The burial chapel of the Potocki family, dating from around 1812-1815, has been preserved in the cemetery. It was founded on the plan of an elongated rectangle with a crypt added on the side, also on a rectangular plan. The crypt forms a kind of terrace added to the building. The chapel is made of irregular stone blocks, originally plastered, now heavily damaged. The front and rear elevations are tri-axial, with a semi-circular entrance opening at the front, preceded by six steps and accentuated by a rectangular attic. All window openings are closed with a semicircle. The interior, divided by walls, consists of a larger central part, which probably originally housed the altar, and smaller side rooms, possibly intended for epitaphs of deceased family members. At present, the two surviving epitaph plaques lie in the middle room. Above the entrance a rectangular plaque with the inscription: PORTA / Qua carne Mortales! Viam universae carnis ingrediuntur / Anima Immortales! Universam expectant Resurectionem / Hanc Pietati et decori dicavit PAULUS Comes [...] POTOCKI Ha(n)ci(r)es Bonorum Buczac[...] Buczacen: Rit. Lat. addietus Parochi[us] [Ao] Do 1815. //. From the back an analogous plaque with a faintly legible inscription: HERE IS YOUR BODY THE SHELTER OF MAN / HERE IS THE GATE WHERE YOU SEPARATE FROM MEN / HERE IS WHERE YOU END, BAD OR GOOD POSSESSIONS / HERE THE VENERABLE GLEAM OF LIGHT NO LONGER DECEIVES YOU / A PASSER-BY SIGHS FOR THE DEAD / BLISSFULLY / WORKED BY THE GOD OF DOLE AND NOT [...] HARSHLY / 1812. Most of the Bucharest tombs are located in the vicinity of the Potocki chapel. In formal terms, we can divide them into two groups. The first are tombs characterised by their relatively large size, especially the upward extension of the front elevation, reaching up to six metres. The tombs are rectangular in plan, faced either with red sandstone rustication or with blocks of red or white sandstone. The six tombs have an almost identical treatment of the façade with a stepped uplift topped by a cross and flanked by small obelisks on the sides. On the axis of the front façade there is an entrance opening closed with a rectangular or solid arch, in all tombs this is now bricked up. The façade is flanked on the sides by half-pillars. The three other tombs in this group have very similarly shaped front facades, with the uplift framed by tracery in the form of a cataract arch. All tombs have a rectangular plaque above the entrance opening with an inscription indicating the families buried in the tomb. The tomb of the Burzmiński family also features an oculus in a rectangular uplift with a wide frame into which a cross has been inscribed and inscription plaques on the pillars flanking the façade. Only on two tombs are the dates preserved: 1886 and 1912. Presumably, therefore, it is to the turn of the 19th and 20th centuries that these developments should be dated. The objects with a rectangular uplifted façade are earlier. The second group of tombs consists of four more modest structures. The first one is a rectangular tomb of the Czyżewski family covered with a wider slab with a relief cross and a profiled finial topped with a cross in front. The second tomb of the Bańkowski family is also very similarly shaped, but the finial forming the base of the cross has a triangular form. The third tomb, that of the Hałas family, consists of a simple slab placed on a high pedestal, giving the tomb characteristics. The slab has a repeated form of decoration: a relief carved cross with a rectangular inscription plaque. The last of the tombs belongs to the Urbański and Dyszl families. Despite its typical rectangular form covered with a wider slab, it is distinguished by the decoration of its semicircular finial. It depicts a bust of a woman in profile, probably a weeping woman, although the individualised nature of the representation does not allow the complete exclusion that we are dealing with a portrait representation. The most typical gravestone form is the cross. In the Buczac cemetery we can find numerous variations of this motif. These range from simple crosses on a pedestal without any decoration to more individualised forms, e.g. in the form of tree trunks placed on pedestals in the form of a pile of stones. The oldest crosses date from the first half of the 19th century. They are characterised by a more monumental character and are often not concrete casts like almost all later ones. Simple crosses without decoration are relatively few in number. The most common sculptural motifs include the figure of the crucified Christ and the titulus. Also notable is a group of gravestones where we have only the titulus. However, it cannot be ruled out that in many cases the figure of Christ made in relief has simply not been preserved. On some crosses additional decoration appears in the form of protuberances, half-arches, rosettes, arms with caps or cusps, arms ending in a semicircle, rhomboid, pyramidal, trilobed form, etc. Sometimes the arms are truncated. Sometimes the arms are bevelled or chamfered. On individual realisations we can find typical sepulchral symbols such as oak leaves and fruits usually appearing in the place of the titulus, a burning heart, a crown of thorns. In earlier works, the arms of the cross are also sometimes covered with an inscription. Sometimes we can also find scarves or wreaths of flowers or vines overhanging the crosses. The arms of the crosses are also sometimes decorated with floral decoration: palm leaves, rose flowers or grape vines. There are also burial sites where this simple cross scheme on a plinth and base has a more unusual form. In the case of the gravestone of Anna and Franciszek Bańkowski, the cross is not located directly on the two steps of the plinth, but the two forms are separated by an octagonal pedestal topped by an octagonal roof. The burial place of Michał Rzepecki (+ 1903) is marked by a vertical slab with a stepped cross. Attention is drawn to a group of gravestones in the form of crosses stylised as tree trunks on plinths stylised as stones or rocks. Inscription plaques in the form of an unfolded scroll are common in this type of implementation. It is characteristic that despite the relatively large number of realisations, as more than 30 objects are preserved, no two are alike. Particularly noteworthy is an anonymous tombstone from the turn of the 20th century, where a bas-relief figure of an angel has been inscribed into the plinth. In Kornel Piller's tombstone, a simple cross has now been re-installed, but the base of the original cross is visible in the form of roots wrapping around the finial. We therefore had a reference to the tree of life motif in this implementation. Most of the pedestals are one- or two-stepped and have stylised forms with an inscription panel, usually on the front side, but similar panels without inscription are also sometimes found on the sides and back. The panels are usually closed with a full arch, sometimes with an overhanging arch, a pointed arch, a flattened arch, or they are framed with ears. Very often the inscription is also placed directly on the plinth. Decorative motifs can be found on a few examples. On the plinth of a tombstone of an unknown family from around 1850, an engraved corpse's skull and tibias have been preserved. Sometimes the plinths also have small panels with relief figures, usually of the Virgin Mary. The pedestal of the gravestone of Father Tytus Osmanowicz (+ 1887) shows a relief chalice with a host. Also of note is a group of full-figure, relief-carved, stylised figures of the Virgin Mary with hands folded in prayer. On the pedestal of an unfortunately anonymous tombstone we find the only representations of the Ślepowron and Sas coats of arms in the cemetery. An interesting relief decoration can also be found on the tombstone of Kornel Piller (died in the 1880s) where below the inscription plaque, in the form of an open book, the tools of the Passion have been preserved. Most of the plinths have a profiled finial and are covered with a slab or a two- or four-sided roof. One of the undoubtedly more interesting ones is the mid-19th century two-stepped plinth with profiled top edges, a frieze of cubes on the finial and spiral semi-columns in the corners with cubic capitals. On the side of the plinth was a representation of a bas-relief urn with a shawl hanging through it. Acroterions or rectangular uprights sometimes framed by pyramids appear in the finial of the pedestal in individual productions. What is surprising, however, is the decoration which survived on the gravestone of Adam Piernikarski, a veteran of the January Uprising. The pedestal bears a bas-relief shield with the emblem of Poland - the crowned White Eagle. Undoubtedly, this type of realisation must have been more frequent, but we do not know of any examples of objects in this area that have survived to our times in such good condition. Twenty-three burial sites are marked by simple, almost identical gravestones, several of them placed on high bases. A separate realisation in this group is one of the oldest surviving tombstones of Buczacz's Agnieszka Oczkowska from around 1811. Characteristic for the remaining slabs is an almost identical sculptural decoration in the form of a relief cross and a rectangular inscription plaque at its base. Within this scheme, however, we can also find some individual features, e.g. the gravestone of Gabriel Malanowski (+ 1897) is distinguished by the motif of oak branches and leaves entwining the cross. Several tombstones have also been preserved with a cross on a pedestal or an obliquely positioned stele at their head. Although the oldest slab dates from around 1811, most were made around 1900 and in the 1930s. The signature of the stonemason Julian Gruszyński from Buczacz is preserved on two of them, allowing us to see him as the author of the whole group. In comparison with such typical, schematic realisations, the tombstone of Karolina Skrocka (+ 1934) must be surprising. The simple slab features a relief decoration in the form of an oval medallion framed by a decorative frame, inscribed in a rectangular panel. The corners of the panel depict insects reminiscent of dragonflies, possibly moths or bees. The authors of the inventory card, Maria Pawłowska and Maria Stąsiek, lean towards the latter interpretation. Indeed, the depicted insect may resemble a bee, although this is surprising from an iconographic point of view. The moth is an obvious mortal symbol, while such symbolism is extremely rare in the case of bees. In the iconographic tradition, we can find isolated representations of a vanitative nature, where the bee motif appears as a symbol of Christ, due to the sweetness it produces. It seems unlikely, however, that the maker of the panel alluded to this symbolism. Alternatively, it could be an indication of the qualities of the person buried: above all industriousness or bravery. The interpretation of this representation as a moth, however, seems more convincing. It is worth noting, however, that moths also do not appear in the repertoire of symbols used in these areas. Nor, moreover, do dragonflies, which may have been regarded as a symbol of the fragility and short-lived nature of life. However, regardless of which insect is shown on the panel, its vanitas message seems obvious. Also notable is the sculptural treatment of the moulded frame, decorated with pearlwork with decorative palmettoes situated on axes capturing small rosettes. The unusual form of the tombstone and the quality of its workmanship allow us to assume that in this case we are dealing with an import, probably from Lviv. The scarcity of iron crosses is surprising. It can be assumed that simply most of them have not survived to our times. Only five have survived, among which the following are interesting: an anonymous gravestone with an openwork cross, at the base of which is a figural group with the Virgin Mary surrounded by angels, and perhaps the most interesting design: the cross on the gravestone of Maria Karczewska (+ 1939). The arms of this cross are decorated with floral ornaments, with a miniature angel head placed at their intersection. At the base of the cross there is a Mourning group, and halfway up the lower arm there is a circular plaque framed by a floral wreath with a cast inscription. The surviving cast-iron crosses date from the first half of the 20th century. Seventeen gravestones with Polish inscriptions and full-plastic figural representations are preserved in the cemetery. However, the repertoire of forms is not very rich. Ten representations of the Virgin Mary and eight depictions of angels have survived. The Marian figures have rather squat, semi-folk forms. Most of them may come from the same workshop. Five representations of the Virgin Mary of the Rosary, one representation of Immaculata, one representation of the Virgin Mary with Scripture, and two figures of the Virgin Mary with a crowned child have been preserved. The gravestone of the stonemason Aleksander Mrozowski, which reaches a height of four metres, stands out in this group. It features a statue of the Virgin Mary with child placed on a high pedestal and plinth. It is characteristic that all the sculptures come from the same period - the beginning of the 20th century. This may indicate the activity of a local workshop specialising in figural sculpture, presumably run by Aleksander Mrozowski. Figures of angels, on the other hand, appear mainly on children's tombstones, which is a typical procedure. It would be difficult to distinguish, as stylistically different, a group of children's tombstones, with the exception of precisely those with an angel sculpture. The oldest depiction of an angel figure, however, is on a family tombstone and probably dates from around 1810. The angel is depicted as a young man leaning with his right hand on a knocked urn set on a high pedestal. He is dressed in antique robes, his head resting against his right hand, in which he holds a shawl with which he is wiping away tears. In his left hand he holds a downward-facing extinguished candle. On the base is an engraved signature allowing the figure to be identified: S. Angelus Custos. Unfortunately, the angel's wings are only fragmentarily preserved. On the tombstone of Wandzi Czerkawska from the first half of the 20th century, a guardian angel hugs a child. Three of the angels from Buczac have almost identical forms and are situated on plinths made of stylised stone blocks. They are figures from the children's gravestones of Zbigniew Gawel, Dzidzi Winnicka and Michalina and Józef Gromacki. The small angels kneel on one knee and hold their hands folded in prayer. The low artistic level and standard repetitions clearly indicate local provenance. Artistically, the last three angel figures are more interesting: they are situated on the tombstones of Anna Ścisłowska (+ 1903), Wanda Czerkawska and Antonina Dąbrowska (+ 1897). In the case of the latter tombstone, what draws attention above all is the freedom in draping the robe and the meticulousness in reproducing the wing feathers. Although most of the tombstones are devoid of clear stylistic features, a group of several objects referring to Classicist art can be identified, especially in the part of the pedestal, as the finials have the typical form of a cross. One of them is the tombstone of Anastasia Mruczkowska (+ 1867). The high, slightly tapering pedestal with a gabled roof is topped with a relief laurel wreath and an Ionic kimatoni in the finial. Obelisks are a very rare form in rural cemeteries, but relatively popular in urban centres. In the Buczac cemetery, most of them are situated on a pedestal and have a convex or concave carved representation of a cross on the front, while we do not find a single implementation in which a cross appears in the finial. Although in most cases it has simple, stylised forms, there are also exceptions, as on the obelisk of the Mierzwiński family, where a garland of roses is strung across the arms of the cross. The obelisk commemorating Celestyna and Bronislava Szweb from around 1920 stands out in this group. On the front side of the obelisk, there is a panel closed with an overhanging ogive, in which the figure of the Virgin Mary of the Rosary has been placed in a semi-folk form. However, the majority of the preserved obelisks (e.g. on the tombstones of the Krzyżanowski family, Kazimierz Jastrzębski or Ludmiła Samson-Masłowska) are almost identical in form and probably originate from the same stonemasonry workshop. Whether it was a local workshop remains an open question. The signature of the Lvov stonemason and entrepreneur Henryk Perier, who ran a well-known Lvov workshop, was found on one of the obelisks. Unlike the others, made of white or red sandstone, this one is made of red granite. Among many typical realisations, it is distinguished above all by a certain nobility of form, resulting from the juxtaposition of simple almost cubic forms with limited decoration. It seems that the obelisks were mainly used by the local intelligentsia. This is confirmed by the information preserved on some of them about the deceased, among whom we can find: A retired treasury inspector, the head of the municipal court, a hospital director, a postmaster, a lieutenant, an official of the court, and the wife of a gendarmerie rotamaster. The vast majority of the obelisks date from the last years of the 19th century and, above all, from the first decade of the 20th century. It seems almost certain that two of the obelisks date from the first half of the 19th century. The convex carved skull and crossed tibias on one of them is noteworthy. A total of 24 obelisks with Polish inscriptions have been preserved in the cemetery. Undoubtedly, the most artistically interesting creations in the cemetery are the stelae. After 1931, the stele of Stanisław Filipiński, the child of Antoni and Olga, was created. Situated on a two-stepped pedestal, it has chamfered upper edges. The front side features a relief carved cross. This is a relatively common treatment for this type of work. The intersection of the arms features a medallion with the head of the dead Christ wearing a crown of thorns in a halo. The whole cemetery is surrounded by a cast-iron fence. In the cemetery we can find two more stelae with modernist forms, created in the 1930s. They have a stepped arrangement, with an inscribed cross. On the tombstone of Artur Władysław Hohenberger there is an additional relief depicting the Virgin Mary at the crossing of the cross's arms. The gravestone of Adas Obtułowicz (+ 1882) features a broken column, a symbol of an interrupted life. This type of realisation, common in large urban centres, can only be found sporadically in provincial realisations. This motif, belonging to the repertoire of classicising forms, has completely lost its character in the case of the Buchatska column, mainly due to its semi-folk expression. On the other hand, the second of the broken columns on the tombstone of Władysław Niedźwiński (+ 1902) has a more classical character. Most of the preserved inscriptions are limited to concise information about the buried persons, usually the first name and surname, less frequently the family name, the exact date of death and sometimes the date of birth. There are also tombstones where brief information about family relationships appears, such as on the tombstone of Wanda Czerkawska. S + P / DEAREST / DAUGHTER / WAŃDZIA / CZERKAWSKI //. In turn, there is usually a request for prayer at the end. Particularly succinct information can be found on tombs, where often only the family buried in a given place is mentioned. At the same time, it must be remembered that in many cases additional inscription plaques were probably provided to mention the individual deceased. However, these were not always made, and it can also be assumed that they have often not survived to the present day. Most of the inscriptions written in the Latin alphabet are in Polish, but we can also find four German and two Latin ones. Occasionally, there are also tombstones on which we can find both Polish and Ukrainian inscriptions, or individual letters of the Latin alphabet are replaced with the Cyrillic alphabet. An exception is the gravestone of Władysław Niedźwiński (+ 1902), where two inscriptions of identical content appear on the inscription board in the form of an open book: one Polish and the other Ukrainian. A dozen or so inscriptions with more individualised content have survived to our times - the most interesting ones are to be found on the tombstones of: an anonymous tombstone from around 1850, Kazimierz Kowalczewski, Stanisław Mazurkiewicz (+ 1897) or priest Maciej Andrzejewski (+ 1879). On the other hand, inscriptions in which we can find references to the circumstances of death itself, as on the tombstone of Petronela Mierzwińska (+ 1890), are rare. Interesting are inscriptions on tombstones of children, such as on the above-mentioned stele of Stanisław Filipski (+ 1931), a pupil of the fifth grade of the gymnasium, or Stefcio Sobolewski (+ 1893) : Occasionally we can also find information about the founders themselves, such as on the tombstone of Jakub and Anna Mazur from around 1855, or on the tombstone of Piotr Janiszewski (+ 1890) . The Buczacz cemetery stands out from the local realisations primarily because of its scale. As in many other cemeteries, typical forms predominate here, characteristic primarily of the sepulchral art of the region, but there is no shortage of artistically more interesting realisations, whose authors were able to break away from typical, simple forms. It remains an open question to what extent these were realisations by local artists and to what extent they were imports. We know of only four tombstones signed by stonemasons from outside Buczacz: the aforementioned tombstone of Henryk Perier, a stele made by M. Antoniak from Stanislawów, and tombstones of Józef Popkiewicz and Kazimierz Kowalczewski signed by Jan Bębnowicz from Stanislawów. There are also preserved tombstones made by Buczacz stonemasons: Mrozowski and the above-mentioned slabs made by Julian Gruszyński. The tombstone of the stonemason Maciej Truckalski has also survived, but it is difficult to associate any group of objects with him. However, it can be presumed that, as in other nearby municipal cemeteries - in Chortkiv, Zaleszczyki, Borszczów, etc. - the majority of these objects are imports, including those from Lwów