In 1751, Jerzy August Mniszech purchased a plot in Długie Ogrody Street: the area where a large -scale residence was erected. Its designer was most probably Pierre Ricaud de Tirregaille. An important element in shaping the spatial composition of the entire palace and garden ensemble was formed by the main gate, characterized by an extremely dynamic, sculptural form, typical of Rococo art. At the top of the gate and on the fence posts there were figures: personifications of Minerva and Ceres, four putti representing the seasons and vases. At the beginning, the article presents the history and style of the sculptures. Then the question of attribution is discussed. In literature, Johann Heinrich Meissner is the most frequently indicated creator of the entire sculptural ensemble. This attribution, in view of the shortage of sources, requires confrontation with other, preserved works of the artist. Johann Heinrich Meissner (1701–1770) was born in Królewiec. He was present in Gdańsk, where from 1726 he owned a valued workshop. Having lived in the Old Town, near the Church of St Catherine, in 1755 he moved to Długie Ogrody where he located his studio, so he was a direct witness to the project carried out for Jerzy August Mniszech. Meissner’s workshop created, among other things, garden sculptures and elements of temple decorations. Among the sacred implementations, mention should be made of the decoration of the main altar in the Cathedral in Frombork, which includes four full -figure angelic figures, vases, flames and garlands made of pine wood. Meissner was also responsible for the statues of angels from the organ front in Gdańsk’s Church of St Mary, expanded in 1757–60. The soft modelling of forms precisely emphasizes the anatomy. Figures’ gestures are naturalistic. The sculptures in front of the Mniszech Palace are stylistically different from them: strongly stylized, exaggerated, they feature vibrating surface characteristic of the Rococo. Their authorship should therefore be associated with another sculpture workshop operating in Gdańsk in the mid -18th century. Another thread is the symbolic diagram of the fence decoration. In order to understand the ideological meaning of the figures in question, it is necessary to juxtapose them with the iconography found in Gdańsk’s art (e.g. Minerva decorated the façade of the Great Armory and the hall of the Main Town Hall, while the statues of Ceres were placed at the tops of tenement houses) and with European trends.