Sacrum under the blue sky

Krzysztof Hejmej

doi:10.5277/arc120101

Abstract

In 2002 the 8th and last Apostolic journey to Poland of Pope John Paul II took place. For the arrival of the Pope almost 60 papal altars were built in different towns and different regions of Poland. Originally, the papal altar was supposed to be a temporary structure and with its highly expressive form it was to represent the papal pilgrimage motto as well as to create an exceptional and unique atmosphere of the meeting with the Pope by becoming a temple of ‘one day’. The papal altar and sectors for pilgrims constitute a material temple under the firmament – the temple that was built for the particular ceremony with the participation of the Pope. On the basis of many scientific elaborations, it can be concluded that some design elements in the Christian temple as regards the layer of significance are characterised by features which are common for many religions. These are, among other things, the sacrificial altar on the platform – Sacred Mountain; a sacred area; sacrum and profanum zones – the interior and exterior of the temple; cosmos, the Universe – the temple’s vault; the axis of the world (axis mundi) – vertical elements of the temple, for example, a tower. Following M. Eliade’s considerations, we can claim that sacral architecture undertakes and develops cosmological symbolism. Experiencing a sacral space makes it possible for religious man to ‘establish his world’ in the place where sacrum is manifested in the space. Therefore, the Universe finds its symbolic equivalent in the temple’s vault and the earth is seen in the temple’s foundation as well as in its supporting structure – in columns and walls. The papal altar along with the surroundings which are formed by pilgrims and the open space construct a natural temple. The papal altar was a result of compensation of numerous symbolic meanings and codes. Depending on the given place (region) and the awareness of the designer, investor and developer, it presented various attitudes towards expressing a symbol and religious meanings. In the regions in which tradition plays a particular role (e.g., Podhale, Pomerania, Upper Silesia) we could observe a high level of awareness of the participants in the process of creating the architectural work. The idea of the project was visible in the entirety of the structure: in its spatial composition, construction, detail and materials used. The papal altars were architectural works which communicated symbolic meanings in an expressive and emotional way – we must bear in mind that they were designed for this one exceptional day, i.e. a ceremonious meeting with the Pope.

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In 2002 the 8

and last Apostolic journey to Poland of

Pope John Paul II took place. For the arrival of the Pope

almost 60 papal altars were built in different towns and

different regions of Poland. By the papal altar we should

understand an architectural structure with a sacral and

temporary character and whose central element consti-

tutes the altar – sacrificial table, which is built in order to

celebrate the Eucharist with the participation of the Pope

during the Apostolic journey in a given country. Histories

of the papal altars, in particular towns, which were built

in the years 1979–2002, ended along with the end of the

papal visits. In order to commemorate pilgrimage cere-

monies, here and there – at the places of their perform-

ance – crosses were left

. Other tokens such as sacrificial

tables were given to newly erected churches, papal

thrones found their places in museums

, whereas many

sculptures and paintings were used as interior decorations

in churches. It also happened that the designs of some

papal altars were used during constructions of new struc-

tures, e.g. chapels

. However, the papal altar was assumed

to be a temporary structure and was supposed to have

a motto of the papal pilgrimage by means of its form full

of expression as well as to create a unique and excep-

tional climate of the meeting with the Pope – becoming

‘a temple of one day’.

Considering the issue of papal altars we are faced with

the notion of a phenomenon in three dimensions: spatial

and temporal, symbolic, and cultural:

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the papal altar, a museum of souvenirs connected with the stay of Pope

-RKQ3DXO,,LQ6WDU\6ąF]ZDVEXLOW

For example, in Zakopane the papal altar was reconstructed in this

room and situated in Our Lady of Fatima Sanctuary in a smaller scale. At

present, it serves as a chapel for pilgrims and visitors.

1. The phenomenon of altars in the spatial and tem-

poral aspect – the papal altar was designed for a particu-

lar ceremony with the participation of the Pope, for one

day and in natural surroundings.

2. The phenomenon of Polish papal altars owing to

a rich formal message of symbolic contents. Despite

its temporary usage the designers managed to create the

works with a deep symbolic meaning that remained in

the awareness of the celebration participants for a very

long time.

3. The phenomenon of Polish papal altars with regard

to the culture of a particular region and values cherished

by a local population – new pilgrimage centres.

The first phenomenon is strictly connected with the

second one. The papal altar was assumed to be a tem-

porary structure – designers expressed religious ideas

by means of architectural methods and with the use of

cultural codes characteristic of a given region in an

expressive and emotional way.

Analysing the solutions of papal altars from various

regions of Poland and the whole world, we can

observe the existence of some elements which are per-

manent in space – architectural and urban elements.

They include as follows:

 papal altar – ‘stage’ – its architectural form is

a dominant of the spatial structure and sectors for pil-

grims along with approach roads

 sectors for pilgrims – ‘audience’ – usually designed

on the amphitheatric plan between roads going radially

from the altar and strategically combined with the urban

structure of the town.

The papal altar and sectors for pilgrims create a material

temple under the blue sky – a temple erected for a particu-

lar celebration with the Pope’s participation. On the basis

of many scientific studies we can conclude that certain

compositional elements in a Christian temple as regards

their meaning possess the features which are common for

Krzysztof Hejmej*

Sacrum under the blue sky

7KH%RJGDQ-DĔVNL$FDGHP\'HSDUWPHQWLQ2SROH

DOI: 10.5277/arc120101

4 .U]\V]WRI+HMPHM

many religions. They are, among other things, an elevated

sacrificial altar – Holy Mount (Fig. 1); a holy area, sacrum

and profanum]RQH±WKHWHPSOHH[WHULRUDQGLQWHULRUFRV-

mos, the Universe – the vault of the temple; the axis of the

world (axis mundi) – vertical elements of the temple, e.g.

a tower

. In accordance with the studies by M. Eliade, we

can conclude that sacral architecture takes up and develops

a discussion about cosmological symbolism. The sacral

space experience enables a religious human being ‘to set up

his/her own world’ at the place where sacrum is manifested

in space

. Therefore, the universe finds its symbolic equiv-

alent in the vault of the temple while the earth can be seen

in the foundation of the temple and its supporting structure,

i.e. columns and walls [4], [11]. The papal altar with its

surroundings, namely pilgrims and the open space, create

a natural temple.

Cf. [2].

Cf. [1].

Inspirations

Following the conversations of the author with the

designers of papal altars from various parts of Poland,

it appears that the creation of the symbolic altar form

was influenced by the following factors:

 firstly: a pilgrimage motto – the Pope’s message

 secondly: traditions of a given region – the symbol

of a place

 thirdly: an emotional attitude towards the Pope

– a Pole.

Carrying out the analysis of papal altars, which were

built in the years 1979–2002 in Poland, we can state that

there are two groups of papal altars:

1. Altars – symbolic forms [10], presented religious

and non-religious contents in a metaphorical way; in

order to achieve this goal, designers employed archi-

tectural methods entering into a ‘dialogue’ with the

imagination of a spectator–pilgrim at the same time.

Doing this, they referred to traditions of a given region

[6, p. 51].

2. Altars – symbolic decorations, conveyed sym-

bolic contents in a literal and direct way by means of

artistic compositions. Their characteristic feature was

a certain kind of typification – in most cases there

were no references to local or regional traditions.

Fig. 1. ‘Holy Mount’ – the papal altar in Sosnowiec, 1999. The view

at night. Designed by AiR Jurkowscy-Architects (photo: R. Jurkowski)

,OµĝZLĊWD*yUD¶±RáWDU]SDSLHVNLZ6RVQRZFX:LGRN

w nocy. Proj. AiR Jurkowscy-Architekci (fot. R. Jurkowski)

Altars – symbolic forms

A perfect example of conscious cooperation between

a designer, investor and contractor constituted papal

altars of the 1990s. – in particular the papal altar in

=DNRSDQH/XGĨPLHU]DVZHOODVPRVWRI

the altars built on the occasion of the Pope’s 7

pil-

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as part of the trend of such altars-symbols there are

also altars which were built in two opposite regions of

Poland: the altar-shepherd’s hut in Nowy Targ (1979)

DV ZHOO DV WKH DOWDUERDW EXLOWLQ *GDĔVN 7KH

former became an inspiration for designers of papal

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DQG6WDU\6ąF]LQWKH \HDUV ±7KHV\PERO-

LVP RI WKH DOWDU ZKRVHDXWKRU ZDV7DGHXV]-ĊGU\VNR

an architect, referred to traditions of the Podhale

region – formally expressed in the form of a shep-

herd’s hut. Sectors for pilgrims around the altar were

designed for about 400 thousand persons in the terri-

tory of an airport. The whole complex – the papal altar

and sectors for pilgrims were built within ten days

only

. An integral part of the main celebrations was

a musical and vocal programme

which when com-

bined with the spatial composition of the papal altar in

the Podhale style constituted a comprehensive work

which showed the culture of this region. Eight years

after the first Apostolic visit in 1987, the next great

work of sacral architecture was built – the work of

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– a residential district, whose originator and partly

SHUIRUPHUZDV0DULDQ.RáRG]LHM±DUHPDUNDEOHWKHDW-

rical set designer. The author included many meta-

There were eight persons involved in the process of erecting the al-

tar – carpenters from nearby villages, whereas other works were done by

50 to 60 workers. As many as 3000 Mountaineers performed as security

service in the sectors during the ceremony.

Performed by Mountaineers dressed in regional clothes and the

mixed choir consisting of 400 singers. Cf. [5, pp. 153–156].

Sacrum under the blue sky 5

phors in his concept [7]. The altar-boat – and more

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then – was a metaphor of the Church as a community

of believers. The scaffolding at the back and on both

sides of the altar was supposed to illustrate the Church

which is still under construction. This idea also

referred to the character of the ceremony with the par-

ticipation of the Pope, which was celebrated on behalf

of working people. The symbolism of the altar also

UHIHUUHG WR WKH SODFH ± WKH FLW\ RI *GDĔVN D FRDVWDO

region, its history and traditions. The designer – with

spatial intuition typical of a set designer – excellently

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blocks of flats, a distance from the remotest partici-

pant to the Pope

who stood or sat on the throne behind

all altars. According to the author’s words, the resi-

dential district also acquired something metaphysical

thanks to this scale. The whole complex was designed

in such a way so that it could bring about a theatrical

effect. And it really happened so. The altar composi-

tion was surmounted by three massive metal crosses-

masts

which came from three various points and at

the top they formed a compact structure of the

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of the cross arms on upper yards there were two white-

red and one white-yellow standards as well as two

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meters were moved by means of winds and in this way

they made the impression that the whole altar-galleon

was in motion. This effect was additionally reinforced

by clouds passing in the sky. The pilgrims who gath-

ered in the square participated not only in misterium

About one million people were expected to gather at the square.

Cf. [6, pp. 54–57].

Masts were 39 meters in height, so they were higher than the tallest

10-storey block of flats in this area.

but also in spectaculum 0DULDQ .RáRG]LHM DOVR

designed the papal altar in Sopot in 1999. The archi-

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located in the area of Sopot horse racing. The main

element of the altar and at the same time the back-

ground for the Pope’s throne was a cross and sacra-

mental bread made of resin and fixed on aluminium

constructions – the whole structure was 23 meters

KLJK$V\PERORI*RGLQWKH+RO\7ULQLW\GRPLQDWHG

above the altar. The altar composition was comple-

mented by wooden sculptures and crosses, which were

PDGHE\IRONDUWLVWV DFFRUGLQJWR 0DULDQ .RáRG]LHM¶V

designs. The sacrificial altar at which the Pope cele-

brated the Holy Mass was built at a height of eight

meters above the ground level. The designer of the

altar concept also took into account the fact that the

Pope was going to look at the altar from the bird’s eye

view. Therefore, he designed it in such a way so that

from above it reminded a dove – a symbol of the Holy

Spirit (Fig. 3).

Among altars – symbolic forms located in the area

of Northern Poland the following altars are worth men-

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made on the occasion of the Pope’s 7

pilgrimage to

Poland. The papal altar in Pelplin was designed by the

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sage of the pilgrimage God is Love could be read in the

altar’s composition whose basic element was a steel

construction – fishing nets pulled out by two birds situ-

ated at the height of over 20 meters. In this way, the

author made a reference to the teaching of Christ about

WKH.LQJGRPRI*RG$QLQWHJUDOSDUWRIWKHFRPSRVL-

tion was sacramental bread ten meters in diameter

which was situated behind the Papal throne and

a monumental cross 33 meters in height. The altar was

PDGHLQ(OEOąJLQWKHDUHDRI$HURFOXEDQGGHVLJQHGE\

a design team under the guidance of the architect –

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SKRWRDUFKLYHV0.RáRG]LHM

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IRW]DUFKLZXP0.RáRG]LHMD

Fig. 3. The altar in Sopot, 1999. Bird’s eye view, graphics.

'HVLJQHGE\0.RáRG]LHM

,O2áWDU]Z6RSRFLH:LGRN]ORWXSWDNDJUDILND

3URM0.RáRG]LHM

6 .U]\V]WRI+HMPHM

complex there was a burning heart – a symbol of love,

and a papal throne (at the height of 11.4 meters above

the ground level), which were surrounded by wooden

poles made of laminated timber in the form of hands in

an adoration gesture (Fig. 4). The whole complex was

covered by a roof in the form of a tent with a cross at

the top. In the altar symbolism the author also referred

WR WKH FHOHEUDWLRQ RI  \HDUV RI 6W :RMFLHFK¶V

(Adalbert) mission and death and by means of wooden

ribs he referred to the boat construction. A scene from

6W:RMFLHFK¶VOLIHZDVSUHVHQWHGRQWKHVDFULILFLDODOWDU

made of natural stone, whereas the theme of water and

St. Peter’s boat constituted the central idea of the papal

DOWDU GHVLJQHUV LQ (áN ± DUFKLWHFWV :LWROG .RZDOF]\N

DQG'DULXV]-DFNRZVNL7KH DOWDUEOHQGHG LQZLWKWKH

background while it was situated on the main gathering

site. The background constituted the 19

-century

downtown development, a Diocesan house and a domi-

QDWLQJQHR*RWKLFWRZHURI6W:RMFLHFK&DWKHGUDOWKH

SDWURQRI3RODQGDQG(áN'LRFHVH)URPWKHSDSDOSODW-

form the Pope could look at the river flowing in front

of the altar. The altar roof symbolised a boat platform

of St. Peter of our times, which crashed the waves

made by means of side roofs. The pulpit was situated

on a fragment of the altar platform sticking out in the

IRUPRIDERDWERZ$FFRUGLQJWR5REHUWàXFND¶VVROX-

tion, the architect and manager of the project, the altar

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town and at the same time it emphasised the character

of the place – Podlasie Region where there are various

religious denominations. A broken cross – a dominant

of the altar architectural composition – symbolised

divisions existing in Christian churches. The symbol of

their common faith in Christ was the figure of the

Crucified which connected two parts of the cross and

St. Peter’s fisherman’s nets around the cross (Fig. 5).

On the sides of the cross there were paintings which

presented various religious denominations of Podlasie

Region.

3DSDO DOWDUV RI 3RGKDOH UHJLRQ LQ /XGĨPLHU] 

=DNRSDQHDVZHOODVLQ6WDU\6ąF]±GXULQJ-RKQ

Paul II’s 7

pilgrimage to Poland – turned out to be a

SKHQRPHQRQZKLFKZDVYHU\VLPLODUWRWKHRQHLQ*GDĔVN

Zaspa in 1987. Although these altars

were built in the

regions with different traditions and natural conditions,

their common idea became a method of designing space

so that the pilgrims could participate not only in misteri-

um but also in spectaculum. The papal altar in Zakopane,

whose originator was the architect and sculptor Marek

6]DOD

, became the form – symbol equally combining a

symbolism of the place as well as the general motto of the

pilgrimage

. A wooden form of the papal altar symbol-

L]HGDVKHSKHUG¶VKXWWKHV\PERORIWKHSODFHDQGLWDOVR

referred to Jesus’ work on Earth – Shepherd of the Sheep

Flock. The saving mission of Christ was presented figura-

tively on the sculptural decoration – referring to the

Biblical ‘Jacob’s ladder’ – blending with the front façade

of the altar. Three elements in the spatial composition of

the altar referred to the person of Christ: a sacrificial altar,

sculptural decoration and a wooden openwork cross. The

vertical and symmetric composition of the altar ‘strength-

ened’ by a perpendicular, central sculptural decoration

LHLQ*GDĔVNDQGLQWKH.DUSDW\UHJLRQ

The architectural and building design was elaborated by architect

=ELJQLHZĝOLZLĔVNL

The pilgrimage motto in 1997 was the following: Christ yesterday,

today and forever.

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Proj. prof. S. Baum

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Sacrum under the blue sky 7

division, which was led above the altar roof where it

changed to the form of a sculptured cross was intended to

emphasise this idea. According to the designer’s assump-

tions, the altar roof form – the basic compositional ele-

ment – which constituted the vertical axis was supposed

to make the impression of lightness and at the same time

of solemnity and monumentality. During the celebration

with the Pope’s participation, an integral part of the com-

positional entirety was a white ribbon which served as

a way of connecting the papal altar (from the sacrificial

table) with the cross placed on the ski jump against the

background of mountains and forests. The papal altar sur-

rounded by mountains as well as the vocal-musical pro-

gramme performed by the Polish mountaineers called

*yUDOH GUHVVHG LQ RULJLQDO FORWKHV FUHDWHG VSHFWDFXOXP

6LPLODU FRQGLWLRQV ZHUH LQ /XGĨPLHU] DQG 6WDU\ 6ąF]

where the only differences referred to the form and con-

sisted in another way of symbolic values transfer.

Apart from the aforementioned Podhale and Pomerania,

one of the most characteristic regions in Poland is the

region of Upper Silesia. The papal altars of this region –

LQ 6RVQRZLHF  DQG *OLZLFH  ± FRQWDLQHG

a deep significance. In a symbolic way, their form referred

to the pilgrimage motto which was expressed by means of

constructions and materials characteristic of this region.

The motto of the 7

pilgrimage to Poland God is

Love found its particular expression in the realisation

RI WKH SDSDO DOWDU LQ *OLZLFH 7KH PRPHQW RI PDQ¶V

creation, which is the act of Divine love, as presented

on the Michelangelo mural in the Sistine Chapel

became the main inspiration for the altar design team

whose manager was the architect, Professor Adam

/LVLN7KHPRWLIRIH[WHQGHGKDQGVRI*RGDQGPDQ±

Adam found its formal presentation in the form of two

spatial braced-rib arches

leading to each other from

the podium basis without connecting each other.

According to Professor A. Lisik, a free space between

arches symbolised the area of freedom which was

JLYHQ WR PDQ E\ *RG

. The massive, 10 meters in

height podium of the altar reinforced the message of

symbolic contents and was the image of Holy Mount

±WKHSODFHRIFRQWDFWEHWZHHQPDQDQG*RGDFUHDWXUH

and the Creator. An integral part of the altar composi-

tion – its dominant – was a steel cross (30 meters in

KHLJKWZKLFKUHIHUUHGWRWKHPDVWRI*OLZLFHUDGLRVWD-

tion – the symbol of the place (Fig. 6). The wall pre-

senting the rising sun – the symbol of hope and new

life constituted the background for the sacrificial altar.

Truss arches were at the same time the roof of the altar. Cf. [3,

pp. 16–19].

On the basis of the author’s conversation with Professor A. Lisik,

the altar’s designer.

)LJ7KHSDSDODOWDULQ*OLZLFH'HVLJQHGE\SURI$/LVLNYLVXDOL]DWLRQDUFKLYHV$/LVLN

,O2áWDU]SDSLHVNLZ*OLZLFDFK3URMSURI$/LVLNZL]XDOL]DFMD]DUFKLZXP$/LVLND

8 Krzysztof Hejmej

Symbolic references connected with local traditions

(scientific and technical character of the town) were

expressed in steel, openwork and light forms of the

cross and roof above the sacrificial alter (the main

podium); whereas the papal altar in Sosnowiec first of

all referred to local traditions. It was the monumental

symbol of the place. The basic element of the architec-

tural composition of the altar was an openwork arch

made of the spatial steel truss. The truss motif referred

to the industrial character of the town. A significant

symbolic and compositional element was pine – accord-

ing to Ryszard Jurkowski’s idea, the manager of the

design – presenting pine forests which used to grow in

the whole region. Both pine and the wooden cross

(which hung attached to the arch construction) were

placed in the ‘frame’ which was set by the truss con-

struction (Fig. 7). The motive of the frame constitutes

a symbol of the triumph, victory – hope for the future

as well as ‘window on the world’. It was possible to

read the following message: the future of Sosnowiec is

in the natural environment respect and in the cross –

a symbol of Jesus Christ whom God sent to the world

out of love for man. The altar elements such as pine,

the arch-gate, altar platform (Holy Mount) were sym-

bolic and archetypical references connected with prim-

itive experiencing of sacral space

A tree, wooden pole, Holy Mount, etc. were the places of saint-

hood revelation.

Fig. 7. The papal altar in Sosnowiec, 1999. Inspired by the industrial

region. Designed by AiR Jurkowscy-Architects (photo: R. Jurkowski)

,O2áWDU]SDSLHVNLZ6RVQRZFX,QVSLUDFMDUHJLRQHP

SU]HP\VáRZ\P3URM$L5-XUNRZVF\$UFKLWHNFLIRW5-XUNRZVNL

Altars – symbolic decorations

These altars had symbolic contents in a literary and

direct way by means of artistic compositions. A certain

kind of typification was a characteristic feature of the

altars and in most cases there were no references to

local or regional traditions.

The group of altars of this character certainly com-

prised the ones built in the following places: Kraków

(1979, 1983, 1987, 1991, 1997), Gniezno (1979),

Warsaw (1979, 1983, 1987, 1991, 1999), Niepokalanów

 3R]QDĔ  .DWRZLFH  :URFáDZ

(1983, 1997), Lublin (1987), Tarnów (1987), Szczecin

 *G\QLD  àyGĨ  2OV]W\Q 

Koszalin (1991), Legnica (1997), Kalisz (1997), Krosno

(1997), etc. Let us analyse these most interesting altars

ZKLFK EHORQJ WR WKLV JURXS 7KH PHHWLQJ LQ :URFáDZ

took place under the banner of the 46

International

Eucharistic Congress which was connected with the

pilgrimage motto: ‘Christ yesterday, today and for

DJHV¶3URIHVVRU(GZDUG=LHORQNDZDVWKHDXWKRURIWKH

altar design. The main element and axis of the composi-

tion was the cross 26 meters in height on which (at the

place of arms ‘crossing’) the symbol of Eucharistic

bread supported by hands coming out of the globe was

placed. The gesture of open hands supporting the

Eucharistic bread indicated unity of Christian churches

– expressed hope for the future. The whole composition

of the papal altar, in the form of a triangle, consisted of

arches spreading radially (sectors of a circle) and pre-

senting the light beaming from the Eucharistic bread –

it was the symbol of Jesus Christ – Light of the world

)LJ  ,Q  WKH PHHWLQJ DW:URFáDZ KLSSRGURPH

)LJ$OWDUV±V\PEROLFGHFRUDWLRQV7KHSDSDODOWDULQ:URFáDZ

'HVLJQHGE\SURI(=LHORQNDSKRWR$0DV

,O2áWDU]H±V\PEROLF]QHGHNRUDFMH2áWDU]SDSLHVNLZH:URFáDZLX

3URMSURI(=LHORQNDIRW$0DV

Sacrum under the blue sky 9

took place under the following banner: ‘Blessed are

those who hunger and thirst for righteousness, for they

will be filled’. The meeting liturgy called for reconcili-

DWLRQUHFDOOLQJ6W-DGZLJDĝOąVNDWKHSDWURQRIUHFRQ-

ciliation. The hippodrome surrounded by trees consti-

tuted an interesting artistic setting of the meeting as

well as of the papal throne which was designed in the

form of a monumental rectangular prism with an inside

opening in the shape of a cross. Against the background

of the cross there was a sculpture of Resurrected Jesus

(Fig. 9) as the answer to the papal motto of the pilgrim-

age: ‘Peace be with you Poland! My fatherland’. On

both sides of the altar emblems of various towns in the

:HVWHUQ 5HJLRQ ZHUH SODFHG 2OHĞQLFD /HV]QR

ĝZLGQLFD.áRG]NR-HOHQLD*yUD/HJQLFD:DáEU]\FK

=LHORQD*yUDDQGRWKHUV

$FFRUGLQJ WR WKH 5HY &] 0D]XU WKH SDSDO DOWDU LQ

Legnica presented symbolic motives which were strictly

connected with the history of this region. A tent form of

the altar and emblems of towns were a reminder of great

battles (Legnica) which took place under Henryk

3RERĪQ\¶VFRPPDQGLQWKHGHIHQFHRIIDLWKDQGWKHZKROH

Christianity endangered by the Tatars invasion. A compo-

sitional dominant of the altar was a wooden cross placed

in an axis position, which referred to the pilgrimage motto

– it was the symbol of Jesus Christ. A massive dove

descending onto the believers and situated at the top of the

roof form presented the Holy Spirit – Consoler sent on the

Pentecost Day. The most powerful meaning of symbols

constituted a motive of the cross with the background of

the sky under which the form of the gable roof repre-

VHQWHGWKH+RO\0RXQW±*ROJRWKD7KHFURVVZKLFKZDV

placed exactly in the middle of the composition and above

the roof, was a vertical axis (‘axis mundi’) – a ‘connector’

between the Earth and the sky.

The altar composition in Krosno was arranged by

means of a monumental openwork steel cross which con-

stituted the main dominant of the composition as well as

E\PHDQVRIORQJKRUL]RQWDOURRIVDQGDVWHHOWUXVVLQWKH

shape of the letter ‘M’ above the papal throne (which

symbolised Mary, the patroness of Pope John Paul II).

The steel cross (about 40 meters in height) was a formal

reference to drilling rigs which were characteristic of this

region; thus, it was the symbol of the ‘place’.

)LJ$OWDUV±V\PEROLFGHFRUDWLRQV7KHSDSDODOWDULQ:URFáDZ

(photo: A. Mas)

,O2áWDU]H±V\PEROLF]QHGHNRUDFMH2áWDU]SDSLHVNLZH:URFáDZLX

(fot. A. Mas)

Significance of tradition

Tradition can be discussed from the point of view of local

and regional values which consist of culture, architecture, the

natural environment, etc. as well as from the point of view of

religious values. The former and the latter are strictly con-

nected with symbols – signs which make it possible to iden-

tify with the place and community. Cultivation of native,

local, regional traditions gives a sense of security, stability

and strengthens the sense of belonging to a given cultural or

religious community. It is especially reflected in cultures –

regions which have been established (and are being estab-

lished) in the natural environment where everything that is

‘natural’ determines particular spheres of a community life. A

temple is a distinguishing feature of place and city and its

proper location in a city contributes to its stronger emphasis

in the awareness of residents. An open space around the papal

throne creates special conditions of the exposition and

strengthens the perception of symbolic meanings of the altar

±V\PERO6\PEROLFPHDQLQJV±DFFRUGLQJWR-.UHQ]±DSDUW

from their basic identification function, which facilitates the

usage of space, fulfill the role of a social groups integrating

factor, take part in creating a social identity, constitute a cell

of cultural continuity and strengthen a community sense of

the place [8]. Architecture appeals to the user not only by

means of its form, detail but also by means of the material.

The most precious is the material which comes from natural

resources of the Earth. It is said that such a material has a

‘soul’. Papal altars in Podhale were made of natural materials

and they combined symbolism of the place and symbolism of

Christian religion in one work. The wooden form of the papal

altar, which presented a shepherd’s hut, wooden details and

10 .U]\V]WRI+HMPHM

Fig. 10. The papal altar in Sosnowiec, 1999. Steel construction

(photo: R. Jurkowski)

,O2áWDU]SDSLHVNLZ6RVQRZFX.RQVWUXNFMDVWDORZD

(fot. R. Jurkowski)

granite sculptures showed great devotion to local tradi-

tions and a deep love to natural materials. The idea was

expressed by means of stone and wood. The form was

HPSKDVL]HGE\WKHPDWHULDOZKHUHDVYDOXHVRIWKHPDWH-

rial were underlined by details. The wooden material,

which was the basic building material of papal altars in

Podhale, is best ‘felt’ during the observation of details of

these altars and examination of their various shapes as

well as irregular lines. An industrial region is first of all

associated with materials which are the products of man’s

work and are produced in artificial conditions which are

in opposition to the natural environment. Steel construc-

tions (characteristic of the region of Silesia and Krosno),

which were used during the construction of papal altars,

IRUPHGRSHQZRUNDQGOLJKWIRUPV9DOXHVRIWKHPDWHULDO

were exposed in details of construction joints and in thick-

ness of particular construction elements (Fig. 10).

The phenomenon of papal altars

in the Karpaty region

On the cultural and pilgrimage map of Poland the

Karpaty Mountains are presented as a unique region.

This is proved by the number of sanctuaries located in

this region as well as by the number of pilgrims and

tourists visiting historical places and sanctuaries of this

region. In many scientific studies on sociology of reli-

gions, geography of religions, etc. we can encounter

such expression as ‘the phenomenon of Polish pilgrim-

ages’, the phenomenon of folk religiousness in Poland’.

,6RáMDQLQKHUVWXG\>@RIWKLVUHJLRQVWDWHGWKDWWKH

Karpaty is a unique pilgrimage region in which, apart

from the centres with many centuries of tradition and a

well-established position, there still appear new centres

which attract numerous pilgrims. This is further con-

firmed by the establishment of the Diocese Pilgrimage

&HQWUH LQ 6WDU\ 6ąF] DQG 7KH 3LOJULPDJH &HQWUH LQ

/XGĨPLHU] 7KH DOWDUV LQ 6WDU\ 6ąF] DQG /XGĨPLHU]

which were built for the main ceremonies on the occa-

sion of Pope John Paul II’s visit in Poland, were left on

the original building site and in this way they became a

permanent part of the city landscape. Due to the pres-

ence of the exceptional Pilgrim, the altars became the

object of a particular interest of pilgrims and tourists

arriving at sanctuaries near which they were located.

The Pope’s visit contributed to many enterprises in

6WDU\ 6ąF] ± DPRQJ RWKHU WKLQJV WKH RUJDQL]DWLRQ RI

the procession with relics of Saint Kinga of Poland

from the convent of St. Clares to the papal altar (locat-

HGRQWKHFRPPRQRI6WDU\6ąF]QHDUWKHFRQYHQWRQ

the occasion of the church fair and commemoration of

the Pope’s visit in 1999 (Fig. 11). Moreover, in Stary

6ąF]LQWKHVXPPHUVHDVRQDVHULHVRIFXOWXUDODQGVSRUW

events is organised in which first of all young people

WDNH SDUW LQ SDUWLFXODU IURP 1RZ\ 6ąF] &RXQW\

8QGRXEWHGO\WKHJHRJUDSKLFDOORFDWLRQRI6WDU\6ąF]

ZKLFKLVVXUURXQGHGE\WKH%HVNLG6ąGHFNL0RXQWDLQV

is conducive to the organisation of such events. Stary

6ąF] LQ 1RZ\ 6ąF] &RXQW\ IXOILOV D YHU\ LPSRUWDQW

role. It is the second town of this County as regards the

number of population, it has many precious monu-

ments and is characterised by tremendous values of the

ODQGVFDSH7KHORFDWLRQRQWKHĞUyGNDUSDFNLWUDQVSRUWD-

WLRQURXWHLVWKHUHDVRQZK\6WDU\6ąF]LVDYHU\DWWUDF-

tive town for tourists and this is conducive to the

development of tourism in this region. Undoubtedly,

the Pope’s visit in 1999 contributed to the rapid growth

of the pilgrimage tourism, which in comparison with

the 1980s. – 15 000 to 40 000 people a year – increased

XSWRSHRSOHD\HDUDIWHU*HRJUDSKLFDO

location as well as rich culture and history constitute

JUHDW WUXPSV QRW RQO\ RI WKH 1RZ\ 6ąF] &RXQW\ EXW

also of the whole Karpaty region. In the process of

uniting Europe, the Karpaty region fulfils a key role in

the integration of states, in particular in East-Central

Europe. On the one hand, the idea of building the

'LRFHVH 3LOJULPDJH&HQWUHLQ6WDU\ 6ąF])LJ DV

ZHOO DV WKH 3LOJULPDJH &HQWUH LQ /XGĨPLHU] UHVXOWHG

directly from spiritual and material needs of the towns’

residents. On the other hand, it was an attempt to react

against disintegration and destruction of social bonds

of various kinds as well as extreme individualisation of

life which could be seen after political system transfor-

mations in 1989 in Poland. Finally, the ideas of build-

LQJ SLOJULPDJH FHQWUHV LQ 6WDU\ 6ąF] DQG /XGĨPLHU]

constitute an expression of emotional bonds with the

Sacrum under the blue sky 11

blessed John Paul II who – before becoming the Pope

±KDGKHDGHGWKHFKXUFKSURYLQFHRI.UDNyZIRUPDQ\

years. On the basis of analysing the statistics of tourist

DQG SLOJULP FLUFXODWLRQ LQ 6WDU\ 6ąF] DQG /XGĨPLHU]

we can conclude that the presence of the Pope in those

places still inspires many people to pilgrimage – not

only to the historical sanctuary but also to the place-

altar which was marked with the presence of this

unique Pilgrim. Following the beatification of John

Paul II, we can expect that these places will certainly

become transformed into new cult centres.

)LJ7KHSDSDODOWDUPRGHOLQ6WDU\6ąF]

,O0DNLHWDRáWDU]DSDSLHVNLHJRZ6WDU\P6ąF]X

Proj. arch. Z. Remi (fot. Z. Remi)

)LJ7KHSDSDODOWDUDQG+RXVHRI3LOJULP6WDU\6ąF]

9LVXDOLVDWLRQ'HVLJQHGE\=5HPL

,O2áWDU]SDSLHVNLL'RP3LHOJU]\PD6WDU\6ąF]

:L]XDOL]DFMD3URM=5HPL

The papal altar was a result of compensation of

numerous symbolic meanings and codes. Depending on

the given place (region) and the awareness of the design-

er, investor and developer, it presented various attitudes

towards expressing a symbol and religious meanings. In

the regions in which tradition plays a particular role

(e.g., Podhale, Pomerania, Upper Silesia) we could

observe a high level of awareness of the participants in

the process of creating the architectural work. The idea

of the project was visible in the entirety of the structure:

in its spatial composition, construction, detail and mate-

Translated by

%RJXVáDZ6HWNRZLF]

References

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[2] Eliade M., Traktat o historii religii2SXVàyGĨ

>@ *HUOLF . 3U]HNU\FLD ] WNDQLQ QD SU]\NáDG]LH RáWDU]\ SDSLH-

skich, [in:] %XGRZQLFWZR VDNUDOQH L PRQXPHQWDOQH, Politechnika

%LDáRVWRFND%LDá\VWRNSS±

[4] Hani J., 6\PEROLNDĞZLąW\QLFKU]HĞFLMDĔVNLHM=QDN.UDNyZ

[5] Hejmej K., )HQRPHQ RáWDU]\ SDSLHVNLFK UHJLRQX 3RGKDOD, [in:]

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rials used. In the process of creating the entire vision of

the papal altar, apart from the aforementioned factors, it

was significant for whom this architectural work was to

erected. The symbolic meaning of the papal altar was

closely connected with the pilgrimage motto which was

inspired by the Polish Pope coming to his own country

– Poland. The papal altars were architectural works

which communicated symbolic meanings in an expres-

sive and emotional way – we must bear in mind that they

were designed for this one exceptional day, i.e. a cere-

monious meeting with the Pope.

Summary

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Key words: sacral architecture, papal altars, history of religion, formal

symbolism

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gii, symbolika formalna

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