In the parish church in Wieniawa there is a chapel dedicated to Saint Stanisław, which was built in 1519 on the initiative of the then bishop Stanisław Młodecki. The chapel houses an altar dedicated to its patron saint. It was founded by the Młodeccy family with the Półksiężyc coat-of-arms. Their painting is situated on the left, lateral voluta of the predella. However it stays unknown, whom Jastrzębiec coat-of-arms, situated of the other voluta, is to represent. The alter was made of linden wood. The sculpture is covered with oil polychrome, as well as gold and silver leaf. The Passion, sponsors’ coats-of arms and the background was painted with oil paints. It is situated in the unheated room with little access of natural light. Conditions present in the chapel – low temperature and increased relative humidity – caused destruction of this historic monument. Renaissance polyptych completed in 1544 is of unknown author. The author of the altar stays unknown; however, some hypotheses claim it’s the work of Stanisław Stwosz. The author could probably belong to the Kraków artists, as he made use of the triptych in the St. Mary’s Basilica in Kraków, which was 40 years younger.
The alter in this chapel, which was made in the 16th century, is still present in Wieniawa church. This is an extraordinary work of art created in the Renaissance.What is worth mentioning is that only few works of that time bear date of their completion and are currently found in their original locations. The alter in Wieniawa depicts the legend of Saint Stanisław, which was very popular in the 15th and 16th century. The legend tells a story of 1079 and was presented by Wincenty Kadłubek in his chronicles written between 1218-1223. After the murder of the bishop Stanisław Szczepanowski, his body was cut into pieces and scattered. According to the legend, his members miraculously reintegrated. After closing, the triptych evolves into polyptych. It shows 8 rich colors and ornaments scenes which present the Passion. Figures on this work of art have Polish, familiar and very massive silhouettes. According to the studies carried out by prof. Ryszard Brykowski scenes on the altar have the features of the Italian and German Renaissance.