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Number of results: 22
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Abstract

The author presents main tendencies in the Polish republicanism of the 18th century from the perspective of its philosophy of history and philosophy of politics presented by Dunin-Karwicki. The author tries to make a critical comparison of two contradictory interpretations of the reality understood as the creation of God or the people and the infl uences of these two interpretations on social changes and differences in the perception of the reality.
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Authors and Affiliations

Czesław Wróbel
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Abstract

One of the most important functions of 18th-century occasional decorations was to communicate current political issues. The artistic setting of ceremonies related to political events can of course be analyzed as an independent entity but may also be studied as a fragment of a larger message that encompasses prints, literature and political ceremony.
The present article will adopt the latter approach, and analyze the political message of the 1750s on the subject of the division of the Entail of Ostrog, resulting from the so-called “Transaction of Kolbuszowa” in 1753. This event, which had a huge impact on political relations of the time, was also of key importance to the chief players of the period as well as their artistic initiatives (for example J. K. Branicki, who became the Great Crown Hetman after Józef Potocki’s death). The theme of the Entail of Ostrog can be seen in the artistic settings of ceremonies related to the activities of the Senatorial Commission, as well as in those related to two terms of the Crown Tribunal, which in 1754 and 1755 was overshadowed by the consequences of the Kolbuszowa transaction. The above-mentioned bodies acted on behalf of the entire Polish-Lithuanian Commonwealth; therefore, ideas of political unity and total consensus were emphasized in the decorations. In this way, specific decisions were legitimized. Occasional decorations made reference to the Gigantomachy, understood as an internal conflict, and stressed the importance of overcoming internal enemies for the sake of state unity. Banquets were also of great importance in conveying this message, not only because participation alone was seen as a manifestation of belonging to a certain community, but also because the ideological content of the table decorations presented the political values of the guests and served as a commentary on current political issues.
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Krzysztof Gombin
1

  1. Lublin
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Abstract

In the early 18th century, British art theory was an almost virgin field, open to inevitable influences from the continent. Anthony Ashley Cooper, the Third Lord of Shaftesbury, who devoted the last years of his life to various problems of art, made an attempt to create the first serious theory of art in England. In this article, I try to show that Shaftesbury was faced with the need to choose between two competing approaches to art widespread in France at the turn of the century: the traditional approach, based on the poetic understanding of painting, the essence of which was history and its moral meaning, and the new one, proposed by Roger de Piles, based on the action of color and light and shade, which create a comprehensive visual effect independent of the story presented in the picture. Shaftesbury took a traditional approach, driven by moral fears and rather reluctant to make sensual pleasure the goal of art. At the same time, he appropriated the key concepts of Roger de Piles: the pictorial unity and the whole picture, ignoring the ideas associated with them. This should be understood as a half-measure that allowed him to modernize the language of art without the danger of compromising the moral importance of painting.
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Jacek Jaźwierski
1

  1. Jan Kochanowski University
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Abstract

The cult of the book in Gdansk manifested itself in the numerous substantial private libraries, marked by the features and qualities of bibliophile facilities, as indicated by the artistic bindings, ex-libris and supralibros of their owners. After their owner’s death, many of the book collections of Gdansk bibliophiles were provided to the municipal library, of which the current Gdansk PAN Library is the heir and continuator. The books have historical bindings, represent a variety of styles and epochs, and many different adornment techniques. The majority of Gdansk patrician families and wealthy burghers belonging to the political, cultural, and scientific elite of the city had coats-of-arms granted to them by the Polish, Danish, or Swedish rulers, or Roman-German emperors. From among many volumes kept in the collection of the Gdansk Library and marked with coat-of-arms supralibros, sample prints from the collections of thirteen representatives of Gdansk bibliophiles were selected.
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Authors and Affiliations

Helena Dzienis
1
ORCID: ORCID

  1. PAN Biblioteka Gdańska, Dział Zbiorów Specjalnych, Pracownia Numizmatów i Ekslibrisów
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Abstract

We talk about technology, lexicography, and long-forgotten word senses in Polish with Prof. Włodzimierz Gruszczyński from the PAS Institute of the Polish Language, where work is underway on the Electronic Dictionary of the Polish Language of the 17th and 18th Centuries.

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Authors and Affiliations

Włodzimierz Gruszczyński
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Abstract

The private correspondence between Françoise de Graffigny and Antoine-François Devaux allows us to trace the genesis of the epistolary novel Lettres d'une Péruvienne and the five-act play Cénie, two works considered best-sellers of the 18th century. These letters help us understand her working methods (self- censorship, her conception of the female author, her relationship with her main characters, her surrounding environment, etc.) as well as the motivations behind her writing (primarily the need for money), to the extent that they can be considered drafts of both works. The interplay between Françoise de Graffigny’s biography and her fictional female characters is evident from the start, and the reconstruction of the genesis of these works demonstrates how literary creation becomes a means of self- reflection and the creation of a feminine self. This contribution will seek to demonstrate how, in her two most well-known works, Graffigny uses the figure of the stranger, in all its senses, to highlight the difficulties women faced in 18th-century society, showing through the cases of Zilia and Cénie that women were considered ‘like’ foreigners in their own country, in their own homes.
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Ylenia De Luca
1
ORCID: ORCID

  1. Università degli Studi di Bari
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Abstract

In 2020 the Kórnik Library’s collections were supplemented with new documents connected with the beginnings of the Protestant parish in Bnin. The present article presents the time of formation and the first years of functioning of evangelical community in Bnin, which was one of the biggest communities in Greater Poland (excluding Poznań) for more over 150 years. After a brief introduction, the following part describes upon mentioned sources the establishing of community and construction of the first Lutheran church in Bnin with its buildings. Finally, the annex contains biographies of the first five pastors in Bnin and source edition of these documents.
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Wojciech Lis
1
ORCID: ORCID

  1. Wydział Historyczny UAM, Poznań
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Abstract

The county of Spiš, consisting of enclaves within the territory of the Kingdom of Hungary, ethnically and religiously diverse, frequently administered by eminent personalities and situated on an important trade route, has played an important political and economic role over the centuries. The pawned towns of Spiš, which were never bought back, were the subject of claims by the southern neighbours of the Polish-Lithuanian Commonwealth until they were cut off from it in 1769 by a sanitary cordon imposed by the Imperial army. The return of the thirteen Spiš towns and the dominion of the Lubelsko-Podolinieckie province to the Kingdom of Hungary is a well-known occurrence, but tracing the detailed course of this process requires further research, in particular archival research.
Bearing testament to this turbulent period are the documents preserved in Vienna’s Österreichisches Staatsarchiv related to żupan Jan Csáky de Keresztseg. The article discusses a letter from Jan Nepomucen Kirschner, parish priest in Żakowce, which describes the church decorations in major towns in the former starosty on the occasion of its incorporation into Hungary in November 1772. According to the brief account of Father Kirschner, the altars in the churches were adorned with Hungarian crowns and inscriptions citing biblical verses. Also mentioned is other archival material from the collection, which may enrich our knowledge of the course of these celebrations, such as the texts of the żupan’s speech and the townspeople’s oaths, as well as of those pieces composed in honour of Csáky, Maria Theresa and Joseph II.
The discussed documents are a rare example of Spiš archival material containing descriptions of the decorations for a state ceremony in this area. According to the narrative of the ceremonial programme, the moment of incorporation of the thirteen towns and Lubowelski dominion into the Hungarian county is a triumph of justice – the lost parts of Spiš return to their rightful rulers, whose good governance will ensure peace and stability for the inhabitants of the region. The form and ideological message of the various elements of the ceremonial setting (both visual and literary) was relatively simple, probably in order to adapt it to the needs of the mass audience taking the oath of allegiance to the new authorities.
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Authors and Affiliations

Maria Kazimiera Staniszewska
1

  1. Uniwersytet Jagielloński
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Abstract

The subject area of the cult of images regarded as miraculous during the Old Polish period has long enjoyed the interest of scholars, who analysed it in historical, theological, religious, artistic or social terms. This applies to both single images (usually paintings) as well as to syntheses including selected groups of cult objects. The crowned pictures are of greatest interest, of course, but relatively little space has been devoted to local Marian centres. The aim of this article is to draw attention to eighteenth-century ceremonies involving miraculous paintings in the former Bełsk Province, especially in the local sanctuaries. Three ceremonies have been analysed: the coronation of the miraculous painting of Our Lady of Sokal, and ceremonies with the participation of the miraculous paintings of Our Lady of Łopatyn and Our Lady of Tartaków. The lack in the literature of a precise description of the course of the coronation of the miraculous Our Lady of Sokal picture has so far made general conclusions difficult.
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Authors and Affiliations

Agata Dworzak
1

  1. Uniwersytet Jagielloński
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Abstract

Gottfried Schwartz (1716–1777), a Mayor of Gdansk, was a wealthy manufacturer of silver wire, interested in art and science. He gathered precious collections of paintings and scientific instruments. He also collected objects made from porcelain, ivory and bronze and owned one of the most substantial collections of numismatic items in the city. In his testament drawn up in 1776, Schwartz bequeathed to Academic Gymnasium of Gdansk and the Library of the City Council of Gdansk both his numismatic collection, consisting of 3000 coins and medals, and his numismatic book collection including 110 items. The catalogue of this book collection, which is currently kept by Gdansk Library, is reconstructed in this paper. Schwartz’s numismatic books were thematically connected with the contents of the owner’s numismatic collection – the interrelation between the book items and the coin and medal holdings is clearly noticeable. On the basis of information on the contents of the lost collection we may presume that each type of numismatic items corresponded to some studies from the book collection.
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Authors and Affiliations

Helena Dzienis
1
ORCID: ORCID

  1. PAN Biblioteka Gdańska, Dział Zbiorów Specjalnych
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Abstract

Benedykt Roszkowski, a reformed friar from the Order of Reformed Friars Minor (Reformati) in the Greater Poland province ( Wielkopolska), became famous as a religious preacher (sermoniser). He held this position for twenty-one years, in various centres of the province, and held the ministry of guardian a number of times. He was also a member of provincial government in the form of secretary and definitor (1779–1782) as well as fulfilling the role of custodian or provincial deputy (1785–1788). The friar also helped create settings for church ceremonies.
This article discusses Roszkowski’s hitherto unknown manuscript containing a description of the artistic settings of six funeral ceremonies that took place in the Reformati Churches during the years 1758–1762. The descriptions were illustrated with the friar’s own watercolours depicting the theatrum created during funeral ceremonies. The document, written in Latin, was made between 1762 and 1764 as Roszkowski’s gift to the Provincial Superior of Greater Poland, Father Dionizy Sydry. His descriptions include the funeral of the Crown Oboźnina (wife of the Crown Great Camp Leader) Teresa Teofila Lipska née Dąbska, and the funeral rites in memory of the Oboźny (Crown Great Camp Leader) Prokop Lipski in the Reformati Church in Poznań (1758); the funeral of the Master of the Hunt’s wife from Wschowa, Zofia Gorzyńska, in the Reformati Church in Miejska Górka (1761); the exequies of Zofia Puklatecka in the Reformati Church in Poznań (1762); the funeral of Brygida Czapska née Działyńska, the wife of the Malbork voivode, in the Reformed Church in Pakość, and the funeral rites in the parish church in Konarzewo (1762). For all these funerals, the friar designed both the interior of the church and the castrum doloris placed in the centre. The baldachin-type castrum doloris dominated: on a multi-step platform (sometimes taking the shape of a fortress with bastions) with a raised coffin were figures of Virtues or personifications, and on its sides were obelisks in the form of rocaille or decorative columns crowned with busts of Virtues. The whole structure was topped with a hanging fabric baldachin. In such artistic settings, the friar combined heraldic content with references to both the Bible and mythology. With the informal character of its descriptions, this manuscript differs from the occasional prints published by Roszkowski. Not only does the friar specify the material from which individual elements were made, but he also demonstrates the real context of their presentation. It is the first time we find in one document the descriptions of so many elements of the pompa funebris, along with their visual representations, made by a man who was artist, designer and preacher in one. These various aspects make Roszkowski’s work a special source for research on the funeral culture of the former Polish-Lithuanian Commonwealth, one which finds no equal.
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Authors and Affiliations

Piotr Ługowski
1

  1. Narodowy Instytut Polskiego Dziedzictwa Kulturowego za Granicą POLONIKA
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Abstract

The Thornische Nachrichten von gelehrten Sachen, published in Toruń in 1762–1766, was a learned review journal, the first periodical of this kind in Poland. As one of its editors' priorities was to keep track of current Polish writing, the magazine regularly published reviews of the most notable books of Polish Enlightenment (among its reviewers were Stanisław Konarski, Wacław Rzewuski, Franciszek Bohomolec, Józef Minasowicz).

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Katarzyna Chlewicka
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Abstract

The issues of the history of culture and science of the eighteenth‑century Polish‑Lithuanian Commonwealth are rare in the works of Józef Andrzej Gierowski. This article analyses his views on these issues. He devoted most attention to the subject of the beginnings of the Enlightenment in Poland, joining a long scholarly discussion about it. He agreed that the precursors of the Enlightenment in Poland were already active in the 1740s, during the era of the Wettins’ rule. He pointed to educational reform, writing activity (Benedykt Chmielowski’s, the political and journalistic work of a number of writers) and publishing (especially of the Załuski brothers), and the development of periodicals as the three pillars on which reforms were carried out in the future – during the reign of Stanisław August Poniatowski. In addition, and just as importantly, he drew attention to methodological weaknesses concerning the study of intermediate periods, i.e. between the Baroque and the Enlightenment. He also pointed out the need for a comprehen-sive picture of the cultural history of the Polish‑Lithuanian Commonwealth in the 18 th century – proponents of both Sarmatian culture and Enlightenment thought.
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Joanna Orzeł
1
ORCID: ORCID

  1. Uniwersytet Łódzki
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Abstract

Early modern medicine knew thousands of medicines and possible treatments that could be found in guidebooks, medical dissertations, herbaria, and dispensaries. The article presents the characteristics of the basic sources of the history of medicine, as well as their specifi city and the range of information they provide. The aim is to show possible source selection method in an attempt to describe a real picture of the therapeutic methods most commonly used by the offi cial medicine in Polish-Lithuanian Commonwealth.

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Jakub Węglorz
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Abstract

Jerzy Topolski was one of the most outstanding Polish historians of the late 20th century. He wrote numerous works, including a synthesis of the history of the Polish-Lithuanian Com-monwealth in the 16-18th centuries, which is the object of the analyses presented in this article.

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Authors and Affiliations

Jacek Wijaczka
ORCID: ORCID
Krzysztof Mikulski
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Abstract

This paper presents information on printed lists of Gdansk officials, which were published in 1741–1810 under the title Das itzt-lebende Dantzig… and Das jetzt-lebende Dantzig… (as of 1764). The author’s findings indicate that they were not published in 1742, 1745, 1747, 1749–1751, 1753 and 1793–1808. Detailed studies also allowed to determine the price at which these materials were sold, although the number of copies published still remains unknown. The author briefly discusses the contents of Das itzt-lebende Dantzig…, which was each time presented on about 100 pages. Inside, the readers could find the full names of Gdansk mayors, councillors, judges, representatives of the Third Order as well as the city military, religious, and school authorities. The source in question is one of the most important publications allowing supplementation of biographical data of Gdansk citizens living in the 18th century and at the beginning of the 19th century.
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Authors and Affiliations

Piotr Paluchowski
1
ORCID: ORCID

  1. Gdański Uniwersytet Medyczny, Zakład Historii i Filozofii Nauk Medycznych
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Abstract

This article is devoted to a diplomatic (formal) analysis of 13 documents, including 12 originals issued by Russian tsars between 1576 and 1707, which are kept at the Kórnik Library. Among them, there are two original letters by Tsar Michael of Russia dating to 1634 and 1645 and four documents by Tsar Alexis of Russia from 1645 and 1668–1669. The collection also includes Peter the Great’s mandate of 1707 given to Russian negotiators for talks with representatives of the Sandomierz confederation, two extremely interesting documents (in the form of scrolls) of border-related negotiations dating to 1634 and 1645, as well as a notebook of 40 pages containing the Russian party’s proposals presented to Polish envoys during negotiations in Moscow at the turn of 1671 and 1672. The article is enriched with an analysis of the content of four well-preserved tsar’s seals applied to the documents in question.

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Authors and Affiliations

Krzysztof Pietkiewicz
ORCID: ORCID
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Abstract

This article considers what might have happened had the 3rd Earl of Shaftesbury lived long enough to see his planned book of art theory, Second Characters, into publication. It suggests that Second Characters would have challenged, and perhaps supplanted, Jonathan Richardson the Elder’s Theory of Painting (1715) as the first substantial and original British contribution to the theory of art. Much of the article consists of a comparison between Richardson’s Theory of Painting and the ‘Plasticks’ section of Second Characters, for which Shaftsbury’s notes survive. This comparison suggests that the theory of painting which Shaftesbury would have offered to his compatriots would have differed from that offered by Richardson in certain important respects. Primarily addressing his text to his fellow aristocratic patrons rather than to painters, Shaftesbury’s vision for the future of British art was both more high-minded and more narrow than that offered by Richardson. For Shaftesbury the moral subject matter of painting was all-important, and the artistic traits he most admired, including historical subjects, grandeur of scale and austerity of style, were those he saw as best placed to transmit that moral subject matter. Richardson, by contrast, was for more tolerant of the extant British taste for portraits and more sensual styles and offered a theory of art which was in part formalist. The article also stresses the importance of the equation Shaftesbury made between the social and political health of a society and the quality of its art, and suggests that had Second Characters been published at the time when it was written we might now consider Shaftesbury, rather than Winckelmann, as the father of the social history of art. The article ends by considering two possible outcomes had Second Characters been published in the early eighteenth century, in one of which it had a profound impact on British art and British attitudes to art, and in the other of which Shaftesbury’s refusal to compromise with current British tastes condemned his text to no more than a marginal status.
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Authors and Affiliations

Harry Mount
1

  1. Oxford Brookes University
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Abstract

This article discusses Shaftesbury’s fragmentary ‘Dictionary of art terms’, an appendix to the unfinished Plastics, and its relevance in establishing an aesthetic and moral art theory in Britain. The article argues that, although the ‘Dictionary’ is rudimentary, it already reveals enough information to assess it as an important document of English art philosophy. Given that Shaftesbury’s dictionary project was the first English attempt to produce a theoretical art dictionary, it is discussed in the light of traditions of the art dictionary in this country. The study clarifies notions of the dictionary’s art terms through comparative analyses with the use of the words in the aesthetic discourses in the Plastics. It looks at Shaftesbury’s creation of novel words based on classical literature and his use of contemporary literary sources which was partly ambivalent, for fear that only words were transferred from their original context but no ideologies that the author disapproved of. With the help of exemplary discussions of Shaftesbury’s art vocabulary, the study illustrates the shaping of an aesthetic vocabulary in England.
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Authors and Affiliations

Ulrike Kern
1

  1. Goethe-Universität Frankfurt am Main
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Abstract

This article attempts to show the importance of newspaper advertisements as a factual source which offers valuable insights into past events. The study of advertisements helps the researcher to complement and verify what has been gleaned from the usual documents, and sometimes can even provide a corrective to conclusions reached by other means. In particular, the advertisements in Lwowskie Tygodniowe Wiadomości [Lwów Weekly News], published 1786–1788 show how much information about property from the monasteries of Galicia, dissolved by Emperor Joseph II in 1782–1788, can be found in the local press. It is a source which not only contains important clues about the history and the scale of the dissolution but also a wealth of minor details that it would be hard find anywhere else.

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Halina Rusińska-Giertych
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Abstract

One of the consequences of the incorporation of Warmia into the Kingdom of Prussia was the growing secularisation of the entire region. The lands belonging to the bishop of Warmia and his canons became the property of the state. The Prussian Partition enabled Protestants to settle in the areas which had previously been domi-nated almost entirely by Catholics. State authorities tried to meet the expectations of Protestants already in the 18th century by employing school headmasters and religion teachers in the towns of Warmia. Frederick the Great issued a decree that allowed holding religious services in local town halls. Some rooms in the castles were also adapted for the purpose. However, along with the increase in population, there was a growing demand for new church buildings, parish houses and schools. Necessar financial support came from the Prussian king Frederick William III, who suggested that the so-called secularisation fund, available after the dissolution of the Neuzelle monastery in Brandenburg, be assigned to this end. Building of new churches was entrusted to the State Construction Commission, led by a distinguished architect, Karl Friedrich Schinkel.

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Authors and Affiliations

Ks. Marek Jodkowski
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Abstract

The Triumphs (Triumphi) by Petrarch is a series of six poems honouring the allegorical figures of Love, Chastity, Death, Fame, Time and Eternity, who vanquish each other in turn. The Italian poem sequence was virtually unknown in Poland (although a Polish translation of The Triumph of Love appeared c. 1630, only few readers would have read it as it was circulated exclusively in a small number of hand-made copies). The illustrations, however, caught the eye of the printers and became immediately popular. They depicted each of the victorious figures riding on triumphal chariot, followed by procession of captives. This article examines the Polish verses inspired by the illustrations rather than the text of the Trionfi i.e. written in the course of the late 17th and 18th century.

The author of the most remarkable poetic response to the pictorial representations of Petrarch's Triumphs was Samuil Gavrilovich Piotrowski-Sitnianowicz (aka Symeon of Polotsk). As a student of the Academy of Wilno, he came across an emblem book with copperplate engravings of the Triumphs designed by Maarten van Heemskerck in 1565. His Polish verses (composed c. 1650–1653) follow loosely the Latin epigrams (subscriptiones) by Hadrianus Junius (Adriaen de Jonghe). Symeon of Polotsk was the first Polish-language author whose verses reflected in extenso the pictorial representation of the Triumphs (before him verses inspired by Petrarch's allegories had been written by Mikołaj Rej, Maciej Stryjkowski and Stanisław Witkowski).

Wespazjan Kochowski's volume of miscellaneous pieces in verse published in 1674 includes an epigrammatic poem The Triumph of Love, inspired by Plate One of the Triumphs. However, Kochowski's description suggests that he must have seen an engraving showing Cupid's victims under his feet. That iconographic variant appears, among other, in the woodcuts of Bernard Salomon (1547) and the copperplates designed by one of van Heemskerck's pupils (mid-16th century) or Matthäus Greuter (1596).

The following two poems were written about a century later. In 1779 Franciszek Dionizy Kniaźnin published in his second volume of Erotyki [Erotic poems] a song called The Triumph of Love. Its scenic arrangement, inspired by the illustrations of Petrarch's first Triumphus, is adapted to present twenty-one pairs of suitors. The description is stylized in conformity with the current Rococo manner and spiced up with touches of parody. A similar treatment of this subject can be found in some 17th-century paintings, for example in the Triumph of Love by Frans Francken the Younger, or an identically titled picture by the Italian Baroque artist Mattia Preti. The other poem, On the picture of the 'Triumph of Death', can be found in Franciszek Karpiński's Zabawki wierszem i przykłady obyczajne [Diversions in Verse and Moral Exemplars] published in 1780. It names eleven preeminent ancient conquerors and rulers, all cut down by Death personified by a scythe-wielding skeleton. Karpiński's description was no doubt inspired by a copperplate engraving produced by Silvestro Pomarede and designed about 1748–1750 by Gianantonio Buti after Bonifacio de' Pitati. In each of the two prints most of the figures on the ground round the chariot are identified by name. It may also be noted that Karpiński rounds of his poem with two stanzas evoking the last plate in the cycle, The Triumph of Eternity.

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Authors and Affiliations

Radosław Grześkowiak

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