The 14th century Temple
in the Heart of the Village

The Roman Catholic Church of St. Mary’s the Queen of Poland is the oldest and the most valuable landmark at Iwiecino. Since 1960 the church and its whereabouts including its tree cover, three wooden gates in the fence surrounding the cemetery, each dating from 1725, mid - 18th and 19th century respectively, have been entered into the official record of relics. (item # 293, dated 27.091960).


A Multi-faceted History

The eldest items of the church fitting give evidence to its Cistercian origin. The sacramental cabinet and the crucifix come from the middle of the 15th century. In particular, the ends of the crucifix arms decorated with medallions featuring 4 symbols of the Evangelists look to be created in the times of the activity of the monastery at Bukowo Morskie.

In turn, the 17th century outfit for a liturgy confirms a protestant rite dominant in the then Pomerania which found itself under the influence of the Reformation Movement and the art it brought along with it.

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14th cent.

The church at Iwiecino is built off the own accord of monks belonging to the Bukowo’s Convention. Its plan has been aligned with its gothic nave and the presbytery which ends two-sided.

AD 1447

The bell originally hung in the church tower was cast specially for the temple. In 1875 the Prussian administration ordered it to be melted down.

14/15th cent.

A late Gothic sacramental cabinet installed in the wall recess can be found in the north-eastern part of the presbytery.

16th cent.

A late Gothic crucifix which is representative of the so called mystic crucifixes belongs to the eldest well preserved items of the temple’s fitting.

AD 1534

Lutheranism was imposed administratively in the Duchy of Pomerania.

AD 1540

A noble lady Anna Catharina von Bulgrin dies. Thanks to her, Iwiecino remains true to the older faith longer than other villages which become converted to Lutheranism.

AD 1622

The main altar with a sculpture featuring the scene of crucifixion and a painting which demonstrates the Last Supper.

17th cent.

A baptismal font in the Renaissance style features figures of four Evangelists along with John the Baptist and Jesus Christ the World Saviour.

AD 1663

The wind indicator cut out from a copper sheet in the shape of the cock, displaying the year of 1663 (which can be seen at the top of the church tower) reminds us of the date of its likely refurbishment.

AD 1688

A raised platform in the Renaissance style is richly painted and has a canopy sheltering its body which is decorated with sculptures of the Evangelists.

AD 1697

Polychromes were painted upon the wooden ceiling. They show a scene from the Final Judgment. Their author is unknown. Funded by the then pastor Malichius.

AD 1725

The first one of three wooden gates is being made. Its design is based upon the pillars. It was named after the village of Iwiecino.

AD 1732

Rebuilding of the top of the church tower after the fire.

AD 1909

The re-disclosed polychromes subjected to preservative actions which now display the Final Judgment were coated with some one color paint at the unknown moment of time.


A Block of Stone
with Polychromes upon the Ceiling

The church at Iwiecino is a temple whose outline has been aligned with its gothic nave and the presbytery which ends two-sided. It features steeply arched windows and a fault portal which is its entrance. The church tower with a height of 32 meters is bent westward on purpose in order to protect it from strong winds blowing in this region from the same direction. The church tower and its nave have been shingled with the oak wood.

At the top of the tower one can see the wind indicator in the form of a tracery cock standing on the sphere which features a four digit number of 1663. The tower elevations were richly decorated with blends of varying rhythm. The tower is covered with a pyramid roof unlike the nave which is covered with a doubly precipitous roof. The sacristy was added to the southern side of the nave in the 19th century.

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Painting, sculpture and

The beauty of the church body signals only what one can see inside. The movable artefacts confirm a high quality of art and its changes which reflect social, cultural and religious upheavals that took place in the Western Pomerania over the ages. This is a collection of artisanship originating from the workshops of a variety of masters.

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