DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22262#0069
Liturgical Yestments of Francois Glaize
Under the rule of Saxon electors, who
held sway from 1697 to 1763 (with mi-
nor intervals), artistic contacts between
Dresden and Warsaw were ąuite ani-
mated. It is therefore ąuite possible that
it was in that German town that around
1740 young Glaize produced his most
outstanding piece for King Stanislas
Leszczyński: a series of tapestries depict-
ing 'The Four Seasons' in the Teniers
style7, currently on display at the Royal
Castle in Warsaw.
The period when Glaize worked for
bishop Andrzej Stanisław Kostka
Załuski is best known and backed with
ample archival materiał and numerous
extant objects. Załuski held the office of -pig. 3
the Great Chancellor of the Crown in Front of chasuble, Francois Glaize, Poland
the years 1735-1747 and was a freąuent 1745, The Treasury of the Wawel Cathedral;
visitor in Dresden, where he probably photo by J. Powązka.
met the French tapestry maker. Active
in many areas and a vigorous supporter
of economic reforms, bishop Załuski was one of the precursors of the Enlightenment.
He was among the founding fathers of the Załuski Library, one of the richest and
best known establishments in Europę. Załuski made his name in the arts by par-
ticipating in a variety of foundations and by rebuilding St Stanislas church in
Rome, an object of his great admiration8. He was committed to bringing consist-
ency to the interior decoration of the church in terms of both style and iconogra-
phy, which he did with the help of his protege Tadeusz Kuntze-Konicz, who, fol-
7 Teniers tapestries are discusses in works such as: Badin, J., La Manufacture de la tapisseńes
de Beauvais depuis ses origins jusqu'a nos jours, Paris 1909, p. 56; Marillier, H. C, Hand-
book to the Teniers Tapestńes, London 1932; Boccador, J., Les tapisseńes a la Teniere de la
manufacture de Beauvais au XVIIe siecle, in L'Estampille, 1985, Vol. 185, pp. 38-42;
Rigot-Chevalier, V, Bertrand P-F, Tapisseńes XVII-XVIIIe siecles. Les Tenieres. Scenes de
la vie villageoise d'apres David Teniers (1610-1690), Angers, 1987; Hennel-Bernasikowa,
M., Gobeliny XV-XIX wieku w Zamku Królewskim na Wawelu, Cracow 2000, pp. 186-188.
8 Brykowski, R., Z ikonografii Hospicjum i kościoła św. Stanisława w Rzymie, [in:] 'Rocznik
Historii Sztuki', 1982, Vol. XIV, pp. 270-271; Banacka, M., Fundacje sakralne biskupa
Andrzeja Stanisława Kostki Załuskiego [in:] 'Studia nad sztuką renesansu i baroku', Vol.
IV, J., Lileyko, (ed.), Lublin 2000, p. 228; Chrzanowski, T, Kornecki M., Polskie
pomniki w świątyniach Rzymu, Warsaw 1994, p. 133.
Under the rule of Saxon electors, who
held sway from 1697 to 1763 (with mi-
nor intervals), artistic contacts between
Dresden and Warsaw were ąuite ani-
mated. It is therefore ąuite possible that
it was in that German town that around
1740 young Glaize produced his most
outstanding piece for King Stanislas
Leszczyński: a series of tapestries depict-
ing 'The Four Seasons' in the Teniers
style7, currently on display at the Royal
Castle in Warsaw.
The period when Glaize worked for
bishop Andrzej Stanisław Kostka
Załuski is best known and backed with
ample archival materiał and numerous
extant objects. Załuski held the office of -pig. 3
the Great Chancellor of the Crown in Front of chasuble, Francois Glaize, Poland
the years 1735-1747 and was a freąuent 1745, The Treasury of the Wawel Cathedral;
visitor in Dresden, where he probably photo by J. Powązka.
met the French tapestry maker. Active
in many areas and a vigorous supporter
of economic reforms, bishop Załuski was one of the precursors of the Enlightenment.
He was among the founding fathers of the Załuski Library, one of the richest and
best known establishments in Europę. Załuski made his name in the arts by par-
ticipating in a variety of foundations and by rebuilding St Stanislas church in
Rome, an object of his great admiration8. He was committed to bringing consist-
ency to the interior decoration of the church in terms of both style and iconogra-
phy, which he did with the help of his protege Tadeusz Kuntze-Konicz, who, fol-
7 Teniers tapestries are discusses in works such as: Badin, J., La Manufacture de la tapisseńes
de Beauvais depuis ses origins jusqu'a nos jours, Paris 1909, p. 56; Marillier, H. C, Hand-
book to the Teniers Tapestńes, London 1932; Boccador, J., Les tapisseńes a la Teniere de la
manufacture de Beauvais au XVIIe siecle, in L'Estampille, 1985, Vol. 185, pp. 38-42;
Rigot-Chevalier, V, Bertrand P-F, Tapisseńes XVII-XVIIIe siecles. Les Tenieres. Scenes de
la vie villageoise d'apres David Teniers (1610-1690), Angers, 1987; Hennel-Bernasikowa,
M., Gobeliny XV-XIX wieku w Zamku Królewskim na Wawelu, Cracow 2000, pp. 186-188.
8 Brykowski, R., Z ikonografii Hospicjum i kościoła św. Stanisława w Rzymie, [in:] 'Rocznik
Historii Sztuki', 1982, Vol. XIV, pp. 270-271; Banacka, M., Fundacje sakralne biskupa
Andrzeja Stanisława Kostki Załuskiego [in:] 'Studia nad sztuką renesansu i baroku', Vol.
IV, J., Lileyko, (ed.), Lublin 2000, p. 228; Chrzanowski, T, Kornecki M., Polskie
pomniki w świątyniach Rzymu, Warsaw 1994, p. 133.