Grażyna been recorded) has been dispersed, most often hidden in private collections, while the
Ryba sculptural arrangements in sacred interiors have gradually become incomplete and
replaced with works found morę suitable by the following parish administrators.
The objective of the present paper is to bring back the memory of this interesting
sculptor and to attempt an analysis of her output in the context of the historical form of
church architecture and the need to adapt the church interior to the reąuirements of the
reformed liturgy.
Ryba sculptural arrangements in sacred interiors have gradually become incomplete and
replaced with works found morę suitable by the following parish administrators.
The objective of the present paper is to bring back the memory of this interesting
sculptor and to attempt an analysis of her output in the context of the historical form of
church architecture and the need to adapt the church interior to the reąuirements of the
reformed liturgy.