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Strona Muzeum Narodowego w Lublinie > Katalog zbiorów > Grave chapel of Piotrawin in Piotrawin

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Cegliński, Julian (1827-1910) (lithographer), Lerue, Adam (around 1825-1863) (author of the pattern), Adolf Pecq & Co. (Warsaw; 1856-1859) (lithographic workshop), Grave chapel of Piotrawin in Piotrawin

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Measures:	Height: 22 cm, Width: 18,1 cm
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Inventory number:	S/G/484/ML
Location:	The National Museum in Lublin (Lublin Castle), ul. Zamkowa 9, Lublin

Popularizing note

The Lubelskie Album is a work created in 1857-1859 on the basis of watercolours made in 1852 by Adam Lerue. With his drawings and watercolours, the artist contributed to the inventory of historical monuments in Lublin and the region - as he himself wrote in the introduction to the work - which was close to his heart because of his birthplace, Dubienka. Julian Cegliński and Władysław Walkiewicz, who made the lithographs in Adolf Pecq's lithography workshop in Warsaw, also contributed to the work.Piotrawin is one of the oldest villages in Powiśle. The place is connected with a legend about the resurrection of a knight Piotr Strzemieńczyk, known as Piotrowin, in the 11th century. The bishop Stanisław from Szczepanów was accused of unfairly acquiring land property purchased from Piotr on the basis of a verbal agreement. Having no evidence, the bishop ordered to dig up the grave. After a prayer was said, the knight stood up and confirmed the sale of the village to the bishop before King Bolesław Śmiały. A place of worship for St. Stanisław, one of the first Polish saints and martyrs, was established in Piotrawin, as evidenced by the Gothic buildings.The chapel, like the church, was built in the years 1440-1441 from the foundation of Bishop Zbigniew Oleśnicki. It is a modest village church, a repetition on a smaller scale of the 1432 building in Sienna. The chapel, erected on the site of the tomb of the resurrected Piotr Strzemieńczyk has features of the Gothic style; it is made of brick, the corners are surrounded by two-sided buttresses. In the 18th century it was covered with a tent roof, which can be seen on the nineteenth-century lithograph by A. Lerue. Later, the cross-ribbed vault and the gable roof were added (1858), at which time the chapel's gable was adjusted to the church façade.According to legend, we owe the planting of a linden tree at the chapel to St. Stanisław. The spreading tree aroused the interest of artists and was often depicted as an element or independent motif, among others by Michal Elwiro Andriolli and Leon Wyczółkowski.Klara Sadkowska