There are special, richly decorated containers used to carry the etrog to a synagogue on the holiday of Sukkot. The etrog tin is usually in the shape of a fruit – as in the case of the one in the collection from the Museum in Chrzanów – or a bowl. It can be made of silver, sometimes it is also gilded inside. Poorer Jews used wooden boxes for carrying the citrus fruit. Also, silver sugar bowls could serve as containers for the etrog.
This case is large for a rosary. Externally, it has been intricately embroidered with gold thread; it has been lined with white material, decorated with fine sequins, inside. Everything was made by Sister Lucia, who—alongside Hyacinth and Francis—was one of the three children to whom the Mother of God appeared...
The custom of hanging a parochet on the Aron Kodesh door (the Torah Ark in the synagogue, in which the Torah scrolls are kept) goes back to Biblical times. In the Temple of Jerusalem there was a similar curtain separating the Holy place from the Holy of Holies...
Adoration of the Child was shown in Kraków for the first time in 1882. Under the painting, there is a plate with the name of the author — Gaudenzio Ferrari. As it turned out later, the exhibition organised as part of a charity campaign by Katarzyna Potocka contributed not only to increasing the funds of the Charitable Association…
Over a hundred years ago, Zygmunt Gloger wrote that “ just as flowers are the decoration of plants, annual customs are the comeliness of the domestic life of peoples”...
Rectangular, closed with a trifoliate arch, with the figures of Moses (on the left) and Aaron (on the right), and the Decalogue tables (in the middle), with the initial words of the commandments engraved in Hebrew. The figures of Moses and Aaron are flanked by spiral columns. On their plinths are Hebrew inscriptions marking the date: on the right plinth, תקס ("560"), on the left: לפק (“according to the abbreviated calculation”) [=1800]. In the three-leaf top, three openwork crowns with colourful glasses are attached.
The gorget, deriving from a knight's armour bevor, was used in Poland in the 18th century, mostly by members of the Bar Confederation (1768–1772). Decorated with effigies of Madonna and saints, as well as religious scenes, the gorget served as a “spiritual buckler.”
This is probably a piece of funereal jewellery from the time of the partitions. Corals, along with the cross, have probably been made of black lacquer, with velvet tapes for tying around the neck. The object was used as a prop in the School of Fine Arts in Kraków.
On the website of Małopolska’s Virtual Museums, a large group of objects referring to the period of Easter and the cult of the Passion of Christ may be found...
Feretron (a procession float) derives from the Greek pheretron, meaning “litter” (in Latin feretrum — litter, bier, stretcher). It is an object akin to a stretcher, often with additional rods, formerly used in ancient Greece to carry the statues of deities. Feretron is a term applied to a special type of paintings or sculptures depicting the images of saints, set on special platform, which were once used in processions during ecclesiastical ceremonies and also as a portable altar during pilgrimages.
The portable shrine with the image of Senju-Kannon Bodhisattva (Japanese: Bosatsu) was made with the use of the most valued techniques, and the precision of the fine exposure of details emphasises the high class of the exhibit.
In everything that surrounded Ainu, in all living things, as well in all objects created by them, the god-spirits lived. The Ainu called them kamuy. These spirits were responsible for all events and phenomena that occurred; this is why it was necessary to honour them and while commencing any work, it was necessary to perform prayers that involved offering them sacrifices. Good spirits were invited to their ceremonies and homes, and, after worshipping them, it was mandatory to send them back to their abodes. According to the Ainu, every object is not only the home of the kamuy spirits but also has a soul — ramat — and whoever or whatever does not possess ramat does not possess anything.
Six-arched, closed, covered with a canopy with a small crown and a bunch of flowers at the top. The profiled rim, decorated with two appliqué, openwork bands. The crown arches, alternated with figures of birds, are in the shape of lions standing on their hind legs with the front legs resting on narrow, flat bands in the form of a twig supporting the canopy with a drapery in the shape of leaves.
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.
The composition appears in an engraved aedicula with a triangular pediment supported on straight columns (the column on the right is preserved). Two figures are depicted on the stela: a woman reclining on a couch and another woman standing before her in a prayerful attitude. The scene may be reconstructed despite considerable damage; presumably there was a third praying figure depicted on the right side.
In 1895, Stanisław Wyspiański made a polychrome project for the presbytery of a Franciscan church. The composition consists of three elements: the titular fallen angels, at which the group of archers aims, and the figure of Archangel Michael, who guards the gates of paradise. A perfect accompaniment to this work is the polychrome located on the opposite side of the presbytery: Madonna and the Child and Caritas. The artist, in a visible way, juxtaposed two attitudes to life and showed their possible consequences.
Our Lady is shown as a half-figure. On her right arm we can see a baby Jesus pressing against her face. She is wearing a golden crown and her head is covered with a grey and silver scarf hemmed with gold. The coat is made in a similar design and it is additionally covered with golden lilies. Mary is grabbing the folded coat with her left hand.
The painting was created on a rectangular board, closed from above by an ogee arch and encompassed with small pillars. The standing figure of John the Merciful has been placed in the background, pressed in the mortar (silvering and glaze with the motif of an outgrowing acanthus plant twine).
The bronze original is located in the National Gallery in Prague. Once, it was in the third courtyard of the Prague Castle, where a bronze copy is now located. The original was probably created in 1373 and was funded by the Bohemian King and Roman Emperor Charles IV of Luxembourg, who was at the peak of his power at the time.
The herm is a name for reliquaries taking anthropomorphic forms, especially busts with a place at the front called a reservaculum , where the relic was placed. The presented object depicts an unidentified saint.