The Cloth Hall (Sukiennice) has stood in the heart of Kraków for centuries — the roots of this place go back to the city's founding in the 13th century, when the Market first hosted masonry market halls and rows of small stalls. It was above this historic trading space in the 15th–16th centuries that forms were introduced which over time evolved into the decorative attica we know today.
When you walk around the Cloth Hall it's easy to forget this is not a single, one-time design — the building was shaped by repeated reconstructions, disasters and the tastes of successive eras. The attica is one of the features that most clearly 'speaks' of the Cloth Hall's Renaissance phase and Kraków's contact with Italian aesthetics in the 16th century.
In the mid-16th century a great fire severely damaged the Cloth Hall: the roof burned and vaults collapsed. The reconstruction that began then gave the building a Renaissance character and introduced new decorative solutions, including the distinctive arcade attica with an ornamental crest and sculptural details. The rebuilding blended the practical needs of trade with the fashionable ways of decorating facades at the time.
It was after this restoration that the attica became so recognisable — serving both to mask the roof and to decorate, giving the Cloth Hall the clear Renaissance profile visible to this day.
The post-fire reconstruction was the work of architects from the Italian circle working in Poland — among them Jan Maria Padovano (sometimes recorded as Padovano or Jan Maria il Mosca) was responsible for the loggias and harmonising the facades, while sculptors were brought in to decorate the attica with mascarons. Some accounts also attribute the design and mask patterns to the Italian sculptor Santi Gucci.
Mascarons — twisted, fanciful human heads and masks — are typical of Mannerism: they were meant to amuse, frighten, and sometimes to convey hidden satire. For the modern visitor they are above all striking details that photograph especially well in the soft light of morning or evening.
An attica (attic parapet) is a low wall or decorative crest above the roof cornice. In architectural practice it has several roles: it hides the roof and roof structure visible from the facade, provides a surface for decoration, and accentuates the building's vertical effect. In the Renaissance the attica often became a place for rich ornaments, coats of arms and sculptures that emphasised the prestige of the patron or the city.
In the Cloth Hall the attica is built of arcade divisions and an ornamental crest with mascarons — these elements combine a practical function (concealing the roof) with a narrative one (decoration and symbolism).
The mascarons on the attica are not uniform — some studies and guides point out that a number of the sculptures are portrait-caricatures of contemporary city figures or allegories of human weaknesses. Later remodels also introduced elements referring to local politics and well-known personalities (in the market area one can find satirical references to some city presidents added in later decorative phases).
So look carefully — each mascaron has its own character and story, and museum guides enjoy telling anecdotes linked to several of them.
In the second half of the 19th century the Cloth Hall was in poor technical condition, and the municipal authorities decided on a thorough restoration. Between 1875 and 1879 architect Tomasz Pryliński carried out reconstruction that gave the Cloth Hall an appearance close to what we see today: adjoining buildings were removed, arcaded undercrofts were created and the upper floor was adapted for museum use. The project was supported and popularised in Kraków by figures such as Jan Matejko.
This was the period when the Cloth Hall ceased to be only a marketplace and began to take on a representative and cultural role — the upper halls became the Gallery of 19th-Century Polish Art, while the ground floor gained elegant stalls and a café still known today.
Today the upper floor houses a branch of the National Museum: the gallery of 19th-century Polish painting with works by artists such as Matejko, Chełmoński and Fałat. The ground floor still lives with souvenir and craft trade, and the arcades are a great place for a short rest and a photo.
Also worth stopping at is the famous Noworolski Café, which has operated in the Cloth Hall's arcades since the early 20th century and has a rich past. It's a pleasant spot for coffee after visiting and remains one of Kraków's most charming historic cafés.
The best light for photographing the attica is morning (soft, cool light from the east) or evening (golden hour). To capture mascaron details, stand under the arcades and photograph from a low angle — this will bring out the reliefs and the play of light and shadow.
Avoid the crowds at midday (most tourists are between 11:00 and 15:00). Also go up to the gallery floor — its windows and rooms offer less common views of the Market and the Cloth Hall facade. When buying tickets to the gallery check opening hours at the National Museum ticket office — they may vary seasonally. In the museum you'll meet official guides and curators who can point out details that are easy to miss on your own.
If you plan a commercial photoshoot (for example a fashion session), ask in advance about rules — some parts of the gallery may have restrictions.
Assuming the Cloth Hall is only stalls and souvenirs is a mistake. It's also a museum and a layer of history worth exploring. Allow at least an hour for a relaxed walk through the ground floor and a visit upstairs to the gallery.
Another common error is photographing only from Market level — try approaching corner risalits or photographing the attica from Bracka or Szewska streets to show perspective and detail. During peak hours be mindful of crowds and the risk of petty theft — keep valuables close.
Check ahead for events and conservation work — in recent years conservation and renovation works near the Cloth Hall have occasionally limited access to some parts of the building.
When were the Cloth Hall origins? - The beginnings date to the city's founding in the 13th century; as a masonry hall it existed from the 14th century, and the Renaissance form developed after the 1555 fire.
Who designed the attica? - Major Renaissance works connected with the attica are linked to architects from the Italian circle such as Jan Maria Padovano; the mascaron sculptures are sometimes attributed to Santi Gucci.
Is it worth going upstairs? - Yes: the Gallery of 19th-Century Polish Art is an important part of the Cloth Hall and gives another context for viewing the attica and the whole Market.
Are there guides? - Official guides and curators work at the National Museum and in the gallery rooms; I recommend joining one of their talks if you want detailed historical or conservation information.
Unusual fact: not all mascaron heads were made to look 'beautiful' — many are deliberate grotesques, mocking human vices or simply showcasing the craftsman's imagination. That sense of character and humour is something you won't find on strict classicist facades.
Where to sit after visiting? - I recommend the Noworolski Café (operating at this location since the early 20th century) or one of the well-rated restaurants and cafés on the Market if you fancy local flavours and a rest.
If you want to learn more about attica conservation techniques and stonework, ask at the museum ticket office about curator-led tours — short themed talks or demonstrations are often organised.
If you enjoyed this text, share it with friends or on social media — let more people discover how fascinating the story of a single architectural detail can be.
If you'd like to visit the Cloth Hall with explanations of all the details, consider booking a private tour with guide Małgorzata Kasprowicz - on the zwiedzaniekrakowa.com website you'll find contact information and tour offers. It's a convenient option for those who want to experience Kraków 'like a local', with personal stories and practical tips.
Have a great trip and get some wonderful photos at the attica - it's truly worth looking at closely!
