DOI Page / Citation link:
https://doi.org/10.11588/diglit.26552#0448
was an indication of the attitude, the needs, and the aspirations of its founders, and a testimony
to the social status of a magnate. At the same time, that very castle or palace, or even a wooden
manor, carried a glorifying message expressed in the propagandist agenda (through coats of
arms and inscriptions), as well as in the interior furnishing and decoration (a showcase portrait
gallery, paintings depicting famous battles fought by the ancestors). Presentation of outstanding
personages, whose merits were transferred onto the contemporary living persons, was a proof
of ancestral excellence as well as a sign of high standing in the social hierarchy. In character,
artistic rendering and subject matter of celebratory events linked with the Jabłonowski clan are
very much like those known and discussed in the subject literature. Just like other noble Houses,
the Jabłonowskis used pamphlets with eulogies to create a proper, ideal family image. Evoking
the ancestors, emphasising the blood ties and extensive family connections, and applying con-
cepts that used heraldic motifs combined with meticulous, extensive descriptions, fully met the
viewers’ demands, while constituting the proper decorum of the commissioners’ life in the pub-
lic domain.
Church endowments by the Jabłonowski family were a necessary ingredient in establishing
the splendour of the founders and patrons, all obedient sons of the Church. Erecting churches,
chapełs, and family tombs must be seen chiefly as a visible manifestations of faith and religious
virtue, but also as a sign of the power, wealth and position.
The message of artworks endowed by the Jabłonowskis, to a large extent (if not chiefly)
served to create a public image. Sturdiness of the projects expressed the message of a great past,
and a grand present; that message was addressed to future generations.
We can argue that the familial image building effort (as a matter of course, serving also to
create personal images of particular commissioners of the works) had been gradual in charac-
ter. The first protagonist discussed in the present work focused on creating visible signs of the
familys power — splendid residences, remodelled in 1720s (the palace in Tvov, the castle in
Podkamień near Rohatyn, the palace in Mariampol), which in fact had not even been in the pos-
session of the Jabłonowskis back in the 17th century. By remodelling old buildings, he was cre-
ating abodes well becoming a senator, with aptly exposed ideological clues to the importance
of the family members. Jabłonowski aspires to be a conscious, aware employer who attempts
to create his own artistic concepts (designs for the altars, for his fathers tomb). An important
feature of Jan Stanisławs works is their “łiterary ąuality” — łengthy inscriptions explicating
the history of the given place and the persons of the founders (that is, their family connections),
as in the castle manor in Podkamień or the fathers tomb in the Jesuit church in Tvov (1730).
The heraldic and literary layer of the artworks is particularly important in the case
of Stanisław Wincentys endowments. His activity in the field constitutes the next stage, so to
speak, in the image formation of the Jabłonowski House. Descriptions of celebratory events,
with extensive accounts of their ephemerał paraphernalia, testify to significant expansion of
the familys image. In his endowments, the Voivode of Rawa focused upon generally available
works: numerous religious buildings (church of the Order of St. Paul in Hlinniki, in Niżniów
and in Lvov) and funerary monuments. He constructed his own funerary chapel next to the
Jasna Góra (Claromontana) basilica (constructed between 1751-1759), as well as the funerary
monuments (a joint tomb of Jan Stanisław Jabłonowski, Crown Sword-bearer and Jan Stanisław
Jabłonowski, Ruthenian Voivode, erected between 1735-1743; an epitaph of his first wife, around
the year 1735), which constituted the mausoleum in the Jesuit church in Lvov. Thus he filled the
gaps in the familys image — as in the previous century the Jabłonowskis had not distinguished
themselves as the founders and patrons of churches, nor had they established one particular bur-
ial place for their departed family members. We may argue that through the actions of Stanisław
Wincenty, his (and therefore the Jabłonowskis’) artistic initiatives receive a rełigious dimen-
sion. This is apparent in the manner in which the coat of arms is employed, as an element in the
sphere of sacrum, which however explains the majestic status and significance of the founder,
often placed at the central point of the arrangement. An example of the Voivode’s continuance
of Jan Stanisławs efforts — in terms of secular architecture — is the palace in Płużne, with an
to the social status of a magnate. At the same time, that very castle or palace, or even a wooden
manor, carried a glorifying message expressed in the propagandist agenda (through coats of
arms and inscriptions), as well as in the interior furnishing and decoration (a showcase portrait
gallery, paintings depicting famous battles fought by the ancestors). Presentation of outstanding
personages, whose merits were transferred onto the contemporary living persons, was a proof
of ancestral excellence as well as a sign of high standing in the social hierarchy. In character,
artistic rendering and subject matter of celebratory events linked with the Jabłonowski clan are
very much like those known and discussed in the subject literature. Just like other noble Houses,
the Jabłonowskis used pamphlets with eulogies to create a proper, ideal family image. Evoking
the ancestors, emphasising the blood ties and extensive family connections, and applying con-
cepts that used heraldic motifs combined with meticulous, extensive descriptions, fully met the
viewers’ demands, while constituting the proper decorum of the commissioners’ life in the pub-
lic domain.
Church endowments by the Jabłonowski family were a necessary ingredient in establishing
the splendour of the founders and patrons, all obedient sons of the Church. Erecting churches,
chapełs, and family tombs must be seen chiefly as a visible manifestations of faith and religious
virtue, but also as a sign of the power, wealth and position.
The message of artworks endowed by the Jabłonowskis, to a large extent (if not chiefly)
served to create a public image. Sturdiness of the projects expressed the message of a great past,
and a grand present; that message was addressed to future generations.
We can argue that the familial image building effort (as a matter of course, serving also to
create personal images of particular commissioners of the works) had been gradual in charac-
ter. The first protagonist discussed in the present work focused on creating visible signs of the
familys power — splendid residences, remodelled in 1720s (the palace in Tvov, the castle in
Podkamień near Rohatyn, the palace in Mariampol), which in fact had not even been in the pos-
session of the Jabłonowskis back in the 17th century. By remodelling old buildings, he was cre-
ating abodes well becoming a senator, with aptly exposed ideological clues to the importance
of the family members. Jabłonowski aspires to be a conscious, aware employer who attempts
to create his own artistic concepts (designs for the altars, for his fathers tomb). An important
feature of Jan Stanisławs works is their “łiterary ąuality” — łengthy inscriptions explicating
the history of the given place and the persons of the founders (that is, their family connections),
as in the castle manor in Podkamień or the fathers tomb in the Jesuit church in Tvov (1730).
The heraldic and literary layer of the artworks is particularly important in the case
of Stanisław Wincentys endowments. His activity in the field constitutes the next stage, so to
speak, in the image formation of the Jabłonowski House. Descriptions of celebratory events,
with extensive accounts of their ephemerał paraphernalia, testify to significant expansion of
the familys image. In his endowments, the Voivode of Rawa focused upon generally available
works: numerous religious buildings (church of the Order of St. Paul in Hlinniki, in Niżniów
and in Lvov) and funerary monuments. He constructed his own funerary chapel next to the
Jasna Góra (Claromontana) basilica (constructed between 1751-1759), as well as the funerary
monuments (a joint tomb of Jan Stanisław Jabłonowski, Crown Sword-bearer and Jan Stanisław
Jabłonowski, Ruthenian Voivode, erected between 1735-1743; an epitaph of his first wife, around
the year 1735), which constituted the mausoleum in the Jesuit church in Lvov. Thus he filled the
gaps in the familys image — as in the previous century the Jabłonowskis had not distinguished
themselves as the founders and patrons of churches, nor had they established one particular bur-
ial place for their departed family members. We may argue that through the actions of Stanisław
Wincenty, his (and therefore the Jabłonowskis’) artistic initiatives receive a rełigious dimen-
sion. This is apparent in the manner in which the coat of arms is employed, as an element in the
sphere of sacrum, which however explains the majestic status and significance of the founder,
often placed at the central point of the arrangement. An example of the Voivode’s continuance
of Jan Stanisławs efforts — in terms of secular architecture — is the palace in Płużne, with an