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Chalice

Church confraternities, which boasted about having a separate chapel or a side altar, completed the religious life of parishioners. The first confraternity of the Blessed Virgin Mary, established in Niepołomice by Cardinal Zbigniew Oleśnicki, worked efficiently for one and a half centuries, but in 1596 a church inspector found it, as he described, in a state of “devotional and interment” activity.

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.

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.

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.

Triptych “Family of Mary” from parochial church in Racławice Olkuskie

In the middle part of the triptych, the so-called “family of Maria” has been introduced, a multi-person image, based on the legend of the triple marriage of St. Anna (the Baby Jesus is standing on her knees) and the Blessed Virgin Mary are sitting on the bench in the centre of the painting. Behind the bench and St. Anna...

Painting “Saints from Dębno” representing St. Catherine and St. Agnes

This painting consists of a portrayal painted with tempera on a linden board, with the addition of silvering and glazes. Saints with dark hair, turned slightly to the side, dressed in long tunics and coats, are holding palms in their hands. At the top, on a white stripe in the background, there is a black inscription, written in majuscule...

“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.

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.

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.

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.

The "Christ in Gethsemane" sculpture

The sculpture Christ in the Garden of Gethsemane is a depiction of the time when Jesus prayed on the Mount of Olives, just before he was taken captive. It may have been a fragment of a non-preserved composition showing Christ praying in the company of the sleeping apostles and an angel with a cup of bitterness, heralding future suffering.

Sculpture “Jesus Christ Sitting on the Palm Sunday Donkey”

The sculpture, coming from the parish church of St. Sigismund in Szydłowiec, constitutes an extraordinary dramatic exhibit used during processions of going to church on Palm Sunday as to a symbol of Jerusalem. Christ, in a firmly upright position, is raising his right hand in a gesture of blessing.

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.

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 “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.

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.

Monstrance of the Branicki foundation

The late-Gothic monstrance – silver and gilded – goes in harmony with the style of the church in Niepołomice, whose Gothic character was enriched with Renaissance Branicki’s chapel. The Renaissance motifs – floral and geometric ornaments, figures of saints, putti or coat of arms – look good on the medieval architectural design, decorated with delicate pinnacles and finials. The Branicki family was concerned about the church accessories of the parish church in Niepołomice, that is why church utensils, canonicals and liturgical vessels funded by them.

Retable of the chapel

The retable was purchased for the Museum in 1981. For many years, it had been stored in an attic with hay. Originally, the retable came from a chapel in Falkowa near Nowy Sącz. It is an example of provincial woodcarving.

Reliquary with St. Stanislaus’s hand

A reliquary in the form of a hand (forearm) placed on a polygonal base in a vertical position. The middle part of the reliquary is red (the sleeve of a robe) with visible relics put in a small rectangular panel obscured by a glass pane.

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).