Princeps Pacis – Prince of Peace

After the Assumption of Mary, now comes her coronation as the Queen of Heaven and Earth. It is no coincidence that this happens in this very place. Just below is the main altar with a large painting depicting the Assumption – but the scene is still happening on earth. This is like the first stage, as the second is presented in the fresco Pater Futuri Saeculi.

Now the third stage takes place: the coronation of the Blessed Virgin Mary by the entire Holy Trinity. Christ holds a wreath of roses above his Mother’s head, with a crown above it. God the Father also raises his right hand towards them, and the Holy Spirit, in the form of a dove, holds another crown. Around them, angels and apocalyptic elders pay homage to her and the Holy Trinity. The inscription above the scene: “Posuit diadema regni in capite ejus fecitque eam regnare et dedit requiem universis provinciis” comes from the Book of Esther – “He placed a diadem on her head and made her queen, and gave rest to all the provinces.” The coronation of Mary is compared here to the coronation of Esther, who, like Judith, is regarded in tradition and liturgy as a type of Mary for saving the Israelites from destruction under the Persian king.

The bay “Princeps Pacis – Prince of Peace” is the only one that does not have scenes about the Cistercians on its sides. Instead, it features two decorations with Silesian-Piast content. These refer to the founders of the abbey (the mausoleum is just behind the wall) and the fact that the founders were princes. On the northern side, Saint Hedwig is depicted, followed by her son Henry the Pious and his wife Anna among a large entourage. It is known that Saint Hedwig had planned to bring the Benedictines to the area around today’s Krzeszów, but it was Duchess Anna who fulfilled this plan.

Below this fresco, on the left side of the main altar, is the chapel of Saint Benedict, thematically linked to the fresco on the vault. It is also inscribed with a verse: “Et consilium pacis erit inter illos et coronae” – “The counsel of peace will be between them and the crowns.” To the left of Hedwig, the coat of arms of the Silesian Piasts is visible – a black eagle with a white band across its chest on a golden field.

On the southern side, the figure in knightly armor is easily recognizable. It is Duke Bolko I, surrounded by other Piasts and Přemyslids. To the right of Bolko I, the coat of arms of the Přemyslids is visible – a lion with two tails. The inscription reads: “Magnificentia corum in diademate capitis et nomen eorum vivit in generationem” – “Their splendor is in the diadem of their heads, and their name lives on for generations.”

Most of the wall paintings inside the basilica in Krzeszów are the work of Georg Wilhelm Neunhertz, who created a colossal cycle of frescoes over 2.5 years – the greatest work of his life.

From preserved documents, it appears that only two people worked with him on this: Andrew Maywald from Kłodzko and Johann Hausdorf. However, it seems that at least one more painter must have assisted him: Johann Franz Hoffmann, especially in the illusionistic architecture. Even this was likely not enough, considering the immense scope of the work and the relatively short time of its execution – only two years.

Witold Papierniak, “Krzeszów – Church of Our Lady of Grace”, 2004