on wing walls of the castle. It has arcades on a first and second levels. It makes impression that it tidy up the courtyard in a spatial way and decorate it. Fiorentino, as a renaissance architect, was deriving from classical art (all'antique), but more freely, such that the architectural order was not in accordance with classical rules. In the highest level, each of the galleries is folding from two stems, which are put up one on the other and connected by knots, which never meet. It has triple function: connecting, crowning and bearing. Worth of comment are also jugs placed on a capitals. This rebuilding changed the Gothic castle into a Renaissance residence. Another masterpiece by Fiorentino is the niche for the tomb of Jan Olbracht, King of Poland from 1492-1501. This work was founded by Elisabeth of Austria, who was the Polish Queen and Jan Olbracht's mother, and Prince Sigismund, his younger brother. Queen founded tomb after the death of her beloved son (1501). Their contribution mark out border of style ages, which was important not only for Wawel, but for whole Kraków. Probably, after prince Zygmunt and Fiorentino arrived from Hungary, the tomb, with figure of Jan Olbracht on the lid, was already done in the Gothic style by Stanislaw Stwosz (1478-1528) – sculptor and son of Wit Stwosz’s (1448-1533) also sculptor and painter. Later, this tomb was placed into the niche made by Fiorentino. Because of the width of the tomb, the niche had to be made not so small. It had to be very deep, but also not so high. Eventually the niche was really wide, deep and heavy, so it needed even pilasters on the sides of heavily closure. Ornamentation of Jan Olbracht’s monument niche is richly decorated. Therefore, Fiorentine made architectural and sculptural frame for Jan Olbracht’s tomb in Wawel Cathedral (1501-05). Francesco Fiorentino also made the entrance portal at Bishop E. Ciolek’s palace on 17 Kanoniczna Street in Krakow. Style Fiorentino was the main designer and part contractor of his masterpieces. His works are described as "pure" Tuscan renaissance. His realizations are also very precise. It seems, some of his works are inspiration of foreign works. For example, the form of Jan Olbracht’s tomb niche is reminiscent of works by Bernardo Rosselino from earlier in the 15th century. The ornamental form is similar to the decoration of the Palazzo Ducale in Urbino and