Among many Romanesque bronze doors in Europe the old entrance doors of the metropolitan cathedral in Gniezno, in the North Poland, are exceptional. For over a century many historians and historians of art have been trying to understand and explain its iconographic phenomenon. The Polish, Czech and German scholars have so far been unable to identify with any conviction, either the iconographic models or artistic provenance of the workshop. There were suggested some connections of the alleged bishop patrons to France and there were emphasizes technological possibilities of foundry workshops at the Meuse Valley. This “Meuse hypothesis” based mainly on historical suggestions became established as a certainty. However, it is important to emphasize the significant difference between the creator of the composition and of the craftsman who cast the bronze door. Years ago only Lech Kalinowski pointed out some general formal similarities to the North Italian sculpture. The purpose of this paper is to develop Kalinowski’s suggestions and to emphasise the puzzling similarities between details of Gniezno doors and some Emilian works executed by Master Wiligelmo da Modena and Master Nicolò. The concept of Italian relationship from Emilia province seems to be better for the comparative analysis than relationship with Meuse Valley based mostly on historical context. Crucial here is the additional, parallel analysis of the portal decoration in Czerwinsk Abbey.