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#0007
worksconnected with Stanislaus Augustus, an enlightened King and mason, are bound toend in
failure."15 Małgorzata Sobieraj presents an utteriy different approach sińce her interpretation is
based on a spectacular motif from the Aeneid, namely, the drama of Dido, the queen of Carthage,
having been forsaken by Aeneas and dying, in Virgil's words, is thus "quaesivit coelo lucern" ?s
Her case would be thus similar to that of Stanislaus Augustus, a ruler forsaken by his protectress,
Catherine the Great. When he dies, he "by no means feels innocent" and "does not shun from
responsibility". In a word, the Royal portrait would evoke a vision of "strenuous death-throes"
which "started in 1792 and ended with (the King's own) death in 1798". This interpretation
would be justified by the components of the painting, namely: the hourglass which according to
Sobieraj "symbolises time" (?), "is connected with the function of Time which consists in
unveiling the truth" and, moreover, indicates "restraint and foresight", whereas "traditional
attributes of power, the crown and the globe, have in BacciarellTs painting an additional, more
profound expression because they symbolise the cross of life and toil of carrying it", and the
hourglass within the crown makes us realise that the "passage of time does not lessen the burden
of power or the responsibility of those in power, but changes the conditions in which it is
exercised".17 The interpretation is intuitive and indeed quite specific considering that Stanislaus
Augustus combined rationalism with a stoical attitude18, and by no means was he pleading guilty
for the misfortunes of his country.19 Neither did he lapse into affectation or utter despondency at
the thought of imminent agony.20 Always faithful to the Capricornian motto Fidem Fati-Virtute
13. Sztuka warszawska od średniowiecza do potowy XX w. Katalog wystawy jubileuszowej... (Warsaw Art between the Middle
Ages and the Mid-20th Century. Catalogue of the Annh/ersary Exhibition...), Warszawa, 1962, II, p. 34, /rem 26, Fig. 3.
14. K. Zaleski, "Alegoryczny portret Stanisława Augusta z «klepsydrą»", ("Allegorical Portrait of Stanislaus Augustus with an
Hourglass"), Rocznik Muzeum Narodowego w Warszawie. XXI, 1977, pp. 237-48.
15. J. Pokora, "Stanisławowi Augustowi panegiryk intarsją pisany (Drzwi w toruńskim ratuszu}" ("Panegyric to Stanislaus
Augustus Inscribed in Intarsio (The Door of the Toruń Townhall)"), Rocznik Historii Sztuki, XIX, 1992, pp. 199, f.
16. M. Sobieraj, "Quaesivit coelo lucern. Portret Stanisława Augusta Poniatowskiego «z klepsydrą))", ("Quaesivit coelo lucern.
Portrait of Stanislaus Augustus Poniatowski with an Hourglass"), in Sztuka i Historia. Materiały XXXVII Sesji Stow.
Historyków Sztuki (Art and History. Proceedings of the 37th Session of the Association of Art Historians), Cracow, 17—1 9
November 1 988, Warszawa, 1 992, pp. 249-260. A. Ryszkiewicz read a similar message into J. Peszka's painting, "Alegorie
i satyry na kilka momentów z historii Polski przełomu XVIII i XIX w." in Ikonografia romantyczna. Materiały sympozjum
Komitetu Nauk o Sztuce PAN (Romantic Iconography. Proceedings of the Symposium organized by the Committee for Art
Research of the Polish Academy of Sciences), Nieborów, 26-28 June, 1975, M. Poprzęcka, ed., Warszawa, 1977,
pp. 240-2.
17. M. Sobieraj, op. cit., pp. 255, 258, ff.
18. As proved by W. Dobrowolski. "Program Sali Balowej Pałacu Łazienkowskiego" ("Programme of the Bali Room in the
Łazienki Palące"), in Curia Maior. Studia z dziejów kultury ofiarowane Andrzejowi Ciechanowieckiemu (Curia Maior:
Studies of the History of Culture Presented to Andrzej Ciechanowiecki), Royal Castle in Warsaw, Warszawa, 1990, pp.
1 31-4, 1 37, 140, ff. (with an extensive bibliography). It should be added that the Royal Castle Library included editions of
worksby Seneca in yariouslanguages, and the Essai sur la Providence; cf. AGAD (Cenral Archives), Potocki Public Archives.
MS 139: Bibliotheca Polona Stanislai Augusti Regis Poloniae [inventory compiled about 1796], k. 70; ibid., Prince J.
Poniatowski Archive, MS III/268: Catalogus Bibliothecae S°e Majesfs Regis Poloniarum Comparatus Mensę Januario
Anno 1783. k. 33, 35, f.
19. As was conyincingly proved by A. Zahorski, Spór o Stanisława Augusta (Dispute about Stanislaus Augustus), 2nd ed.,
Warszawa, 1990. pp. 37-48.
20. Because "the classicist was used to speaking about things as sad as this objectively and dispassionateiy. Rampant
expression was disturbing to the classicists primarily on the ground of stripptng despair of solemnity.ln the face of human
misery, the Classicist and the Romantic by naturę behave like the two sons from a legend at the side of their dead mother's
body. The Classicist petrifies, the Romantic bewails. The Classicist speaks soberly as little as possible and just as much as
necessary. The Romantic weeps, evidently horrified by the impotence of words in the face of immense pain. This may be
a matterof choice, but it cannot be precluded that this may be predestined. The Classicist hassoughtto restrain his emotions
by means of intellects, soothed the emotional effect with its morał interpretation, kept out of the spectator's sight what Virgil
calls "terribiles visu formae" (shapes terrible to the eyes)," as R. Przybylski lucidly explained, Wtajemniczenie w los. Szkice
o dramatach (Initiation into Fale. Essays on Drama), Warszawa, 1985, p. 59.
5
failure."15 Małgorzata Sobieraj presents an utteriy different approach sińce her interpretation is
based on a spectacular motif from the Aeneid, namely, the drama of Dido, the queen of Carthage,
having been forsaken by Aeneas and dying, in Virgil's words, is thus "quaesivit coelo lucern" ?s
Her case would be thus similar to that of Stanislaus Augustus, a ruler forsaken by his protectress,
Catherine the Great. When he dies, he "by no means feels innocent" and "does not shun from
responsibility". In a word, the Royal portrait would evoke a vision of "strenuous death-throes"
which "started in 1792 and ended with (the King's own) death in 1798". This interpretation
would be justified by the components of the painting, namely: the hourglass which according to
Sobieraj "symbolises time" (?), "is connected with the function of Time which consists in
unveiling the truth" and, moreover, indicates "restraint and foresight", whereas "traditional
attributes of power, the crown and the globe, have in BacciarellTs painting an additional, more
profound expression because they symbolise the cross of life and toil of carrying it", and the
hourglass within the crown makes us realise that the "passage of time does not lessen the burden
of power or the responsibility of those in power, but changes the conditions in which it is
exercised".17 The interpretation is intuitive and indeed quite specific considering that Stanislaus
Augustus combined rationalism with a stoical attitude18, and by no means was he pleading guilty
for the misfortunes of his country.19 Neither did he lapse into affectation or utter despondency at
the thought of imminent agony.20 Always faithful to the Capricornian motto Fidem Fati-Virtute
13. Sztuka warszawska od średniowiecza do potowy XX w. Katalog wystawy jubileuszowej... (Warsaw Art between the Middle
Ages and the Mid-20th Century. Catalogue of the Annh/ersary Exhibition...), Warszawa, 1962, II, p. 34, /rem 26, Fig. 3.
14. K. Zaleski, "Alegoryczny portret Stanisława Augusta z «klepsydrą»", ("Allegorical Portrait of Stanislaus Augustus with an
Hourglass"), Rocznik Muzeum Narodowego w Warszawie. XXI, 1977, pp. 237-48.
15. J. Pokora, "Stanisławowi Augustowi panegiryk intarsją pisany (Drzwi w toruńskim ratuszu}" ("Panegyric to Stanislaus
Augustus Inscribed in Intarsio (The Door of the Toruń Townhall)"), Rocznik Historii Sztuki, XIX, 1992, pp. 199, f.
16. M. Sobieraj, "Quaesivit coelo lucern. Portret Stanisława Augusta Poniatowskiego «z klepsydrą))", ("Quaesivit coelo lucern.
Portrait of Stanislaus Augustus Poniatowski with an Hourglass"), in Sztuka i Historia. Materiały XXXVII Sesji Stow.
Historyków Sztuki (Art and History. Proceedings of the 37th Session of the Association of Art Historians), Cracow, 17—1 9
November 1 988, Warszawa, 1 992, pp. 249-260. A. Ryszkiewicz read a similar message into J. Peszka's painting, "Alegorie
i satyry na kilka momentów z historii Polski przełomu XVIII i XIX w." in Ikonografia romantyczna. Materiały sympozjum
Komitetu Nauk o Sztuce PAN (Romantic Iconography. Proceedings of the Symposium organized by the Committee for Art
Research of the Polish Academy of Sciences), Nieborów, 26-28 June, 1975, M. Poprzęcka, ed., Warszawa, 1977,
pp. 240-2.
17. M. Sobieraj, op. cit., pp. 255, 258, ff.
18. As proved by W. Dobrowolski. "Program Sali Balowej Pałacu Łazienkowskiego" ("Programme of the Bali Room in the
Łazienki Palące"), in Curia Maior. Studia z dziejów kultury ofiarowane Andrzejowi Ciechanowieckiemu (Curia Maior:
Studies of the History of Culture Presented to Andrzej Ciechanowiecki), Royal Castle in Warsaw, Warszawa, 1990, pp.
1 31-4, 1 37, 140, ff. (with an extensive bibliography). It should be added that the Royal Castle Library included editions of
worksby Seneca in yariouslanguages, and the Essai sur la Providence; cf. AGAD (Cenral Archives), Potocki Public Archives.
MS 139: Bibliotheca Polona Stanislai Augusti Regis Poloniae [inventory compiled about 1796], k. 70; ibid., Prince J.
Poniatowski Archive, MS III/268: Catalogus Bibliothecae S°e Majesfs Regis Poloniarum Comparatus Mensę Januario
Anno 1783. k. 33, 35, f.
19. As was conyincingly proved by A. Zahorski, Spór o Stanisława Augusta (Dispute about Stanislaus Augustus), 2nd ed.,
Warszawa, 1990. pp. 37-48.
20. Because "the classicist was used to speaking about things as sad as this objectively and dispassionateiy. Rampant
expression was disturbing to the classicists primarily on the ground of stripptng despair of solemnity.ln the face of human
misery, the Classicist and the Romantic by naturę behave like the two sons from a legend at the side of their dead mother's
body. The Classicist petrifies, the Romantic bewails. The Classicist speaks soberly as little as possible and just as much as
necessary. The Romantic weeps, evidently horrified by the impotence of words in the face of immense pain. This may be
a matterof choice, but it cannot be precluded that this may be predestined. The Classicist hassoughtto restrain his emotions
by means of intellects, soothed the emotional effect with its morał interpretation, kept out of the spectator's sight what Virgil
calls "terribiles visu formae" (shapes terrible to the eyes)," as R. Przybylski lucidly explained, Wtajemniczenie w los. Szkice
o dramatach (Initiation into Fale. Essays on Drama), Warszawa, 1985, p. 59.
5