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Altar of queen Jadwiga’s miraculous crucifix

An altar made of black marble from Dębnik, situated in the south-eastern corner of the ambulatory in the Wawel cathedral. A huge five-axis structure with an expressive, recessed layout, supported by a high, two-storey base. External axes are slightly tilted towards the ambulatory, while the base on internal axes projects towards the ambulatory. In the bottom part, centrally, there is a separated altar stone in the shape of a horizontal rectangle with a niche, in which a bronze reliquary with the remains of queen Jadwiga is placed. Sides of the bases feature panels in the shape of vertical rectangles. Sides of the base feature frames in the shape of vertical rectangles filled with panel made of pink marble from Paczółtowice. Central part in the shape of vertical rectangle with a rectangular niche, topped with a semicircle, with rich-profiled framing. It is flanked by two columns on each side which support massive entablature that dominates the whole structure and strengthens the visual tilt side axes towards the ambulatory. Such a solution adds to the altar's character of a deep aedicula which forms a spectacular setting for the magnificent monument and relic – the miraculous crucifix. A realistic, detailed from all sides, yet unnatural in size figure of crucified Jesus is extremely dynamic and expressive. This result was achieved thanks to asymmetrical composition. The Saviour is hanging facing the right side, with knees pulled up in this direction and head lowered towards the right shoulder.

Rationale of Kraków bishops

The rationale consist of two wide ribbons that form the shoulder pieces, joined at the chest and at the back with large circular shields, to each of which, a pair of slightly narrower ribbons that go diagonally outwards is connected. All parts are covered with small pearls which serve as a background for decorations embroidered with gold thread. In the middle of each shield, inside four concentric circles, there is a standing figure of the Lamb of God with a halo round his head and a vexillum on a crossed flagpole. long the ribbons, separated by narrow strips, there are capitalised inscriptions.The ends of the hanging ribbons are sectioned with couples of strips and include shields with the emblems of the Kingdom of Poland (White Eagle) and the Kingdom of Hungary (Anjou). They are placed in such a way that whether you see the rationale from the front or the back, the Eagle is on the left and the Anjou coat of arms is on the right ribbon. All edges of the rationale are trimmed with a narrow stripe, while the edges of the ribbons are trimmed with long gold tassels. Threaded pearls decorating the rationale were fixed in strings to a linen base reinforced underneath with a thick stiffening. The lining was made of red damask. Several types of yellow thread was used for the embroidery: drawn cored wires – smooth, twisted into ropes, lamellae (plates) and the so called bullion. All stripes, letters, vignettes and the Lamb of God are embroidered on a relief base made of thread. Red-and-gold as well as blue-and-gold lamé was used for the background in the coats of arms.

Sculpture “Saint Anthony the Abbot”

The sculpture comes from the Renaissance retable of the no longer existing altar from Wawel Cathedral dedicated to Saint Anthony the Abbot. The altar was dismantled in 1746. The further fate of the sculpture had remained unknown until 1900, when it became the property of Stanisław Larysz-Niedzielski of Śledziejowice.

Sculpture “Madonna and Child”

The sculpture depicts Madonna in a slight contrapposto pose, with her head tilted to her right arm, holding the Child, facing front, in her right arm. The hollowed out figure was probably intended to be attached to the niche of an altar retable.

Chalice

It is the oldest of the dated donations of Casimir the Great for Polish churches. The Roman form of the basic chalice components and some of its motifs (e.g. small rounded arch arcades) coexists here organically with raised Gothic ornamentation, setting this impressive vessel apart from other goldsmith works of the 14th century.

A Statue of Saint Stanislaus

This sculpture in the round depicts the figure of St. Stanislaus in pontifical robes, but without the attributes. The figure was originally placed on top of the western façade of Wawel Cathedral, but it was removed during conservation works in 1898, and it was replaced with a copy made by Zygmunt Langman.

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.

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.

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.

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.

“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.

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.

Sculpture “St. Stanislaus” (“St. Martin of Tours”?)

The sculpture was made of polychrome and gilded lime wood. It presents the Saint in bishop’s robes, in a lively position: his body is slightly turned to the left and bent, his left leg lunged. The bishop is holding the hem of the coat in his right hand. With his left hand, he is picking up a man with a moustache from the ground, dressed in a short hooded coat and trousers, depicted in a reduced scale.

Wooden chalice designed by Stanisław Witkiewicz

Maria Dembowska, along with her husband, Bronisław, gathered one of the first ethnographic collections of the Podhale region). One of the items she donated to the Museum in 1922 was a wooden model of a church chalice designed by Stanisław Witkiewicz...

Wooden sculpture “Pensive Christ”

Small-sized wooden sculpture of the 19th century from the area of the Polish Podtarze region, depicting Pensive Christ. It cost one crown and in 1914 it was purchased in Nowy Targ by Ksawery Prauss, a collector from Zakopane. In 1920, he donated his collection to the Tatra Museum and thus the sculpture, along with 93 other ethnographic objects from Podhale, became part of the museum collection.

Shrine with a scene of the Scourging of Christ

Shrine of the cabinet type, intended for hanging, with three figures presented in the scene of the Scourging of Christ. The shrine comes from the Podhale region but we do not know the name of its creator, the time of production and its exact place of origin. It was bought by Maria and Bronisław Dembowski for their collection during the years 1887-1893.

Sculpture “Christ Resurrected”

The work comes from a church in Mogilany, which no longer exists. It was a wooden church, built before 1440, which had survived until the beginning of the 17th century (when it probably burned down). The only object left from it is the presented sculpture of the Risen Christ, found in an attic in 1965. After conservation, it was transferred to the Regional Museum in Myślenice in 1968, as a gift from the Parish Office in Mogilany.

Sculpture “Pensive Christ”

The figurine of the Pensive Christ was made of Pińczów limestone at the end of the 16th century. On the back of the sculpture, the date "1593" is engraved. Originally, it was placed in a chapel in Gorlice, at the intersection of important trade routes. In this chapel in 1854, the world's first street lamp was lit.

“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.