W polu błękitnym lwia głowa srebrna ziejąca czerwonym płomieniem. Tak wygląda herb „Zadora”, którego używali założyciele Gorlic, Karwacjanie. Według słów obecnego na naszym portalu Marcina Kromera, miasto zostało założone w 1355 roku, za zgodą Kazimierza Wielkiego, przez Dziersława I Karwacjana...
This consists of an oval shield, which decorated the entrance to the municipal council of Gorlice from the turn of the 19th and 20th centuries. The shield has numerous bullet holes, being clear evidence of the battles which took place in the city and its surroundings for six months, at the turn of 1914 and 1915.
This is a trademark of one of the richest Olkusz gwarek, that is, entrepreneurs who organized the mining and production of lead and silver.
One of sixteen over-door and over-window tapestries with the coats of arms of both parts of the Commonwealth. They were counterparts of large heraldic tapestries and their purpose was to fill the castle with heraldic motifs of national importance. Their format was adapted to the architecture of Wawel. They were produced as part of the programme for complete decoration of representative chambers with Brussels tapestries.
This is one of the tallest glass goblets preserved in Polish collections, fully covered with a cut design, the so-called carp scales, a decoration that is unique in its kind, typical only of products made in the Crystal Glassworks in Lubaczów.
Płyta fundacyjna Mikołaja Ligęzy znajdowała się pierwotnie nad bramą wjazdową do miasta Biecz. Mikołaj Ligęza z Bobrku (ok. 1530–1603) w roku 1561, dzięki małżeństwu z Elżbietą Jordanówną, uzyskał starostwo bieckie, natomiast w 1575 z rąk Jana Tarły — województwo bieckie.
Decorating walls with precious textiles added grandeur and significance to modest interiors. It is known from preserved descriptions and inventories that European rulers highly valued this artwork and loved being surrounded with tapestries since they added splendour to their owners. Tapestries were ordered for specific chambers of a ruler's residence as they performed relevant functions in a given space, expressed through the subject matter of their presentations. A special place in the entire collection of Sigismund II Augustus was occupied by monogram and heraldic tapestries, commissioned probably after 1553 (around 1555). Their subject matter and set of motifs expressed a precisely defined agenda directly related to the person of the ruler and his country.
The silver cross with a full figure of Christ, placed on a cuboid profiled plinth, decorated with plaques with the coat of arms of Kraków (SIGILLUM CIVITATIS CRACOVIAE METROPOLIS REGNI POLONIAE) and the coat of arms of the Segnitz family.
The seal consists of a wooden handle and a brass seal matrix. The handle is made of wood, painted dark. The seal presses the coat of arms of the Austria-Hungary Empire, the so-called small version of coat of arms, which was in force from 1815 until 1915. It is surrounded by an inscription: “IMPERIAL AND ROYAL (C.K.) DISTRICT STAROST K.K. BEZIRKSHAUPTMANN WADOWICE” in a sealing wax.
A parchment with texts in Latin, issued in Wiewiórka, a holiday residence of the Tarnowski family. Suspended on an olive coloured rope is the knight seal of Jan Tarnowski – round, made of red wax, in a wax bowl of a natural colour, with an image of the Leliwa coat of arms, which functions as a symbol of Tarnów to this today, with the legend “IOANNIS COMES IN TARNOW.”
On the 29th of September 1528, in the castle in Tarnów, John, the King of Hungary, Dalmatia, and Croatia, Margrave of Moravia and Lusatia, Duke of Silesia, granted the town of Tarnów, in return for the hospitality provided by Jan, Count of Tarnów, Voivode of Rus, 500 florins of annual income derived from the Košice tricesima, which was a fee charged from merchants entering the Kingdom of Hungary.
Among the memorabilia of the old town authorities stored in the collection of the Museum in Tarnów, a special place is occupied by a set of three identical tin jugs. These vessels were created in Gdańsk in 1639, probably in the workshop of the master Assmus Virian.
Very characteristic relic related to the City Council is ring of the Kraków’s mayors. Golden hoop of the ring, according to the inscription, saying that it comes from year 1532 and the stone from 1590. The sapphire stone has carved Kraków’s crest in it, and it could have been a seal too. This is one of the earliest releases of the city’s crest with an eagle placed in the city defence walls’ gate.
In the centre of the textile, a shield with the coat of arms of Poland – the White Eagle – is suspended by flower garlands. The Eagle has the royal monogram SA on its chest. On the left side, a dormouse sits, while on the right, there is a small dog-like predator. The rectangular textile is topped with an arc, as it was used to decorate a window recess.
Another tapestry of a group of over-door and over-window textiles with the national coat of arms. Its size indicates that it was to be placed in a wide window bay. Eleven tapestries designed for this purpose have been preserved. The tapestry was used in Russia (in the years 1795–1922) as the covering of a sofa seat (a heraldic tapestry with the White Eagle was attached to the sofa's backrest). In 1922, during the recovery of the Sigismund collection, both tapestries were repossessed along with the furniture.
A baptismal font of a goblet shaped with a dodecagon base, with a pyramidal bowl and a foot. The narrowing in the middle bears a band (a so-called node) which is covered by a net ornament with three coats of arms (one of which is now missing). The bowl of the baptismal font is covered by a bas-relief decoration, the fields of which are separated by tracery.
Baptismal fonts belonged to the most important elements of church accessories. That is why their history dates back to the beginning of Christianity on Polish land. The oldest Romanesque fonts survived in the greatest numbers within the territory of the former State of the Teutonic Order as well as in Silesia as those lands were...
The so-called Swan Set, the most famous of porcelain sets, was made in the Royal Manufactory in Meissen during the years 1737–1742, on the commission of Heinrich, Count von Brühl, later the First Minister of Augustus III.
The preserved Polish inventories dating back to the 16th and 17th centuries inform of a rather high number of silver and gold spoons being the property of the royal court, the Polish aristocracy, the nobility and the bourgeoisie.
The counter of the City Council is a chest which served counsellors for storing the Mayor’s ring (stamp) and writing accessories (today a nib holder, an inkpot and a sand-box have been preserved) and perhaps other valuable documents and precious items belonging to the city.