Historical outline
Tuliglovy is situated not far from Komárno. The village was first mentioned as early as the 15th century. At the height of this century, one can come across information about the parish existing there. However, these references are not sufficiently established. The real and confirmed beginning of the Tuliglov parish is assumed to be in 1599-1600, when the foundation was renewed (the initiative of Stanisław Korytko) and construction of a new brick building began. Apparently, there was a wooden church in the village before that. Tuligłowy belonged to, among others, the Kunat family, the Korytko family, Mikołaj Krosnowski, and Teresa of Pociej Humiecka. At the beginning of the 19th century, the estate was ruled by Jacek Fredro, father of the famous comedy writer Aleksander. Then, until the Second World War, the village belonged to the Bal family. Julian Fałat, one of the most outstanding painters of the Young Poland era, was born in the village.

In 1653, the Brotherhood of St. Anne was established at the church in Tuliglowy. In the first half of the 17th century, an important painting for the Korytek family was placed in the church, depicting the image of Our Lady of Sorrows. The existence of a hospital was recorded in 1721 and the Rosary Brotherhood in 1762. From the 18th to the 20th century the parish of Tuligłowy included the following villages: Tuliglovy, Czajkowice, Holodka, Jasionów, Koniuszki Królewskie, Koniuszki Tuligłowskie, Krukawiec, Małpa (Malin), Nowa Wieś, Ostrów Pohorecki, Podolce, Pohorce and Susułów. It is safe to say that nothing special or dramatic has happened to the church building over these centuries. Apart from a few repairs, consecrations and extensions to the interior, the church functioned in relative peace. It was not until the First World War that the bells were confiscated by the Austrian authorities.

The inter-war period was a time of expansion of the building. Among other things, the western part of the nave was added according to the design of Erwin Wieczorek. At the same time, the above-mentioned painting of Our Lady of Sorrows was restored. It was crowned in 1930.

As Jan K. Ostrowski writes in his study of the building, after the Second World War the last parish priest, Fr Antoni Baszak, who left Tuligłowy, secretly took the precious painting with him. In 1948, it was placed in the main altar at the branch church in Łozina near Wrocław. In 1946, the Tuligłowo church was converted into an Orthodox church of the Pokrovka Mother of God. Since 1990, the Orthodox have shared the building with the Greek Catholics.

Architecture
The building is oriented, i.e. it faces towards the conventional east, meaning Jerusalem. The church is brick and plastered. The two-bay chancel is slightly larger than the nave consisting of a three-bay eastern section and a two-bay western section separated by a massive arcade. On the sides of the east bay of the nave are two square, lower chapels. In turn, a rectangular sacristy has been added to the chancel, forming a common block with the northern chapel on the outside.

The single-storey façade with a stone plinth is tri-axial. Noteworthy is the portal with carbons, which is decorated with rustication and a moulded arcade. Above, there is a bricked-up rectangular window, which is closed with a semicircle. The side axes, in turn, have square windows at the bottom. In his study of the building, Jan K. Ostrowski writes:

. "In the upper part, the side sections of the façade turn into a kind of low towers, connected by a small abutment with a zigzag pattern, topped with a cornice and pierced (also in the side walls) by high rectangular windows closed with a triangle. The façade's finial is stepped, capped with a profiled cornice, with a round-arched window in a niche in its axis".

The front face is dominated by a stone portal in the porch decorated with rustication. In addition, the side elevations of the porch, chapels and sacristy are decorated with a cornice.

The nave and presbytery have gable roofs. In turn, there is a multi-pitched roof over the apse, and a pent roof over the chapels and porch. All are covered with sheet metal. The same applies to the turret, which is octagonal, openwork and topped with a pyramid.

There is a rectangular porch at the front, with a staircase on its sides leading to the choir and storey. The wooden choir, supported by two canellated Tuscan columns and two analogous semi-columns, is an open space.

The interior elevations, at first glance, have no clear divisions. At the height of 1/3 of the eastern part of the nave, a profiled cornice is used on the walls. The chancel is covered by a barrel vault with lunettes, as is the eastern part of the nave. The chapels have cross-ribbed vaults, supported in the corners by buttresses. The sacristy, on the other hand, is closed from above with a lunette barrel vault on impost-like supports.

The rainbow arcade is slightly pointed, profiled and with a prominent shaft. The arcades leading to the chapels are pointed arched and have profiled frames. The windows in the building are mostly rectangular, closed with a slightly pointed arch (chancel and eastern part of the nave), rectangular, closed with a semicircle (western part of the nave). Circular windows are used in the chapels and rectangular windows in the sacristy.

The most important elements related to the church furnishings and surrounds include:

• The main altar dating to the 18th century;
• Altarpiece in the northern chapel dating to the 18th century;
• The tomb of Bonaventura Woyna, classicist, circa 1811; in the form of a stone sarcophagus; a tomb with a moulded plinth, decorated with bas-relief motifs of urns, palms, rosettes and laurel wreaths; acroteria at the corners of the lid; inscriptions: BONAVENTURAE WOYNA | VIRTUTE INGENIO MORIBUS | PATRIAE CONCIVIBUS | CARO | VIRO PROBO CIVT OPTIMO | MAESTISSIMI AMICI | POSUERUNT; [from. south] NATO DIE XIII [IUJLII MDCCLVIII | MORTUO XIV [AUJGUSTI MDCCCXI; [from. DIE XIII [IUJLII MDCCLVIII | MORTUO XIV [AUJGUSTI MDCCCXI;] [from. west] WHEN PEOPLE WALK AHEAD OF YOUR DEATH'S SINKING DEAD | WEEP THE LOST OF THOUSANDS CONNECTED TOGETHER | DON'T DESTROY THE SHADOWS OF THEIR DEATH TO THEIR MEMORIES TO THEIR MEMORIES.

As Jan K. Ostrowski writes in his study of the building, the church belongs to the conservative trend of building characteristic of the Ruthenian lands, with a strong coefficient of the Gothic tradition. The polygonal closure of the presbytery, the block supported by buttresses and the form of the windows derive from the Gothic. However, the building also contains more modern elements, such as the barrel vaults, which are covered with a grid of decorative ribs.