Few episodes in Polish history have stirred as much debate as the murder of Bishop Stanisław of Szczepanów, whose death in 1079 at the hands of King Bolesław II the Bold led to the king’s exile and the bishop’s canonization. Jan Matejko returned to this dramatic event late in his career, creating several studies and works—among them Zabójstwo św. Stanisława (Zabójstwo biskupa Szczepanowskiego) (szkic) in 1892.

The painting captures a moment that, for centuries, has symbolized the tensions between royal power and the Church in Poland, and Matejko’s choice to revisit it reflects both national anxieties and his own fascination with pivotal historical turning points. Matejko’s sketch seizes the instant of violence within the Kraków church, as Bishop Stanisław, caught mid-mass, is set upon by armed men. The bishop’s raised hand, frozen in a gesture of blessing or perhaps protest, draws the viewer’s eye to his vulnerability and spiritual authority. The chaos of the attackers—swords drawn, faces twisted in determination—contrasts with the bishop’s white vestments, a visual shorthand for innocence and martyrdom.

The drama is heightened by the tight composition and urgent brushwork, typical of Matejko’s preparatory studies, which focus on gesture and emotion rather than finished detail. Unlike Rembrandt’s more introspective martyrdom scenes, Matejko’s version is public and charged, emphasizing the communal shock and the rupture of order. As a sketch, this work was likely intended as a study for a larger, more finished canvas—a method Matejko often employed to refine his historical narratives. The precise medium is uncertain, but the rapid marks suggest oil or tempera on paper or board.

While the finished version of this subject is held in the Wawel Royal Castle, this sketch remains a testament to Matejko’s process, revealing how he built his complex scenes from raw, emotional beginnings. Today, it stands as both a window into the artist’s workshop and a vivid reminder of the enduring power of Poland’s medieval legends.