A baptismal font of a goblet shaped with a dodecagon base, with a pyramidal bowl and a foot. The narrowing in the middle bears a band (a so-called node) which is covered by a net ornament with three coats of arms (one of which is now missing). The bowl of the baptismal font is covered by a bas-relief decoration, the fields of which are separated by tracery.

Stępa vessels, also called groats mortars, were commonly used in many houses as early as in the interwar period. Grains of crops were shelled and crushed by them in order to obtain the groats, including among others millet groans, or peeled barley. Groats mortars were also used to crack, that is grind, grains, more rarely to break grains into meal, and even to press oil from flaxseed.

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.

The sculpture was purchased by Artur Potocki in 1829 from Thorvaldsen’s atelier in Rome. In 1830, it was located in the palace in Krzeszowice, and since 1945 it has been in the National Museum in Kraków. Along with Antonio Canova of Italy, Bertel Thorvaldsen of Denmark was the most outstanding Neoclassical sculptors. The subject of this work was drawn from the Metamorphoses by Ovid (book I ).

Prince Józef Poniatowski — nephew of the last king of Poland, general commander of the army of the Duchy of Warsaw — died in the Battle of Leipzig in 1813. Death in the waters of the Elster River initiated the cult of his character, strongly associated with the legend of Napoleon. In 1817, the prince's body was placed in the St. Leonard's Crypt under Wawel Cathedral.
The bust is an original copy of a study for the famous Warsaw monument of Prince Józef Poniatowski, sculpted by Bertel Thorvaldsen. Jakub Tatarkiewicz, who — like Konstanty Hegel and Paweł Maliński — was Thorvaldsen's student at the Roman Academy of St. Luke, successfully adapted the cold neoclassicism of his teacher here.

The bust of Maria, née Skrzyńska Sobańska, made in the Art Nouveau style, was carved out of Carrara marble. The object—acquired after the liquidation of a mansion—was transferred to the Regional Museum in Gorlice. Maria Sobańska came from the influential Skrzyński noble family, which had the title of “Count” .

The presented mortar has the shape of a hemisphere with a flattened bottom with two handles cut flat at the edge of the outlet. There is a black stripe below the handle.

The sculpture was made after 1900 by the artist-sculptor Henryk Hochman, a graduate of the Academy of Fine Arts in Kraków, a disciple of Florian Cynk and Konstanty Laszczka. Hochman continued his education in the workshop of August Rodin in Paris.