Parish Church of the Nativity of the Virgin Mary, Jarszewo
Narodowy Instytut Dziedzictwa pl

Parish Church of the Nativity of the Virgin Mary



It is one of the relatively few churches in the present-day Zachodniopomorskie Voivodeship, designed in the late Baroque style, with a wooden tower characteristic of the region. The interior features lavish fittings and decorations, including, among others, Late Renaissance altar and pulpit, Baroque paintings and galleries with paintings as well as paintings on the ceilings, which are a twentieth-century copy of Baroque wall paintings.


Jarszewo is an old medieval village, first mentioned in 1308. The village belonged to the cathedral chapter and the Dominican Order in Kamień Pomorski, and two voloks of land to a parish priest. The nave body of the church that has been preserved to this day was built of erratic boulders probably in the 15th century. At that time, it was already a parish church under the auspices of the cathedral chapter in Kamień Pomorski. The earliest mention of the church dates from 1534. Soon afterwards, the church was taken over by Evangelicals. After the Reformation, the church remained under the auspices of the administrative authorities as an Evangelical parish church with a branch in Górki. The church with the tower was destroyed by fire in 1634. Shortly afterwards, work on the reconstruction of the nave body began. Later, in 1645, Marten Bellin, master carpenter, began work on rebuilding the tower. The interior was furnished. The pulpit was built in 1633-1634 and Gregor Beckmann, carpenter, built the main altar in 1653. In 1681, Joachim Sellin from Wolin painted large oil paintings and painting on stalls and ceilings. In 1694, the windows were modified and fitted with stained glass glazing. In 1714, buttresses were made from the west side. In 1750, the church was enlarged in the Baroque style by extending the nave body towards the north and adding a chancel closed off on three sides. In 1754, new wall paintings on the ceilings were made depicting choirs of angels. In 1913, the church underwent complete renovation. The old ceiling with paintings was removed; a copy of the paintings was made by A. Wild from Hanover on the newly installed ceiling. A sacristy was added to the north. In 1945, the church was taken over by Catholics and consecrated by as the Church of the Nativity of the Virgin Mary. Since 1973, it has served as a parish church. Between 2001 and 2002, the tower underwent full-scale renovation; it was set on a reinforced concrete foundation.


The church is located in the former village square, in the western part of the village, within a cemetery surrounded by a brick wall. It was designed in the Baroque style. The church is oriented, built on a rectangular floor plan, and consists of a single nave and a chancel slightly wider than the nave and closed off on three sides. It also features a square-shaped tower located to the west, which is slightly narrower than the nave body and a square-shaped sacristy (former burial chapel) on the north side of the nave. The tower is characterised by a separate section with socles, body tapering upwards, and topped with a spiked octagonal dome. The nave body with the chancel is covered with a gable roof with three faces to the east, while the sacristy with a gable roof with a hip end. The church is made of brick and plastered; the nave body is built of fieldstone and features brick buttresses; the nave body and sacristy are probably made of brick; the wooden tower is a timber-frame structure. The roof of the nave body and sacristy are clad with beaver tail tiles, and the tower dome with sheet metal imitating slates.

The façades of the nave body with a separate low plinth are partitioned by corner pilaster strips and topped with a flat frieze and profiled wooden cornice. The main entrance to the church is located in a faux avant-corps in the middle of the southern façade and is framed on each side by two concave profiles and pairs of Tuscan pilasters supporting the entablature. The entrance opening topped with a segmental arch features the preserved original double-leaf door with a fanlight. The windows of the nave body are topped with segmental arches; the openings of the sacristy with a straight ending section; all the windows are framed by surrounds with a keystone in the lintel. An entrance opening under the eastern window of the chancel was bricked up. Above is the inscription “1750”. Above the entrance to the sacristy, located to the east, is the date “1913”. The interior is covered with a wooden faux barrel vault with wooden tie bars. A wooden late Renaissance music gallery with a parapet divided into panels topped with semicircular arches, framed by decorative surrounds and adorned with figural paintings, is located along the western wall. A preserved three-sided founder’s gallery (the so-called choir of prelates) with a forepart divided into rectangular panels decorated with figural wall paintings is located in the recess with a segmental arch over the main entrance, along the southern wall.

Valuable furnishings include the main altar from 1653 designed in the Mannerist style by carver Georg Beckmann; the following paintings in the reredos: “Christ Carrying the Cross” from 1913 in the central panel, “John the Baptist” and “Moses” on the sides, “Christ Fighting with the Wolves” in the finial; all three paintings made by Christian Basske in 1665; two paintings in the pradella: “The Miracle of the Manna” and “Ark of the Covenant” form the mid-17th century; Mannerist pulpit from 1633-1634 with paintings from 1655 and 1681 (including depictions of Evangelists); Baroque paintings of great size; temperas on panel depicting the Last Judgement by Ch. Schwartz, and “Annunciation” and “The Adoration of the Pastors” by Joachim Sellin from 1682, Mannerist stalls from the mid-17th c., decorated with wall paintings by Joachim Sellin from 1682, restored by A. Wild in 1913; Mannerist forepart of the western gallery from the mid-17th c., with panels framed by decorative surrounds, topped with semi-circular arches, and adorned with painted biblical figural scenes; forepart of the southern gallery, from 1914, with seven paintings by A. Wild depicting allegorical scenes to the text “Our Father”, Renaissance Revival organ casing dating from the late 19th c., paintings on the ceilings, depictions of choirs of angels — a copy of the paintings on the ceiling from 1750 made by A. Wild from Hanover in 1913.

Viewing of the structure is only possible by arrangement with the parish priest.

compiled by Maciej Słomiński, Regional Branch of the National Heritage Board of Poland in Szczecin, 9-04-2015.


  • Bronisch G., Ohle W., Kreis Kammin Land, Stettin 1939, s. 226-235
  • Karta ewidencyjna zabytku, opr. Lidia Kozłowska, 1997 r. (w WUOZ Szczecin)

General information

  • Type: church
  • Chronology: XV w.
  • Form of protection: register of monuments
  • Address: Jarszewo
  • Location: Voivodeship zachodniopomorskie, district kamieński, commune Kamień Pomorski - obszar wiejski
  • Source: National Heritage Board of Poland


report issue with this site

Geoportal Map

Google Map

See also in this area