DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29195#0058
Fig. 51. Antoni Blank, Portrait of Stanistaw
Kostka Potocki, oils on canvas, ca. 1815;
Wilanow Palace Museum
painted by Jacques-Louis David and Anton Graff. Both canvasses show him radiant
with the optimism, joy of life, finesse, and elegance characteristic of the Age of Reason
(Ryszkiewicz 1963). Incidentally, the portrait by David, presenting Stanislaw Kostka
mounted on a fine steed, was commended at the 1781 exhibition in the renowned Pa-
risian Salon. GrafFs portrait was made in 1785 in Karlsbad, where Count Potocki met
Johann Wolfgang Goethe (Majewska-Maszkowska, Jaroszewski 1968).
One of the most interesting - and at the same time rarely cited - characteristics
of the appearance and opinions of the learned Count was written by his eccentric
daughter-in-law, Anna Potocka nee Tyszkiewicz (and Wqsowiczowa by her second
marriage), to whom we have already referred several times. In her memoirs written
just before the mid-19th century, she gave the following description: In that era, so
rich in men ofprofound minds and brave hearts, the count was one of the greatest. His
brother Ignacy and the count himselfprofoundly contributed to the making of the 3rdMay
Constitution and both were victims of their devotion to the cause; in punishment for the
noble impulse oftheir hearts, which had them strive for the freedom and independence of
their native land, each was locked in the dungeons, one in Russia, the other in Austria, in
Spielberg. It is very rarely that one sees two brothers so richly gifted by Nature; in addition
to the pleasantest aspect possible, each had an elevated mind, an education to match, and
an astoundingly good memory; they constantly frequented the best salons, yet they knew
everything and hadtimefor everything. Count Stanislaw, moreover, possessed a knowledge
of the fine arts I have never encountered in any other art lover. To him we owe some very
interesting research in thatfield, andsome important scholarly studies (;hegenerally known
translation ofWinckelmanns great volume among them). Being in love with his studies,
he found relaxation after his labours in supervising the work ofartists and men ofletters,
to whom he generously gave his protection. In whomever a budding talent or a youth-
ful inspiration blossomed, they could always count on his helpful advice and material
support. Under the influence ofhis repeated Italian journeys he developed that noble
adoration ofbeauty which is Nature’s gift she so rarely grants, and which can be
likened to an additional sense. Often did I look at him in wonderment, thinking
ofthe enormous amount ofknowledge one man could amass, neverforgetting one
iotaofit. He wasan excellent Latinist: often did I hear him recitingwhole books
ofVirgil, which he knew by heart, translating them freely and easily as he spoke.
And when among those fond memories ofmyyouth there springs the image of
a splendid salon, I always see my father-in-law in it, with equal ease discuss-
ing the latest fashionable romance, governmental reforms, political affairs,
designs ofpublic buildings, the composition of a painting or an oldfriend’s
personal matters. Invariably polite andamiable, he was always ready to listen
to everyone who desired his advice. — Memoirs ofthe Countess Potocka 1901,
pp. 26-27.
Visitors to the delightful grounds of the Museum at Wilanow Palace will
encounter a beautiful and at the same time magnificent memorial to the
pioneer of Polish archaeology and art history, installed on one of the drives.
It is a marble replica of the famous sarcophagus discovered in the Scipio
Mausoleum in Rome, now exhibited in the Vatican Museums. Founded by
Aleksandra Potocka, this monument once embellished Gucin (known also
as Gaj), the remains of which are located near Sluzew. Several decades ago, as
Gucin was becoming more and more dilapidated, the sarcophagus was moved
to Wilanow. The inscription engraved on it may be rendered as
Kostka Potocki, oils on canvas, ca. 1815;
Wilanow Palace Museum
painted by Jacques-Louis David and Anton Graff. Both canvasses show him radiant
with the optimism, joy of life, finesse, and elegance characteristic of the Age of Reason
(Ryszkiewicz 1963). Incidentally, the portrait by David, presenting Stanislaw Kostka
mounted on a fine steed, was commended at the 1781 exhibition in the renowned Pa-
risian Salon. GrafFs portrait was made in 1785 in Karlsbad, where Count Potocki met
Johann Wolfgang Goethe (Majewska-Maszkowska, Jaroszewski 1968).
One of the most interesting - and at the same time rarely cited - characteristics
of the appearance and opinions of the learned Count was written by his eccentric
daughter-in-law, Anna Potocka nee Tyszkiewicz (and Wqsowiczowa by her second
marriage), to whom we have already referred several times. In her memoirs written
just before the mid-19th century, she gave the following description: In that era, so
rich in men ofprofound minds and brave hearts, the count was one of the greatest. His
brother Ignacy and the count himselfprofoundly contributed to the making of the 3rdMay
Constitution and both were victims of their devotion to the cause; in punishment for the
noble impulse oftheir hearts, which had them strive for the freedom and independence of
their native land, each was locked in the dungeons, one in Russia, the other in Austria, in
Spielberg. It is very rarely that one sees two brothers so richly gifted by Nature; in addition
to the pleasantest aspect possible, each had an elevated mind, an education to match, and
an astoundingly good memory; they constantly frequented the best salons, yet they knew
everything and hadtimefor everything. Count Stanislaw, moreover, possessed a knowledge
of the fine arts I have never encountered in any other art lover. To him we owe some very
interesting research in thatfield, andsome important scholarly studies (;hegenerally known
translation ofWinckelmanns great volume among them). Being in love with his studies,
he found relaxation after his labours in supervising the work ofartists and men ofletters,
to whom he generously gave his protection. In whomever a budding talent or a youth-
ful inspiration blossomed, they could always count on his helpful advice and material
support. Under the influence ofhis repeated Italian journeys he developed that noble
adoration ofbeauty which is Nature’s gift she so rarely grants, and which can be
likened to an additional sense. Often did I look at him in wonderment, thinking
ofthe enormous amount ofknowledge one man could amass, neverforgetting one
iotaofit. He wasan excellent Latinist: often did I hear him recitingwhole books
ofVirgil, which he knew by heart, translating them freely and easily as he spoke.
And when among those fond memories ofmyyouth there springs the image of
a splendid salon, I always see my father-in-law in it, with equal ease discuss-
ing the latest fashionable romance, governmental reforms, political affairs,
designs ofpublic buildings, the composition of a painting or an oldfriend’s
personal matters. Invariably polite andamiable, he was always ready to listen
to everyone who desired his advice. — Memoirs ofthe Countess Potocka 1901,
pp. 26-27.
Visitors to the delightful grounds of the Museum at Wilanow Palace will
encounter a beautiful and at the same time magnificent memorial to the
pioneer of Polish archaeology and art history, installed on one of the drives.
It is a marble replica of the famous sarcophagus discovered in the Scipio
Mausoleum in Rome, now exhibited in the Vatican Museums. Founded by
Aleksandra Potocka, this monument once embellished Gucin (known also
as Gaj), the remains of which are located near Sluzew. Several decades ago, as
Gucin was becoming more and more dilapidated, the sarcophagus was moved
to Wilanow. The inscription engraved on it may be rendered as