The term choir has a variety of meanings - here, of course, it means a place where the singing liturgy takes place performed by the monks. In Tyniec it occupies the whole eastern part of the church. It is distinguished by the stalls - these are benches for the monks. Tyniec stalls were made at the beginning of XVII century. The stalls' accomplishment is connected with the rebuilding of the church between 1618-1622. The paintings along the southern wall concern St. Benedict. The first painting represents a scene of St. Benedict's temptation. In the background we can see smartly dressed horsemen approaching the Saint - one of them is wearing a royal crown on his head. Next, a humorous scene  - a monk is ploughing and the plough is being pulled by the devil. In the second painting a young monk by the name of Placid sent for water falls into a lake. Benedict sends another disciple, Maur, to rescue that boy. The painting represents a culminant scene - Maur saves the boy. In the background there is Benedict himself and observes calmly the whole event, which can not be said about two other monks standing in the distance. In the third picture an anonymous artist painted two scenes strictly connected with each other. In the foreground he painted a meal time in the refectory. We can presume that the saint monk is Benedict. The fruits on big dishes  are served on the tables by the angels. In the corner we can see cooling wine bottles. For sure it is an allusion to hunger which is mentioned by Gregory. Benedict having bestowed monastery provisions on the poor from the area, is rescued together with the brothers from death by the angels. Against a background of the event an artist painted a monk taking water out of a rock to his companions' surprise. This is an allusion to the miracle performed by Moses on the desert. The whole painting shows the power of faith of St. Benedict. In the fourth painting there is a scene explaining the Rule, the basis of monastic life, by its Author. In the background we can see a scene representing the death of the Saint. The last painting on the stalls' side is by no means the most mysterious. It represents the victory gained over Islam worshippers (Turks? Tatar?) thanks to miraculous intervention of St. Benedict. If the stalls were made at the beginning of XVII century, we should not be surprised by the theme. Let us just recall  the defeat at Cecora (1620). In Benedictine Abbey in Melk (Austria) there used to be a similar painting attributing the triumph over unbelievers to St. Koloman's pleading. Possibly, this is where the design was taken from.

On the opposite side, the first painting, represents the martyrdom of St. Placid who - on behalf of St. Benedict - was an abbot of a monastery on Sicilia. The second scene is strictly historical - that is St. Gregory, the pope, on the turn of VI and VII century who sends the monks - apostles to British Isles starting evangelism of the new Europe. The third painting tells about St. Firmin, the apostle of the Alemans, who cleaned the island off the snakes where he founded Abbey Reichenau (on the border of present Germany and Switzerland). In the last but one painting  one of the abbots of Cluny (Burgundy) - Peter the Venerable (also known as Peter of Montboissier) ruling between 1122-1146, receives Cluniac statutes from Sts. Martin and Benedict  (we learn from the writing in the book 'Statuta cluniacensia'). It is important because it is believed in Tyniec that Casimir the Restorer, an abbot Aron and his companions come from Cluny.

Finally, the fifth scene concerns five brothers the martyrs and their companion, St. Barnaby, worshipper of Międzyrzecze - the only polonicum! In the background there are St. Andrzej Świerad and his disciple Benedict, hermits living in the forest in the vicinity of Nitra in Slovakia. Here we can see the influence of  Cameduls, who were building their hermitage on nearby Bielany; Polish sons of St. Romuald worshiped these saints.

Apart from the stalls in about mid XVII century a huge altar was also made from Abbot Stanisław Pstrokoński foundation. If Pstrokoński altar harmonized with the stalls, which is highly probable, it must have been wooden. We may presume about the side altars of  St. Peter and St. Magdalena. Right next to, on the left side, there used to be the abbot's wooden throne, by the walls the monks' choir with beautifully ornamented stalls. By the end of XVII century Abbot Józef Lubomirski founded new organs for the choir which used to hang above the stalls on the right side.