DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.25050#0152
controversial decision was to introduce modern paintings to the
historic Vasa rooms.
Maintenance and administration of the castle is in the hands of
the so-called State Collection of Art, created in the interwar
period. The idea behind the exposition has always been to recreate
the original form and ambience of the seat of Polish royalty - an
enormous and difficult task, since most of the artefacts historically
connected with the castle had been destroyed or scattered. A wa-
tershed event which enhanced the authenticity of the Wawel
interiors was the recovery of Sigismund Augustus’ tapestries,
which the Soviet Union was required to return by the Treaty of
Riga in 1921. Gradually built up, due to a skilful purchase policy,
as well as donations from Poland and abroad, was an impressive
collection of paintings and of decorative arts pieces, including
many valuable royal memorabilia. Systematic excavation work
produced many interesting findings. Gradually, new sections of
the museum were organized: the recreated Crown Treasury, the
Armoury, the Oriental art collection, notable for its content and
methods of display, and, last but not least, the archaeological and
historical exhibition The Lost Wawel.
The core of the public exhibition are the second-floor state
rooms in the east and north wings. They are approached by the
steep and narrow Envoys’ Staircase (Schody Poselskie). At its top,
an amfilade of monumental rooms of the Wawel piano nohile opens
on both sides, recalling the momentous events from the Polish
history. Seated on the throne in the Audience Hall (Sala Poselska),
the King gave audience to foreign ambassadors and presided over
Coronation Parliaments. Each item here bespoke the power and
wealth of the Jagiellonian dynasty. Despite alterations and re-
construction of some elements, the royal splendour and authen-
ticity of these interiors gives one the feeling of breathing living
history.
68. Fragment of the western wing looking from the courtyard
M5
historic Vasa rooms.
Maintenance and administration of the castle is in the hands of
the so-called State Collection of Art, created in the interwar
period. The idea behind the exposition has always been to recreate
the original form and ambience of the seat of Polish royalty - an
enormous and difficult task, since most of the artefacts historically
connected with the castle had been destroyed or scattered. A wa-
tershed event which enhanced the authenticity of the Wawel
interiors was the recovery of Sigismund Augustus’ tapestries,
which the Soviet Union was required to return by the Treaty of
Riga in 1921. Gradually built up, due to a skilful purchase policy,
as well as donations from Poland and abroad, was an impressive
collection of paintings and of decorative arts pieces, including
many valuable royal memorabilia. Systematic excavation work
produced many interesting findings. Gradually, new sections of
the museum were organized: the recreated Crown Treasury, the
Armoury, the Oriental art collection, notable for its content and
methods of display, and, last but not least, the archaeological and
historical exhibition The Lost Wawel.
The core of the public exhibition are the second-floor state
rooms in the east and north wings. They are approached by the
steep and narrow Envoys’ Staircase (Schody Poselskie). At its top,
an amfilade of monumental rooms of the Wawel piano nohile opens
on both sides, recalling the momentous events from the Polish
history. Seated on the throne in the Audience Hall (Sala Poselska),
the King gave audience to foreign ambassadors and presided over
Coronation Parliaments. Each item here bespoke the power and
wealth of the Jagiellonian dynasty. Despite alterations and re-
construction of some elements, the royal splendour and authen-
ticity of these interiors gives one the feeling of breathing living
history.
68. Fragment of the western wing looking from the courtyard
M5