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Feretory depicting St. Anne and Christ crowned

The monument dates back to the1st half of the 18th century and comes from a wooden church in Szczawnica, which was built in 1550 and demolished in 1894. The procession float which can be found in the collection of the Pieniny Museum is placed on a base in the shape of an elongated rectangle, wound around with a plait.

Painting “Adoration of the Child” by Lorenzo Lotto

A joyful scene of the adoration of the Child (with saints: John the Baptist, Francis of Assisi, Joseph and Catherine of Alexandria) is a hidden allusion to Christ’s future fate. The Child’s deep sleep may be associated with the Redeemer’s martyr death through ancient references — Sleep (Hypnos) in the Greek mythology is the brother of Death (Thanatos).

Cup from Michael Wissmar workshop

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Chalice and paten

The chalice was made in a Roman workshop around 1360. It is set on a ten-leaved foot base with a pedestal, decorated with a geometric decoration strip. The chalice foot is covered with a smooth coat, with an applied medallion containing an engraved coat of arms surrounded by laurel leaves in the field and on the opposite side of the coat with an enamelled cameo showing a Crucifixion Group. The upper base is finished with a ring with a strip of geometric decoration analogous to the base.

Chasuble of the Lubomirski Foundation

A white chasuble with an embroidered purple column. The type of embroidery dates this back to around 1600. It was made, among the others, with a gold and silver thread and stitches partially on an underlay of silk fabric with a lancé of gold wire. At the bottom of the vestment, the Lubomirski-Szreniawa coat of arms was gently but legibly incorporated into the chasuble column. The jacquard side fabric with a damask effect is from the 19th century.

Long stole of a late Renaissance set of vestments

The stole is part of the liturgical vestment worn during the liturgy of many Christian Churches. This long strip of fabric is placed around the priest’s neck, and its ends fall freely on the chest (in the case of a deacon it is put on diagonally: from the left shoulder to the right side). A stole has been used since the beginning of the Middle Ages as an element included in the set of vestments. It symbolizes the priesthood as God’s yoke.

Short stole of a late Renaissance set of vestments

The short stole, like the longer stole from the same set of vestments, was made of red silk satin with a floral pattern brocaded with a gold thread. The end is trimmed with a gold 1.2 cm wide border (galloon) with a geometric pattern. It was decorated with crosses made of gold border at the ends and in the central part. In addition, in the 20th century, a collar made of a piece of lace was sewn in the middle.

Dalmatic of a late Renaissance set of vestments

The dalmatic was worn by the Greeks and Romans as a loose garment extended to the feet worn by lay people with long, wide sleeves and two vertical purple stripes, also known as clavi. In the 2nd century, it was adopted in Western Europe through Byzantium in today’s Dalmatia during the Merovingian and Carolingian period. The dalmatic has been functioning as a liturgical vestment since the 5th century, when it disappeared from lay people’s clothing.

Chasuble of a late Renaissance set of vestments

The chasuble evolved from a Roman outer garment, which was a kind of sleeveless coat with only one small hole for the head. The chasuble was worn during all priestly acts. Beginning in the 13th century, the chasuble began to be shortened on the sides, so that it would not constrict hand movement, until the 17th century, when only two sheets of fabric remained: front and back. At the same time, the chasuble came to be decorated with increasingly rich embroidery.

Cope of late Renaissance set of vestments

A cope is a long and wide cloak, worn over shoulders and fastened on the chest during the Liturgy of the Hours, the celebration of the sacraments outside the Holy Mass, and the exposition of the Blessed Sacrament. The only ones authorized to wear it are bishops, presbyters, and deacons who received permission from the Holy See.

“Christ in the grave” – a glass painting from Orava

The picture painted on glass depicts Christ lying in the grave. In the centre, above the grave, there is a richly decorated monstrance. The candles in baroque candlesticks standing on both sides thereof suggest that this is a retable. In the bottom part of the picture, the figure of the supine Christ is depicted, quite schematically, from a slight profile. Plant motifs are bulky red-yellow roses, characteristic of Orava ornamentation.

Throne for a church monstrance

A Baroque architectural throne for a church monstrance. A Baroque framing decorated with an auricular style ornament as well as a radiant halo consisting of rays alternately straight or curved. At the sides are two allegorical figures, at the finial of the framing are two figures of angels.

Sculpture “Crucified Christ” from 14th century

The sculpture depicts the Crucified Christ. The Saviour has dark hair falling on his shoulders, a short beard and moustache. The figure’s hands were completely destroyed.

“Crucified Christ” from St. Jadwiga’s hospital

The sculpture depicts Christ hanged on a cross with his hands outstretched. His head is leaning a little towards his right shoulder. The plasticity of the face strikes us with the calmness with which the Redeemer accepts suffering. He is looking down and his lips are closed.

Gothic reliquary herm

The herm is a name for reliquaries taking anthropomorphic forms, especially busts with a place at the front called a reservaculum , where the relic was placed. The presented object depicts an unidentified saint.

Sculpture “Our Lady of Sorrows” from 15th century

It is a gothic sculpture depicting a figure in contrapposto, hands folded for prayer, face with a straight, narrow nose, small lips, head slightly bowed, covered with a cloak falling on the shoulders, bare neck, dress with a partially preserved polychrome in red, robes falling with heavy folds.

Sculpture “Our Lady of Sorrows” from 16th century

The figure of Mary comes from the Crucifixion Group, which includes the sculpture of St. John the Evangelist, her pendant, also in the collections of the Museum of Ziemia Biecka. Initially, it was believed that both figures were placed on the rainbow beam of the Biecz parish church. However, their small size in relation to the parish space, according to art historians, excludes this view. They probably topped of one of the altarpieces.

Wooden feretrum

Feretron is a special type of paintings or sculptures with saints' that were used not only during the procession in church celebrations, but also as portable altars during pilgrimages.

Relief “Agony in the Garden” by Veit Stoss from church of All Saints in Ptaszkowa

The relief with the scene of Christ’s Prayer in Gethsemane is dated from 1493–1495. It came to the church in Ptaszkowa (erected in 1555), presumably in the first half of the 19th century, where it was also discovered. It is considered to be the handiwork of Veit Stoss. Today, this sculptor is considered to be the most famous Nuremberg-Kraków artist. He came from Horb am Neckar, situated in the then so-called Further Austria. Born in 1438, he died in 1533, at the age of 95. He created works in the late Gothic style, mainly around religious themes. In 1477, he resigned from Nuremberg citizenship and moved to Kraków – at that time, the capital of the Kingdom of Poland.

“Triptych of Saint Mary Magdalene” from Moszczenica Niżna near Stary Sącz

The painting, Triptych of Saint Mary Magdalene, from Moszczenica Niżna near Stary Sącz is preserved in a rare state of completeness. The essence of the retable can be investigated based on this example. At the end of the 15th century, the retable constituted an expanded structure composed of an immovable main panel, the movable wings attached to it; a predella, which served as a basis for the wings, the main panel, and a finial.