Queen Jadwiga of Poland died on the 17th of July 1399, a few weeks after giving birth to her daughter, Elizabeth Bonifacia (on the 22nd of June), probably of complications related to childbirth (puerperal fever). She was buried on the 19th 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.
A plaque of black marble from Dębnik, situated to the north of the base of the main altar in the Wawel cathedral. The entire eastern part of the chancel is elevated above the floor level and forms a spacious platform for celebrations of liturgical ceremonies. In the middle of it and on the sides, there are three identical protrusions. In 1605, an Italian stonemason, Ambrogio Meazzi, was commissioned to dismantle the fence in front of St Erasmus altar (the ciborium was relocated to the Chapel of Our Lady) and move the tomb of Frederick Jagiellon, as well as to change the layout of stairs leading to the main altar.
Queen Jadwiga d’Anjou died on July 17th, 1399, several weeks after she gave birth to her daughter, Elizabeth Bonifacia (June 22nd), probably due to labour-related complications (puerperal fever). She was buried on July 19th 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 14th century. The first of these fabrics, clearly oriental in style, was probably made in Egypt in the 15th century. Patterns visible on the other two fabrics are closest to Spanish weaving manufactures from the 13th, 14th, and 15th century.
Located in the south-eastern part of the Biecz hill, it is the oldest preserved hospital building in Poland.
In the second bay, counting from the west, of the south transept, placed against a stone wall inside an arch, on an altar stone covered with brass plate, there is a metal, glazed case in the shape of a horizontal cuboid on tiny legs. On the top strip, there is an inscription saying: SERVAE DEI REGINAE HEDVIGIS EX TUMBA A. D. 1949; on the bottom strip: IUXTA VOTA ADAE STEPHANI CARDINALIS SAPIEHA CURA STANISLAI JASINSKI SCHOLASTICI ET PAROCHI SUMPTIBUS CULTORUM SERVAE DEI. On side strips, there are highly stylised leafy ornaments and on the joints of the strips, there are highly stylised lilies. Inside, there is a baculum–type sceptre made of gilded wood, thin and elongated. Its bottom part has a handle separated with a simple ring, in the top part, there is a polygonal plate topped with a finial composed of ragged leaves. The top and bottom ends feature rounded bumps. The orb is made of wood, gilded, globe-shaped, topped with a Greek cross. Unfortunately, Jadwiga’s crown did not survive. The insignia found in Jadwiga’s grave were in no way repaired. They were treated as relics and exhibited permanently next to her sarcophagus. In order to do so, a glass display cabinet was designed and made by a Kraków-based bronzesmith, Edmund Korosadowicz.
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.
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.
Carved in a single block of marble from Carrara and covered with a slightly smaller flat block with the figure of the queen lying with head directed towards the east. It is situated in the first arcade from the west in the southern wing of the ambulatory. An austere block tomb is supported by a base decorated with highly stylised lilies, a frize of square panels filled with heraldic eagles in the top part. The longer side (southern) is divided into seven panels, with the outer ones overlapping narrower sides.
The casket is cubical in shape and consist of six rectangular ivory plates bound together with metal nails and fittings. The top plate is fitted with hinges and serves as the lid. The front side is fitted with a rectangular lock decorated with an image of a tower and two persons: a woman with a large key in her hand and a man on his knees with his hands joined together. On the lid, there is a metal handle engraved in a diagonal checked pattern filled with simplified flowers. On the side plates, there are twelve figural scenes from medieval chance de geste, while on the lid, there are three court scenes. Narration in all of these images follows from the left to the right. The front side features the following images: Conversation of Alexander the Great with Aristotle, Phyllis and Aristotle, Thisbe and lion, Death of Pyramus and Thisbe, while the back side features: Lancelot fighting a lion, Lancelot crossing the Sword Bridge, Gauvain on the Dangerous Bed and Damsels freed by Gauvain. The left side features: Tristan and Iseult’s Meeting in the Garden, the Hunt of the Unicorn, while the right side features: Enyas’ fight with a savage and Old Porter Welcomes Galahad. The lead features a Knight Tournament in the centre, flanked by two scenes which together depict the motif of Siege of the Castle of Love. The Kraków casket is one of seven so called complex caskets, which can be found in world’s most important collections of medieval art.
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.
In the upper part of the bell resonator is a date, “1382”, written in Roman numerals, which helped identify the date of the casting of the bell. It is also decorated with ornamentation. In the middle of the resonator is a frieze decorated with a curved line. Above it there are three plaques depicting the crucifixion scene placed at equal intervals.
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.