By the end of that century, it served as a royal bathhouse,[a] supplied with water from the Młynówka Królewska [pl] stream – an artificial watercourse flowing along today's Podzamcze Street, encircling the building from the south and west.

[3] This kitchen was situated outside the city fortifications, so during the adaptation works, it was necessary to incorporate the defensive wall into the house (various parts of the residence were attached to it), thus rendering it devoid of its military function.

[d] In June 1461, the Długosz brothers had to leave the house as they were banished, like many supporters of Jakub of Sienno, during the dispute between the chapter and King Casimir IV Jagiellon over the appointment of the Kraków bishopric.

Their residence on Kanonicza, during the tumult in which Andrzej Tęczyński was killed on July 16, became a place of brief refuge for the murdered man's son, Jan Rabsztyński [pl], who was also threatened with death.

[f][10] Among the subsequent canons who resided in the building, a notable figure was Maciej Miechowita, a professor and rector of the university, author of the Chronica Polonorum, a continuation of Długosz's chronicle.

He embellished the house, where he amassed a sizable library and a collection of works of artistic craftsmanship, coins, scientific and musical instruments, maps, and paintings.

[11] Władysław Łuszczkiewicz associated the renovations of the building with the time of Miechowita (and the canons who occupied the house immediately after him), during which Renaissance elements were introduced, such as cornices above the windows or the portal of the main gate from Kanonicza Street,[g] adorned with a Latin inscription.

The external walls were reinforced with buttresses, new window frames were installed, the interiors were decorated with paintings, a kitchen was arranged, and a new bathroom was built.

[15] Some sources suggest that the residential function was fulfilled by a wooden, single-story cottage located near Długosz House (or in its annex), which was connected to it by Wyspiański.

[16] The living conditions were quite typical for a significant part of Kraków's contemporary buildings – water available only from wells, lack of sanitary facilities, difficulties with heating the rooms.

The artist dedicated a poem to this place and the role it played in his life, written in 1903 under the title At the Foot of Wawel, my father had a studio...[18] The four-hundredth anniversary of the chronicler's death in 1880 aroused interest in the building, then still rarely referred to as "Długosz House", more often as "Under the Madonna", from the image on the facade.

During the First Congress of Polish Historians (May 18–21, 1880), a stone, fifteenth-century commemorative plaque from the demolished Psalterists' house (Psalterium), founded by Długosz, was embedded in the facade of the southern wing, facing Wawel.

[h] In the same year, on July 12, the chapter and the conservator of monuments, Józef Łepkowski [pl], placed an additional plaque there, commemorating the fact that the greatest Polish chronicler of the late Middle Ages lived and worked in this building.

[20] Until his death in 1900, Professor Władysław Ignacy Wisłocki [pl], the custodian of the Jagiellonian Library, lived in Długosz House with his family.

This marked the biggest changes in the interior of Długosz House, which was adapted for the needs of the curia and the seminary's economic facilities (a kitchen was arranged in its annex).

[23] In the second half of the 20th century, historical documentation of Długosz House was developed based on earlier literature and archival materials (Andrzej Fischinger, 1966), and architectural research was also conducted to determine the successive phases of its construction (Waldemar Niewalda and Jerzy Kossowski, 1969).

It is a building that has been reconstructed several times, with its interiors extensively transformed, resulting in the significant loss of its original character, and the street level around it has been raised.

[27] Renaissance elements of the building include friezes above the windows and a portal from the second half of the 16th century, decorated with an inscription with the motto Nil est in homine bona mente melius (There is nothing better in a man than a good mind).

The painting was restored by the painter Lisowski in 1828, then by Wojciech Eljasz-Radzikowski [pl] in 1863 (at the expense of Ignacy Kruszewski, who was imprisoned in Wawel at that time), and finally by Jan Głuszkiewicz in 1890.

[29] The oldest of the plaques originates from the Psalterium in Wawel, the house of the college of clergy (sixteen psalterists and a cleric) founded by Jadwiga and Jagiełło in 1393.

At the expense of the chapter, the relocated plaque was transferred to one of the buildings on Kanonicza Street, and in 1880, during the First Congress of Polish Historians, it was embedded in the facade of the southern wing of the Długosz House, facing Wawel, in place of one of the windows on the upper floor.

The lower part of it is occupied by an inscription, made in raised, late Gothic letters, describing the foundation:Pro Collegio Psalteristar(um)[k] ecc(lesia)e craeovien[l] (sis) per Wladislau(m) secundu(m) rege(m) et Heduigim reginam(m) Polonie fundato Johannes Longini Cano(n)icus Cracovien(sis) ad honore(m) Dei omnipote(n)tis fabricavit me anno mille(simo)°cccc°octuagesimo[31] (Translation: For the Psalterists' College of the Kraków church founded by Władysław II, the king, and Jadwiga, the queen of Poland, Jan Długosz, a canon of Kraków, built me in honor of the Almighty God in the year 1480.

)[31]The upper part is a bas-relief depicting the Madonna seated on a throne with the Child on her lap, in front of whom kneels the founder, with folded hands in prayer and eyes directed towards the Virgin Mary.

The identification of the founder is indicated by the shield with the Wieniawa coat of arms placed at his feet, as well as the attire of the canon – a rochet or alb with wide sleeves, an almuce, and a biretta on his head.

It seems that in this case, it is a stylized image, which conveys the character of the model through external means (clothing, coat of arms), with a conventional expression of his seriousness and dignity.

Perhaps the artist, the creator of the plaque, introduced certain realistic elements in the features of the founder's character, especially on the face – full, with a strongly outlined chin, large eyes, and prominent nose, from which two deep grooves run.

(iensis) fundata lapis hic unicus ex illa superstes quattuor saeculis post huc translatus est anno Domini MDCCCLXXX.

[o] Made of bronze and designed by Bronisław Chromy, it was installed in 1967, on the sixtieth anniversary of the death of the Young Poland artist, in the southern facade of the eastern wing.