Instytut Sztuki (Warschau) [Hrsg.]; Państwowy Instytut Sztuki (bis 1959) [Hrsg.]; Stowarzyszenie Historyków Sztuki [Hrsg.]: Biuletyn Historii Sztuki (67.2005)

"Deo & Patriae": Portraits of bishop-chancellors of the Polish-Lithuanian 'Respublica' 239

same time, the author draws attention to an interest-
ing copperplate; a frontispiece ignored in research
that is almost certainly the work of Leon Tarasiewicz
from the eulogy titled Verus Antistes etprudens Sena-
tor ... Constantino Brzostowski ... (Vilna 1687), in
which the collegium of that city as well as its Jesuit
university convey their wishes to the said Brzos-
towski, 'a true "arch-shepherd" and wise senator' on
the occasion of his appointment as bishop of Vilna.
The print depicts a personification of reigning
Lithuania (a woman) pouring offices and dignities,
both secular and clerical; or to be more precise their
insignia or symbols, out of horns of plenty. This
composition evidently relates to a frontispiece by
Szymon Okolski titled Orbis Polonus (1645), based
on David Tscherning's copperplate engraving
depicting a scene in which vacances are being distrib-
uted by a personification of the Respublica.
An allegory portraying the dual aspects of
Andrzej Stanisław Kostka Załuski; i.e. State and cleri-
cal, may be seen in a print by an unknown author in a
funeral panegyric composed by Józef Andrzej Declos,
Mausoleum Immortalis gloriae Junossio Agno ferreo
fatorum stylo ad posthuman saeculorum memoriam
... Andreae Stanislai Kostka... Epscopi Cracoviensis
... delineatum (Cracow 1758). In this case it came to
the point where a bishop was being glorified, since in
his heraldic cartouche, placed in an exquisitely sump-
tuous armature of insignia, secular as well as ecclesi-
astical, he is demonstrated as a personification of both
Eklesiastikos and Polonia in a special way. Although
both figures are seated beneath the cartouche, the
entire composition lends the impression as thought they
ere adoring Junosz ofthe Załuskis. This coat-of-arms, as
is obvious, appeared in numerous concepts in the role
ofthe holy lamb referred to in 'Apocalypse'.
Returning to the earlier rudimentary question why
certain bishops are presented with a seal after having

1. Lucas Kilian, portrait ofEustachy Wołłowicz, cop-
perplate 1621
2. Portrait ofAndrzej Lipski, from between 1618 and
1625. Cracow, Franciscan monastery
3. Epitaph of Mikołaj Prażmowski, from between
1658 and 1666. Łowicz Cathedral
4. Tadeusz Kuntze(?), portrait of Andrzej Stanisław
Kostka Załuski, from between 1736 and 1746.
Cracow, Missionary monastery
5. Epitaph of Andrzej Chryzostom Załuski, prior to
1721, detail. Pułtusk, Collegiate church
6. Heraldic banner of Jakub Zadzik, 1633. National
Museum, Kielce
7. Detail of the heraldic banner of Jakub Zadzik,
1633. National Museum, Kielce

ceased to fulfill the fiinction of chancellor, the author
stipulates the following. In his conviction, unfortu-
nately a provisional one, it seems that a certain rule
was upheld whereby the insignia, whether it appeared
on a portrait composed in vivo or as an epitaph for a
tomb, appeared only when the person held the defined
official title or titles, however earlier levels of his
career were documented only in the inscription. Be
that as it nevertheless may, there are not uncommon
exceptions noted to the above-stipulated principle,
when the career description is supplemented or fully
illustrated with a picture portrait. The author offers here
examples of portraits from the 17th and 18th centuries.
From the earlier-mentioned principle of painting
officials is upheld, the dating of some of the digni-
taries mentioned in the introduction should be dated
further back in time; i.e. Lipski from ca. 1631 to
between 1618 and 1625, Prażmowski from ca. 1673
to between 1664 and 1666, while that of Andrzej
Stanisław Kostka Załuski, dated from around 1758
would in fact have arisen sometime between 1738
and 1746. In the latter case, the dating is of key im-
portance that it would render out ofthe question the
portraifs attribution to Tadeusz Kunte. For the same
reason the exlibris ofthe Załuski Library would have
to be predated from 1767 (from March to June) to
prior to 15th October 1746.
In his conclusion, the author states that the subject
'bishop as chancellor' should be considered simulta-
neously in relation to two fields ofresearch: a generał
one, concerning the chancellor's state-clerical duties
as a bishop, as well as the more specific aspect relat-
ing to the matter of administering the Polish-Lithua-
nian Respublica. Only then is it possible to acquire a
full picture of the whole question. As a result of the
current state of studies it is difficult to establish
whether the dating of portraits based on the seal of
office depicted is actually correct.
Translated by Peter Martyn
8. Detail ofthe epitaph ofMikołaj Prażmowski, from
between 1658 and 1666. Łowicz, Cathedral
9. Johann Gottfried Haid Junior after Andreas
Ernestus Conoppi (Konopka?) and Gottfried
Bernhard Goetz, portrait of Jan Szembek, copper-
plate 1736-40(?)
10. Leon Tarasewicz, copperplate in a panegyric in
honour of Konstanty Brzostowski, bishop of Vilna
titled Verus Antistes..., 1687. From: D.W. Stepowyk,
Leontij Tarasewycz..., Kiyiv 1986
11. Tscherning, frontispiece of Szymon Okolski's
Orbis Polonus, 1645
12. Print from a funereal panegyric in honour of
Andrzej Stanisław Kostka Załuski: J.A. Declos, Mau-
soleum Immortalis gloriae Junossio Agno ferreo