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

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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. faith and reason, assumed their harmonious coexistence, resulting in an ideal combination of elements underlying the human life. The two personifications are surrounded by images of pagan and Christian authorities representing various fields of

22 23 Portrait of Hetman Stanisław Żółkiewski Unidentified painter 17th c. Oil on canvas National Museum in Cracow

Stanisław Żółkiewski was Jan Sobieski’s maternal great- -grandfather. A distinguished politician and warrior who rendered great service to the state, Żółkiewski was nomi- nated Grand Hetman of the Crown in 1618 at the age of 70! He died in 1620 in the Battle of Cecora fought against the Turks, while retreating after months of continuous combat near the south-eastern frontiers of the Commonwealth. He was decapitated, his head sent to Istanbul, where it was exhibited as a symbol of Turkish triumph. Stanisław Żółkiewski was also the founder of the city of Żółkiew [Zhovkva], the Sobieskis’ future residence. It was in Żółkiew that little Jan was brought up to hero-worship his great ancestor. In one of the castle chambers, unaltered since the hetman’s death, his blood-stained robes were exhibited like holy relics, accompanied by an oil lamp of eternal flame.

The lower part of the King’s Library depicts members of Panels from Hetman Jan Sobieski’s family, who shaped the future king’s per- Stanisław Żółkiewski’s coffin sonality in his youth and defined the objectives he strove Unknown artist to attain throughout his life. It was the family tradition to After 1620 emphasize the importance of extensive and continuous Tin, cast, chiselling education and the need to be acquainted with contempo- Wilanów Palace Museum rary world and science. At the same time, Jan Sobieski’s birth and upbringing took place in the Ruthenian part of The two small low reliefs made of tin are remains of the lost the Crown (currently in Ukraine), which was the theatre sarcophagus of Jan Sobieski’s great-grandfather, which had of endless military operations between the Polish and the been placed in the Żółkiew collegiate church. They are in- Turkish armed forces. Many of Jan’s ancestors had shed cluded among the exhibits mainly for the Latin inscription: blood for their country. Undoubtedly, their sacrifice had an EXORIARE ALIQUIS NOSTRIS EX OSSIBUS ULTOR [SOME equally strong impact on Jan Sobieski’s character forma- DAY YOU SHALL RISE FROM OUR BONES, AVENGER], tion as did his school education and foreign travels. quoted from Virgil’s Aeneid. Stanisław Żółkiewski was

24 25 killed in action while fighting against the Turks and the Ta- lunar month and on the following day the new moon was tars. The hetman’s fate was shared by his son Jan, killed in seen, in Olesko”. In the light of Jan Sobieski’s later fate, his the Battle of Cecora. Other family members who fell in mil- great impact on the history of the Commonwealth and his itary action against the Tatars were Stanisław Daniłłowicz, posthumous fame, the concise and unsophisticated ac- Jan Sobieski’s uncle, and the future king’s brother Marek. In count of the future king’s birth is extraordinary and sym- the light of such painful experience, Jan III’s later achieve- bolic. Years later, in his own chronicle Jan Sobieski would ments may be interpreted as more than just military duty provide a more dramatized account of his own birth, writ- fulfilled by the standard-bearer, the hetman and eventually ing: “On my coming into this world it thundered so terribly the monarch towards the endangered homeland, but also that my mother’s tailor lost his hearing and remained deaf as compensation for personal damage. all his life. At the same time, Tatar troops laid siege to the castle…”. With time, the truth interwove with the legend, Portrait of Teofila Sobieska making it impossible to ascertain the facts. Unidentified painter 3rd quarter of the 17th c. Jakub Sobieski’s instruction for his Sons Oil on canvas Warszawa, 1784 Dominican monastery in Cracow National Library in Warsaw

As described by her son Jan Sobieski, “[Teofila] was of Valour and courage were not the sole virtues underlying the male rather than female heart, ignoring the gravest peril”. young Sobieski brothers’ formation. Their intellectual train- Indeed, she must have been a person with character since ing for future public service was carefully planned by their she managed to raise her sons – her first-born Marek and father Jakub Sobieski. The educational model adopted by one-year-younger Jan – in line with clear-cut and tough the parent is best reflected in his hand-written instruction, rules, based on the following Latin inscription commemo- an invaluable testimony to the set of values followed in Jan rating Stanisław Żółkiewski, carved on his memorial in the Sobieski’s home. Particularly memorable is Jakub’s obser- Żółkiew collegiate church: QUAM DULCE ET DECORUM vation that, “man is graced by science in all places, at war ES PRO PATRIA MORI [HOW SWEET AND HONOUR- and at court, at home and in the Commonwealth. People ABLE ‘TIS TO DIE FOR THE HOMELAND]. show more respect to a learned poor servant than a foolish great lord, to whom they point with their fingers”. At a time Teofila Sobieska’s chronicle when social class divisions were taken for granted, the Manuscript, paper, binding young masters were sagaciously advised by their father, “to Polish Academy of Sciences, Library in Kórnik take a place determined by knowledge, not by birth”.

The hand-written chronicle is a telling memento of Jan Jan Sobieski’s notebook from the rhetoric Sobieski’s mother. In a concise style Teofila notes succes- class delivered in Bartłomiej Nowodworski’s sive important events taking place in her life, such as her College in Cracow marriage and the birth of her children. One of the lines 1641-1642 reads: “A son, Jan, was born to me in 1629, on 17 August, Manuscript, paper between two and three p.m., on Friday, the last day of the National Library in Warsaw

26 27 The notebook constitutes a priceless memento and sheds The future king’s elder brother, Marek was the first-born light on young Jan Sobieski’s education. Applying current son of Jakub and Teofila Sobieski. Jan and Marek attended terms, it is a school notebook of the king-to-be, which con- the Cracow Academy and later completed their education tains Jan’s own commentary to Cicero’s oration pro lege in Europe. In 1648 the two brothers were summoned back manilia. Aged 13, the pupil discusses political issues and to Poland for conscription into the armed forces, to defend describes a role model and virtues of an ideal ruler. the country. The young starost of Krasnystaw took part in the military defence of Zbaraż [Zbarazh] and the Battle of Map of Europe Berestechko, but his promising career ended with a tragic reproduction of a map drawn by Nicolas Picart death in the Battle of Batoh. Taken prisoner, Marek was after Wilhelm Hondius in 1650; dishonourably executed in 1652 by beheading on the or- the original belongs to the collection ders of Bohdan Chmielnicki. His death was a painful blow of the National Library in Warsaw to all his relatives and one, which left an imprint on the fu- ture king. Jakub Sobieski composed two instructions for his sons. The first one was written before they attended the Cra- Szymon Okolski cow Academy and the second one – prior to their depar- Orbis Polonus splendoribus coeli, ture on an educational trip through Europe. Foreign trips triumphis mundi, pulchritudine animantium were indispensable in upbringing and educating young condecoratus, in quo antiqua Sarmatorum noblemen predestined for future public functions. Last- gentiliata pervetusta nobilitatis insignia etc. ing nearly two years, the Sobieskis’ European trip included specificantur et relucent Germany, northern and southern Low Countries, France Kraków, 1641 and England. A valuable record of their peregrination is Wilanów Palace Museum a diary hand-written by Sebastian Gawarecki, the young masters’ tutor. The map contains excerpts quoted from This part of the exhibition is housed inside the King’s Li- his diary. While Jan and Marek were travelling through Eu- brary. The room takes its name from a source document, rope, their father Jakub died in the family estate in Żółkiew namely the General Inventory written in ca. 1696. Regretta- [Zhovkva]. bly, Jan Sobieski’s sumptuous book collection, amounting to ca. 7 thousand volumes, has not been preserved either Portrait of Marek Sobieski in Wilanów or in Żółkiew [Zhovkva]. Libraries throughout Unidentified painter Poland contain isolated publications from the former royal 3rd quarter of the 17th c. collection. The exhibited book with an inscription Jan Król Oil on canvas is a reminder of the room’s initial function. Dominican monastery in Cracow

28 29 war and peace

also beseech the king to come to our relief. His presence alone means as much as the arrival of the entire army. Charles V, Duke of Lorraine, commander of the imperial troops in a letter to hetman Stanisław Jabłonowski dated 16 August 1683, quoted from: Z. Wójcik, Jan Sobieski, Warszawa 1994, p.324. Plafond painting entitled Winter Jerzy Eleuter Szymonowicz-Siemiginowski war and ca. 1688

peace War and peace were two notions which encapsulated Jan Sobieski’s life. Peace was a rare visitor and usually took form of short episodes in-between successive stages of war. This aspect of Jan III’s life is intentionally staged in- side the King’s Antechamber. The plafond painting of Win- ter depicts the ancient god of the winds Aeolus. Willing to The King’s Antechamber master the four winds submitted to his authority, Aeolus strives to give them the right direction and consequently, to introduce harmony into the world. The message con- veyed by the painting relates to the authority exerted by Jan III in the state. Initially a marshal, later a hetman, Sobieski was finally elected the King of Poland. Like Aeo- lus described in Virgil’s Aeneid, Sobieski, “had to bridle gale-force winds with his power and to rein them in with a steadfast rule”. The exhibits on display underneath the Winter plafond painting allude to Jan Sobieski’s political and military struggles, with the Battle of Chocim [Khotyn] (1673) and the Battle of Vienna (1683) symbolizing his ulti- mate triumphs. Some of the exhibits in turn shed light on the king’s somewhat less fortunate political decisions.

Pledge of feudal lords Drawing: Erik J. Dahlbergh Engraving: Willem Swidde 1696 Copperplate engraving, paper Wilanów Palace Museum

The small print documents an infamous episode in Jan So- bieski’s life. Accompanied by the majority of Polish and Lithuanian generals, in 1654 the young starost of Jaworów [Yavoriv] made a pledge of allegiance to the King of Sweden, Charles X Gustav, thus showing disloyalty to John Casimir Vasa, his lawful monarch. Fortunately, Sobieski’s support

32 33 for the Swedish forces in the course of the war referred to Jan Sobieski as Grand Hetman of the Crown as “deluge” was a brief episode, since only 7 months later against the background he rejoined the troops led by the Polish King. The fact re- of the Battle of Chocim [Khotyn] mains that before Jan Sobieski performed glorious deeds Engraving: Romeyn de Hooghe in defence of his homeland, his political and military career 1674 was not entirely free from morally ambiguous decisions, as Etching, copperplate engraving, paper exemplified by his short-term support for the Swedish army. National Museum in Warsaw

Battle of Chocim [Khotyn] The Battle of Chocim [Khotyn] marked a great triumph Engraving: Romeyn de Hooghe of the Polish armed forces and above all, of Hetman 1674 Jan Sobieski. The scale and impact of the battle are best Etching, paper expressed by a quotation from a famous French letter- National Museum in Warsaw writer, Madam de Sévigné. A letter addressed to her daughter, Madam de Grignan, composed on 22 Decem­ In gloomy, rainy November weather, near the Chocim ber 1673, opens with the following paragraph: “Here is [Khotyn] stronghold (the current borderland between a piece of news from Europe, which has been lodged in Ukraine and Moldova) Polish-Lithuanian troops clashed my memory. The great hetman married to Miss d’Arquien head-on with the Turkish army. The forces of the Com- is heading his armed forces against Turkish troops. He monwealth were commanded by Grand Hetman of the won so significant a battle that as many as fifteen thou- Crown, Jan Sobieski. On 11 November 1673 his troops sand Turks were killed… his victory is so grand that no launched an unexpected and violent attack on frozen units one doubts the hetman will be elected king, the more of Hussein Pasha. Sobieski’s objective was to capture the so that he is a commander of military forces and fortune bridge across the Dniester River, a strategic point and the always smiles on great warriors”. Madam de Sévigné’s enemy’s only way of retreat. The exhibited print illustrates assumption proved right. Following a period of inter- the successful fulfilment of the objective. regnum, in the face of the approaching military action in the eastern frontiers of the Commonwealth, the The print composition is particularly interesting. It depicts loss of Kamieniec Podolski [Kamyanets-Podilsky] and the battle scene in a symmetrical frame of two drawn-back the signing of the shameful Peace Treaty of Bu­czacz curtains, which contain explanatory inscriptions. The left- [Buchach], the state needed a monarch with a clear hand side features a numbered legend, where individual elements of the print are described. The right-hand side in turn provides the background of the historic event, placing it in a specific context (the location of the battle, its par- ticipants and the name of the current Pope are indicated). At the top of the print there is a woven sash featuring the inscription: VICIT VIM VIRTUS, IN VIA VIRTUTI NULLA EST VIA (VIRTUE DEFEATED POWER, NO PATH LEADS VIRTUE ASTRAY).

34 35 vision and a defence plan. Jan Sobieski’s victorious Battle Sobieski’s way to the throne. 1683 marked the culminat- of Chocim proved him an ideal candidate to deal with the ing point of the monarch’s war activities and the heyday hopeless situation and to steer the Commonwealth back of his ambitious, dynasty-oriented policy, implemented by onto the path of glory. the royal couple within the Commonwealth and beyond its borders. Jan III’s entry into Cracow for coronation Engraving: Romeyn de Hooghe Casteels’s painting was created away from eyewitness ac- ca. 1710 counts, which testifies to Europe-wide renown enjoyed by Etching, paper the triumphant coalition of Christian forces under Jan III’s National Library in Warsaw command. The foreground features the monarch on a rearing-up horse, captured in the midst of the battle. The The symbolic and allegoric scene has little in common with grey and brown tonality of the background outlines the the real coronation ceremony, whose culminating point panorama of Vienna, the capital city of the empire about took place on 2 February 1676 in Cracow. Elaborate in its to be liberated after months of the Turkish siege. composition and content, the print features Jan Sobieski represented all’antica in the centre. The elect’s canopy One day after the battle, i.e. on 13 September, the priest above his figure is held by personified virtues: Justice, Pru- celebrating a thanksgiving service held in Saint Stephen’s dence, Sedateness and Vigilance, which are to accompany cathedral quoted the following excerpt taken from the the new monarch in his reign. The king-to-be is portrayed Bible: “There was a man sent from God, whose name was as an ancient triumpher, whose bravery in battlefield mer- John…”. its the royal office. As proof of his military achievements, the print features a hand-shaped sceptre, i.e. an ancient Apotheosis of Jan III sign of the highest authority and justice, and numerous Cirro Ferri (?) or Agostino Scilla (?) war trophies. The procession is heading towards a stately ca. 1684 edifice, which alludes to the Wawel castle. The royal fam- Oil on canvas ily members are depicted on the balcony; pregnant Marie Wilanów Palace Museum Casimire is surrounded by her offspring as well as lay and church dignitaries. The number and variety of works of art created in the af- termath of the triumphal Battle of Vienna is truly amazing. The Battle of Vienna The exhibited work constitutes an interesting example Pauwel Casteels of great renown enjoyed by the main protagonist of this After 1683 epoch-making battle. The painting is directly related to Oil on canvas a print created in 1684, commemorating the victory and Wilanów Palace Museum entitled Thesis of Urban and Taddeo Barberini. Their con- nection is confirmed by a striking similarity of the two The most significant of Jan III’s military achievements, the compositions and the heraldic bee (the Barberini’s coat Battle of Vienna was fought exactly ten years after the of arms) visible underneath the cartouche. Jan III is repre- triumphal Battle of Chocim [Khotyn], which had paved sented as a victor heading a procession. Marching by his

36 37 side there is a figure with flames above her head, personi- Banquet in Jaworów [Yavoriv] fying religious zeal. The female figure dynamically turning Frans Geffels towards them symbolizes the eternal city of Rome, as tes- ca. 1685 tified by the she-wolf present at her feet, feeding Romulus Oil on canvas and Remus. The winged Victory incapacitates the enemies National Museum in Wrocław of Christianity represented by Turkish captives. Pope Inno- cent XI, one of the key promoters of war against the Otto- Jan III’s active part in the Battle of Vienna and his role of an man Empire and an ally of the Polish King, is symbolically ally to the Austrian Emperor Leopold I Habsburg and Pope depicted among the clouds. The putti accompanying the Innocent XI symbolized the king’s reformulated European Pope fulfil important functions, with one crowing the head policy. Since his enthronement, the policy had been of Jan III with a laurel wreath and the other one holding based on an alliance with the French Sun King Louis XIV, the model of a church, designed as a votive offering for the a deadly enemy of the House of Habsburg. As a result of Victory of Vienna. The church, raised 50 years later near the new line-up, in 1684 Jan III joined the Holy League, the Trajan’s Forum in Rome, exists to this day. i.e. an alliance uniting rulers for the sake of defending the Christianity against the Crescent. Apotheosis of Jan III Italian painter (?) The presented painting is an extraordinary testimony to After 1683 the new order, pars pro toto the mood determining the Oil on canvas post-Vienna policy implemented by Jan III. On 6 July 1684 Wilanów Palace Museum the garden house of the king’s small property in Jaworów [Yavoriv] witnessed a meeting at the highest diplomatic The solemn presentation of Jan III as Atlas holding up the level. It recapitulated mutual obligations of the Polish King celestial sphere functions as a literal, painted description and the Holy League. The gathered guests (possible to rec- of the title Christianitatis Defensor, used with reference to ognize based on the written legend, not on their features) the Polish King after his victorious battles fought in 1683 included members of Venetian, Imperial and Papal diplo- against the Turkish forces. The rendition is complemented matic missions. The painting was probably created in Italy by the presence of Pheme crowing the globe, which em- under the patronage of one of the banquet participants. bodies the earthly fame. By blowing a trumpet, Pheme proclaims the accomplishments of the triumphant king and his two most significant allies, Pope Innocent XI and Emperor Leopold I Habsburg. Depicted near the winged Pheme, an eagle holding flashes of lightning symbolizes warlike Jupiter, the mythological father of the gods.

38 39 Writing desk Italy, Florence? 1670-1700 National Museum in Warsaw

The Inventory written after the king’s death in 1696 in- dicates that among items furnishing the Antechamber there was, “a large Florentine jewel box studded with vari- ous gemstones, made of tortoise shell and adorned with silver”. Although the exhibited desk did not form part of Jan III’s former collection, its artistic quality and costly ma- terials used in its manufacture rank it alongside artefacts originally displayed in Wilanów interiors. It is worth recall- ing a story connected with the residence, which claims that until the outbreak of World War II this room contained an Italian writing desk offered to the king by Pope Innocent XI.

40 41 sobieski and muses

s soon as he finds himself in his apartment, he becomes a Sovereign dedicated to beautiful fields of knowledge, a scholar who fathoms out all clouds and illuminates the greatest difficulties; after all, he is the king who descends the throne to listen to the Muses. F.P. Dalerac, Lettre écrite de Pologne à M. l.Abbé de la Roque, auteur du “Journal des Sçavants” touchant leurs Majestez Polonoises, Paris, ca. 1680. artistic and scientific patronage were truly impressive. The pastoral atmosphere of joy experienced in summertime is sobieski additionally enhanced by an active presence of the putti engrossed in farm work. The beautiful face of Aurora, and muses preceding the arrival of the sun-god Apollo, has features of the king’s beloved wife Marie. The sculpted cove contains four painted scenes, illustrating summer farm activities as described in Virgil’s Georgics.

The King’s Bedroom

Plafond painting entitled Summer Jerzy Eleuter Szymonowicz-Siemiginowski ca. 1689

The history of Jan III’s patronage is recreated inside the King’s Bedroom. The association of these notions may at first seem misplaced, but it is thoroughly justified by the content of the plafond painting. It depicts summer, the warmest and sunniest of the four seasons. The mythology- -inspired scene captures a meeting between Triptolemos, king of Beotia, and goddess Demeter. At the same time, it conveys a symbolic praise of sagacious management and foreshadows agricultural revival. Jan III strove to be perceived as a landlord reinstating the golden age, peace, harmony, justice and the rebirth of agriculture to his subjects. Such favourable conditions alone could guarantee unimpeded development of disciplines represented by Muses: literature, science, painting and sculpture. In line with an ancient proverb, voices of muses fall silent amidst the clanging weapons. Although Sobieski’s reign coin­cided with an unstable, war-torn period in the history of the Commonwealth, the monarch was nevertheless constantly assisted by patrons of art and his own achievements in

44 45 Glorification of Jan III’s patronage Glorification of Jan III’s virtues Jan Reisner (?) Jan Reisner After 1683 1683-1690 Oil on canvas Oil on canvas Wawel Castle National Museum in Warsaw

The work exemplifies a group of exceptional paintings, The piece was probably created by the same artist, who which illustrate Jan III’s patronage. It depicts a throne painted Glorification of Jan III’s patronage, as indicated by placed on a platform featuring statues of the royal couple. clear similarities in style and iconography of the two works. An artist is bowing in the direction of the throne, recom- Assuming the form of a medallion, the king’s image is held mended to the royals by an accompanying, allegoric fe- by an allegoric personification of the Commonwealth male figure. The latter’s chest is decorated with a mask and and surrounded by a sash with the following inscription: her armband contains the following inscription: IMITATIO GRATIA AUTEM DEI SUM QUOD SUM (BY THE GRACE (IMITATION). A figure standing next to the pedestal is spill- OF GOD I AM WHO I AM). The horn of plenty seen nearby ing coins and valuables out of the horn of plenty. It is hard refers to prosperity of the king’s subjects under his reign to envisage a more literal expression of gratitude for the and to his generosity, also in patronage. Female figures royal patronage (both ideological and material) of artists are holding a crown and a military helmet decorated with and their work. It is particularly telling in the context of a laurel wreath, while a putto is holding a bunch of roses. the Wilanów Palace and the painted as well as sculpted All of these attributes allude to the benefactor’s virtues, decorations extant in its interiors. To create them, Jan III namely his bravery combined with gentleness and love commissioned a group of artists, who were to constitute for the homeland. The painting corresponds with the key the germ of the future academy of painting, the first sys- message conveyed by the plafond painting of Summer tematized school of fine arts in the Commonwealth. To im- and, in a broader context, with the 17th-centuty decora- plement the idea in real life, the king granted scholarships tions of the Wilanów Palace. As prove, let us recall an in- in the Roman Accademia di San Luca to the most gifted scription from the palace elevation, reading: SOCIANT artists, among others to Jerzy Eleuter Szymonowicz- CUM PACE TRIUMPHOS (CONNECTED WITH PEACE ARE Siemiginowski, the author of the Wilanów plafond paint- TRIUMPHS). War can bring about peace, prosperity and ings. A genuine testimony to the ideal adhered to by the the flourishing of harmony and art only when fought in the king is found in a quotation from Jakub Kazimierz Haur’s name of just goddess Minerva, i.e. for the protection of the antique book, displayed at the exhibition. state.

46 47

Johannes Hevelius Jakub Kazimierz Haur Firmamentum Sobiescianum, Skład, Abo skarbiec znakomitych sekretów sive uranographia Oekonomiej Ziemiańskiej… [Collection, Or treasury Drawing: Charles de la Haye of excellent secrets of Farm Economics…] Engraving: Andreas Stech Kraków, 1693 Gdańsk, 1690 National Library in Warsaw Warsaw University Library A true Old Polish best-seller, the book is the first ever guide Numerous favours were rendered and generous support providing useful tips and instructions for household and given by the monarch to Johannes Hevelius, the most re- farm-related activities. Its content includes various digres- nowned 17th-century astronomer active in the Common- sions and anecdotes relative to history and social conven- wealth. Jan Sobieski was a great admirer of the scholar’s tions. Applying present-day categories, one could classify scientific accomplishments, which were the result of his Haur’s work as a “lifestyle” book. The first edition in 1675 hard and relentless work. Already as Grand Hetman of the was followed by a supplemented and corrected version Crown did Sobieski get acquainted with the astronomer’s released four years later, with financial support of Jan III. observatory, located in Korzenna Street in Gdańsk. In an As a token of gratitude, the author composed a profuse extant dedication handwritten on one of his works, Heve- and flowery dedication to the royal benefactor, which was lius mentions that his handmade scientific instruments added to successive editions. The book on display is a copy were once used by Jan Sobieski in observing the sky. After of the edition published in 1693 with the said dedication. a disastrous fire consumed Hevelius’s observatory in 1679, Jan III did not ignore the scholar’s personal drama. Instead, Apart from extraordinary content filled with useful tips, the he granted the astronomer considerable financial support, book contains Traktat o malarskich konsztach, Do malow- lent him his own astronomical instruments and exempted ania, rysowania, pisania… [Treatise on the art of painting, from taxation his Gdańsk brewery. The scholar repaid the Meant for painting, drawing, writing…]. This part includes monarch’s kindness by immortalizing his name on the the following paragraph, which discusses Sobieski’s aspi- celestial chart. Following the triumphal Battle of Vienna, rations as a patron of painters and documents his efforts Hevelius named a newly discovered constellation Scutum to establish a national academy of fine arts in Wilanów: Sobiescianum (Sobieski’s Shield), thus alluding to the es- “Thanks to the foundation and fervent piety of His Majesty cutcheon of the king’s Janina coat of arms. Moreover, he the KING and by the grace of God there are special Schools stressed the defensive quality of the shield by observing, in in Wilanów near Warsaw, needful, convenient and com- a truly Baroque spirit, that the Sobieskis’ escutcheon de- mendable, which reveal the secrets of Painting to Poland fended the entire Christian world against the Turkish threat. at large, introducing Easels, proportions, perspectives, landscapes and dimensions of various figures and Art of prime ingenuity; it has long been needed in Poland for the praise of God and for reducing the cost and difficulty of im- porting such Paintings and Masters from Foreign countries when in need, while it can now be done at Home in one’s Own comfort and for the good name of Our Nation that Local People should learn to practice the art”.

48 49 Madonna and Child with Saint John The image of Madonna and Child with Saint John is one of Italian painter only a few extant works of art associated with the collec- 17th c. tion of paintings originally decorating the Wilanów royal Oil on canvas apartments. A priceless archival document, the aforemen- Wilanów Palace Museum tioned Inventory written after the king’s death contains a description, which matches the depicted scene: “A paint- ing of the Blessed Virgin and L. Jesus with St John holding fruits, in a smooth gilded frame. NB It is on display by His Majesty’s body”.

Jan III showed interest in art and spared no expense and effort to obtain artistically valuable and engaging works. A circle of agents active in different European cities searched for works of art, which would satisfy the royal couple’s aesthetic needs. Of all contemporary artistic cur- rents, Jan III held in the highest esteem the Italian and the Dutch schools of painting.

Complicated life stories of Sobieski’s inheritors and the turmoil of wars sweeping through the Commonwealth in successive centuries proved ruthless to the historic arte- facts connected with the king. On reading the extant In- ventories of items, which once formed part of the royal collection, one feels bitter about the invaluable works of art, of which a great number have been irretrievably lost.

‘Private’ portrait of Jan III Italian painter 4th quarter of the 17th c. Oil on canvas Joanna Sidorczak-Heinsohn and Gunnar Heinsohn collection

Portrait of Jan III Unidentified painter 4th quarter of the 17th c. Oil on canvas Bayerische Staatsgemäldesammlungen, Alte Pinakothek Munich

50 51 The exhibition juxtaposes two of Jan III’s Window glyphs portraits. One of them is a typical portrait Sculptors active in Wilanow d’apparat, equipped with a full set of attributes,­ 1680s which emphasize its stately character. The king is depicted as a warrior – a Sarmatian Mars, Original stucco glyphs from Jan III’s times, decorated with wearing a set of armour with insignia of his figures of putti holding laurel branches intertwined with military command. The portrait forms part of oak branches and, at the top, with a motif of the royal the collection in Munich, where it was probably crown among palm leaves. transported along with Teresa Kunegunda So- bieska, daughter of Jan III and wife of Elector of Bavaria. Images of similar iconography are The Chinese Cabinet also found in Florentine collections. The sec- ond of the king’s portraits is classified among Martin Schnell the images of private character. 1731-1732

The juxtaposition of the two pieces reveals A room referred to as the Chinese Cabinet was recorded for a clear duality of Jan III’s nature. On the one the first time in the Inventory of 1696. This record proves hand, he is chiefly known and recorded in that the King’s Apartment housed artefacts imported historiography as a king-warrior, who ob- from the Far East. Apart from its oriental décor – which tained the highest office (i.e. the royal crown) conjured up faraway exotic lands, their customs and cul- thanks to his military achievements. On the ture, so fascinating to people in the Baroque period – the other hand, his private effigy reveals a some- Chinese Cabinet contained a large number of small objects what less known face the monarch, indirectly made of brittle porcelain. These touches of the Orient in- traceable in the extant Wilanów decorations. side the Wilanów Palace stemmed from the ubiquitous Jan Sobieski was raised in the spirit of Au- crave for chinoiserie and curiosité, present also at other gustinian ideals, desiring above all peace and European courts. It also testified to the extensive intellect stability for the war-torn Commonwealth. On of King Jan III, a protector of the first geographic society, referring to the king, his Irish physician Ber- an amateur cartographer and a collector of astronomical nard O’Connor observed that, “the King was instruments. a well spoken Prince, of very easy Access, and extream civil, and had most of the good Quali- Astrolabe (fragment) ties requisite in a Gentleman; he was not only 2nd half of the 17th c. well vers’d in all Military Affairs, but likewise in Brass, engraving all Polite and Scholastick Learning”. Wilanów Palace Museum

52 53 Astrolabe is an astronomical device used for defining loca- The Dutch Cabinet tion based on the positioning of the stars. Highly popular in early modern times, astrolabes were mainly used in naviga- Still life with a parrot tion. Although the key requirement in manufacturing an as- Still life with a wreath of flowers and fruits trolabe was precision of measurements, the item on display Abraham van Mignon is remarkable for its aesthetic execution. A telling quotation 1669-1679 engraved on the brass slab is the first verse from Psalm 18: Oil on canvas CAELI ENARRANT GLORIAM DEI, ET OPERA MANUUM EIUS Wilanów Palace Museum ANUNTIAT FIRMAMENTUM (THE HEAVENS DECLARE THE GLORY OF GOD; THE SKIES PROCLAIM THE WORK It is assumed that the two pieces formed part of the paint- OF HIS HANDS). The rare and valuable object symbolizes ings collection amassed by Jan III in Wilanów. In view of one of significant motifs in Jan III’s biography, namely his lacking written evidence, it is impossible today to lend vivid interest in sciences: astronomy, mathematics, physics credence to the assumption based exclusively on the fol- and geography. His contemporaries were impressed by the lowing general entry found in the property Inventory, “openness of his broad mind”, as the outstanding German i.e. a list of items found in Wilanów after the monarch’s scientist Gottfried Wilhelm Leibniz observed in his letter to death in 1696: “A pair of paintings featuring tiny flowers the Wilanów librarian, Adam Adamandy Kochański. hanging on a sash, in black frames with gilded trims”. In- stead, it is an established fact that the king had a particular liking for the northern school of painting and held Rem- brandt’s art in high esteem. A few of the artist’s paintings decorated Wilanów interiors, as testified today by one of the palace rooms, referred to as the Dutch Cabinet by the aforementioned Inventory. The relatively small gallery, located on the axis of the residence, housed a large num- ber of works by painters from the Low Countries, includ- ing Obraz Trzech Krolow, Rynbrandta malarza, w ramach czarnych [Painting of the Magi, by Rynbrandt, in a black frame]. Although today’s Dutch Cabinet is furnished in the Saxon style (of the 1730s), it houses works of art created by Dutch masters, to recreate its original artistic character.

54 55 all of king's faces

he newly elected king is a splendid and impressive figure, rarely seen in nature; well-built and proportioned, he is dignified of gesture and a lively personality. On seeing him, everyone is somehow compelled to feel respect. An eyewitness account written in 1674, the year of Sobieski’s election, published in: T. Korzon, Dola i niedola Jana Sobieskiego, vol. 3, Kraków 1898, p. 508. The décor of the Grand Vestibule and the set of the plafond all of paintings in the royal apartments featuring the four seasons formed a consistent iconographic programme. In the royal king's times the décor was enriched with one more painting enti- faces tled The Allegory of Day and Night, which regretfully has not been preserved to this day. The only remaining fragments of the original décor are found in the sculpted cove repre- senting the Four Elements and the Four Winds. Using state The Grand Vestibule of the art technology, the Museum created a documentary featuring the original plafond in a symbolic, virtual recon- Jan III ranks among the most frequently portrayed of all the struction. Non-existent today, the plafond complemented Polish monarchs. His image has functioned continuously the ideological programme of the palace interiors, reflect- in the national history and culture (including mass culture). ing the natural order of the universe and the cycles of nature. To a large extent the popularity of Sobieski’s effigy and its consistent characterisation are the result of a conscious Equestrian portrait of Jan III image-creation policy implemented by the royal spouses. Unknown author Following such epoch-making events like the coronation 18th c. ceremony and the victorious Battle of Vienna fought in Oil on canvas 1683, European (and other) courts were “showered” with Royal Castle in Warsaw representations of Jan III. This carefully-planned strategy consolidated an established image and a living legend of The equestrian portrait of Jan III was probably meant for the Lion of Lechistan, the Defender of Christianity and the Palazzo Zuccari, the Roman residence of the widowed Eastern Lightning. queen Marie Casimire Sobieska. During her fifteen-year- -long stay in Rome the queen did her utmost to keep alive The Grand Vestibule, the central and the most important the memory of her late husband and his great deeds, in- of all the Wilanów Palace interiors, displays a variety of ter alia by commissioning works of art, literature and King Sobieski’s portraits, both painted and printed. Their music, staging opera performances and organizing vari- large number accounts for the popularity of the monarch, ous celebrations. The displayed image presents Jan III on whose reign marked the final years of glory in the history horseback, as the saviour of Vienna. A whole set of motifs of the Commonwealth. Despite a certain modularity of emphasize the festive and ceremonial character of the the amassed portraits, one can discern some differences, painting. Alluding to uniforms worn by Roman emperors, which reflect the ways in which the king’s true likeness the king’s set of armour is composed of a plumed helmet, was recreated away from the model. The largest of all, the lion masks on his chest and knees, brassards with pteryges equestrian portrait of Jan III is exhibited on the axis of the and an apron made of leather straps. The winged goddess entrance to the Grand Vestibule. Its location refers to the Pheme is proclaiming the Polish monarch’s triumph to the equestrian statue, exhibited in the room on daily basis. world, with the tidings she brings legible on the pennant

60 61 tied to her trumpet. The front hooves of the king’s horse are raised above trophies captured from Turkish troops: a round kałkan shield, a turban and a banner. The king’s figure brings to mind obvious associations with the com- position of the monarch’s equestrian statue.

Portrait of Jan III wearing the Order of the Holy Spirit Painter associated with Jan III’s court atelier After 1676 Oil on canvas Museum in Nieborów and Arkadia, Department of National Museum in Warsaw

The painting used to be part of the Radziwiłł Princes collection. It was probably created to commemorate the solemn ceremony (held on 30 November 1676 in Żółkiew [Zhovkva]) of awarding the Polish King the most significant French distinction, i.e. theO rder of the Holy Spirit, as evident from the clearly and meticulously rendered order. The king is wearing an antiqued ka- racena (scaled set of armour), which became the most typical armour in Sobieski’s reign. His firm grasp of the sabre hilt and the czekan signify the king’s readiness for battle and remind of the achievements, which elevated him to the royal dignity and to the circle of the Knights of the Holy Spirit.

Portrait of Jan III in a laurel wreath Unidentified painter After 1683 Oil on canvas Wilanów Palace Museum

This is another portrait of Jan III making clear reference to the ancient tradition, which was ubiquitous in the Commonwealth referred to as the Sarmatian State and unlimited to high culture alone. Jan III is represented

62 63 in a Roman type of armour, his breastplate decorated Portrait of Jan III with a baton with a Gorgon’s head, responsible for repelling evil spell. Unidentified painter His coat embroidered with gold thread is modelled After 1683 after the so-called paludamentum, i.e. a robe worn in Oil on canvas ancient Rome by Caesars and victorious commanders. Wilanów Palace Museum The monarch’s head is adorned with a laurel wreath symbolizing victory. The presented work ranks among Jan III is represented in a European set of armour, fas- the finest royal images extant in the Wilanów collection, tened with a leather belt with a decorative, gem-studded enchanting by the subtle golden-brown tonality of the buckle. Both the model’s hands are resting on items of his background as well as Jan III’s solemn, judicious face, gear, with the left one holding a sabre hilt in a pose sug- exuding genuine royal majesty. gesting his readiness to draw it, and the right one placed on a baton, profusely decorated with a white eagle motif Portrait of Jan III in a laurel wreath with the Janina coat of arms on its chest. To emphasize the (small version) king’s command, he is clad in a leopard’s skin around the Unidentified painter hips. The background features a battle scene, thus com- After 1683 plementing the function of the image, which portrays the Oil on canvas monarch as the Sarmatian Mars. The portrait was first re- Wilanów Palace Museum corded in the Wilanów collection in 1793.

The displayed painting is a smaller, bust-size version of Portrait of Jan III in a laurel wreath, the portrait of Jan III in a laurel wreath. Apart from minor with a baton alterations in the model’s dress and distinctly different Daniel Schultz (?) authorship, the image is identical with its larger version Before 1683 in the presentation of the king’s face and the composi- Oil on canvas tion of the armour. The pair of portraits prove that cer- National Museum in Warsaw tain types of Jan III’s images were well-established and gained new content in successive interpretations, at The majestic effigy depicts Jan III as an ancient triumpher, times quite different from the original. Royal portraits wearing a karacena, brassards with pteryges and a leather and their replicas were frequently sent as gifts to Eu- apron with a motif composed of masks. The proud, straight ropean courts or even offered to courtiers, comrades- posture and the laurel wreath decorating the model’s tem- in-arms, political allies, or perhaps more so political ples command respect and admiration. Alongside other enemies, in order to remind everyone of the lawful king. images, this unique portrait was the subject of interesting Numerous copies were also made for the royal children, research carried out in 2011 in the Department of Experi- Jakub and Teresa Kunegunda, who settled far away from mental Psychology of the Catholic University of Lublin, in home following their weddings. cooperation with the Wilanów Palace Museum. The ob- tained results proved that the discussed portrait contains

64 65 the largest number of elements recreated in those images Portrait of Jan III in a leopard’s skin of Jan III, which were probably painted directly from the Unidentified painter model. This means that the portrait in question may be 4th quarter of the 17th c. considered the most faithful image of Jan Sobieski. The Oil on canvas conducted research is the topic of Jan III Sobieski. Prawdzi- Wilanów Palace Museum wa twarz króla [Jan III Sobieski. The true face of the king], a film available on the Museum website and on YouTube. The portrait draws our attention by a slightly different ren- dition of Jan III’s face. Interestingly enough, unlike most Portrait of Jan III against a battlefield of his well-known painted images, this one represents the Unidentified painter model looking not so much at the viewers, as to the side. End of the 17th c. One gets an impression that the portrait depicts an el- Oil on canvas derly king. Source records unanimously claim that over the Wilanów Palace Museum years the king was gradually losing his healthy and robust posture and contended with overweight, resulting from This portrait of Jan III stands out from all others by virtue various ailments, which were gradually consuming his ex- of the model’s dress. This time the king is not posing in hausted body. His hair turning grey, wrinkles around his a set of armour all’antica, but instead he is wearing a Polish eyes, swollen eyelids and obese face indicate that the por- dress composed of a żupan with woven flowers, covered trait might have been painted when the model was already with a fur-lined delia. Such representation refers to one of of advanced age. If this assumption is true, the more signif- the “king’s faces”, strongly associated with Jan Sobieski, icant are the following elements, which identify Jan III with the most Sarmatian of all Polish monarchs. An English a warrior and a politician: a karacena, a sash of the Order of envoy, Robert South described the king as follows: “He is the Holy Spirit, Roman-type brassards and a purple-lined a Prince of a large face and round eyes: he always dresses leonard’s skin fastened with a sumptuous buckle. like his subjects, his hair is trimmed around the ears like a monk’s, he wears a fur hat, profusely decorated with dia- monds and gems and a large moustache; he wears no scarf on his neck. His coat-like robe is heel-length, underneath he wears the same length tunic belted tight at the waist. He never puts on gloves and the said long coat is made of thick scarlet cloth, sumptuously bordered with fur in the wintertime and edged with silk in the summertime”.

66 67 love and the loved ones is Majesty the King went on a ride in Wilanów, which he enjoyed in the company of the princes… in the evening he had the princess and the princes play the “Goose” game by his side. Journal of Kazimierz Sarnecki, a resident at Jan III’s court. bringing and health and enjoyed spending time in their company. They listened to music together, watched love and their children dance, played draughts and took strolls in the gardens. Admittedly, the royal children constituted the loved a political capital too. In case of the Sobieskis, it trans- ones lated into their planned improvement of the overall situ- ation in the Commonwealth. An heir to the throne was to solidify the crowned dynasty and to thwart the cata- strophic effects of the free election system. The Queen’s Antechamber

Plafond painting entitled Autumn Jerzy Eleuter Szymonowicz-Siemiginowski ca. 1686

Autumn is the season when nature gratifies man’s work with plentiful harvest. Orchards bear fruits and forests abound in honey. Such iconography clearly alludes to the no- tion of fertility. The inhabitant of the apart- ment, Queen Marie Casimire was to produce a royal heir for her subjects. This part of the exhibition focuses on Jan Sobieski’s loved ones, i.e. his dearest wife Marie Casimire and their four children: Jakub Ludwik, Teresa Kunegunda, Aleksander Benedykt and Kon- stanty Władysław. The customary etiquette practiced at contemporary European courts assumed that royal descendants ought to be brought up away from their natural parents. The policy of stiff rules left little room for affection within royal family circles. Mean- while, Jan III and Marie Casimire stood out as exceptionally loving and caring parents. The couple’s attachment to their offspring was genuine and deep. The Sobieskis took utmost care of their children’s proper up-

70 71 tenderly overlooking her older children: Aleksander, Kon- stanty and Teresa Kunegunda. A bust of Jan III is visible above the group, while slightly below, the eldest son Jakub poses proudly in his red coat, symbolizing his position of an heir to the throne, as anointed by his parents. The set of motifs used in the painting shifts the key message of the entire composition from an affectionate family scene to a carefully thought-out propaganda. It is not acciden- tal that the scene contains the following attributes: a lion – the royal animal, an eagle, a laurel wreath, red curtain, pearls, shells and a dolphin. All these elements only seem- ingly decorate the composition. In truth, they convert it into a scene filled with clear allusions, fully comprehensi- ble to people in the Baroque period. Their concise inter- pretation can be encapsulated in the following statement: owing to their virtues and praiseworthy service rendered to the country, the House of Sobieski righteously gained the crown, which should never abandon the family, but instead to remain in their hands, bringing welfare to the Commonwealth.

Portrait of Jan III with Jakub (1667-1737) Jerzy Eleuter Szymonowicz-Siemiginowski ca. 1690 Oil on canvas Wilanów Palace Museum

Portrait of Marie Casimire Marie Casimire with children with Teresa Kunegunda (1676-1730) Jerzy Eleuter Szymonowicz-Siemiginowski Jerzy Eleuter Szymonowicz-Siemiginowski ca. 1684 ca. 1690 Oil on canvas Oil on canvas Wilanów Palace Museum Wilanów Palace Museum

The emotional scene pointedly demonstrates Marie The pair of the royal double portraits depict Jan III with his Casimire’s motherly affection. The queen is represented as eldest son Jakub and Marie Casimire with her daughter Charity, the mother breast-feeding her youngest son Jan, Teresa Kunegunda, the future wife of Elector of Bavaria.

72 73 Apart from supplying tangible evidence for close relations The two younger sons of Jan III and Marie Casimire, Alek- between the royal couple and their offspring, the portraits sander and Konstanty were already born as the royal chil- are chiefly meant to facilitate the royal couple’s ambitious dren. Significantly, they both received names associated political plans and dynasty-oriented strategy. Jan III and with great commanders, Alexander of Macedon and the Marie Casimire received political formation from John Roman Emperor Constantine. Presumably, their names Casimir and Marie Louise Gonzaga, ardent supporters of were to foretell and secure their bright future. Meanwhile, vivente rege, i.e. the system of electing a royal successor despite continuous efforts made by their royal parents, in the lifetime of the reigning king. They realized that the following Jan III’s death the lives of the two princes took Commonwealth was seriously enfeebled by the free elec- a turn for the worse and ended up unsuccessful. tion system, considerably influenced by neighbouring states (and their money). The pair of the fine portraits, originating from a French artist’s workshop, depict the princes presumably aged It was the intention of Jan III and his ingenious wife to se- 19 and 16, i.e. at the time when they were still hopeful of cure the crown for their eldest son, Jakub Ludwik, born in maintaining the crown within the House of Sobieski. Their 1667 in France. Depicted in a red coat, the prince is resting confident poses, sumptuous fabrics and a subtle presence his hand on a defensive shield, alluding to the Sobieskis’ of the royal insignia – the Order of the Holy Spirit awarded Janina escutcheon. The queen’s presentation with her by Louis XIV – emphasize the solemn character of the im- daughter is decorated with a symbolic architectural motif ages and their optimistic expression. Meanwhile, neither of a caryatid supporting the roof of a building. It provides Aleksander nor Konstanty managed to go down in history a subtle allusion to the role played by the queen, who helps of European politics and their achievements were solely her spouse to support the edifice of the state. The princess related to the patronage of theatre and music. is making a graceful and cordial gesture with her hand, resting it on her mother’s shoulder. Glass of Prince Jakub Sobieski Bohemia, before 1720 Portrait of Aleksander Sobieski (1677-1714) Transparent, double-walled cut glass; engraved Painter from the circle of Hyacinthe Rigaud gold foil; red resin (?), between-walls decoration 1696 (?) (Zwischengoldgläser technique) Oil on canvas Wilanów Palace Museum Wilanów Palace Museum Six bottles of Prince Konstanty Sobieski Portrait of Konstanty Sobieski (1680-1726) Poland, Lubaczów starosty (?), Painter from the circle of Hyacinthe Rigaud Cristal Glasswork (?) 1696 (?) Before 1726 Oil on canvas Transparent, cut, engraved, partially polished Wilanów Palace Museum glass; engraved silver; cork Wilanów Palace Museum

74 75 Stanisław Solski The al Fresco Cabinet Geometra Polski… a copy containing the author’s Frescoes depicting scenes dedication to Prince Jakub Sobieski featuring Apollo: Kraków, 1683 Apollo with Cumaean Sybil Wilanów Palace Museum Apollo playing the flute Apollo with Shepherdess Issa Personal artefacts of Jan III’s and Marie Casimire’s chil- Jerzy Eleuter Szymonowicz-Siemiginowski dren are rather scarce in the Wilanów collection. The his- ca. 1692 tory of Poland, regrettably marked by dramatic events, led to a total destruction or dissipation of numerous Decorations inside this relatively small items of property, mementoes, paintings, books and cabinet provide perhaps the most touch- documents, owned once by the Sobieski family mem- ing painted testimony to the genuine love bers. Of the few items preserved, the majority are between Jan Sobieski and Marie Casimire. abroad. Particularly telling is the scene of Apollo meeting Cumaean Sybil. Complying with Similar to the six bottles of Prince Konstanty, the glass her request, Apollo grants Sybil as many of Prince Jakub features a monogram helpful in recog- years of life as many grains of sand she can nizing the first proprietors of those vessels. hold in her hand. However, long life does not guarantee everlasting love. Conse- A copy of Geometra polski… [Polish Geometrician…] quently, Sybil wails over her fate in fear that, by Stanisław Solski, a Jesuit priest, is a remarkable “a time will come when advanced age will and moving period object, namely the first methodi- transform my body into a grain and it will cal mathematics textbook supplied with exercises. be hard for anyone to believe that I once ap- Rev. Solski was Jan III’s court theologian and, in earlier pealed to, and was loved by, the god”. The years, his military camp confessor. The book contains inexorable passage of time had no effect a dedication addressed to Jan III’s eldest son, which in- on the genuine love between Jan and Ma- dicates that for a period of time Solski was the prince’s rie Casimire, as indicated by their extensive tutor: “To Prince Jakób, Son of His Majesty the King and affectionate love correspondence. “The Johannes III Sobieski, my graceful and agreeable pu- only solace of [his] heart and soul”, as Jan pil, To the benefit, Entertainment And also for his love, used to address his sweetheart, remained diligent and Genuine study of the obiectum contained the true love of his life. “My happiness was in These Books, I present the Book as its director and all about rejoicing in him, not in his crown”, author: the widowed Marie Casimire admitted after Stanislai Solski Jan’s death. She outlived her husband by 20 Societatis Jesu”. years, enjoying good health until the end of her days. Today, her remains are buried next to Jan III’s inside the Wawel cathedral.

76 77 marie the regent

he is a woman of an acute mind, capable of keeping secrets. She is avid for commanding others. Not only does she know how to focus on the most important matters, just as she does at the court, but also how to rule the entire kingdom independently. Account of Papal nuncio Andrea Santa Croce, written in 1690, published in: M. Komaszyński, Piękna królowa Maria Kazimiera d’Arquien Sobieska [The Beautiful Queen Marie Casimire Sobieska née d’Arquien], Kraków 1995.

The Queen’s Bedroom

Plafond painting entitled Spring Jerzy Eleuter Szymonowicz-Siemiginowski ca. 1686

Decorations created inside the Wilanów Palace in the course of Jan III’s reign contain erudite and subtle refer- ences to mythology and literary works of ancient writers.

78 79 Apart from the aforementioned Georgics by Virgil, another The two portraits of Jan III’s and Marie Casimire’s royal extensively quoted work, admired by people in the Ba- predecessors serve as a reminder of King Sobieski’s be- roque period, was Ovid’s Metamorphoses, or Transforma- loved wife and her life story. Marie Casimire de la Grange tions. The great popularity of the literary piece reflects d’Arquien was born in France and came to Poland (prob- the contemporary readers’ love for unconventional stories ably) at the age of four, as a lady-in-waiting to the new full of twists and illustrating the multi-faceted human na- Queen of Poland, Marie Louise. It was at the royal court in ture. It also proves their interest in observing the cycles of Warsaw that the amazing career of Marie Casimire began. nature and their symbolism, such as the cycle of day and In 1655, the unfortunate year of the Swedish invasion of night and the cycle of the four seasons. The plafond paint- Poland, she made her acquaintance with young Jan So- ing entitled Spring constitutes a paean to the notion of bieski, the then starost of Jaworów [Yavoriv]. As Sobieski change. It features the graceful goddess Flora scattering was a promising soldier and politician, prudent Queen Ma- flowers, which profusely adorn the earth under her rule. rie Louise made use of his affection for Marie Casimire and The scene alludes to graces and benefits bestowed upon persuaded him to join the royal court and to support her her subjects by the beautiful Marie Casimire. In the lower political plans. Her main objective was to introduce in the section of the painting the artist depicted metamorpho- Commonwealth the election system of vivente rege, i.e. in ses of ancient heroes. Their transformations into symbolic the lifetime of the reigning king. It was also in this respect flowers (a sunflower, a hyacinth and anemones) symbolize that Jan III, or perhaps the more so Marie Casimire, fol- beneficial reforms introduced in the Commonwealth on lowed in their royal predecessors’ footsteps. the queen’s initiative. Another revolution, clearly alluded to in the painting, occurred in Marie Casimire’s own life, A significant new social convention was implemented at when she was gradually transformed from graceful, young the Warsaw court of Queen Marie Louise and took form Marie, a lady-in-waiting to Queen Marie Louise Gonzaga, of a certain female emancipation. It was visible above all to resolute Queen Marie Casimire. in political activities, overt or backstage, undertaken by the queen. Marie Casimire proved a keen follower of the Portrait of John Casimir Vasa new tendency, as exemplified by the 22 years of her active Copy by Antoni Strzałecki after Daniel Schultz support for Jan III and his reign. Apparently, if it was not ca. 1897 for her remarkably dynamic and resourceful initiatives, Jan Oil on canvas Sobieski’s election as the King of Poland would not have Order of the Nuns of the Visitation, been self-evident. convent in Warsaw Portrait of Marie Casimire Portrait of Marie Louise Gonzaga French painter Copy by Antoni Strzałecki after Daniel Schultz ca. 1660-1665 ca. 1897 Oil on canvas Oil on canvas Wilanów Palace Museum Order of the Nuns of the Visitation, convent in Warsaw

80 81 Portrait of Marie Casimire independent and influential state and thus became im- Unknown author mortalized in history. ca. 1695-1696 Oil on canvas Jan III and Marie Casimire Royal Castle in Warsaw Sebastiano Bonicelli 1677 Similar to the pair of portraits of Jan III inside the King’s Oil on silver sheet Bedroom, this room displays two portraits of Marie National Museum in Warsaw Casimire. One of them dates back to pre-coronation times, as can be concluded from the missing royal insignia. Young The small, yet charming miniature speaks volumes about Marie is gracefully leaning her head on her shoulder, rest- the relationship between Jan III and Marie Casimire. Of- ing on a sumptuous cushion. A subtle, slightly dreamy smile ficially the queen could not be of equal political standing suggests a private rather than formal character of the por- with the king, since pacta conventa obliged the monarch to trait. The painting was created around the date of Marie swear that his wife would not partake in the ruling. In real- Casimire’s wedding to Jan Sobieski (5 July 1665). ity however, she played an active role in exercising power, as Marie Casimire’s character drove her into the intricacies Despite lacking evidence in form of the model’s aged face, of contemporary politics. Ample testimony can be found the other image was painted much later. Its official and state- in the king’s correspondence. In his letters Jan III did not ly character is indicated by the royal insignia. The portrait limit himself to expressions of affection towards his wife, forms part of the collection of Bayerische Staatsgemälde­ but scrupulously reported on key events of successive war sammlungen, Alte Pinakothek in Munich, where it was prob- campaigns, the movement of troops and his decisions per- ably transported along with Teresa Kunegunda Sobieska’s taining to the current political situation. The intellectual trousseau. With reference to Marie Casimire’s looks, period equilibrium between the male and the female elements is documents are unanimous in describing her exceptional best expressed in the spatial layout of the Wilanów Palace; beauty. Apart from sycophantic accents, extant portraits the sunny southern part housed the king’s apartment, confirm the queen’s unquestionably good looks. Secretary while the corresponding lunar northern part was inhabited of the French ambassador, Mr de Mongrillon made the fol- by the queen. lowing remark referring to the queen: “her eyes were so lively that, as I have heard, no painter was capable of repre- Silver tray featuring a triumphal entry scene senting them faithfully”. What a pity! Jan Gotfryd Holl 1683 In line with the metamorphoses depicted in the “Spring” Gilded, pressed and polished silver, plafond painting, the juxtaposition of Marie Casimire’s some fragments in mid-relief two portraits reveals the notion of the changing fate. Born Wilanów Palace Museum into an impoverished French family, a lady-in-waiting to the queen was ultimately crowned the Queen of Poland Created by a renowned Gdańsk craftsman Jan Gotfryd Holl, herself. For 22 years she was the ruling monarch of a large, the silver tray constitutes an interesting example of an ar-

82 83 tefact relative to Jan III and Marie Casimire. Its flat surface arrangement of all the portrayed figures underlines equal- depicts Jan III’s triumphal entry, following the victorious ity between the spouses, surrounded from both sides by Battle of Vienna. In his procession the king is accompanied family members. Visible on the king’s side, the male group by his wife Marie Casimire. The royal couple are sitting in is composed of the royal sons: Jakub, Aleksander and a four-wheeled, antiqued chariot drawn by four horses, led Konstanty. Seen on the queen’s side, the female group is by royal subjects. The presentation of the royals exudes made up of Hedwig Elisabeth Amalia Pfalz-Neuburg, wife unlimited power and emphasizes Marie Casimire’s share in of Jakub, her daughter Maria Leopoldyna and Teresa Ku- overcoming hardships of the reign. negunda. The portrait of the Sobieski family may be inter- preted as the praise of harmony and peace, which the royal It is a fact worth recalling that the queen had a consider­ couple find in the circle of their relatives. The atmosphere able share in proclaiming the victory in the Battle of Vien- of leisure is emphasized by a shield with a Gorgoneion na. It was Marie Casimire who ordered the printing and dis- crossed with a sword – though present, it is suspended on tribution of a historic letter written to her inside the vizier’s the shaft of a column, behind the king. tents on 13 September 1683. In it, Jan III was breaking the news of the overwhelming success achieved by the allied In keeping with the Baroque spirit, the interpretation of Christian forces. It was also the queen who received the the composition cannot be limited to what is seen at first tidings of the victory, while praying in the Wawel cathe- glance. Apart from the self-evident message, the portrait dral. The epoch-making news was communicated to her additionally communicates the Sobieski family’s readiness by the royal secretary Philippe Dupont, who reported that, to sustain the royal dignity, as seen from the young princes’ “Three days later (i.e. on 16 September) I reached Cracow. antiqued suits of armour, Jakub’s western, profusely It was only seven a.m., yet I found the queen kneeling in enamelled gear and his coat – its purple colour dominat- front of the altar. On spotting me, uncertain what tidings ing the composition. A solemn and official character of the I was bringing, she shouted loud and the church echoed “family scene” is crowned with a sumptuous carpet with her shout. When I passed the news to her, the queen threw a woven motif of a heraldic eagle. herself on the floor in front of the altar and remained still for a while… I handed her the vizier’s stirrup, which the Coronation medal queen immediately had attached at the foot of the miracu- with busts of the royal couple lous crucifix, where it has been displayed ever since”. Johann Höhn 1676 (?) Jan III surrounded by family Silver, die striking Painter associated with Jan III’s court atelier National Museum in Warsaw After 1693 Oil on canvas Two-ducat badge commemorating Wilanów Palace Museum Marie Casimire’s coronation 1676 As the royal couple, Jan III and Marie Casimire are repre- Gold, striking sented in the compositional centre, on a platform. The Royal Castle in Warsaw

84 85 In Jan Sobieski’s reign, medals and coins struck to com- memorate significant historic events were a useful medium of communication. They were usually struck in larger quantities to reach numerous receivers and their iconographic value was dependent on raw material used in their manufacture. The two medals on display are but sam- ples of an extensive collection related to the Sobieski fam- ily and provide interesting information on Marie Casimire. The first of the two medals, struck to commemorate the coronation of the royal couple, features the profiles of the spouses, which symbolically constitute the obverse and re- verse of the medal. The other one, dedicated to Queen Ma- rie Casimire, features goddess Diana in a hovering chariot directed towards the sun. The accompanying inscription, dedicated to Marie Casimire, reads: FULGORES SOCIAM VOCAT IN CONSORTIA REGNI (GLINT CALLS ON THE COMPANION TO SHARE IN THE KINGDOM) and refers to her role following the coronation. Bearing in mind that goddess Diana is associated with moonlight, while glint symbolizes sunlight, Marie Casimire personifies a faithful reflection of light shone by the brightest of stars.

Mirror with wood-carved ornaments corresponding with the plafond painting 1730s

86 87 The Queen’s Antecabinet

The mysterious woman reflected in the mirror has facial features of Marie Casimire. Represented as Aurora or the morning star, she shines the dawn light into the night dark- ness, thus foreshadowing the break of day. The beautiful metaphor focuses on the significance of the queen, who complements her husband in his actions. Like Apollo, the king will bring to the state the life-giving light of change and will lead its people out of darkness. Marie-Aurora is accompanied by putti holding torches and flowers. Their faces reveal features of the royal couple’s three sons: Jakub, Aleksander and Konstanty. This fascinating family crypto-portrait provides a masterly combination of a se- rious, political message enrooted in mythology – stress- ing the significance of the queen and the royal offspring for the Commonwealth – with an intimate atmosphere of the Sobieski family and their cosy home. The painting re- flected in the mirror decorates the plafond of the Mirror Cabinet, part of the Queen’s Apartment.

88 89 Toilet set of Marie Casimire Sobieska jan iii France End of the 17th/beginning of the 18th c. in the museum rosewood, tortoise shell, engraved brass sheet, of stanisław engraved silver sheet, engraved mother-of-pearl, brass kostka Wilanów Palace Museum potocki

The Cabinet in front of the Gallery

Memory of Jan III has always been kept alive in Wilanów. Successive owners of the residence, such as the Sieniawski, Czartoryski, Lubomirski and Potocki families, held the palace in high esteem and tried to preserve, as much as Of outstanding artistic class, the highly valuable toilet set possible, its authentic, 17th-century décor. The original was bought by Count Potocki in 1808 in Paris. Documents movables from the palace interiors were less fortunate, as confirming the purchase have been fortunately preserved they were shared out among Jan III’s inheritors and consid- to this day. They include a receipt issued by a Parisian shop erably dissipated. An exceptional period in the history of of an antique dealer de Tourniere and an entry in the count’s the Wilanów property was its ownership and administra- “Journal of Business Dealings” reading: “An Expense for the tion by Countess Aleksandra Potocka née Lubomirska and sake of my Wife […] Dressing Table of the Queen, King Jan’s her husband Stanisław Kostka Potocki. The count was an wife – 300 livres”. On purchasing the said dressing table, extraordinary figure, typical of the Enlightenment period: the count was certainly driven by motifs of artistic, but also a politician, statesman, writer, archaeologist and art his- sentimental and museum-inspired nature. The finial of the torian in one. Assisted by his wife, Potocki decided to es- mirror features the coat of arms of Marie Casimire’s family tablish in Wilanów the first ever art museum in the history d’Arquien, represented on a field resembling the Sobieskis’ of Poland. Works of art and artefacts from Europe and the Janina escutcheon. Next to the finial there is a figure of an Far East collected by the couple were now exhibited inside eagle underneath a crown. The combination of the two he- premises permeated with great history. The Potocki col- raldic elements helped to associate the period object with lection included also priceless items of sobiesciana. Marie Casimire Sobieska, the more so that she spent the final years of her life (1714-1716) in the Blois castle in France. Although incontrovertible association of the piece of furni- ture with Marie Casimire is impossible today, Potocki’s pur-

90 91 chase of the discussed item as unique sobiescianum for his collection proves his vivid interest in extant memorabilia of the first owners of the Wilanów residence, which the count safeguarded in a commendable way.

Equestrian portrait of Jan III Court painter 1685-1696 Oil on canvas Wilanów Palace Museum

Equestrian portrait of Marie Casimire Court painter 1685-1696 Oil on canvas Wilanów Palace Museum

The relatively small equestrian portraits of the royal couple are among the few works of art, which probably decorated the Wilanów Palace interiors at the time of Jan III’s death, as testified by the following entry in the General Inventory of 1696: “A pair of paintings of Their Royal Highnesses on horseback, in golden frames”. The two portraits were cre- ated as a pair, which can be deducted from their common composition and the same stately character. The king is depicted in a valiant pose, on a rearing-up horse, with a ba- ton in his hand, symbolizing the commander’s authority. Marie Casimire is sitting on horseback in a dignified pose of an Amazon, holding a sceptre in her raised hand. Her royal dignity is underlined by the embroidered motif of a heraldic eagle, decorating her coat and shabrack.

The two portraits returned to the Wilanów residence in 1812 after having been purchased by Aleksandra Potocka, who skilfully supported museum-related activities of her husband, Count Stanisław Kostka Potocki. Prior to their return to Wilanów, the two paintings formed part of col-

92 93 lections owned by inheritors of Stanisław August, the last king of the independent Commonwealth.

Minerva among Muses Hendrick van Balen (?) 1st quarter of the 17th c. Oil on board Wilanów Palace Museum

The note hand-written by Count Stanisław Kostka Po- tocki and attached on the reverse of the displayed period object reads: “Parnassus with a landscape surrounded by arabesques; a wooden board, former lid of a clavichord offered to Her Royal Highness by the wife of Emperor Le- opold, as indicated by a past inscription. It seems that the gift was presented just before the King departed to relieve Vienna, for the inscription expressed a wish that the Queen would sweeten the absence of her beloved Knight with her rare talent for music and on his return, would play for him triumphal songs”. Even if the story associating Minerva among Muses with Queen Marie Casimire and the Relief of Vienna is at variance with the truth, it nevertheless pro- vides interesting testimony to a great popularity of period objects related to Jan III and his family. It also proves that genuine efforts were made by successive Wilanów own- ers to collect as many similar items as possible, in order to transform the residence and the museum into a veritable monumentum sobiescianum.

The main topic of the painting is an allegoric depiction of music. The goddess of wisdom and valour, Minerva is represented on Mount Parnassus, the seat of Apollo. She is surrounded by Muses, guardians of art. The freely scat- tered instruments symbolize Minerva’s function as a pa- tron of music. It is music, which brings happiness and solace to people at large and to Marie in particular, now that she is temporarily abandoned by her beloved husband, Jan III.

94 95 • Listy Pani de Sévigné, selected by W. Karpiński, bibliography translated by M. Mroziński, A. Tatarkiewicz, introduction and endnotes by M. Mroziński, Warszawa 1981. • Malarstwo do 1900. Katalog zbiorów. Zamek Królewski w Warszawie, ed. D. Juszczak, • Barycz H., Rzecz o studiach w Krakowie dwóch generacji H. Małachowicz, Warszawa 2007. Sobieskich, Kraków-Wrocław 1984. • Milewska-Waźbińska B., Słońce na tarczy, czyli • Chwała i sława Jana III w sztuce i literaturze XVII-XX w., tajemnice pałacowej fasady, Warszawa 2008. exhibition catalogue of jubilee exhibition • Odsiecz wiedeńska 1683. Wystawa jubileuszowa commemorating the tercentenary of the Relief of Vienna, w Zamku Królewskim na Wawelu w trzechsetlecie bitwy. September-December 1983, ed. W. Fijałkowski, Tło historyczne i materiały źródłowe, vols. I-II, J. Mieleszko, Warszawa 1983. Kraków 1990. • O’Connor B., Historia Polski, ed. P. Hanczewski, • Pamięć o odsieczy wiedeńskiej, exhibition translated by W. Duży, T. Falkowski, P. Hanczewski, commemorating the 325th anniversary of the victory K. Pękacka-Falkowska, Warszawa 2012. in the Battle of Vienna, Wawel Castle – National Art • Dupont P., Pamiętniki historii życia i czynów Collection, Kraków 2008. Jana III Sobieskiego, ed. B. Spieralska, D. Milewski, • Polaków portret własny, ed. M. Rostworowski, Warszawa 2011. foreword by A. Gieysztor, afterword by J. Topolski, • Fijałkowski W., Królewski Wilanów, Warszawa 1996. Warszawa 1983-1986. • Fijałkowski W., Wnętrza pałacu w Wilanowie, Warszawa 1986. • Portrety Jana III Sobieskiego i Jego Rodziny, exhibition • Górska M., Milewska-Waźbińska B., W teatrze życia catalogue commemorating the tercentenary of i sławy Jana III Sobieskiego, czyli widowisko wilanowskie, Wilanów, Warszawa 1983. Warszawa 2010. • Primus inter pares, joint publication accompanying • Grand Tour. Narodziny kolekcji Stanisława Kostki Potockiego, the exhibition held at the Wilanów Palace Museum, exhibition catalogue of jubilee exhibition commemorating the Warszawa 2013. bicentenary of the Wilanów Museum 1805-2005, ed. J. Mieleszko, • Targosz K., Jan III Sobieski mecenasem nauk i uczonych, A. Kwiatkowska, Warszawa 2006. Warszawa 2012. • Karpowicz M., Sekretne treści warszawskich zabytków, • Tron Pamiątek ku czci „Najjaśniejszego, Warszawa 1981. Niezwyciężonego Jana III Sobieskiego, Króla Polskiego” • Kolekcja wilanowska, ed. J. Mieleszko, Warszawa 2005. w trzechsetlecie śmierci 1696-1996, exhibition • Kolekcja wilanowska. Kontynuacja 1993-2011, catalogue, Wilanów Palace Museum, Warszawa 1996. exhibition catalogue of the Wilanów Palace Museum, • Widacka H., Lew Lechistanu, Warszawa 2010. Warszawa 2012. • Widacka H., W kręgu wielkiego króla, czyli opowieści • Ku czci króla Jana III. Bohaterowie i pamiątki, introduction by wilanowskie, Warszawa 2008. M. Gołąbek, Warszawa 2008. • Wójcik Z., Jan Sobieski, Warszawa 1994. • Kwiatkowska A., Inwentarz generalny 1696 z opracowaniem, • www.wilanow-palac.pl. “Ad Villam Novam” vol. VI, Warszawa 2012.

96 97 Exhibition under the Honorary Patronage of The organizers wish to thank the following people and institu- President of the Republic of Poland Bronisław Komorowski tions for lending historic objects presented at the exhibition: His Eminence Cardinal Kazimierz Nycz Bayerische Staatsgemäldesammlungen, Alte Pinakothek Munich Wilanów Palace Museum 24 April – 30 September 2013 Dominican monastery in Cracow exhibition Joanna Sidorczak-Heinsohn and Gunnar Heinsohn

The Director of the Wilanów Palace Museum: Museum in Nieborów and Arkadia, Department of National Paweł Jaskanis Museum in Warsaw

Curators: National Library in Warsaw Marta Gołąbek, Konrad Pyzel National Museum in Cracow Set design: Anna Nowak / Studio Architektury Wnętrz National Museum in Warsaw

Realized by: National Museum in Wrocław KŁOSEK Co. Order of the Nuns of the Visitation, convent in Warsaw Visual identity: Karolina Mazurkiewicz, Wojciech Staniewski / STUDIO 2X2 Polish Academy of Sciences, Library in Kórnik

Conservator’s supervision: Royal Castle in Warsaw Agnieszka Pawlak, Wojciech Bagiński Conservation Workshops of the Wilanów Palace Museum Warsaw University Library

Design of prints and information boards at the exhibition: Wawel Royal Castle The National Art Collection Anna Nowak / Studio Architektury Wnętrz Marta Potulska

Movies accompanying the exhibition: Marcin Mastykarz / Artyści Nowych Mediów

Exhibition website: www.wilanow-palac.pl/primus idea & design EDUSERWIS guide

Text: Marta Gołąbek, Konrad Pyzel

Editing: Jadwiga Marcinek

Translation: Anna J. Gołąbek-Asikainen

Design and layout: Karolina Mazurkiewicz, Wojciech Staniewski / STUDIO 2X2

Photographs: Wojciech Holnicki, Agnieszka Indyk, Zbigniew Reszka

Print and cover: Drukarnia Kwadrat, ul. Lwowska 218b, 33-300 Nowy Sącz

ISBN 978-83-63580-18-6

Media patronage:

Sponsors: it was here that following his victories the king of poland, jan iii enjoyed peace by contemplating new triumphal deeds and, when surprised by death, he departed this life in 1696. passer-by, observe the monument to past glory, dear to the poles and rescued in 1821 with loving care from falling into ruin.

Inscription in the Wilanów palace from the times of Stanisław Kostka Potocki.

102 103 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. Ad- ditionally, the exhibition draws on source materials, which shed light on Sobieski’s perception by people around him. Eyewitnesses frequently commented on the monarch’s bravery, but also on his extensive and quick mind, unadorned simplicity, ease and his sense of humour. The exhibition introduces some daring transformations into the palace interiors, intended to provide an element of surprise. We trust that the innovative display of the exhibits will best narrate the tale about Jan Sobieski’s life and his achievements.

ISBN 978-83-63580-18-6

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