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Jan III in the Museum of Stanisław Kostka Potocki 86 exhibition guide 1 legend of king jan iii 1. equestrian statue of jan iii 11. love and the loved ones 2. legend of king jan iii 12. marie the regent home and formation 3. lapidarium – transit 13. the queen’s antecabinet 4. death 14. the al fresco cabinet 5. home and formation 15. jan iii in the museum war and peace 6. war and peace of stanisław kostka potocki 7. sobieski and muses 16. jan iii in the museums sobieski and muses 8. the king’s chinese cabinet of the world 9. the dutch cabinet 17. equestrian portrait 10. all of the king’s faces of stanisław kostka potocki love and the loved ones 13 8 12 9 7 10 11 6 14 4 3 2 16 5 17 15 1 ��� �� ��� ���� ��� ����� �� ��� ���� 2 3 exhibition guide 4 exhibition guide Wilanów Palace Museum 2013 table of contents Primus inter pares 6 Legend of King Jan III 8 Death 14 Home and formation 16 War and peace 26 Sobieski and Muses 38 All of the King’s faces 54 Love and the loved Ones 64 Marie the Regent 74 Jan III in the Museum of Stanisław Kostka Potocki 86 bibliography 92 primus The scope of the exhibition is not limited to great deeds and the immortal fame of the invincible king. These are inter proclaimed by the king’s legend, which by nature tends pares to avoid undertones and incomplete statements. Instead, the exhibition “Primus inter pares” is designed to shift the viewer into the past, to Jan III Sobieski’s reign. Its goal is to indicate the king’s ideas and plans as implemented in the Wilanów Palace décor and the iconographic message he intended to communicate to his contemporaries and PrimuS InteR pareS, the first one among the equal, to future generations. Additionally, the exhibition draws was a principle adhered to already by rulers in ancient on source materials, which shed light on Sobieski’s per- Rome. It proves surprisingly relevant today and could ception by people around him. Eyewitnesses frequently function as an advertising slogan of present-day politi- commented on the monarch’s bravery, but also on his ex- cians cautious about their PR. The ruler seems to be telling tensive and quick mind, unadorned simplicity, ease and his his subjects, “I am one of you; though enthroned, I have sense of humour. remained equal to you all”. The exhibition introduces some daring transformations In Sobieski’s case the statement is more than just a po- into the palace interiors, intended to provide an element litical cliché. The king was far from an ideal human be- of surprise. The organizers trust that the innovative dis- ing, which in fact is an abstract concept itself. Dramatic play of the exhibits – some in the Wilanów collection from events taking place in the Commonwealth throughout the time immemorial, others presented here for the very first 17th century frequently compelled the monarch to make time – will best narrate the tale about Jan Sobieski’s life difficult or morally ambiguous decisions. Sobieski’s great- and his achievements. The viewers are invited to embark ness, however, consisted not so much in his infallibility as on a journey through time, which will help them to real- in the astonishing ability to overcome his own vices, to ize how successive ages reinterpreted the Sobieski phe- correct his faults and to rise above differences and trivial nomenon. Following in the king’s footsteps, the viewers disputes. He was a king with a clear vision, which he never will have a unique opportunity to look in the mirror and ceased to pursue. He acted against all odds, often in de- to wonder why even today we tend to cling to a national fiance of his opponents. Although his life and reign coin- hero. The hero in question brought salvation to Europe, cided with traumatic events, yet owing to his bravery and yet never stood aloof from others. Indeed, he was and has wisdom Sobieski managed to cover in glory both his own remained the first one among the equal. name and that of the Commonwealth. 10 11 legend of king jan iii f the fate had placed Jan III’s individuality in more favourable circumstances, our history would have possibly gained the third royal title of the Great. Paweł Jasienica, Rzeczpospolita Obojga Narodów. Calamitatis regnum, Warszawa 1967-1972, p. 367. legend of king jan iii The South GAllery Jan Sobieski’s presence is easily noticeable in today’s real- ity. Schools, streets and squares named after the king are abundant in cities and towns throughout Poland, accom- panied by hundreds of trees and stones which, as legend has it, provided shade and rest during his numerous war expeditions. Countless contemporary headwords linked with Sobieski, including sports clubs, tourist and recrea- tion centres, are matched by innumerable popular anec- dotes about the king’s life. It is worth stressing that the cultivation of the monarch’s vivid memory began shortly after his death in 1696 and has been carried on by successive generations in differ- ent forms, reflecting the changing tastes. This part of the exhibition illustrates the evolving legend of King Jan III and demonstrates how his image has become integrated into the general history and the current Polish reality. memorate the 10th anniversary of the event. originally it decorated the Grand Vestibule, the central and the most significant of all the equestrian statue of Jan III Wilanów rooms, so as to remind visitors that they were entering the unknown artist residence of a great hero. By commissioning the statue, Sobieski ca. 1693 gave rise to his own legend which evolved further, sometimes con- trary to the monarch’s primary intention. A similar statue, repre- The presented statue is the most symbolic work “in mem- senting Jan III as the saviour of Christianity, was to be raised in the ory of” the victorious Battle of Vienna, fought on 12 Sep- atrium of Saint Peter’s Basilica in the Vatican, across from the statue tember 1683. It was created on the king’s order to com- of Emperor Constantine. 14 15 Frescoes depicting scenes two lovers. on thinking of his own love for Marie, the king from the story of Cupid and Psyche was moved to tears, which he wiped away with his kon- Michelangelo Palloni tusz sleeve. The message communicated by the Wilanów 1680s palace décor was reinterpreted by successive generations. At times, anecdotes alternated with historical truth, thus Written by Apuleius, Cupid and Psyche is a story of love adding new chapters to the already compound legend of encountering numerous obstacles. By way of analogy, King Jan III. it refers to the relationship between Jan Sobieski and Marie Casimire. In an allegoric dimension it may also be interpreted as a metaphoric desire of the Christian soul (Psyche) to unite with the divine love (Cupid). Ro- mantic legend has it that on showing his visitors around the palace, Jan Sobieski would tell them the story of the 16 17 death the Chapel Francesco Maria lanci, Enrico Marconi 1857-1861 Full-scale sculpture of the Sistine Madonna created by Vincenzo Gaiassi after Raphael’s painting 1696 – on 17 June King Jan III dies in Wilanów. Ever more ailing and exhausted towards the end of his life, the monarch spends the majority of his time in the Wilanów residence, where he feels at home. Its location is perfect; far enough from Warsaw to secure the well-deserved peace and quiet and at the same time close enough to the city to help the king to monitor the ongoing public events. Jan III’s frequent presence in Wilanów can also be inter- preted metaphorically. Perhaps the view of the finely painted and sculpted decorations, glorifying his past mili- tary triumphs and the heyday of his reign, soothed the king’s sorrows now that he saw his political and dynasty- -oriented plans irreversibly shattered? Jan Sobieski died in Wilanów, forever sealing the residence with his own name. In line with a 19th-century tradition, the king breathed his last in this very room. Although source records fail to prove it, the tradition inspired a construction of the royal chapel in this location. The death place of Jan III was thus sancti- fied, both symbolically and literally. 18 19 home and formation t is not an isolated or peaceful life that I wish to prepare you for, but rather a public or military life and camp hardships. The key principle to follow is for the brothers to show mutual love since their youth, free from envy and resentment. The younger one ought to respect his senior and the older one to love his junior. Jakub Sobieski’s instruction for his sons, Jan and Marek. knowledge, immortalized in the palace décor. The room home and initially functioned as the king’s library, i.e. a location facilitating the royal’s search for rest and intellectual formation inspiration. The latter was taken from ideals personified by the following remarkable scholars and artists: Aristotle, Ptolemy, Saint Augustine, Michelangelo, Justus lipsius, Galileo Galilei, Maciej Sarbiewski and others. The KInG’S Library Plafond painting entitled Theology and Philosophy surrounded by portraits of scholars Claude Callot and artists from the Wilanów atelier 1680s This part of the exhibition revolves around two female depictions of the most important fields of human knowledge – Philosophy and Theology – decorating the library plafond. The female figure looking up towards the symbol of the Holy Trinity personifies the revealed wisdom, while that measuring the globe with the compass represents empirically- based knowledge. The Baroque concept of fides et ratio, i.e.
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