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The main Ostrowiec Synagogue was destroyed by the Nazis during their occupation of Ostrowiec, however many details and pictures are available to be seen at Wojtek Mazan’s blog.

The  information was gathered/edited by Wojtek based on the book : Żydzi Ostrowieccy by Waldemar R. Brociek, pages 79-109.

The photographic documentation, preserved in the Ostrowiec museum, was made in 1937 by the famous photographer from Ostrowiec, Tadeusz Rekwirowicz.

A translated excerpt is below:

1. Jews in Ostrowiec.
          The first known mention of a Jew in Ostrowiec appears in 1631. This year, at the instigation of one of the Jews, two local thieves stole twelve wafers and two silver plates from the parish church. (footnote 1 - One of the robbers was arrested and a woman found in her house with a scarf from under the monstrance. The court sentenced them to be burned, and acquitted the Jew. The townspeople believed that the Jews bribed the judges and Teofila Ostrogska, the town's owner. Kowalski W., " Church history of Ostrowiec Świętokrzyski until the end of the 17th century "[in:]" 400 years of Ostrowiec Świętokrzyski. Materials from the scientific conference on November 18, 1994, p. 38.)
[…]
 The dense buildings, mainly wooden, within the Market Square and adjacent streets were the cause of frequent natural disasters caused by fire. In 1861, a fire destroyed several buildings in Ostrowiec. (footnote 18 - Including the wooden house of Eliasz Rożany , the wooden outbuilding of Szyja Rotenberg , the brick outbuilding of Wigdor Blajberg and the brick houses of the widows of Rachela Esse and Ejzenbach .) On the night of June 26-27, 1863 inside the house belonging to the rewriter Herszek Lerner aka Szrajber a fire broke out which quickly spread across Tylna Street and Rynek. The mayor of Denków, K. Eichler, and the sugar warehouse keeper of Częstocice H. Łabęcki, who prevented the fire from spreading at ul. Siennieńska and Denkowska, dismantling house roofs and fences. 146 houses (61 made of brick) and 34 other buildings, mostly owned by Jews, were destroyed. (footnote 19 - The wooden butchers belonging to the Polish Bank burned down, the forge, the shed for fire tools. The parish church and the farm buildings of the presbytery were burned down.)
[...]
Ostrowiec drawing by Wastkowski 1872
Ostrowiec drawing by Wastkowski 1872
View of the synagogue from the side of the ponds
View of the synagogue from the side of the ponds
2. History of the synagogue.
          According to oral records, the synagogue in Ostrowiec was to be built in 1610 (footnote 21 - "Ostrowiec. A Monument on the ruins of an annihilated Jewish community", Toronto 1950 [should be: 1971], p. 14.) 13 years after the uprising of Ostrowiec, when the city was jointly owned by prince Janusz Ostrogski, the castellan of Sandomierz Stanisław Tarnowski and brothers Jan and Wojciech Tworowski from Buczacz. At that time, Christians did not yet have their own temple (it was established in 1614).
[…]
          In the tradition of the Jews of Ostrowiec, there is information about a fire that broke out in Ostrowiec in 1713, as a result of which only the house of prayer and the synagogue remained in the Jewish district, requiring renovation of the front wall. (footnote 25 - "Ostrowiec. A Monument ...", p. 13; according to A. Penkalli ("The Jewish Community and the Jewish Cemetery in Ostrowiec Świętokrzyski" [in:] "Fołks-Sztyme" of 23 May 1981, p. 10) the fire took place in 1714.) According to another version, the synagogue was partially burned down and in 1714 it was to be completely rebuilt using larch wood. (footnote 26 - Brociek WR, Penkalla A., Renz R., "Żydzi Ostrowieccy ...", p. 14.) Three people took part in the renovation of the synagogue: Herzke , Simon ben Arahon Daft and Jeheskielfrom Krakow, who was an artist who carved the Ark of the Covenant in wood. (footnote 27 - "Ostrowiec. A Monument ...", p. 13.) The polychrome was attributed to Jehuda Lejba ( Arye Jehuda Lejb , son of Boruch). Oral Jewish tradition tells the story of a painter who was to renovate the synagogue and, while decorating the ceiling, fell from the scaffolding, dying on the spot. His death was portrayed in many legends over the following centuries. From now on, the ceiling itself was to be unfinished. (footnote 28 - "Ostrowiec. A Monument ...", pp. 14-15.)
[…]
In the interwar period, the synagogue was recognized as a historic building (footnote 35 - Penkalla A., "Jewish traces in the Kielce and Radom voivodeships", Radom 1999, p. 165). Arch. Roman Feliński, a new synagogue building was found, probably already made of brick, situated at the intersection of today's ul. Sienkiewicz and Mickiewicz, from the side of the cemetery. We do not know if the location of the new synagogue was only a vision of the prospective development of infrastructure in Ostrowiec Św. Or was related to some specific plans of the Jewish Community.
          During World War II, after the liquidation of the Jewish ghetto, the Germans began to systematically destroy this district (many houses were razed to the ground), also destroying the historic synagogue and the brick building of the house of prayer (Bejt Hamidrasz), which also housed a cheder (school). The synagogue was demolished during World War II.
[…]
3. Description of the synagogue
          When the building at ul. Starokunowska 1/7, you go down towards the Młynówka (Kamienna branch). In the past, there was ul. Młyńska. Going down ul. Starokunowska towards ul. Sienkiewicza, on the left, there is a horizontal green belt descending a steep slope towards the ponds. This is where the Jewish synagogue and the house of prayer, destroyed by the Germans during World War II, were located. At the bottom, at the descent from the hill, there was a Jewish bathhouse (mikvah). Originally, these buildings formed a compact synagogue complex in the town's urban layout.
[…]
... the photographic documentation preserved in the Ostrowiec museum and made in 1937 by the famous photographer from Ostrowiec, Tadeusz Rekwirowicz, is of particular importance.
[…]
    The main room of the synagogue was a prayer room, intended only for men. On its eastern wall (usually located next to the main entrance) there was an altar cabinet (Hebrew Aron ha-kodesh - Holy Ark, sacred chest), in which were kept scrolls - parchment scrolls with a handwritten text of the Torah (Hebrew Sepher Torah - Torah Scroll). The altar cabinet of the synagogue in Ostrowiec is an example of how, under the influence of the construction of altars in Catholic churches, magnificent, high, richly decorated retabulas were built, captivating the Ark [...]. The described Aron Kodesh - was a type of an architectural, baroque, columned, two-story altar and stood on a platform surrounded by a balustrade, which was accessed by stairs. Both storeys were the same width, richly carved. The columns were of the Corinthian openwork type, external on the lower tier and internal on the upper tier with spiral stems. They had a rich sculptural decoration with floral motifs and a decorative finial. The top of the lower tier was used to hang a parochet with a lambrequin. In the middle area of ​​the lower floor, between two double columns in the frame, there were intricately decorated doors closing the cupboard with the scrolls, and in the upper floor, against the background of rich openwork sculptural decorations, there were tablets of the Decalogue.
          Aron ha-kodesh was hidden behind a drawn curtain (parochet) [...]
    [...] the parochet of the synagogue in Ostrowiec was not a typical object of Jewish religious art. According to tradition, during the January Uprising, the wife of one of the noble insurgent activists ("descended from the royal family" ?!) offered in thanks for the help provided by Jews to the insurgents a curtain decorated with gold to the Ark of the Law in Ostrowiec synagogue. This veil, however, was not shown to the public. Only after Poland regained independence, it was removed and used during holidays as a symbol of good relations between Jews and Christian residents in Ostrowiec. The initials "PR" were to be embroidered on the fabric (note 40 - "Ostrowiec. A Monument ...", p. 30.) Comparing this relationship with the photograph taken by T. Rekwirowicz allows us to consider the oral tradition as true, but slightly distorted . This unusual parochet was made of a homogeneous fabric in the central part, embroidered with plant motifs, with fringes on the right edge, while in the side parts of plain fabric without patterns. However, the most intriguing part of the central fabric were the two embroidered eagles with their beaks facing each other, with stylized prominent crowns, with outstretched wings, holding a sword and royal apple in their claws, on their breasts, in a dark (red?) Oval, the initials "AR" (Augustus Rex) of the Polish king Augustus II the Strong. The Polish eagle appeared on parochetes and lambrequins, altar carvings, crowns, lamps and Hanukkah candlesticks already in the 17th and 18th centuries. In this case, however, the adaptation of a typically Polish fabric for sacred purposes in the synagogue was unusual. […] fringed on the right edge and plain plain fabric on the side parts. However, the most intriguing part of the central fabric were the two embroidered eagles with their beaks facing each other, with stylized prominent crowns, with outstretched wings, holding a sword and royal apple in their claws, on their breasts, in a dark (red?) Oval, the initials "AR" (Augustus Rex) of the Polish king Augustus II the Strong. The Polish eagle appeared on parochetes and lambrequins, altar carvings, crowns, lamps and Hanukkah candlesticks already in the 17th and 18th centuries. In this case, however, the adaptation of a typically Polish fabric for sacred purposes in the synagogue was unusual. […] fringed on the right edge and plain plain fabric on the side parts. However, the most intriguing part of the central fabric were the two embroidered eagles with their beaks facing each other, with stylized prominent crowns, with outstretched wings, holding a sword and royal apple in their claws, on their breasts, in a dark (red?) Oval, the initials "AR" (Augustus Rex) of the Polish king Augustus II the Strong. The Polish eagle appeared on parochetes and lambrequins, altar carvings, crowns, lamps and Hanukkah candlesticks already in the 17th and 18th centuries. In this case, however, the adaptation of a typically Polish fabric for sacred purposes in the synagogue was unusual. […] However, the most intriguing part of the central fabric were the two embroidered eagles with their beaks facing each other, with stylized prominent crowns, with outstretched wings, holding a sword and royal apple in their claws, on their breasts, in a dark (red?) Oval, the initials "AR" (Augustus Rex) of the Polish king Augustus II the Strong. The Polish eagle appeared on parochetes and lambrequins, altar carvings, crowns, lamps and Hanukkah candlesticks already in the 17th and 18th centuries. In this case, however, the adaptation of a typically Polish fabric for sacred purposes in the synagogue was unusual. […] However, the most intriguing part of the central fabric were the two embroidered eagles with their beaks facing each other, with stylized prominent crowns, with outstretched wings, holding a sword and royal apple in their claws, on their breasts, in a dark (red?) Oval, the initials "AR" (Augustus Rex) of the Polish king Augustus II the Strong. The Polish eagle appeared on parochetes and lambrequins, altar carvings, crowns, lamps and Hanukkah candlesticks already in the 17th and 18th centuries. In this case, however, the adaptation of a typically Polish fabric for sacred purposes in the synagogue was unusual. […] the dark (red?) oval bore the initials "AR" (Augustus Rex) of the Polish king Augustus II the Strong. The Polish eagle appeared on parochetes and lambrequins, altar carvings, crowns, lamps and Hanukkah candlesticks already in the 17th and 18th centuries. In this case, however, the adaptation of a typically Polish fabric for sacred purposes in the synagogue was unusual. […] the dark (red?) oval bore the initials "AR" (Augustus Rex) of the Polish king Augustus II the Strong. The Polish eagle appeared on parochetes and lambrequins, altar carvings, crowns, lamps and Hanukkah candlesticks already in the 17th and 18th centuries. In this case, however, the adaptation of a typically Polish fabric for sacred purposes in the synagogue was unusual. […]
          Also to the right of the altar cabinet, there was a stand for the cantor (Hebrew: chazan) who led the prayers in the synagogue [...] In the stories of Jews from Ostrowiec, the memory of Meirl's Khazan "Hasid of Warka", who had a beautiful voice and wore a patriarchal beard, lives on . After him, he became a chazan Mosze Wohlman , who introduced the singing of prayers in the synagogue in a choral form. (footnote 42 - "Ostrowiec. A Monument ...", p. 35)
[…]
[…]
          On the wall of the synagogue in Ostrowiec we can also see the so-called Elijah's chair (Hebrew kise sheel Elijahu) - an empty chair placed during the rite of circumcision, which is said to be occupied by the prophet Elijah. The chair is double with an openwork backrest topped with a carved floral ornament (in the center a crowned cartouche supported by two lions) and curved handrails, padded with velvet. […] The child lays down for a moment in the chair, and thus on Elijah's lap, before the circumcision itself.
[…]
          [...] body candlestick. Candlesticks of this type, hung in the synagogue from the ceiling, were ended with a sphere. Long S-shaped arms arranged in one or two floors were attached to the shaft. The sleeves for candles had profits at the bottom - plates collecting the melting wax.

The Shul-hoyf - The Center of Jewish Life

Translation from the Ostrowiec Yizkor book provided by Jewish Gen.