In the first decades after the occupation of Wieliczka as a result of the annexation of part of the Polish lands, the rulers of the Habsburg dynasty, by means of an extensive administrative apparatus, concentrated their efforts on unification with the Austrian legal system, depolonisation of the administration, restriction and control of visitors to the mine. At the same time, all artistic productions in the mine were abandoned and selected objects of sacred art and material culture created before 1772 were made accessible to tourists. In the 19th century, secular art objects were created in several chambers on the tourist route, such as portals and gates, pyramid-shaped monuments and obelisks commemorating the visits of representatives of the ruling family to the mine. The secular art was to contribute to the perception of the Wieliczka mine by all visitors and tourists as a hereditary Habsburg regal and to strengthen the loyalty of Polish miners to the Austrian state and the ruling dynasty. At the beginning of the 20th century, thanks to the initiative of Polish engineers, the ideological significance of the interior decoration was changed in the Ball Room in the Łętów chamber by placing a painting by Władysław Tetmajer entitled Queen Kinga’s Arrival in Wieliczka. The purpose of this art was to make visitors aware that the mine is a monument to the Polish national past.