Lusatias, and more particularly in Upper Lusatia, often surprisingly rich.

This study explores the architecture and arrangement of prayer spaces in public buildings. It examines whether Polish airports have prayers spaces and whether a correlation exists between the name (e.g., "multi-faith space," "place of prayer," and "place of focus") and design. The study is supported by analyses of ecumenical spaces, which have recently been brought into service and where a visible symbiosis exists between their names and functions. This study includes in situ investigations and is conducted based on a wide range of literature, statistical data, comparative methods, and logical reasoning. This study may provide an important indication for countries that are only beginning to face a design problem concerning architecture of multi-faith spaces. [ABSTRACT FROM AUTHOR]

The aim of this study is to offer a brief outline of protestant sacral architecture in the region of Kalisz, comprised of historic counties of Kalisz, Pyzdry and Konin from the 16th to 18th Century. Author tries to trace foundations of new parish churches for the United Brotherhood and lutheran communities. The general research question posed in this study targets different typologies of protestant church architecture in the region, including analysis of architecture and arrangements of interior, with focus on longevity of some typological units. Those issues were backgrounded in the historical framework of protestantism in the region of Kalisz, including situation of different waves of immigration or religious exile from other countries, affecting local confessions (to mention imigrants from Bohemia, Silesia or German-speaking rural colonists, called “Olędry”) from the outbreak of protestantism, counterreformation in Poland and introduction of religious tolerance in the mid-18th Century. The last factor affected protestant sacral architecture in many ways, allowing many new interesting and monumental churches of lutheran confessions to be constructed, often showing innovation in form and spatial arrangement. [ABSTRACT FROM AUTHOR]

In October 2020, the Institute of Archaeology and the Šibenik City Museum continued the excavation of the site of Mukoše near Goriš that was discontinued in 2002. The site, previously considered to be a tumulus around 35 m in diameter and 4 meters in height, conceals several meters high remains of a structure under the collapsed material, time of origin or the original function of which are still not known. The base of the structure consists of a rectangle around 18.70 x 19.25 m, with two smaller apses on one side and one larger apse on all the other sides. The inner walls of the structure can also be noted. After the structure had already collapsed, multiple graves were buried in the collapsed portion, probably at the beginning of the early modern period. The main goal of this year’s short excavation was to clear out the dense vegetation that had grown on it, gain insight into the floor plan of the structure, to the extent it was possible to do so, excavate visible graves, and document the findings in drawing and photos. [ABSTRACT FROM AUTHOR]

Antal Hofhauser was a descendant of an old stonemason family in Buda. Sacral architecture played an important role in lifework. There is good reason to suppose that his work and position as a teacher played a very important role, increased his authority and the appearance of his entries was far more beautiful than that of other entries. Teaching certain subjects for long decades enabled him to vary the already existing solutions easily. His authority and his good reputation from previous principals may have helped him on several occasions, that he was able to win assignments from the second rank, or a supervisor position. Based on his studies in Vienna and his interest in urban architecture, he always adapted his churches to the current situation and possibilities. Not too inventively, but fulfilling the principals requirements, he varied and vested the fundamental towered, longitudinal, Latin-cross-shaped, which had one or three naves, a polygon-closed sanctuary and was canonised from the Middle Ages, with well-known elements chosen from medieval styles. This layout, and similar constructions, like fundations can also be observed in the case of Bátaszék and Békéscsaba. Based on the cover he used in general, his style could be called "Backsteingotik" (Brick Gothic), however, the forms he used and the building materials he replaces evoke the architecture of French territories instead. [ABSTRACT FROM AUTHOR]

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The author of this study focuses on the issue of the church topography of the city of Nitra, which has not been adequately addressed until now, as the research of the earlier history of this important Slovak city was hindered by an absence of relevant sources. The old archive of the city was destroyed by fire before 1679 and also the city and many of its sacral buildings were destroyed during the Ottoman occupation. The author focuses on the localization and patronage of key sacral objects in the privileged Lower Town (St Peter's Chapel, St Andrew's Church, the Monastery of the Virgin Mary, the Church of the Virgin Mary at Calvary and others). His conclusions allow us to correct the topographical map of the city and to draw up a new map of the topography of Nitra before the end of the 16th century, capturing definitively located sacral buildings in the privileged Lower Town. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos Dieciochistas is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 880 Pope John VIII consecrated the Frankish Benedictine Wiching as a bishop of the “holy Church of Nitra” and placed him under the jurisdiction of St. Method, “the most dignified archbishop of the holy Moravian Church”. This step was a result of a long development in the ecclesiastical, jurisdictional and power spheres not only on the territory of Great Moravia, but especially in the Central European region where the East Frankish, Great Moravian and Pannonian regions intersected and in which, over the years, many contradictory trends appeared. This article deals with the formation of the Bishopric of Nitra in 880 against the background of the general Christianisation in the Great Moravian area. The formation of the Bishopric is generally regarded by scholars as the formal emergence of the Pannonian/Great Moravian archdiocese. The study also presents the history of the Bishopric of Nitra after the departure of Bishop Wiching (890/893), during the restoration of the Great Moravian archdiocese in 899 and during the decline of Great Moravia after 907. It also studies sacral architecture of Nitra in the 9th century, focusing on its sacral topography. [ABSTRACT FROM AUTHOR]

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The hypostyle hall of the Minaean temple Qabḍum in Barāqish (ancient Yathil), dedicated to ʿAthtar dhu‐Qabḍ, is characterised by the presence of four long offertory tables that were discovered in situ in an overall good condition. This article presents an analysis of these objects together with their epigraphic material with the aim of better understanding the rituals that may have been connected to them. The topic is also analysed within the complex history of the sacral area of Yathil, as organised and used by the Minaeans, while also taking into account the later and brief intrusion of the Amīr tribe in the pre‐Islamic site. A comparison with the similar hypostyle hall that was uncovered in the nearby temple of Nakraḥ is also offered, as regards the position and organization of the cultic furniture. The presence of differently arranged cenacles in the South Arabian sacral architecture, which may have been associated with a variety of ceremonies, is also briefly discussed. The use of offertory tables according to a liturgic calendar is finally addressed with the study of a new inscription from the same temple of ʿAthtar dhu‐Qabḍ (Y.05.B.B.14). [ABSTRACT FROM AUTHOR]

The contribution is devoted to sacral Jewish architecture from the Liptov region. The description focuses on the extinct but also still existing sacral monuments such as Jewish synagogues and Jewish cemeteries. The study also contains information about the Jewish population of Liptov and about the persecution of this ethnicity and religion within history of the region. Primarily, the contribution devotes to individual synagogues and cemeteries, which were located and still are located in the area of historical region of Liptov. It is about their localization in a specific village or town, about the history of their origin, history of use and the current condition of this Jewish sacral architecture. [ABSTRACT FROM AUTHOR]

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Are avant-garde elements added to historical objects as a temporary fashion to fulfill the aspirations of designers or an attempt to draw attention to themselves? It may be the exact opposite, and this type of controversial project is the best lifebelt for such monuments. This article explores issues related to external avant-garde elements added to adapted churches and their influence on the efficiency of such adaptation projects. Gothic churches located in the north of Europe that have changed their religious function, entirely or in part, were considered. This work examined former churches in Maastricht, namely, the Minorite Church, the Church of the Kruisheren Monastery, the Dominican Church, as well as Polish churches located in Gdańsk, including St. John's Church and St. Catherine's Church. This article attempted to identify the factors that contribute to the successful adaptation of former churches and the benefits and drawbacks of adopting avant-garde design solutions. Results of this study might provide valuable inspiration for other churches that are losing worshippers. This study was conducted on the basis of a wide range of literature, statistical data, logical reasoning, and comparative methods. Observations from selected edifices were checked for their correlation over time. This study also included in situ investigations. [ABSTRACT FROM AUTHOR]

The study attempts to analyze the post-war sacral architecture in Poland based on the example of churches built after 1945 in the area of the present archdiocese of Częstochowa. It presents the history of sacral architecture, with particular emphasis on the years 1945–1989. It further discusses issues concerning the style of churches and problems related to structures with very large areas and cubature. Problems related to churches erected as “catechetical centers” and smaller filial churches are also mentioned. The presented issues concerning the chosen archdiocese may constitute a representative example of sacral architecture in Poland.

The subject of this work is the monumental art of Jerzy Nowosielski (1923–2011), one of the most outstanding contemporary Polish painters, who combined modernity with the orthodox icon aesthetics. This work discusses the monumental realizations of Nowosielski, especially the architectural polychromes made by the artist in Catholic and Orthodox churches in Poland in the years 1950–1999. The aim of the inquiry is to present his work theoretically and place it in a broader artistic context. The research shows that Nowosielski’s monumental works results from a strongly defined artistic concept aimed at ‘mystagogy of space’. Nowosielski’s work is an original synthesis of the modernist avant-garde and traditional canons of religious art. The analysis of the problem was carried out in two areas: (1) analysis of the artist’s theoretical statements; (2) analysis of the artistic form with particular emphasis on the color aspect, based on the example of selected churches in Wesoła, Tychy, and Biały Bór. The work uses comparative references to the ideas of Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, and Le Corbusier.