DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22262#0067
AGNIESZKA BENDER
Catholic University, Lublin
LITURGICAL YESTMENTS BY FRANCOIS GLAIZE
Among eighteenth-century tapestries produced in Poland, there is a group made by
the French tapestry-maker Francois Glaize that merit special attention. His works
are distinguished by remarkable artistry and - in terms of techniąue - the use of silk
thread, only occasionally paired with delicate wool and golden thread1. Another dis-
tinctive feature is the use of the weaving techniąue to make liturgical vestments,
exceptional both on a Polish and European scalę.
Unfortunately, there is little information available on Glaize's work in Poland. It
should be noted that this celebrated French tapestry-maker was hardly mentioned
in Western literaturę2. Only recently have a few new facts surfaced that tellus more
about his life and work. Glaize, it has been established, was active in Poland at least
till 17703, i.e. a lot longer than it was previously thought4. Assuming that his ties with
Polish patrons of the arts began in 1743 and ended in 1770, we get a period of nearly
thirty years of work in our country. His artistic activity was closely associated with
1 Pagaczewski, J., Gobeliny polskie, Kraków 1929, p. 39; Rychlewska, M., 'Tapisjesrstwo',
[in:] Zarys historii włókiennictwa na ziemiach polskich do końca XVIII wieku, Kamińska,
J., Turnau, I. (eds), Wrocław 1966, pp. 419-422; Kwaśnik-Gliwińska, A., Tkaniny, katalog
zbiorów, Kielce 1991, p. 58.
2 Góbel, H., Wandteppiche, Vol. III/3, Leipzig 1934, pp. 250-251.
3 Archiwum Główne Akt Dawnych [Central Archives of Old Records - AGAD], Zespół
Archiwalny ks. Józefa Poniatowskiego, ref. 134, Inwentarz Zamku JKMci
y Rzeczypospolitej Warszawskiego [...] 1769, pp. 373, 374, 380.
4 With the exception of Julian Pagaczewski and Anna Kwaśnik-Gliwińska, who, while
describing Glaize's tapestry Apotheosis of Bis hop Kajetan Sołtyk's Coat ofArms dated it
after 1759. Pagaczewski, J., op. cit., pp. 49-50; Kwaśnik-Gliwińska, A., op. cit., pp. 58-
59. Maria Markiewicz was even closer to the truth, when she claimed that Glaize had
been active in Poland till around 1767. Unfortunately, the author did not mention the
source of her knowledge. Markiewicz, M., 'Tkaniny', [in:] Sztuka zdobnicza. Dary
i nabytki Muzeum Narodowego w Warszawie 1945-1964, Warsaw 1964, pp. 19, 38.
65
Catholic University, Lublin
LITURGICAL YESTMENTS BY FRANCOIS GLAIZE
Among eighteenth-century tapestries produced in Poland, there is a group made by
the French tapestry-maker Francois Glaize that merit special attention. His works
are distinguished by remarkable artistry and - in terms of techniąue - the use of silk
thread, only occasionally paired with delicate wool and golden thread1. Another dis-
tinctive feature is the use of the weaving techniąue to make liturgical vestments,
exceptional both on a Polish and European scalę.
Unfortunately, there is little information available on Glaize's work in Poland. It
should be noted that this celebrated French tapestry-maker was hardly mentioned
in Western literaturę2. Only recently have a few new facts surfaced that tellus more
about his life and work. Glaize, it has been established, was active in Poland at least
till 17703, i.e. a lot longer than it was previously thought4. Assuming that his ties with
Polish patrons of the arts began in 1743 and ended in 1770, we get a period of nearly
thirty years of work in our country. His artistic activity was closely associated with
1 Pagaczewski, J., Gobeliny polskie, Kraków 1929, p. 39; Rychlewska, M., 'Tapisjesrstwo',
[in:] Zarys historii włókiennictwa na ziemiach polskich do końca XVIII wieku, Kamińska,
J., Turnau, I. (eds), Wrocław 1966, pp. 419-422; Kwaśnik-Gliwińska, A., Tkaniny, katalog
zbiorów, Kielce 1991, p. 58.
2 Góbel, H., Wandteppiche, Vol. III/3, Leipzig 1934, pp. 250-251.
3 Archiwum Główne Akt Dawnych [Central Archives of Old Records - AGAD], Zespół
Archiwalny ks. Józefa Poniatowskiego, ref. 134, Inwentarz Zamku JKMci
y Rzeczypospolitej Warszawskiego [...] 1769, pp. 373, 374, 380.
4 With the exception of Julian Pagaczewski and Anna Kwaśnik-Gliwińska, who, while
describing Glaize's tapestry Apotheosis of Bis hop Kajetan Sołtyk's Coat ofArms dated it
after 1759. Pagaczewski, J., op. cit., pp. 49-50; Kwaśnik-Gliwińska, A., op. cit., pp. 58-
59. Maria Markiewicz was even closer to the truth, when she claimed that Glaize had
been active in Poland till around 1767. Unfortunately, the author did not mention the
source of her knowledge. Markiewicz, M., 'Tkaniny', [in:] Sztuka zdobnicza. Dary
i nabytki Muzeum Narodowego w Warszawie 1945-1964, Warsaw 1964, pp. 19, 38.
65