Historical overview
Information about the building is very limited. It is known that the chapel was built using donations from parishioners towards the end of the 19th century. The façade features two stone sculptures dating from the 18th century. However, it is unclear at what stage they were placed there or by whom.

Architecture
The building is modest and simple in design. Its subtle, Neo-Baroque details are particularly noteworthy. The building is situated in the centre of the cemetery. The chapel’s façade faces the main gate, whilst the chancel faces south. The building’s form is composed on a rectangular plan with a three-sided apse that is slightly narrower than the nave. The simple interior lacks any distinct articulation. The only ornamentation is a moulded cornice running around the walls. An umbrella vault with thickened seams has been used above the apse. A barrel vault covers the rest of the building. There is a round window in the apse, whilst the side walls feature rectangular windows.

The façade is single-storey and single-axis. It is crowned with a triangular pediment, framed by two plinths beneath sculptures with rectangular panels. In front of the entrance there is a landing accessible via steps on both sides. Above the door, the inscription ‘MDCCCLXLIII’ is set within decorative motifs. The windows in the side walls are framed by Tuscan pilasters supporting moulded arcades.

The aforementioned statues, situated at the top on either side, are particularly noteworthy. They date from the 18th century and, as Marek Walczak writes, constitute ‘exemplary works of sculpture’ from their era. Furthermore, the art historian provides a very interesting description: “They are characterised by a massive physique, a strong contrapposto, visible despite the voluminous robes, a dramatic twist and movement of the figures, and a gaze directed upwards, lending the figures an air of religious rapture bordering on exaltation. This impression is heightened by the ascetic facial type with sunken cheeks framed by luxuriant hair and facial hair. The folds of the voluminous robes are rendered expressively, creating sharp edges that interplay with deeply carved recesses. A motif repeated in both sculptures catches the eye: a loosely draped strip of fabric, entwining the figures’ hips and twisting around its own axis, as if moved by the wind. These features allow the Mościsk figures to be linked to the circle of Lviv Rococo sculpture of the third quarter of the 18th century. Their closest analogues are found in the figures of the Evangelists from Hussakow. In particular, the two depictions of St Luke are almost identical, although the Hussakow version, despite the damage, appears to represent a slightly higher artistic standard.”

The chapel is currently in good, restored condition.