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Orzeł Biały z 1 VIII 1919 roku – idealny wzór polskiego orła państwowego czy „heraldyczne nieszczęście”? Uwagi na marginesie inicjatywy obywatelskiej w sprawie przywrócenia „tradycyjnego” herbu Rzeczypospolitej

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Adamczewski M.
Studia z Historii Społeczno-Gospodarczej XIX i XX Wieku
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2018
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vol. 20
7-42
EN
In 2018, a group of politicians submitted a proposal to change the coat of arms of Poland. They proposed that the coat of arms of the Polish state that is currently used replaced with the coat of arms from 1919. The coat of arms of the Polish state from 1919 resembled the emblem used in the 18th and 19th centuries. The crown on the head of the eagle from 1919 took the form of a closed crown with a cross. The eagle in the crown with the cross – according to the applicants – symbolizes both state sovereignty and national sovereignty. The eagle in the crown with the cross – what the applicants pointed out – has been a traditional eagle of Poland for centuries. The author of the article draws attention to the errors contained in the arguments for the change of the coat of arms of Poland. The author draws attention to historical, symbolic, political and aesthetic arguments, which together allow for a critical assessment of the application. The most important are historical arguments. The basic sources – the seals of Polish kings – from the coronation of Przemysław II to Stanisław August – have the image of an eagle in the open crown without a cross. The crown closed with a cross on the head of the eagle on the royal seals appeared in the 18th century. This observation proves that the eagle in the official coat of arms of Poland until the mid-18th century had an open crown without a cross. However, the crown closed with a cross on the head of the Polish eagle often appeared on the unofficial images of the White Eagle. In the 19th century, during the November Uprising, the National Government issued an important decision on the coat of arms of Poland. The eagle from February 1831 was crowned with an open crown. The eagle in the open crown replaced the eagle in a closed crown with a cross. The government‘s decision of February 1831 about the coat of arms was invoked by politicians who designed the emblem of Poland in 1919. However, they did not know that the official eagle of February 1831 had an open crown. They mistakenly believed that the Polish eagle had a crown closed with a cross throughout the November Uprising. The question remains open whether the Polish eagle of 1919 would be crowned with a crown closed with a cross if the politicians who designed it knew exactly what form the coat of arms of February 1831 was. Historians agree with the opinion that state emblems change their form, and the form of coats of arms changes with artistic and historical periods. The coat of arms of the Polish state in the following years may be changed. The question should be asked whether the new form of the coat of arms should closely repeat the pattern from previous historical periods. Many believe that the alternative to duplicating old eagle designs is to create an Polish eagle in „modernist“ stylization, appropriate to the aesthetics of the early 21st century.
PL
1 sierpnia 1919 r. Sejm Ustawodawczy przyjął ustawę o polskich godłach państwowych. Posłowie w trakcie obrad parlamentarnych zgłosili szereg wątpliwości w sprawie formy Orła Białego przedłożonego do poselskiej akceptacji. Pomimo zastrzeżeń i wątpliwości Sejm przyjął zgłoszoną regulację. Ustawa z 1919 r. nie zakończyła dyskusji na temat polskich znaków państwowych, a jedynie wprowadziła znak tymczasowy i zapowiedziała jego uszczegółowienie. Godło przyjęte 1 sierpnia 1919 r. było jednym z trzech znaków w grupie ważnych orłów rywalizujących u progu II Niepodległości o miano godła państwowego. Dwa pozostałe godła – orzeł Kazimierza Kierskiego z początku 1917 r. lub nawet z końca 1916 r. i orzeł Bronisława Gembarzewskiego z początku 1917 r. – w różnym czasie pełniły funkcje polskich znaków przedpaństwowych, a nawet funkcje polskich znaków państwowych po 11 listopada 1918 r. Orzeł z sierpnia 1919 r. sylwetą odwoływał się do tradycji polskich znaków państwowych z końca XVIII i XIX w. Wyrażał ciągłość państwa i akcentował przywiązanie twórców godła do tradycji powstania listopadowego i – werbalnie – do herbu ustanowionego przez Sejm i Rząd Narodowy na początku 1831 r. Słuszne założenie o zachowaniu ciągłości z decyzjami władz powstańczych z 1831 r. jednakowoż nie zostało w 1919 r. dobrze zrealizowane. Orzeł z sierpnia 1919 r. był inny od orła z 1831 r., a także został gorzej od niego narysowany. Z tego powodu podjęte zostały prace, które finalnie przynieść miały lepszy wzór godła. Od sierpnia 1919 r. w Ministerstwie Sztuki i Kultury, a następnie w Ministerstwie Wyznań Religijnych i Oświecenia Publicznego przygotowywano nowe wersje godła Rzeczypospolitej. Prace nadzorowane przez aparat państwowourzędniczy II Rzeczypospolitej zmierzały do stworzenia znaku, który stylizacją nawiązywałby do godła z sierpnia 1919 r. Równolegle do prac ministerialnych czołowi graficy ówczesnej Polski opracowywali własne Orły Białe, często wzorując się na orłach jagiellońskich. Na uwagę zasługują prace prof. Zygmunta Kamińskiego i Zofii Trzcińskiej-Kamińskiej. Zaprojektowane przez nich w 1924 i 1925 r. orły zainteresowały rządzących Polską po zamachu majowym z 1926 r. i rządzący ci zlecili w 1927 r., aby prof. Kamiński przygotował wzór nowego herbu Rzeczypospolitej. Orzeł Biały prof. Z. Kamińskiego z 1927 r. formą odbiegał od wzoru z sierpnia 1919 r., a jakością wykonania wyraźnie przewyższał dotychczasowe godło. Kontrowersje wzbudziła zmiana korony na głowie orła. W miejsce korony zamkniętej prof. Kamiński wprowadził koronę otwartą. Dla polityków i dla zwolenników ugrupowań prawicowo-narodowych taka korekta – szczególnie, że nastąpiła po zbrojnym zamachu stanu w maju 1926 r. i bez udziału parlamentu – była nie do zaakceptowania. Dyskusja wywołana zmianą formy korony, czy szerzej – zmianą formy polskiego orła państwowego w 1927 r. trwa do dziś. Heraldycy i politycy spierają się, czy w herbie Rzeczypospolitej powinna być korona otwarta, czy też korona zamknięta, a politycy prawicowo-narodowi podpowiadają, że Rzeczypospolitej należy przywrócić jej tradycyjne godło, a tym tradycyjnym godłem – według polityków prawicowo-narodowych – jest orzeł z sierpnia 1919 r. Odpowiedź na pytanie o właściwą formę polskiego orła państwowego, a także o rodzaj jego korony nie jest łatwa. Źródła (w tym przypadku analizowane były królewskie pieczęcie) sugerują odpowiedź. W długim trwaniu, w okresie przedrozbiorowym polski orzeł ukoronowany był koroną otwartą. Ponadto w 1831 r. Sejm powstańczej Polski i jej rząd zgodnie przyjęli herb z orłem „jagiellońskim” ukoronowanym także koroną otwartą. Korona zamknięta na głowie orła na pieczęciach pojawiła się w okresie panowania Stanisława Augusta Poniatowskiego. Była popularna w przedstawieniach polskiego orła w XIX w. i ta dziewiętnastowieczna tradycja korony zamkniętej wpłynęła na treść dwudziestowiecznej dyskusji o godle Rzeczypospolitej.
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W sprawie nowego herbu gminy i miasta Szadek

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Adamczewski M.
Biuletyn Szadkowski
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2012
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issue 12
5-21
EN
The coat of arms for the town and commune of Szadek was designed and approved in 1990, in accordance with law in force at that time. It was, however, done without consulting heraldists and historians specializing in municipal coats of arms from the period of I Republic of Poland, or persons professionally designing emblems for contemporary municipalities. Consequently, a number of mistakes were made, the most important being that it only partly resembles the town’s heraldic arms from the mid-16th century or the coat of arms from the 17th century, which was incorporated in the altar of Szadek’s parish church to commemorate the citizens who donated funds for its equipment and decoration. According to current quidelines for re-creating coats of arms of urban communes, a municipality should have as its heraldic symbol the historic coat of arms of its capital town or city. Relevant sources indicate that the new emblem of the town and commune of Szadek should contain a city wall with an open gate and three battlemented towers, the exact shape depending on which tradition – 16th or 17th century – is recalled. As regards the heraldic colours, the new coat of arms should have red walls on a golden shield (like that from the 17th century), although a white background is also found for Szadek in publications on heraldic arms of Polish towns and cities.
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Pieczęcie instytucji sądowych miast Wielkopolski do końca XVIII w. a heraldyka miejska

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Adamczewski M.
Acta Universitatis Lodziensis. Folia Historica
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1999
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issue 64
49-63
EN
Authors of ideas and creators of judical seals in Old Poland (to 1791) were completely free in creating of seal pictures. However we can observe a connection between judical and municipal iconography of seals. Rules for creating of seal pictures were established by decisions of the Great Sejm in June and October 1791. Using of judical seals for studies on town heraldry may give us unexpected results. For example we are able to revise previous settlements concerning origins of some town arms as well as heraldic symbols. We would be able to use judical seals more effectively for scientific studies, when we had at our disposal complete histories of cities and towns, lists of municipal officials as well as a knowledge of municipal judicature in old small towns.
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O pieczęci miejskiej Uniejowa z pierwszej połowy XVI wieku

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Adamczewski M.
Biuletyn Uniejowski
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2012
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vol. 1
157-175
EN
The heraldic arms of Uniejów have been the subject of intensive studies and monographic publicatins, and review works on town seals from Greater Poland contain extensive sections on the cross and three lilies of Uniejów. A key issue in the research on Uniejów’s identifying logo is the origin of the town seal. In the first half of the 16th century, five towns in the Gniezno Chapter within the historical area of Greater Poland (Grocholice, Grzegorzew, Piątek, Turek and Uniejów) had identical seals made, in which the graphic element – a Latin cross and three double lilie, which is the emblem of the Gniezno Chapter coat of arms – was combined with a pious motto and the name of the respective town. The uniform design for the seals was authored by cathedral canons from Gniezno. The style of the seal as well as preserved documents containing stamps of the seal indicate that it was made in the 1st half of the 16th century.
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Herb powiatu zduńskowolskiego

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Adamczewski M.
Biuletyn Szadkowski
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2014
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issue 14
85-96
EN
The County Council in Zduńska Wola made a resolution on 24 November 2000 to adopt a county coat of arms. It features St. Maksymilian M. Kolbe, a monk and martyr. The Saint’s ties with Zduńska Wola influenced the direction of search for a symbolic reference for Zduńska Wola county arms. St. Maksymilian M. Kolbe (born in Zduńska Wola in 1894) is the patron of Zduńska Wola, and October 10 – the day of his canonization – is the Feast of Zduńska Wola. Memory of the Saint’s links with his place of birth is cultivated by the Museum – home of St. Maksymilian M. Kolbe in Zduńska Wola, set up in 1994, on the centenary of his birth. In 2004 the church of the Assumption of Virgin Mary in Zduńska Wola was named the Sanctuary of the Birth and Baptism of St. Maksymilian M. Kolbe. Zduńska Wola county coat of arms received a positive opinion from the admini-stration minister. The only objection that could be raised by a heraldist may con-cern the too realistic (non-heraldic) presentation of the figure of St. Maksymilian M. Kolbe.
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Ikonografia pieczęci kościołów parafialnych dekanatu szadkowskiego z przełomu XVIII i XIX w.

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Adamczewski M.
Biuletyn Szadkowski
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2006
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issue 06
69-109
7
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Herb gminy (wiejskiej) Zduńska Wola

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Adamczewski M.
Biuletyn Szadkowski
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2014
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issue 14
75-84
EN
Zduńska Wola (rural) commune coat of arms was adopted in 2001. It was de-signed by Andrzej Dabrowski, a designer connected with the Polish Heraldry Cen-tre. The emblem includes reference to the controversial mid-19th century version of Zduńska Wola city crest or the region’s bee-keeping tradition (three bees), and to the Siemiątkowski family (coat of arms Jastrzębiec) living in Zduńska Wola re-gion in the 19th and first half of the 20th century (a horseshoe and a cross). In 2001 the project of the sign, with due explanation, was submitted, as is required by law, to the Ministry of Internal Affairs and Administration for opinion. The initial opinion prepared by experts from the Heraldry Committee was negative, but it did not lead to the issuing of a decision in this matter by the minister in charge of administration. The objections to the coat of arms of Zduńska Wola (rural) commune, expressed by the experts of the Heraldry Committee, and the lack of a positive ministerial opinion, which is necessary for adoption of the emblem, indicate that in the future there may be a change of the emblem. Perhaps a good starting point for a new coat of arms should be St. Catherine, the patron saint of the church in Korczew, which also was a parish church for Zduńska Wola and other localities in its neighbourhood.
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Znak miejski Zduńskiej Woli

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Adamczewski M.
Biuletyn Szadkowski
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2014
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issue 14
59-74
EN
The heraldic coat of arms of Zduńska Wola commemorates the possessors of the town (Stefan and Honorata Złotniccy) and the granting of city rights in 1825. The present sign of the city of Zduńska Wola was designed in 1915. Earlier, in 1847 and 1904, two proposals for coats of arms were prepared, which, however, were not accepted as city emblems. In XIX century, adoption of a coat of arms depicting three bees was considered, and in early XX century a city sign was created featuring a factory, a loom and a woman working on it. The 1847 version was popularized in the period of II Republic and then in the 1960s by Marian Gumowski. Up to 1976 it competed for the status of the city sign with the emblem designed in 1915. Resolution of the City Council of Zduńska Wola of 1976 put a stop to this dispute, although it comes up from time to time to this day.
9
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W sprawie edycji zbiorów pieczęci i opisu wyobrażeń napieczętnych

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Adamczewski M.
Studia Źródłoznawcze. Commentationes
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2016
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vol. 54
PL
Zarys treści: Głos w dyskusji na temat sposobu opisywania wyobrażeń pieczęci publikowanych w wydawnictwach źródłowych.Abstract: A voice in a discussion about ways of describing seal imagery in source publications.
EN
Two significant sphragistic source publications issued in 2012 and 2015 deal with seals on documents from the State Archive in Bydgoszcz and seal stamps from the State Archive in Poznań. Descriptions of seal images, contained in the cited publications, which could become models for future editions, inclined the author of the article to present his reflections on editing seals. The majority of the remarks pertain to the manner of constructing a description of armorial seals from the viewpoint of heraldry. Theses concerning the method of characterising seal imagery can be presented as follows: 1. A description of the seal image should not double information accessible in the illustration; 2. A description should contain expanding information (e.g. an identification of the motifs of deciphering the symbolic message); 3. All descriptions should possess a unified form and normalised contents; 4. A description must be maintained in a language adapted to the described contents, i.e. heraldic language and terminology must be applied to designate coats of arms, and descriptions of tools should use the names of specialist instruments in accordance with the terminology of suitable crafts and professions; 5. A description of armorial seals must take into account their dual character: a seal with a coat of arms (in the field a shield with an emblem) and a seal with an emblem (in the field an emblem without a shield); names of coats of arms should be used suitably for formulating descriptions of coats of arms; 7. In the course of depicting state emblems on “government’ seals one should take into account legal regulations upon whose basis the described emblem was created or modified. The use of precise terminology will make it possible to avoid interpretation misunderstandings, which at times are the consequences of the ambiguous language of the description..
10
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Pieczęć wojewódzka powiatów sieradzkiego i szadkowskiego z roku 1792

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Adamczewski M.
Biuletyn Szadkowski
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2007
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issue 07
93-101
11
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Herby szlachty polskiej w kościele farnym św. Jakuba w Szadku

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Adamczewski M.
Biuletyn Szadkowski
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2005
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issue 05
47-65
12
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Lipscy herbu Grabie w świetle źródeł epigraficznych w kolegiacie w Choczu

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Adamczewski M.
Acta Universitatis Lodziensis. Folia Historica
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1994
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issue 50
107-129
EN
The bishop of Cracow Andrew Lipski bought a little town Chocz in 1620. In 1629 he started to build a church, there. This church was promoted to the collegiate church rank. The walls of collegiate church adjoined to the master of Chocz residence - the mitred prelate’s palace (now there is a presbytery). Bishop Andrew Lipski provided in the fundation's act (with approval of king Zygmunt III Vasa and pope Urban VIII) that in the future only the members of the Lipski of Grabie arms family or people close related to them will be parish-priests. The epigraphical relics brought together in the church and old mitred - prelates's palace indirectly testify to ancestral character of this church institution. This above-mentioned institution functioned in the private possesions and it never has been the possesion of Catholic church. The gallery of pictures in Low relief of fundator and following Chocz provosts deserves special notice. These portraits were made to parish-priest Kazimierz Lipski's order (in the palace's guest-hall). The busts and after-mentioned inscriptions we should treat as a manifestation of the ancestral programme - the artistic exposition of ancestral fundation's history. The effigies and comanurent inscriptions were probably made after the example of the mitred-prelates’s portraits still ex tan ted in the 18th century. Now, only in the instance of Stanislaw Lipski's bust, we can its prototype - the oil-painting picture from 1711 which is preserved in the mitred-prelates old palace. These inscriptions informed about the past of peoples connected with the collegiate church. The activity of bishop A. Lipski is commemorated by two inscriptions from the 17th century. They tell us about fundator and the one them informed of the likely date of the church building’s end. Stanisław Lipski presented all of his cash to the collegiate church in Chocz and his own ornaments. The chalice, with inscription which indicated its original owner and date of production is the trace of that distant donation. The donation of John Alexander Liptki waa the monstrance. Apart from the information about donor we find informations about goldsmith and date of its origin. The most of inscriptions were made during the reconstruction of church and palace when Kazimierz Lipski was the parish-priest in Chocz. These inscriptions commemorate personage of that resourceful administrator. Apart from the remembrances of prorosts from Chocz there are preserved two portraits of Polish noblemen: - the portrait of Andrew Lipeki - the elder brother of bishop John Alexander Lipeki and the portrait of Thomas Lipeki - father of parish-priest Kazimierz. The collection of epigraphical relics, portraits and Low - reliefs and the little belonging to the Chocz's provosts - „prepositus hereditarius in Chocz Lipscensis” convinced us of serious treatment of fundation's resolutions. This collection calls our attention to the exceptional ancestral character of that church institution.
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ZE STUDIÓW NAD SYMBOLAMI CECHOWYMI DZIEWIĘTNASTOWIECZNA PIECZĘĆ CECHU SZEWCÓW Z SZADKU

63%
Adamczewski M., Stulczewski J.
Biuletyn Szadkowski
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2015
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issue 15
109-128
EN
The stamp of the shoemakers’ guild in Szadek was made at the beginning of the 19th century, in accordance with legal regulations of 1816, which reorganized craftsmen’s guilds in the Kingdom of Poland. These regulations, in force throughout the whole 19th century and at the beginning of the 20th century, defined the structure and the way of managing a guild, professional competences of masters and craftsmen, and rules for professional advance. The regulations of 1816 also affected the shape and functions of craftsmen’s stamps. Under these rules, a guild was governed by a board of elders, which was reflected in the legends of the stamps. The term “profession” to refer to the work of craftsmen was introduced at that time. The legend of the seal of the shoemakers’ guild in Szadek speaks about “the shoemakers’ profession”. As regards the appearance of craftsmen’s stamps, they differed from other official stamps (e.g. those of administrative authorities) of the Kingdom of Poland in that they contained elements representative of particular “professions”. In the case of Szadek shoemakers’ it was a high boot with a heel spur, a knife and an awl. This stamp was evidently carved by a very skilful engraver. It is now part of the collection of the Sieradz Museum.
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