It founded six daughter houses and owned dozens of villages and manors, making the abbey wealthy and able to withstand several wars and crises.

At this time the area belonged to the Duchy of Silesia, bequeathed by Duke Bolesław III Wrymouth of Poland to his eldest son Władysław II in 1138.

In a fratricidal conflict of the Polish Piast dynasty, Władysław was expelled by his younger brother and fled to Altenburg in the Holy Roman Empire.

[4] Through drainage works the monks reclaimed land in the swampy environs of the monastery, implemented three-field crop rotation and laid out vineyards.

Henry's reign brought a considerable increase in power in Silesia, including through the acquisition of the Duchy of Krakow in 1232, which made him Senior Duke of Poland.

The 13th century also brought with it an expansion of the reformist Cistercians originating from Lubiąż, which manifested itself in the takeover and re-establishment of monasteries in different parts of Poland.

However, Lubiąż monastery and its monastic properties were miraculously spared, leading the abbey to play a significant role in the rebuilding of the country.

Nevertheless, monks from Lubiąż came to Kamieniec in 1246 to take over the town's 1210-founded Augustinian monastery, officially settling it in 1249 following the intervention of Pope Innocent IV.

The Hussites plundered and pillaged the complex, devastated large parts of the monastery's villages and plunged Lubiąż into a long economic crisis.

The abbots had a town house erected in Legnica, and perhaps the most visible feature of the modern Abbey, the double-towered facade, was completed.

By the late 19th century, the Prussian state made extensive efforts to preserve the grand baroque interiors while keeping the asylum and stud farm open.

During this time, significant damage was inflicted upon the abbey, with interior decorations being deliberately defaced, wooden furnishings burned in stoves, and crypts being robbed for valuables.

The Abbey's roofing was fully replaced, and the monastery buildings were secured in an elaborate process with hundreds of anchors embedded in the walls.

The Prelature consists of the aforementioned northern half of the main facade and a 118-meter long east wing, this being the upper part of the upside-down "L".

The Convent Wing suffered the most damage in the postwar era, having been used by the Red Army, and many of its cells and smaller rooms are in urgent need of restoration.

The Summer Refectory and Library account for the entirety of the most southern portion of the abbey's main facade, jutting out slightly from the Convent Wing.

The tomb of Bolesław III, which once was the centerpiece of the chapel, was damaged by Soviet soldiers and later restored and moved to Wrocław's National Museum in the 1980s.

Apart from a few picture frames, remnants of the pulpit, the wrought-iron choir grille, and the restored polychrome ceiling paintings of the Prince's Chapel, nothing has been preserved of the interiors and furnishings of the monastery church.

The surviving altars and stalls were moved to the parish church [pl] in Stężyca in the immediate aftermath of the World War II in order to replace furnishings destroyed by the German invaders there.

The so-called "angel stalls" that once decorated the Choir were mainly burned, with the remains being exhibited in Brzeg's ducal castle.

A long, one-story corridor leads to an exuberant baroque portal which occupies the entire wall, and dramatically opens into the two-story tall hall.

The upper end of the polychrome portal frame, made of white stucco, shows the abbey coat of arms with two supporters.

In the ceiling painting, the iconography of the Princely Hall reaches its climax with glorifications of the Silesian Piasts, who founded the monastery, the Habsburg Monarchy, to which Lubiąż owed its heyday, and the Catholic Church.

On the edge of the western part of the ceiling painting is the defeat of the Battle of Liegnitz (1241) depicted with the Silesian Duke Henry II.

On the opposite side there is Maria Theresa in front of battle scenes, which depict the victory of the Catholic faith over demons, vices and heresies.

The long sides show in the north of the scene of the marriage of Maria Theresa to Francis I, and the personifications of power and moderation, flanked by the victory of Chronos over Vanitas.

The ceiling paintings dating to 1733 are by Felix Anton Scheffler, and show, in keeping with the use as a dining room at the time, the biblical scene of the Miracle of Loaves and Fishes.

The large fresco is surrounded by eight smaller, oval paintings that show scenes from the lives of Bernard of Clairvaux and Benedict of Nursia.

A curved portal made of black marble with the year 1706 shows an extract from the rule of the order leads into the hall: “SUMMUM FIAT SILENTIUM AD MENSAM.

Most of the abbey's collection was removed after its dissolution, and the remaining bookshelves and cabinets which once furnished the room were destroyed in the aftermath of the Second World War.