38 Janusz Nowiński
of the upper row of this part of the church (circa 1300)
are lled with the picture of meandering plant, including
grapevine. The 13
th
century stalls preserved only in frag
ments, were also adorned with this motif
29
. What was left
from the triumphal crucix which originally surmounted
the gallery, partition was a sculpture of Christ mounted
circa 1800 on a new cross whose beams – similarly to
the lignum vitae type crucixes – are decorated by plant
writhe. It is highly probable that the form of the new cross
refers to its original form. In both cases the church interior
in this arrangement is presented as a consistent picture of
the Garden of Eden.
In the context of the above presented interpretation of
the Cistercian church as Paradise, with the Tree of Life
crucix in the centre, we cannot fail to notice an intrigu
29
In 1872 after the dissolution of the abbey, some stall fragments
were housed in Kunstgewerbemuseum in Berlin. On that basis, in the
years 1907–1909 copies of two fourseat stall segments were made,
which are exhibited today in the Altenberg church [35, p. 57].
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ing explanation of the rosette motif accompanying the ar
bor vitae representations that was proposed by Romuald
Bauerreiss. This author considers the rosette as one of
Paradise symbols and he sees in it an image of a circle
as an attribute of the cherubs of Ezekiel’s vision (Ezekiel
1: 5–6). According to the Book of Genesis (Gen 3, 24),
after the original sin cherubs stood guarding Paradise that
was closed and defended the way to the Tree of Life. By
reference to iconographic examples Bauerreiss thinks that
a combination of a rosette with the arbor vitae representa
tion depicts a cherub guarding the Tree of Life and it is
a symbol of closed Paradise [29, pp. 38–39]. If we accept
this interpretation in relation to the interior of the Cister
cian church with the Tree of Life in the centre, then we
can perceive a new symbolic meaning of the frequent
presence of rosettes in the interior arrangement of Cister
cian temples.
Translated by
Bogusław Setkowicz
