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„Muza polska” Wacława Potockiego jako heroicum epideiktyczne

100%

Czechowicz A.

Pamiętnik Literacki

2018

vol. 109

issue 4

185-196

Artykuł dotyczy poematu Wacława Potockiego "Muza polska na tryjumfalny wjazd Najaśniejszego Jana III [...]", wydanego anonimowo z okazji koronacji króla Jana III Sobieskiego w 1676 r. Poemat ten, którego treść skupiona została wokół przebiegu wojny polsko-tureckiej z lat 1672–1676, ma charakter tyleż panegiryczny, ile epicko-historyczny. Przedmiotem uwagi autorki staje się poetycka kreacja wizerunku króla Jana III, którego najważniejszym przymiotem Potocki uczynił wstrzemięźliwość (temperantia) – cnotę opisywaną w Państwie Platona jako „pewien ład i wewnętrzne panowanie nad przyjemnościami i nad żądzami” oraz „moc nad sobą”, dzięki której w człowieku „cząstka lepsza panuje nad gorszą”. Podjęte przez Sobieskiego trudy walk uwieńczone zwycięstwami obrazują u Potockiego już nie tylko cnoty, którymi winien odznaczać się monarcha, ale stanowią alegoryczny wizerunek bojowania, jakie człowiek toczy z własną słabością i namiętnościami o panowanie nad sobą samym.

The article refers to Wacław Potocki’s poem „Muza polska na tryjumfalny wjazd Najaśniejszego Jana III [...]” (“Polish Muse for a Triumphant Entering of His Majesty John III […]”) published anonymously on the occasion of King John III Sobieski’s coronation in 1676. The piece, the content of which concentrates on the course of the 1672–1676 war waged between Poland and Turkey, is equally panegyrical and epic-historical in its character. The author of the paper focuses her attention on Potocki’s poetic creation of King John III Sobieski’s image, the most important attribute of which is temperance (Lat. temperantia) described in Plato’s “Republic” as an ability to abstain from lust due to which a man’s better part dominates over the worse one. The martial efforts undertaken by Sobieski and crowned with victories are depicted in Potocki’s poem not only as the example of regal virtues but also as an allegory of a war a man is waging against one’s own weakness and passions in order to gain control over oneself.

Roma, 10 dicembre 1696, un funerale absente corpore: l’apparato effimero allestito nella chiesa di San Stanislao dei Polacchi in memoria della morte di Jan III Sobieski

63%

Ceci F.

Archiwa, Biblioteki i Muzea Kościelne

2023

vol. 120

111-136

San Stanislao dei Polacchi a Roma è la chiesa nazionale dove si svolgevano le commemorazioni funebri dei sovrani polacchi. Ciò avvenne anche per la morte del re Jan III Sobieski. Carlo Barberini, in qualità di cardinale protettore della Polonia, organizzò nella chiesa una imponente cerimonia per onorare adeguatamente la memoria del re. La funzione religiosa e il suo apparato decorativo sono noti in ogni dettaglio grazie a tre relazioni a stampa coeve e a un’incisione che ne descrivono ogni aspetto. La chiesa era anche ornata con sei medaglioni dipinti che esaltavano eventi importanti della vita del re. Incredibilmente, quattro dei sei medaglioni sono arrivati fino a noi. I “Medaglioni Sobieski” sono attualmente conservati nei depositi della Galleria Nazionale di Arte Antica di Palazzo Barberini a Roma. G.B. Fidanza (2018) ha trovato negli archivi della famiglia Barberini documenti relativi ai pagamenti effettuati per la cerimonia. In questi documenti, come artista dei sei tondi compare il nome “Giacomo Wernele”, italianizzazione del nome Philip Jakob Wörndle. Attualmente lo stato di conservazione delle tele è piuttosto scadente. Per evitare che vadano perdute per sempre, è necessario restaurarle con cura quanto prima e riportarle nelle loro cornici.

The Church of St Stanislaus the Bishop and Martyr in Rome is the national church of Poland, where the funeral ceremonies of Polish rulers were celebrated. After the death of King John III Sobieski, ceremonial symbolic obsequies were held. Carlo Barberini, as cardinal protector of Poland, organized public and expensive ceremonies to properly honour the king’s death. The course of the funeral service and the funeral decoration are known in detail through three contemporary printed reports and an engraving describing every aspect of the ceremony and the decoration of the church in honour of the Polish king. The church was decorated with six painted medallions celebrating important events in the life of King John III Sobieski. The surviving four of the six medallions are now kept at the Galleria Nazionale di Arte Antica in the Palazzo Barberini in Rome. In 2018, researcher Giovan Battista Fidanza found documents in the Barberini family archives regarding the cost of the ceremony. According to sources, the artist who made the six funerary oval paintings was Giacomo Wernele, which indicates an Italianization of the name Philip Jakob Wörndle. Currently, the state of preservation of the oval funerary canvases is poor. It is imperative to preserve the paintings in order to save them from destruction and make them available for museum display.

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1 Archiwa, Biblioteki i Muzea Kościelne

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„Muza polska” Wacława Potockiego jako heroicum epideiktyczne

Roma, 10 dicembre 1696, un funerale absente corpore: l’apparato effimero allestito nella chiesa di San Stanislao dei Polacchi in memoria della morte di Jan III Sobieski