DOI Artikel:
Prószyńska, Zuzanna: "Fidem fati - virtute sequemur": The portrait of Stanislaus Augustus with an hourglass
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18942#0003
Zuzanna Prószyńska
'FIDEM FATI — N/IRTUTE SEOUEMUR'.
THE PORTRAIT OF STANISLAUS AUGUSTUS
WITH AN HOURGLASS*
Marcello Bacciarelli completed his Portraitof Stanislaus Augustus with an Hourglassno later
than in March 1793; the King's last portrait before his abdication.1 Stanislaus Augustus liked
being portrayed and commissioned local and foreign artists to paint his portraits,2 but "when he
happened to see a portrait of himself that he considered a failure, he insisted on having it
presented to him as a gift and later had it burned."3 However, on this particular occasion no such
thing happened as the King was not primarily concerned with a representational portrait, as one
of many created within the sphere of his artistic influence; or at least this was not his only
concern. Hence the expression of the image is in no way conventionai, and the spectator is not
iikely to overlook it or easily forget it. This work undoubtedly occupies an exeptional position in
the iconography of the last Polish monarch.
The portrait must have been of great importance to Stanislaus Augustus sińce he very often
mentioned it in his letters to Bacciarelli, urging him to provide self-made replicas and copies." We
know of a good many of both types, butthese differ from oneanother in detail to varying degrees.
As a result, they do not fully render the specific naturę of the original which disappeared under
obscure circumstances. The closest to the original is probably the replica of April 1793, the only
signed copy which once belonged to the Mniszech family, relations of Stanislaus Augustus.5
* The article is the last chapter of my Ph. D. thesis Zegary Stanisława Augusta (The clocks of Stanislaus Augustus) written
under the supen/ision of Professor Zdzisław Żygulski, Jr.
1. Oil on canvas, 111,5x85,5cm, National Museum in Warsaw, inv. no. 231077.
The date of the portraits completion may be inferred from a letter dated "Białystok le 30 Mars 1793", in which the King writes
to Bacciarelli: "Comme je vois, que je ne pourrai eviter les sollicitations infatigables pour des copies du dernier Portrait que
vous avez fait de Moi. Je me determine donc a vous charger d'ordonner a Tokarski de faire 3 copies de ce Portrait, le plus
soignesement qu'il pourra." Cf. Bibl. Narodowa (National Library), rkps (MS) 3291/2: Korespondencja Marcelego
Bacciarellego z królem Stanisławem Augustem (Correspondence between Marcello Bacciarelli and King Stanislaus
Augustus), k. 68: Cf. also A. Chyczewska, Marcello Bacciarelli pierwszy malarz dworu Stanisława Augusta. Rozwój
twórczości (Marcello Bacciarelli, the First Painter at the Court of Stanislaus Augustus. Development of his Works). Ph. D.
thesis, History Department, Warsaw University, 1962. MS, p. 402.
2. The iconography of Stanislaus Augustus isdealth with in numerous publications: W. Łoś, Wizerunki króla Stanisława Augusta
(Portraits of Stanislaus Augustus). Kraków, 1876; A. Ryszkiewicz, "Francuska ikonografia Stanisława Augusta", in Sztuka
i Historia. Księga ku czci Michała Walickiego ("French Iconography of Stanislaus Augustus", in Art and History. Book in
Honour of Michał Walicki), Warszawa, 1966, pp. 169-76 (reprinted in an amended version in id, Zbieracze i obrazy
(Collectors and Paintings), Warszawa, 1972, pp. 163-81); id., "Portrety Stanisława Augusta", in Wiek Oświecenia
("Portraits of Stanislaus Augustus", The Age of Enlightenment), II, Warszawa, 1978, pp. 93-8; H. Widacka, "Ikonografia
króla Stanisława Augusta w grafice XVIII w." ("Icongraphy of King Stanislaus Augustus in 18th century Prints"), Rocznik
Historii Sztuki, XV, 1985, pp. 163-218 (with an extensive bibliography).
3. According to Antoni Magier. Hisstatement wasquoted by K. W. Wóycicki, Archiwum domowe do dziejów literatury krajowej
(Home Archive of the History of Native Literaturę), Warszawa, 1856, pp. 12, f.
4. The correspondence is quoted by A. Chyczewska in her Ph.D. thesis, Marcello Bacciarelli..., op. cit, Annex VIII, pp. 402-5.
5. Detailed information about the portrait, its copies and replicas, and the state of preservation, is given by Z. Batowski, "Portret
Stanisława Augusta z «klepsydrą»" ("Portrait of Stanislaus Augustus with an Hourglass"), [edited from notes by Z.
Niesiolowska-Rothertowa], Biuletyn Historii Sztuki, XIV, 1952, no. 2, pp. 19-32. See also Z. Niesiołowska-Rothertowa,
"Portret Stanisława Augusta z «klepsydrą»" ("Portrait of Stanislaus Augustus with an Hourglass") [Supplementary note],
ibid., XV, 1953, no. 1, p. 75; H. Widacka, op. cit., pp. 215-217.
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'FIDEM FATI — N/IRTUTE SEOUEMUR'.
THE PORTRAIT OF STANISLAUS AUGUSTUS
WITH AN HOURGLASS*
Marcello Bacciarelli completed his Portraitof Stanislaus Augustus with an Hourglassno later
than in March 1793; the King's last portrait before his abdication.1 Stanislaus Augustus liked
being portrayed and commissioned local and foreign artists to paint his portraits,2 but "when he
happened to see a portrait of himself that he considered a failure, he insisted on having it
presented to him as a gift and later had it burned."3 However, on this particular occasion no such
thing happened as the King was not primarily concerned with a representational portrait, as one
of many created within the sphere of his artistic influence; or at least this was not his only
concern. Hence the expression of the image is in no way conventionai, and the spectator is not
iikely to overlook it or easily forget it. This work undoubtedly occupies an exeptional position in
the iconography of the last Polish monarch.
The portrait must have been of great importance to Stanislaus Augustus sińce he very often
mentioned it in his letters to Bacciarelli, urging him to provide self-made replicas and copies." We
know of a good many of both types, butthese differ from oneanother in detail to varying degrees.
As a result, they do not fully render the specific naturę of the original which disappeared under
obscure circumstances. The closest to the original is probably the replica of April 1793, the only
signed copy which once belonged to the Mniszech family, relations of Stanislaus Augustus.5
* The article is the last chapter of my Ph. D. thesis Zegary Stanisława Augusta (The clocks of Stanislaus Augustus) written
under the supen/ision of Professor Zdzisław Żygulski, Jr.
1. Oil on canvas, 111,5x85,5cm, National Museum in Warsaw, inv. no. 231077.
The date of the portraits completion may be inferred from a letter dated "Białystok le 30 Mars 1793", in which the King writes
to Bacciarelli: "Comme je vois, que je ne pourrai eviter les sollicitations infatigables pour des copies du dernier Portrait que
vous avez fait de Moi. Je me determine donc a vous charger d'ordonner a Tokarski de faire 3 copies de ce Portrait, le plus
soignesement qu'il pourra." Cf. Bibl. Narodowa (National Library), rkps (MS) 3291/2: Korespondencja Marcelego
Bacciarellego z królem Stanisławem Augustem (Correspondence between Marcello Bacciarelli and King Stanislaus
Augustus), k. 68: Cf. also A. Chyczewska, Marcello Bacciarelli pierwszy malarz dworu Stanisława Augusta. Rozwój
twórczości (Marcello Bacciarelli, the First Painter at the Court of Stanislaus Augustus. Development of his Works). Ph. D.
thesis, History Department, Warsaw University, 1962. MS, p. 402.
2. The iconography of Stanislaus Augustus isdealth with in numerous publications: W. Łoś, Wizerunki króla Stanisława Augusta
(Portraits of Stanislaus Augustus). Kraków, 1876; A. Ryszkiewicz, "Francuska ikonografia Stanisława Augusta", in Sztuka
i Historia. Księga ku czci Michała Walickiego ("French Iconography of Stanislaus Augustus", in Art and History. Book in
Honour of Michał Walicki), Warszawa, 1966, pp. 169-76 (reprinted in an amended version in id, Zbieracze i obrazy
(Collectors and Paintings), Warszawa, 1972, pp. 163-81); id., "Portrety Stanisława Augusta", in Wiek Oświecenia
("Portraits of Stanislaus Augustus", The Age of Enlightenment), II, Warszawa, 1978, pp. 93-8; H. Widacka, "Ikonografia
króla Stanisława Augusta w grafice XVIII w." ("Icongraphy of King Stanislaus Augustus in 18th century Prints"), Rocznik
Historii Sztuki, XV, 1985, pp. 163-218 (with an extensive bibliography).
3. According to Antoni Magier. Hisstatement wasquoted by K. W. Wóycicki, Archiwum domowe do dziejów literatury krajowej
(Home Archive of the History of Native Literaturę), Warszawa, 1856, pp. 12, f.
4. The correspondence is quoted by A. Chyczewska in her Ph.D. thesis, Marcello Bacciarelli..., op. cit, Annex VIII, pp. 402-5.
5. Detailed information about the portrait, its copies and replicas, and the state of preservation, is given by Z. Batowski, "Portret
Stanisława Augusta z «klepsydrą»" ("Portrait of Stanislaus Augustus with an Hourglass"), [edited from notes by Z.
Niesiolowska-Rothertowa], Biuletyn Historii Sztuki, XIV, 1952, no. 2, pp. 19-32. See also Z. Niesiołowska-Rothertowa,
"Portret Stanisława Augusta z «klepsydrą»" ("Portrait of Stanislaus Augustus with an Hourglass") [Supplementary note],
ibid., XV, 1953, no. 1, p. 75; H. Widacka, op. cit., pp. 215-217.
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