Sacred Architecture of Kraków: Bazylika Świętej Trójcy

The Bazylika Świętej Trójcy (Basilica of the Holy Trinity) is located at the intersection of Ulica Dominikańska and Ul. Stolarska, a stone’s throw from the intersection with Ul. Grodzka, where Dominikańska becomes Francziszkańska.  It is served by the Polish Province of the Order of Preachers, and it has been their home in Kraków since 1221.  (That’s monumental.  Not just because the Dominicans have been there for so long, but also because if you switch up that chiasmus, it’s one of Rush’s greatest albums.)

Blue N, Rynek Głowny; Blue S, Waweł Hill; Yellow N-S, Ul. Grodzka; Yellow W-E, Ul. Francziszkańska / Dominikańska; Red, Dominican Church + Priory

Plac Dominikański and the Basilica of the Holy Trinity

View from Ul. Stolarska

Roof added after 1850 fire. Lantern added in 1903.

The present church dates to 1241. It was substantially rebuilt at the turn of the 14th/15th century, and renovated after the Fire of 1850.  The church is built in the “Brick Gothic” style.  There isn’t too much written (at least in English) on the Brick Gothic — it’s found primarily in Central Europe (Poland, Czech Republic, Slovakia, Austria, etc.), and for one reason or another, most of the scholarship on Gothic architecture focuses on Western Europe and the British Isles.  The reason why it’s called “Brick Gothic” is because it follows the conventions developed in France by Abbot Suger — abundant natural light and an emphasis on the vertical line — albeit with a completely different building material, at least in most instances.

St. Dominic receiving the Rosary from our Blessed Mother, Façade, Priory

Accommodating the passage of time.

In the image immediately above, you can see a feature of the church exterior, one that is not uncommon for churches in the Stare Miasto (Old City) — trenches about some portion of the church.  As time passed and the city’s population grew, the infrastructure grew with it, and existing structures had to adjust with the rest of the city’s growth and development.  Remember, as stated above, the church as it is now dates to the 14/15th centuries, and it’s entirely possible that the foundations stretch back farther.  The following three images show more of this condition.

West Portal, Bazylika Świętej Trójcy

As you walk through the portal, you step down about four or five steps to an equally elaborate portal, at which point you can turn left or right and enter the nave of the church.  There’s actually another set of doors when you walk down/look straight ahead, but to the best of my recollection, they’re never opened up — maybe for the Solemnity of Saint Hyacinth, but that was seven years ago, and this time I was in Poland in July.

Nave, Bazylika Świętej Trójcy

Immediately you can see the Gothic spirit in this church — the emphasis not only on mere verticality, but on the vertical line, itself, as well as the abundant natural light filling the interior at almost any time of day.  The fluting on the columns as they extend up to the rib springline, entering the clerestory, creating a powerful aesthetic experience.  The lines in the z-axis along the chandeliers draw your eyes to the high sanctuary, ultimately to focus on the altar and tabernacle.  Note also in the above image that the columns are stone, but that the walls and ceilings have been stuccoed over.

In the image above you can see the high altar at the back of the choir, with the lower / ordinary sanctuary used for daily and Sunday Masses situated before the choir.  A more through treatment of the altar will follow later in this post.

Arcade aisle, Epistle Side

Chapel of Our Lady of the Rosary, stock image, Dominikanie.pl

The aisle on the Epistle side of the basilica leads to the Chapel of Our Lady of the Rosary.  The image immediately above was not taken during my visit, but was found on Dominikanie.pl.  It shows the brethren during the Salve Procession after either Sunday’s First or Second Vespers.  Not sure what the Salve Procession is?  Check out this CNYTR post from a few years ago — in addition to the procession after compline, it’s also traditionally done after first and second vespers on Sundays.  Coincidentally, the photo she’s posted there is taken from the very same church!

Arcade aisle w/ stairway, Gospel Side

This next image (above) is taken from the aisle on the Gospel side and boasts a stairway.  That’s not any ordinary stairway — it leads to something way cooler than a mere, modest gallery, oh no! No, no!  It leads to…

The Chapel and Tomb of St. Hyacinth, OP, Priest and Confessor!  St. Hyacinth was one of the earliest of the brethren, having received the habit of the Order of Preachers from the hands of Saint Dominic, himself, in Rome in 1219.  He returned to Poland in 1221 along with his cousin, Bl. Cesław, who received the habit at the same time.  I’d like to say a little more about Saint Hyacinth, but that’ll have to wait until the end, once business is taken care of.

Choir and Sanctuary

Above you can see the high sanctuary at a closer point.  It’s very striking, to say the least.  One of the strongest features of the altar, tabernacle, and reredos is the material palette.  The entire reredos is wood with the sole exception of the band directly above the altar, which are made of some variety of marble, into which the tabernacle is set.  The altar is likewise of the same or a similar material.

Monument to Bishop Iwo Odrowąż of Kraków, Uncle of St. Hyacinth

If you stand in the middle of the choir and look to the Epistle side, you can see a monument to Iwo Odrowąż — he was the bishop of Kraków from 1218 to 1229, as well as the uncle of Saint Hyacinth.  I really want to say more about Saint Hyacinth, but that’s going to have to wait until the design issues are addressed.

Portal to sacristy and cloister, Gospel side

St. Peter Martyr says, “shhhh!”

If you’re standing in the choir and look to the Gospel side, you’ll see a portal that leads you into a very spacious hallway that will take you either to the sacristy, or two two different wings of the priory (it’s a pretty substantial priory… it should be, itself being 600 years old!).  Anyways, it’s always nice to see Saint Peter Martyr, who’s often depicted in a gesture enjoining silence, or with a machete through his head.  (Side note: I think for Halloween I may have to dress up as Peter Martyr with both iconographic elements, and teach my downstairs neighbor a lesson or two).

Confessional

The Good Shepherd

Since we’ve been on a pretty through tour through the church, we’re at a good point to switch gears.  I’d like to shift the focus to specific features worth note (beyond the fact that a saint’s mortal remains rest here).  The two categories we’ll look at will be 1. structure / language, and 2. history / development.

1. Structure / Language

As stated above, the Bazylika Świętej Trójcy is an example of Brick Gothic architecture.  It’s Gothic, but without the exclusive use of stone.  Remember that structural stone is not found in central Europe as it is in places like France and Spain in the far west.  Much like in Waweł Cathedral (for which do not have any images, owing to the Archdiocese’s restriction on photographs in the cathedral), stone is used strictly for load-bearing structure (columns, also arches) as well as for fenestral tracery and trims.  That’s pretty much it.

In the picture above, you can see what I’m talking about.  The structure proper — the columns and arches that make everything else possible — are made with stone masonry.  Additionally, stone is used for the tracery for both the windows as well as the trims — less properly structural uses, but notable nevertheless.  The walls — be they exterior, interior, or some combination of the two (as in the case of the arcade and clerestory) — are made with brick masonry and then stuccoed over.  Brick is plentiful in Poland because soil just so happens to be everywhere, unlike stone.  So there you have it, the… building blocks… of Brick Gothic architecture!

Rib vaulting springline / transition

You can see clearly in the image above where the stone carried up from the column ceases and where the material changes to brick masonry and stucco.  Now this may not seem perfectly clear in the image, so let’s take a look at another.

If it was a little difficult to see before, now there is no question about the construction of the ribs.  The two photos above are taken from a side chapel, but it is representative of the vaulting throughout the entire church.  These are the two main things I wanted to point out in order to show what Gothic architecture looks like in one part of Central Europe.  Next, we’ll move on to how this church developed over time.

2. History / Development

As stated above, the Bazylika Świętej Trójcy goes back as far the 13th century, was substantially rebuilt in the 14/15th century, and was renovated after the Fire of 1850.  It makes sense that its high-mediaeval language only dates to the 14/15th century, owing to the fact that trends started in Western Europe have always taken a little time to move Central Europe, and longer still to Eastern Europe.  One notable feature of this church is that not everything is strictly Gothic.  Many additions and renovations were made which reflected the styles appropriate to their time.  It’s clear that they don’t fit in with the historical context, but it enriches the experience.

Examples

a.  St. Catherine of Siena Chapel

Portal, St. Catherine of Siena Chapel

The Saint Catherine of Siena Chapel is rather different from the rest of the church, in terms of its appearance, elements, and composition.  It is Baroque in every way, from the chapel gate to the walls and dome, let alone the altar and reredos.

b. Chapel of Our Lady of the Rosary

Chapel of Our Lady of the Rosary, stock image, Dominikanie.pl

Once again (to save you the hassle of scrolling up… if you’ve held out this long!) you can see how in the course of walking through the courts of the house of the Lord, you can walk through several different historical built interpretations of what it means to enter into the already while still in the not-yet.

c. Lower Sanctuary

The altar and ambo were obviously added in response to the liturgical renovations taken up after the Second Vatican Council.  I say “renovations” because in my opinion — to the extent that I am familiar with the history of liturgy, I know enough to know that I don’t that much and that many people who fancy themselves liturgy wonks don’t know much more than I do, and to that point have significantly differing focuses and aims — it’s the safest word to use without stoking the fires of either the arsonists or the firefighters, depending who you think is who.  Now to get back on track.

The altar and ambo are very traditional in their execution, and rightly so.  On the one hand the details of their execution are somewhat historical, such as the half-columns on the base of the altar.  By the same token, with a church that is so old, it makes sense to design something that is traditional in its substance and typology, but contemporary in its “style” and accidents, it’s execution.

The first image above shows one of the tympana in the west portal — its pattern is repeated in the choir stalls.  While I am uncertain which established the precedent, and which one repeated it, let it suffice to say that one clearly influenced the other.  The second image is the gate at the communion rail.  It constitutes a variation on the theme established in the previous example from tympanum and choir stall, with the addition of a clearly cruciform element.

While the altar and ambo do not specifically use any of the existing geometric precedents, they maintain continuity with the context in such a way that one probably would not notice how they differ unless they were looking for the church’s design rationale as it unfolded over time.  That’s what makes this so successful — it rests easily within its context, owing to the adaptation of precedent and material choice (wood selection and staining treatment).

Conclusion / Reflection

Chapel and Tomb of Saint Hyacinth

The “conclusion” of this is going to be fairly lean — this post (if you made it this far) is less of a critique with “how it could be” than a “how it is” with come elements of critique.  I’ve only been to Poland twice, but I’ve developed a sort of sentimental attachment to this place, in no small part due to the fact that it’s a little less of a tourist destination than Waweł Cathedral or the Bazylika Mariacka.

The Chapel and Tomb of Saint Hyacinth is especially significant, at least to myself — it’s the closest I’ve ever been to a saint’s actual mortal remains.  While it may be a little late now for observing his feast day (17 August), I’m going to say something anyway.  Saint Hyacinth was reported to have worked many miracles, and been given Divine assistance in many scrapes.  The best known miracle occurred when the Apostle of the North was fleeing Kyiv in a Tartar invasion with the Blessed Sacrament and a very heavy alabaster statue of the Blessed Mother.  The more I learn about Saint Hyacinth’s life, what we do know of it, I’m starting to see that the single most important thing we can learn from him is to listen, to be attentive to Christ’s daily invitation to us to follow Him, and to not really worry about what it take according to worldly terms.  Already ordained a priest of the Diocese of Kraków and a canon at Waweł Cathedral, Hyacinth traveled to Rome with his uncle, Iwo Odrowąż, Bishop of Kraków, along with his cousin, Cesław, likewise a canon.  While in Rome, they met Saint Dominic, at which point having witnessed him raise a dead man back to life, Bishop Iwo asked the Preacher of Grace if he could spare some of his sons to send to Poland, still young in the One, True Faith.  Saint Dominic replied that he unfortunately could not spare any of the brethren at present, but that if Bishop Iwo were generous in sparing two of his sons, then he would send them back to reap a great harvest.  Thus it came to pass that Hyacinth and Cesław received the habit and came to make solemn profession, and were sent back to Poland.  The rest, as “they” say, is history.  Saint Hyacinth could have thought himself as “having made it” — he was already ordained a priest, a canon, and his uncle was the bishop — that doesn’t seem like a bad deal.  What made all the difference was his attentiveness to Christ’s invitation and the urgings of the Holy Spirit.  Let’s ask St. Hyacinth and Bl. Cesław to pray for us, that in following their example, we too may be attentive to Christ’s invitation to us everyday, and that we may trust in the urgings of the Holy Spirit at all times.  It takes more of a man or woman to do something seemingly insignificant with great love than something big and great with none at all.