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Virtutis invidia comes, czyli o Rotundzie w Łazienkach Królewskich

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Skrodzka A.
Biuletyn Historii Sztuki
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2009
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vol. 71
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issue 1-2
87-112
EN
This article presents a letter previously unknown to researchers of the Łazienki Palace by Stanisław Trembecki, the court poet, to Stanislaus Augustus, on the basis of which a reinterpretation of the Rotunda’s ideological programme has proven possible. It so turns out that a significant role in this programme must have been played by the non-extant image of the Medusa that, personifying Jealousy, would have exerted negative influences on all rules gathered in the Rotunda. One of these sovereigns, most obviously, was Stanislaus Augustus himself, personifed as Courage. The four Polish monarchs and Roman emperors were supposed to be the rules with whom the last king of Poland compared himself, each of them evoking a specific virtue. As such, the programme expressed in the Rotunda presents the exceptionaly popular motif in the art of the later half of the 18th century of exemplum virtutis.
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Królewicz jezuitą, król opatem. Wątek „zakonny” w ikonografii Jana Kazimierza

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Skrodzka A.
Folia Historica Cracoviensia
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2016
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vol. 22
437-450
PL
Abstrakt Królewicz Kazimierz Waza wychowywał się na dworze swego ojca Zygmunta III w atmosferze pogłębionej pobożności. Skutkiem tego było jego wstąpienie do zakonu jezuitów. Królewicz ostatecznie opuścił klasztor i sięgnął po koronę królewską. Do życia zakonnego powrócił po swej abdykacji. Niniejszy artykuł prezentuje dzieła sztuki upamiętniające związki Jana Kazimierza z życiem zakonnym. Wśród nielicznej grupy są: emblemat, medal i ryciny, a także nagrobek Jana Kazimierza w Paryżu. Wszystkie te obiekty są świadectwem głębokiej pobożności Jana Kazimierza.
EN
The young Casimir Vasa was brought up at the court of his father, Sigismund III Vasa, in the atmosphere of great devotion, which made him enter the order of Jesuits. Even though he decided to leave the monastery and to take the Polish crown, he came back to the life of a monk after his abdication. The present paper presents the very few pieces of art commemorating the monastic life of John Casimir: an emblem, a medal, some prints and his tomb in Paris. All those objects demonstrate the deep piety of the king.
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