Queen Jadwiga of Poland died on the 17^th of July 1399, a few weeks after giving birth to her daughter, Elizabeth Bonifacia (on the 22^nd of June), probably of complications related to childbirth (puerperal fever). She was buried on the 19^th of July, together with her daughter, who died at the same time, in the chancel of Wawel Cathedral, on the northern side of the platform of the main altar. Jan Długosz gave testimony to this by writing that the queen rested in Cracoviensia ecclesia ad partem Altaris laev maioris, de prope Sacrarium [Latin: in the cathedral of Kraków on the left side of the main altar, beside the ciborium]. The choice of such a prominent location was probably as a result of the fame of her holiness, as well as the efforts aimed at her canonisation, which had already been planned at the time of the queen's death.

Queen Jadwiga d’Anjou died on July 17^th, 1399, several weeks after she gave birth to her daughter, Elizabeth Bonifacia (June 22^nd), probably due to labour-related complications (puerperal fever). She was buried on July 19^th together with the child, who had died several days earlier, in the chancel of the Wawel cathedral, to the north of the base on which the main altar is situated. The queen was buried in rich clothing of damask with sleeves trimmed with strips of thicker fabric with rhomboid pattern.
Burial clothing is one of the most moving mementoes of the great saint. It is difficult to determine the original colour scheme of fabric that have undergone a permanent change as a result of 500 years spent in a dark and damp grave. Undoubtedly, they were extremely expensive and luxurious fabrics, reflecting very high standards of living at the court of Władysław Jagiełło and his wife Jadwiga in late 14^th century. The first of these fabrics, clearly oriental in style, was probably made in Egypt in the 15^th century. Patterns visible on the other two fabrics are closest to Spanish weaving manufactures from the 13^th, 14^th, and 15^th century.

The gravestone of Władysław III of Varna is shaped as a tomb, with the figure of the ruler dressed in full armour on the top slab. The giasant has a youthful face with idealised features and holds a bare sword against his chest – Szczerbiec – which serves the purpose of styling the King as an ideal Christian knight. The introduction of a particular object known to all Poles, in this case the coronation sword of polish kings, into the composition had been adopted a number of times in the culture of the 19^th century, especially in Jan Matejko’s paintings. It served the purpose of making past events and figures more probable by linking them to particular items or works of art that were considered national relics. Such combinations were not always justified from a historical perspective, but they were used consciously, according to the rules of philosophy of history, which in the distant past allowed for an insight into God’s plans and some general principles governing the history of the country divided by the three partitioning powers.

The tomb of Jan I Olbracht is a milestone piece not only for Kraków artistic circles but for the entire country. It was sculpted in the years 1502–1505 and consists of two parts executed by two different artists of different backgrounds, education and experience. From the local tradition of commemorating dead rulers derives the tomb sculpted in red stone from the Esztergom quarry, placed in a very deep niche carved into the western wall of a chapel. The tomb is decorated on the front side only (the sides are not exposed), while figural representations were replaced by a rectangular inscribed plaque. This simple and sophisticated solution clearly refers to the art of ancient Rome, in which inscription plaques were the basic element of commemoration of the deceased (Lat. tabulae ansatae). The long inscription was carved in the humanist capitals that had been created based on ancient Roman letterforms and is one of the first instances where such a font was used in Poland.

A bronze replica of the final piece which was created in November 1900. The piece is a model of Queen Jadwiga’s (died 1399) sarcophagus, which was created for Wawel Cathedral by Antoni Madeyski in Rome in the year 1902.

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.

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.

Kazimierz III’s (Casimir the Great’s)  tombstone was sculpted in red limestone from the Hungarian town of Esztergom, which has been traditionally called ‘marble’. It may be assumed that the type of material was consciously selected, since the colour red had been associated with power and reserved for rulers since the time of the Roman Empire. The king’s tomb was sculpted on three sides only. On the top slab, there is a gisant supporting his legs on a lion, which most often symbolised valour in medieval times and was frequently used to propagate royal virtues. Comparing the ruler to a lion is one of the most recurring topoi of medieval culture. The king was depicted as an old man with long hair and a beard styled in tight curls. Works on this subject mistakenly claim this depiction to be a realistic study of the king’s face. In fact it is an example of a physiognomic type typical of the Middle Ages, which aimed at presenting the ruler as a wise and strict old man modelled after depictions of great ancient sages, Old Testament prophets, apostles, and other venerable figures from the past. The king was portrayed in a leather tunic and a loose cloak, garments which were characteristic of court fashion in the 3^rd quarter of the 14^th century. Especially of note is the magnificent belt comprising elements shaped as fortified buildings. It may be assumed that it carries an eschatological message via reference to the Heavenly Jerusalem.

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 12^th 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.