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Wax seal of the imperial and royal (C.K.) District Starost (head of district)

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.

Vessel in the shape of the Polish Eagle

At present, the tableware of the Polish royal court is known to us almost exclusively from archive materials. The majority of preserved single items or their designs come from Augsburg – the most important centre of the European goldsmithery in the 17th and 18th centuries. Among these items, the most outstanding is the state set of John Casimir Vasa.

Tiled stove, so-called amorial with coats of arms

The stove was manufactured in the maiolica factory in Nieborów, which was established in 1881 by Prince Michał Radziwiłł. It comes from the destroyed mansion in Krzyszkowice near Myślenice and it was renovated in 1977.

Tile with the Nałęcz coat of arms of Bishop Piotr Gembicki

In 1845, in A Souvenir from Kraków, Józef Mączyński mentioned the existence of two “ancient furnaces” inside the episcopal palace in Kraków. Furnaces built of tiles, decorated with the coat of arms of the bishops — Marcin Szyszkowski (Ostoja) and Piotr Gembicki (Nałęcz) — were already in poor condition in the middle of the 18th century, which had been noted in the inspection of the palace. However, thanks to the large, colourful tiles, those furnaces were certainly very decorative. Unfortunately, in 1850, the furnaces shared the fate of the episcopal palace, which burned down during the great fire of Kraków, and only single tiles and their fragments have survived to this day.

The document with the seal of hetman Jan Tarnowski

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.”

Tenaculum — stand for apothecary scales

Statyw, tzw. tenaculum, na którym zawieszano niewielkie wagi ręczne, pochodzi ze szpitalnej, klasztornej apteki oo. bonifratrów w Pilchowicach. Apteka została otwarta w 1819 roku, a statyw, jak wynika z napisów na nim umieszczonych, został ufundowany dla apteki w roku 1820...

Tapestry with the Arms of Poland and Lithuania and the Figure of Victory

The tapestry depicts Victoria, the Roman goddess of victory. At her bare feet lies a pile of weapons; she is flanked by two coats of arms: of Poland and of the Grand Duchy of Lithuania. On her right are the arms of the Kingdom Poland – the Eagle with the monogram of Sigismund II Augustus, the last king of the Jagiellonian dynasty – surmounted by a closed crown. The arms of the Grand Duchy of Lithuania – the Charging Knight surmounted by the Grand Ducal cap – are on her left. The winged goddess is attired in a breastplate. In one hand, she holds a laurel wreath, in the other a broken spear. The olive branches behind her symbolize peace. Victoria is shown against a red background with a decorative framework recalling wrought iron that serves as a scaffolding of sorts for bunches of fruit and flowers. The oval blue fields in which the coats of arms are placed are entwined with climbing plants. The White Eagle with the royal monogram is surrounded by vines, and the Lithuanian Charging Knight by pea plants with both blooms and mature pods. Birds perch on hanging bunches of fruit in the upper part of the tapestry and on the decorative framework at the bottom.

Silver cup designed by Jan Matejko

The collection of the Historical Museum of the City of Kraków features an interesting 19th-century goblet of unknown history. According to tradition, it was associated with the figure of Jan Matejko. The silver goblet has a lid made in a historic style, with its form and decoration resembling Gothic chalices.

Set of twelve spoons with busts of the Apostles and the Szeliga and Przeginia coats of arms

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.

Ring of the Kraków’s mayors

The date of creation was engraved inside the golden hoop of the ring: 1532. The octagonal sapphire stone of the ring is decorated with Kraków’s coat of arms made in a concave relief. The ring was the symbol of the mayor’s power, and also served as a city seal. The stone needed to be made from a hard, abrasion-resistant material.

Renaissance plate

This plate was originally located above the entrance gate to the city of Biecz. It belonged to Mikołaj Ligęza from Bobrek (c. 1530–1603) who obtained the position of starosta (district governor) of Biecz in 1561, through his marriage to Elżbieta née Jordan, and in 1575 the position of the governor of Biecz Province from Jan Tarło.

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.

Pitcher of the City Council of Tarnów

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.

Over-Window Tapestry with the Arms of Poland on a Landscape Background with Animals ‒ a Dormouse and a Dog-like Predator

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.

Over Window Tapestry with the Arms of Lithuania on landscape background with Animals ‒ Dormouse and a Dog-like Predator

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.

Over Door Tapestry with the Arms of Poland on landscape background with Animals ‒ Beaver and Porcupine

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.

Over Door Tapestry with the Arms of Lithuania on landscape background with Animals ‒ a Spotted Hyena and a Monkey

This textile was designed to be hung over a door, hence its shape – a rectangle topped with an arc. In its centre, there is the coat of arms of Lithuania – the Charging Knight, turned to the left. The arms are surmounted by the grand ducal cap and suspended on floral garlands. Exotic animals are presented on either side of the coat of arms: on the left, a small predator prowls around, while on the right, a sits monkey that seems to be staring at the viewer. In the background of the tapestry, an immature forest can be seen.

Manuscript “The privilege of Jan Zapolya for citizens of Tarnów” with a seal

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.

House mark of Stanisław Amenda

This is a trademark of one of the richest Olkusz gwarek, that is, entrepreneurs who organized the mining and production of lead and silver.

Horn of Salt Diggers Brotherhood of Wieliczka

The horn of Salt Diggers Brotherhood of Wieliczka is a unique Renaissance work of art commemorating the past wealth of Kraków salt mines. It is the only historical object of such preserved in Poland — the genuine horn of an aurochs (the species that became extinct in Poland in the 17th century, the ancestor of cattle), precisely framed in silver embedded in various golden ornaments.