DOI Heft:
Nr. 2-4
DOI Artikel:Kasprzak, Aleksandra J.: The Radziwiłłs of Nieśwież: a contribution to industrial "Mecenate" in the first half of the 18th century
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18948#0095
After his mothers death, Michał Kazimierz Radziwił, dianks to the craftsmen
brought from abroad, located a weaving-milH in Nieśwież in the fifties and
a carpet workshop in the lords’ manor where carpets with coats-of-arms and
monograms of the owner as well as the famous tapestry depicting the history
of the Radziwiłł family were produced. However, Michał Kazimierz Radziwiłł
gained timeless famę thanks to the last manufactures he established, namely
the sash manufactures in Nieśwież in 1757 and in Słuck in 1760.26
8. Wax impressions
of the Princeż Michał
Kazimierz Radziwiłł
seal, see ill. 7
(Phot. Maciej Bronarski)
The younger son, Hieronim Florian (1715-1760), the Grand Standard-
-bearer of the Lithuanian Army, after his mother’s death inherited the
manufactures in Biała, Naliboki and Urzecze, which continued to function.
His personal interests evolved around engineer-technical Solutions27; for
example he worked on a project of an artificial channel that would join the
rivers Bug and Niemen and toyed with an idea to build a whole, artificial,
fortified island on the Kniaź lakę. Hieronim Florian believed that science and
technical inventions should be put to practical use in order to attain better
economic results and to fully use the natural resources. He often took active
part in projecting and working out ingenious technical Solutions. In the łatę
forties in his pałace in Biała he established a laboratory where long-term
research was carried off, which was to determine the content of the porcelain
substance.
2:1 W Kula, “Manufaktura sukienna Radziwiłłów w Nieświeżu 1752-1767”, in Szkice o manu-
fakturach w Polsce XVIII wieku, Warszawa 1956, vol. 1, pp. 35-66; it produced mainly for the
Nieśwież garrison.
26 J. Chruszczyńska, Pasy kontuszowe z polskich manufaktur i pracowni w zbiorach Muzeum
Narodowego w Warszawie, exh. cat., National Museum in Warsaw, pp. 298-305.
27 J. Kowalczyk, “Hieronima Floriana Radziwiłła stosunek do sztuki i artystów”, in Kultura
artystyczna Wielkiego Księstwa Litewskiego w epoce baroku, Warszawa 1955, pp. 27—43.
89
brought from abroad, located a weaving-milH in Nieśwież in the fifties and
a carpet workshop in the lords’ manor where carpets with coats-of-arms and
monograms of the owner as well as the famous tapestry depicting the history
of the Radziwiłł family were produced. However, Michał Kazimierz Radziwiłł
gained timeless famę thanks to the last manufactures he established, namely
the sash manufactures in Nieśwież in 1757 and in Słuck in 1760.26
8. Wax impressions
of the Princeż Michał
Kazimierz Radziwiłł
seal, see ill. 7
(Phot. Maciej Bronarski)
The younger son, Hieronim Florian (1715-1760), the Grand Standard-
-bearer of the Lithuanian Army, after his mother’s death inherited the
manufactures in Biała, Naliboki and Urzecze, which continued to function.
His personal interests evolved around engineer-technical Solutions27; for
example he worked on a project of an artificial channel that would join the
rivers Bug and Niemen and toyed with an idea to build a whole, artificial,
fortified island on the Kniaź lakę. Hieronim Florian believed that science and
technical inventions should be put to practical use in order to attain better
economic results and to fully use the natural resources. He often took active
part in projecting and working out ingenious technical Solutions. In the łatę
forties in his pałace in Biała he established a laboratory where long-term
research was carried off, which was to determine the content of the porcelain
substance.
2:1 W Kula, “Manufaktura sukienna Radziwiłłów w Nieświeżu 1752-1767”, in Szkice o manu-
fakturach w Polsce XVIII wieku, Warszawa 1956, vol. 1, pp. 35-66; it produced mainly for the
Nieśwież garrison.
26 J. Chruszczyńska, Pasy kontuszowe z polskich manufaktur i pracowni w zbiorach Muzeum
Narodowego w Warszawie, exh. cat., National Museum in Warsaw, pp. 298-305.
27 J. Kowalczyk, “Hieronima Floriana Radziwiłła stosunek do sztuki i artystów”, in Kultura
artystyczna Wielkiego Księstwa Litewskiego w epoce baroku, Warszawa 1955, pp. 27—43.
89