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Alms pouch

A small pouch made of a long piece of fabric sewn in half, reinforced on the sides with a silk tape, with a binding in the top part and a hole for a string used to tighten and loosen the pouch. At the bottom, there are decorative elements (tassels) consisting of gold circles made of thread and long single tassels. The whole pouch is embroidered with split stitch, long and short stitch and fishbone stitch. On one side, there are four human figures among thin trees with palmate leaves resembling oak leaves. On the other side, the same young woman is being led up a hill by the old man. Although interpretation of the scenes on the alms pouch is not certain, it is most likely they depict episodes from the story of Tristan and Iseult. The tale of unhappy love of brave Tristan to beautiful Iseult, the wife of king Mark of Cornwall, was written down for the first time in the 12th century and has been reappearing since then in many countries and language versions. Scenes embroidered on the pouch, enrooted in the Arthurian tradition, depict the clash of a sophisticated world of courtly ways (young and beautiful lovers) with wild forces of nature (the old men). There are only several alms pouches with similar decorations preserved until now.

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.

An album of woodcuts “One hundred views of Mount Fuji by Hokusai”, the 2nd volume

In the collection of the Manggha Centre of Japanese Art and Technology, there is an edition of the work 100 views of Mount Fuji by Katsushiki Hokusai. Hokusai was one of the most famous Japanese artists and he created old ukiyo-e woodcuts (Japanese: a view of the world that passes away).

Scale helmet

A helmet created from overlapping circular scales ornamented with rosettes, riveted down to a leather base. On the top, there is a multi-leaf medallion topped with a high tip. The hatband consisting of a few belts of metal sheet is ornamented with a turban made of raspberry-coloured silk and trimmed with golden braid.

“Wardrobe — Interior of Imagination” (“Country House”, 1961), reconstructed in 1981

Tadeusz Kantor’s sculpture expressing the idea from the Cricot 2 play of W małym dworku (Country House), based on S.I. Witkiewicz’s play under the same title. The premiere took place in Kraków in the Krzysztofory Gallery on 14 January 1961. This was the Informel Theatre stage of the artist’s works.

“The Trumpet of the Last Judgement” (“Where Are Last Year’s Snows”, 1979)

The “trumpet” was an object — a prop of the Rabbi character (played by Zbigniew Gostomski) and his Pupil (Dominika Michalczuk). The natural-sized tin trumpet was covered with a black material, a kind of casing whose end on the cup side dropped loosely falling into the metal bucket. The trumpet was hung on a metal frame structure (nearly 3.5 metres high) where a system of blocks and transmissions was installed with steel links enabling it to be raised and dropped by a crank handle.

“Dummy of Bedel” — image of Kazimierz Mikulski (“The Dead Class”, 1975)

Dummy of Bedel on a Chair is an object from Tadeusz Kantor’s performance Umarła klasa [The Dead Class]. The premiere took place in the Krzysztofory Gallery in Kraków in November 1975.

Portable small altar

According to tradition, it is associated with the Relief of Vienna. When, after the victory over the Turks, the army of King Jan Sobieski was returning to Poland, several soldiers stopped in Biecz. In gratitude for defeating the pagans and ending the war unscathed, the soldiers left this small portable altar in the church in Biecz.

“Farbonica” skirt

The skirt, known as a farbanica or farbonica, is an element of the historical Podhale outfit. It was sewn from linen fabric, woven in a home weaving workshop, and printed manually with the batik technique and dyed indigo in the village dye-works in Chochołów, which was owned by Ferdynand König, Jan Krzeptowski Sabała’s son-in-law. In Podhale women wore such skirts in the second half of the 19th century.

Hard-soled leather moccasins for men

Kierpce (kyrpce in the local dialect) traditional footwear of inhabitants of the Podhale region made of cowhide, with long leather straps used to fasten them. They come from the village of Bukowina Tatrzańska in Podhale, where they were made in the early 20th century. We do not know who they were manufactured by and when they were used for the last time.

Outfit of a Wawel steward

The outfit consists of a navy-blue coat with a wide cape reaching beyond the shoulders trimmed with a red border. The coat is single-breasted, with one column of buttons, and there is a stand-up collar around the neck.

Mountain ski from Norway

Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;} The exhibited type of ski was introduced by Norwegians as a mountain ski. Its dimensions—length, the width of the tip in the middle and in the tail—indicate that it is a “telemark” type. The ski has a bowed tip and is bent under the foot, but lacks a groove (its absence is characteristic of mountain skis). The Norwegian binding, made of reed—which was used in the late nineteenth century—is also noteworthy.

Jewish book of the Chevra Kadisha funeral brotherhood

A Jewish book belonging to a Chevra Kadisha funeral fraternity. It is a prayer book of the Ashkenazi rite (Nusach Ashkenaz). The Hebrew title of the book is Sidur Safa Berura ha-Shalom.

Orava trousers

The presented object is a pair of white baize trousers, Orava (originating from the area of Zubrzyca-Orava) made of white factory-made baize resembling home-spun cloth. One of the characteristic features which also occurs in other outfits of the Carpathian highlanders is two cuts at the waist, called zwory, trimmed with a black cloth trim, the so-called oblamek, with one red stripe of English cloth called wscyp z angliji [lit. an insert from England].

Men’s folk costume — the Szczawnica highlanders

Today’s male costume of the Szczawnica highlanders consists of a black felt hat decorated above the ruff, a linen shirt with a small stand-up collar without the neckband, a blue cloth waistcoat with embroidered decorations on the back and front tails, a short cucha jacket made of brown cloth, which was worn on the shoulder, a sleeveless sheepskin coat, white cloth trousers embroidered along the cuts at the bottom of the legs, at the upper cut as well as along stitches, and kierpce (hard-soled leather moccasins).

Sheepskin coat (lachowski)

An outfit was one of the ways of proving your wealth in one village of the Lendians (Lachowie). In winter, on holidays, Sundays, and fair days, the wealthiest farmers wore Hungarian sheepskin coats made from white tanned leather. Coats were long, with a fold at the waist, and a large semi-circular collar made from black lambskin falling down the back, with which they wrapped their heads during blizzards.

Uniform of the “Sokół (“Falcon”) Gymnastic Society

A jacket from the formal attire of the interwar period belonged to a member of the Sokół (Falcon) Gymnastic Society. The double-breasted jacket, made of green cloth, which got faded in the course of time, has five original buttons, but, unfortunately, it is not complete. It constitutes only one element of a full uniform. It was donated to the museum by a private person. The outfit evokes the history of the Wadowice Falcon’s Nest.

The Polish Air Force flag

Pursuant to the Act of 22 August 1940 and the Agreement of 11 June 1940 entered into between the British and Polish governments, the British government permitted the establishment of two bomb squadrons, including a training centre, and introduced a command dualism and a right to use Polish national symbols. Polish pilots wore British uniforms featuring the Polish eagle on the cap and the inscription “Poland” on the upper part of the sleeves.

Uniform of a navigator major (S/Ldr) of Eugeniusz Arciuszkiewicz

This is a tropical uniform: with a French uniform type jacket, pants, shirt with a tie, and a hat. It is an RAF uniform with Polish elements (on the basis of the uniform regulations in force since 1 January 1942, outside Polish borders). It includes Polish buttons, an — eagle model of 1936 ...

Osa M50 scooter

Osa M50 oraz M52 to jedyne w historii polskiej motoryzacji seryjnie produkowane skutery. Prace nad stworzeniem polskiego skutera były prowadzone w Dziale Postępu i Sportu Warszawskiej Fabryki Motocykli przez inżynierów Krzysztofa Bruna, Jerzego Jankowskiego i Tadeusza Mathia już od 1951 roku.