The emergence of the crowning in a semi-circular form, embellished with the painting on the front, was one of the most characteristic signs of the modernization of a mediaeval altarpiece following the Italian Renaissance patterns. 13 examples of such a solution have been preserved in Lesser Poland, out of which a triptych of the Dormition of Mary founded by Bishop Jan Konarski (Micheal Lancz von Kitzingen, 1520) is the oldest, and the latest is a polyptych in Wieniawa (1544). The presented works differ in shape (semi--circular and elevated semi-circular crowning,or a horseshoe), a type of framing (from straight strips to frames embellished with Renaissance architectonic ornamentation, e.g. denticuli or egg-and-dart) and the artistic level – crownings of such type were used by the painters remaining under the influence of the Renaissance German painting (e.g. of Micheal Lancz), as well as guild masters of Lesser Poland (Master of Triptych of Szyk, Master of Triptych of Wójtowa). However, it impedes the determination of the origins of the motif in the art of Lesser Poland. It needs to be remarked that, apart from Lesser Poland, the only regions in which the retables with semi-circular crowning appear at the same time and an in the same number are Saxony and Transilvania. Nonetheless, it appears that in each of these cases the sources of the discussed solution were different. It is possible that the Italianised type of crowning reached Lesser Poland from neighbouring Silesia, since it was there that semi-circular crownings were present already at the beginning of the second decade of the 16th century in the foundations of the Bishop of Wrocław Jan Thurzo, educated in Cracow and maintaining contacts with the Polish royal court.