Obiekty QR

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This wooden mill was built in 1931 on the River Młynkowska in the northern part of the village of Piasek. Its owner was Wacław Janiszewski. Originally, the mill with the gable wall facing the road was part of the miller’s homestead which consisted of a residential house and a barn. It is a two-storey wooden building, with a gable roof covered with shingles. It was built from pine beams, with quoins joined using inclined two-sided lap joints.

The mill was driven by an overshot water wheel”, with two outlets – idle and working, and the water was fed onto the wheel through the system of the so-called pogródki. Under a part of the building there was a cellar where the driving wheel and the transmission wheel were installed. On the ground floor elements of the transmission mechanism were fixed including a large horizontal wheel and as well as pulley and pitchback wheels. On the same floor there were also devices serving millet and buckwheat kasha production: millet, buckwheat and flour separators were installed. On the upper floor, milling stones were ;located – two usual milling stones (mlewniki) and another stone (żubrownik) serving for cleaning grain.

The mill from Piasek was in operation from 1931 to1939 and from 1945 to 1970. It was transferred to the open-air museum with all its equipment, which makes it possible to operate even today.

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The Dutch-style windmill from Pacanów was built in 1913. It was funded and constructed by Michał Zasucha. The windmill was in operation until the mid-1950s. In 1976 the mill was purchased by the Kielce Village Museum, and in 1993 it was transferred to the open-air museum.

The three-storey mill was built on an octagonal plan. It has a pavilion rafter roof, covered with shingles. The roof consists of a movable “cap” that, together with the sails (śmigi) can rotate towards the wind by the use of a wooden, solid shaft. The building is set on eight oak wood ground beams laid on the field-stone underpinning. The timber-frame walls have a boarding and are lined with a single-layer of shingles. The windmill driving and transmission mechanism – consists of two sails, a principal wheel, a vertical shaft, two horizontal wheels, two spindles and a pair of wheels helping the principal wheel. The windmill’s operating mechanism consists of millings tones, wooden shelters and containers for milled grain.

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The cottage from Świątniki was built in 1758. Dwelling rooms and a horse stable are covered by a common roof. The cottage is a wide-front, one-and-a-half passageway building, with the following layout: storeroom – hallway (with kitchen) – dwelling room – horse stable. The cottage walls are corner-notched log structures, whilst the walls of the stable are post-and-plank structures. The premises are covered by a hipped straw roof. An archaic bobstay chimney is the most noteworthy element of the cottage. The chimney structure consists of four converged poles (sztagi), standing directly on the ground. The rods between the poles are wound up in straw plaits and tightly plastered with clay to protect them against fire. An additional small kitchenette is at the base of the chimney, with a cooking plate and a smoke duct open to the chimney’s interior. The duct was made from bottomless pots placed one on top of another. The dwelling room has a typical kitchen stove with a heater and bread oven. The noteworthy foundation inscription carved next to three rosettes reads: Benedic Domine Et omnes chabitantes inea Anno Domini 1758.

The floors of the residential and utility rooms are covered with clay pug. The entrance door to the hallway is hung on an archaic revolving mechanism. In the storeroom it is worth noting the disassembled weaving workshop by the wall and various tools for processing fibre.

In the nineteenth century the village of Świątniki from which the residential house originates, were proud of their (male) weavers, who were locally known as niciorze, and wove linen canvas.

The cottage was purchased from Janina Gardyńska.

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The cottage from Kobylniki was built in the first half of the nineteenth century. The wooden, single-bay corner-notched log structure is covered by a straw hipped roof. Originally, the building’s oak wood foundations were not set on an underpinning, but on large filed stones laid on the ground. The interior of the building has the following layout: storeroom – dwelling room – hallway – storeroom. The walls are made from halved logs. The cottage has two-winged windows, a plank door and a ceiling from wooden beams. The dwelling room has a stone kitchen stove with a hood a bread oven and a heater. All rooms have clay pug flooring.

The exhibition in this cottage acquaints the visitor with folk funeral rites in the inter-war period. At that time death was celebrated with great respect. In connection with the passing away of a close one, a number of rituals had to be followed to exclude the dead from the life of the living. This helped him or her to pass to the world beyond, while at the same time protecting oneself and the family against the sinister influence of death. To achieve these goals, mirrors had to be veiled, the lock stopped and the doors of the closets and the sideboard left half-open.

The exhibition in the cottage from Kobylniki relates to the tradition of the so-called ”empty nights” – keeping vigil over the dead and praying.

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The cottage from Chrobrze, a village in Ponidzie, was built in 1858. It originally belonged to the Juszczyk family. It was sold to the Kielce Village Museum by Władysław Kubicki.

The small, one-and-a-half passage house has the following interior layout: hallway (with a small chamber) – dwelling room – storeroom. The walls of the house were built using the post-and-beam system. The cottage is covered by a hipped straw roof. The door of the storeroom and the hallway are fitted on a primitive revolving mechanism, with wooden locks on the inside part. All rooms have pug flooring made of clay mixed with chaff and bran.

The interiors re-create the living conditions of a poor, multi-generational rural family in the second half of the nineteenth century.

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The community treadmill-operated water well from the village of Góry Pińczowskie (Michałów municipality) was built around 1850 on the initiative of the landowner, Dembiński (Nieczuja coat-of-arms), the owner of Góry and the neighbouring village of Polichno. From archival accounts it is known that a little later three similar wells were built in the vicinity. The wells were able to draw water as deep as 70 metres below ground level. It was necessary because the village of Góry was situated on a rocky ridge, which for obvious reasons made it impossible to dig traditional wells.

The well consists of three basic elements: a deep water well lined with stone, measuring 1.5 metres in diameter (together with the wooden casing on the surface), a treadmill driven by two horses and a structure sheltering the well.

The treadmill consists of a wooden drum rotating around an oak wood post, known as ”the king post”, shafts to which horses were harnessed, guide rollers and 70 metres of hemp rope dropped down the well with two large wooden stave buckets attached to its end.

The structure sheltering the well and the treadmill consists of two different architectural elements: a quadrilateral deep water well and an octagonal structure sheltering the driving and transmission mechanisms. The entire structure is covered by a common shingle roof. The building walls have a wooden framework structure, with boarding from large beams.

The well was the communal property of the entire village, and was used until 1978. Water was drawn from it three times a day.

The treadmill water well is one of the most interesting and most precious pieces of traditional vernacular architecture in the Ethnographic Park in Tokarnia.

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The cottage from Szydłów was built in 1705, as is written in the inscription carved on the principal beam in the living room. Currently, it is the oldest known example of vernacular architecture in the Kielce region. The building was purchased from Janina Gardyńska. A wide-front house with a front entrance and one passage way (single-bay) was built on a rectangular plan. The building consists of four rooms: the hallway, the living room and the cowshed which was later added. The walls from hewn beams are covered by a hipped, thatched, roof.

Among the noteworthy interior details are the plank door, fixed on a simple turnstile mechanism, leading to the hallway and to the utility rooms, as well as the floor from hewn panels fitted with wooden pegs, and the kitchen stove in the living room, which is archaic in form and construction technology.

The cottage houses a permanent exhibition illustrating the living conditions of a poor Jewish tailor. In the room furnished with exhibits dating from the 1920s and 1930s one can see a modest tailor’s workshop with a sewing machine, a screen, ready pieces of garments as well as a tailor’s accessories and devices – including irons. The room’s décor, through the use of religious accessories and Judaica, illustrates the atmosphere of preparations for a Sabbath dinner. On the table one can see prayer books and the ritual bread – hallah -- ready to serve. Suitcases in the hallway testify that the residents practiced an itinerant trade – an occupation typical of a large share of the poor Jewish population. Judaic religious accents in the interior include: the mizrah – a plaque with an inscription in Hebrew, fixed on the eastern wall of the room, kiddush mugs on the sideboard and two trays with engraved symbols of the Star of David and Hebrew inscriptions.

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The cottage from Daleszyce was built in 1892 by Franciszek Malarecki, who was then the owner of 9 morgas (1 morga = 0,56 hectare) of land. In the open-air museum the cottage forms part of the frontage of a small town market square. It is a single-bayed, narrow-fronted building (with the entrance in the gable wall), with the following layout of rooms: hallway – living room – cowshed. The cottage’s notched-corner log walls were built from pine wood. The three-slope roof is covered by a double layer of aspen shingles, with a board-covered gable overlooking the yard. The entrance to the homestead leads through a gate with a characteristic shingle roof over it. The hallway, with an additional entrance leading to the yard, houses the summer kitchen. The main stove situated in the dwelling room was built from broken stone and brick joined with clay binding. In the living room, the date of the cottage’s construction and the sign ”IHS” are carved in the central beam (”the principal beam”). The inscription is a declaration of faith and was aimed at ensuring that God offered protection to residents of the house.

A small-town cobbler’s workshop has been re-created in the living room. Among shoes to be repaired around the workshop one can also see: shoemaker’s chisels and knives, rasps, the blacking for shoe soles, shoemaker’s lasts, shoe stretchers, pincers and hammers. A small cowshed was built which shared a common roof with the residential house.

The shoemaking traditions in Daleszyce originated in the sixteenth century. Shoemaking was an additional occupation for many farm owners who chiefly earned their living working on a small piece of land and on poor farms.

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The house comes from a small town and is one of the finest architectural structures in the open-air museum. Its characteristic feature is a half-gabled roof and entrance with semi-circular lintel and decorative profile braces (elements connecting the post with the beam it supports). The house was built by Jan Wójcik in 1800 (as shown on the date on the beam). It is a two-bayed, wide-fronted building. It consists of a hallway, a large living room, a small room and a storeroom. Its whitewashed walls are constructed from halved logs and hewn beams with a corner structure with protruding ends. A solid beam from larch wood, known as siestrzan, supporting the ceiling beams is a noteworthy element of the large room. Pug flooring has survived in the hallway, as well as tile kitchen stoves with heaters. The household interiors of a small-town family with many children who earned a lived mainly from land cultivation in the inter-war period have been re-created inside. The chest where the dowry and the most valuable garments used to be kept was replaced by a simple chest of drawers on which religious objects were placed, creating a so-called “sacred corner”. The sideboard contains factory-made china and glass vessels which, in Ćmielów, relatively early on replaced enamelled and non-enamelled (siwaki) earthenware pots.

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A high, oak wood cross stands on the junction of the roads leading from the Upland Area Sector to the Świętokrzyski Sector. This small monument of scared architecture comes from the Włoszczowa area. It is believed to have been funded by the Maupa couple in 1918, but unfortunately their intentions remain unknown. On the vertical post of the cross there are sculpted figures of Christ, the four Evangelists, symbols of the Lord’s Passion and a chalice with the Sacred Host, intricately cut out from thin sheet metal.