The problem of emptiness has been an important issue in the history of thought. The first attempts to define it and, above all, to prove its existence or non-existence date back to the 5^th century BC. Among the many philosophical assumptions, there was the view maintained for a very long time, right up until the 16^th century, which was in line with the Aristotelian concept formulated as: “nature abhors a vacuum,” or horror vacui. Aristotle understood emptiness as a space devoid of a body (matter); however, he rejected its existence, not seeing any reason for it.

The diverse form and rich ornamentation of the clock place it among the best works of the Augsburg watchmakers of the turn of the 16^th and 17^th centuries.

The tournament armour is compiled of several suits of West-European armours created in the mid-16^th century.
Its basic parts are the cuirass, collarbone guard, and pads and thigh guards made by the best armourers from southern Germany.
The breastplate with the fishbone and goose — that is a protrusion in the stomach area — has vertical stripes with an etched motif of a floral twig entwined over a panoply and musical instruments.

Carrying weapons was a privilege of miners as free people. Salt Works introduced uniforms for their employees in 1773. A sabre was an important element of the outfit and later also the mining uniform. Parade weapons are a special type of weapon that have almost lost their utilitarian functions in favour of representational ones.

The silver cross with a full figure of Christ, placed on a cuboid profiled plinth, decorated with plaques with the coat of arms of Kraków (SIGILLUM CIVITATIS CRACOVIAE METROPOLIS REGNI POLONIAE) and the coat of arms of the Segnitz family.

The horse tack shown is a part of the almost typical horse-riding equipment used in the Republic of Poland by rich noblemen and magnates in the 17^th and 18^th centuries.
The tack consists of a saddle, a girth, stirrups and a bridle with szkofia and a breastplate. The shabrack with a pair of tassets also originates from Adam Sapieha's collection, though the previous owner is unknown.

A large vase with a hemispherical goblet coated with cloisonné enamel. According to its donor, the vase comes from the Summer Palace of Beijing from the era of the Chinese emperors of the Qing dynasty. It was destroyed in 1860, and then again in 1900.

This bowl sits on a high base with a hemispherical goblet that opens up at the rim. Featuring white-metallised and decorated with a broad inscribed strip filled with geometrical and inscriptional black polish and set against a background of a delicate plant. There is an inscription written in italicised Arabic script with Nastaliq calligraphy and with a niche separating the beginning from the end. Inside it, there is an Arabic inscription praising Allah, always placed at the end of the sacred text.

For many years, it was believed to be the oldest of the Polish table clocks, called tile clocks for their flat cases. However, the engraved date “An 1607” should be regarded as a later addition, contrary to the dates of the life and activity of Simon Ginter, who signed the clock.