THE DRAWLNGS OF ETRUSCAN TOMBS BY FRANCISZEK
SMUGLEWICZ AND HIS COOPERATION WITH JAMES BYRES
In the last few years considerable growth of interest in the life and work of Franciszek Smug-
lewicz (1745—1807) can be observed. The researches carried out by Mariusz Karpowicz1, Kira
Mytariewa2 and otłier scholars3 have enriched our knowledge of the painter's activityin Romę
and in Petersburg. One of the most important contributions to the development of studies
concerning Franciszek Smuglewicz is a comprehensive monograph written by Vladas Drema
in the Lithuanian language, and published in Vilna in 19734.
Despite the great importance of the Romn period for the artist's further activity, the Roman
works of the Polish painter are still insuffieiently known5. During his stay in the Eternal City
Franciszek Smuglewicz started to cooperate with archeologists and editors famous at the time.
Fascinated by history, like many other artists of the time, he executed a number of drawings
depicting the works of aucient art already known or recently discovered. An example of the
same interest in history can also be noticed during his stay in Poland as the painter unsuc-
cessfnlly attempted to publish an album illttstrating the country's history6.
When in 17637 Franciszek Smuglewicz arrived in Rome he was only 18 years old and his knowl-
edge of painter's craft was limited to the experience acąuired in the studios of both his father,
Łukasz Smuglewicz, and a relative of his Szymon Czechowicz. He remained for twenty years
in RDine, and it was in this cosuopDlitan milieu of artists, antiąuaries, scholars and collectors
that he developed as an artist and gained fundamenta! life experience. The success achieved
in Rome contributed to the painter's esteem and respect in the country. This success was later
1. M. Karpowicz,"Suplement do Poloniców w Akademii Św. Łukasza", Biuletyn Historii Sztuki, XXXVI, 1974, p. 177—178:
the presented information about Smuglewicz (Smoglewicz Francesco) coraes from Nonie e Cognome di tutti i premiali alla
Sculla del Nudo d^ll anno 1754 al 1819, Arcliivio Storico deli Academia di S. Luca, inv. 33 bis at 12.
2. W. Mytariewa, "Franciszek Smuglewicz w Petersburgu", Biuletyn Historii Sztuki, XXXIV, 1972, p. 82—.86; ibid.,"O dwu
odnalezionych kompozycjach F. Smaglewicza", Biuletyn Historii Sztuki, XXXVII, 1975, p. 82—86.
3. E. Budzińska, "Z wezesnej twórczości F. Smuglcwicza. Projekty obrazów do Sali Rycerskiej Zamku Warszawskiego",
Biuletyn Historii Sztuki, XXXIII, 1971, p. 152—.161; B. Duain-Fischingerowa, "Dekoracja malarska drzwi w Łańcucie.
Przyczynek do działalności Franciszka Smuglewicza", Biuletyn Historii Sztuki, XIX, 1957, p. 375—385.
4. V. Drema, Pranciskus Smugleuicius, Vilnius, 1973.
5. Therc has been no comprehensive study of the Roman works of Smuglewicz yet.
6. A. Ryszkiewicz, "Z twórczości Franciszka Smuglcwicza i jego kręgu (Portrety obrazowe)", Biuletyn Historii Sztuki, XIX,
1957, p. 4 ff.; M. Porębski,"Polskie malarstwo historyczne doby romantyzmu a rozwój historycznej świadomości narodu",
Sztuka i krytyka, 1956, p. 78 ff.
7. Various authors present different dates of the painter's journcy to Rome. Howeycr, the clue to the problem is providcd
by the letter Smuglewicz wrote to the king in Deccmbcr 18, 1773, in which he stated that he had stayed in Rome for