DOI Page / Citation link:
https://doi.org/10.11588/diglit.23631#0012
kpniec wieku XVII w datum] Polsce (Examples of Medieval and Renaissance Art Towards the Close of the
17th Century in the Former Poland, Warsaw, Paris 1853—69), written by Aleksander Przezdziecki and
Edward Rastawiecki, deals almost exclusively with artistic crafts. The same may be said of one of the
most widely read works on Polish culture, namely Lycu polskje u daunych wiekach (The Polish Way of Life
in Past Centuries) by Wladyslaw Lozihski, first published in 1907 in Lvov and subsequently re-issued
many times. In the course of the last hundred years many historians of art, and culture have written on the
evolution of Polish craftsmanship, adding to and developing our knowledge on the subject in countless
articles, encyclopaedias and monographs. These have included such eminent scholars as Marian Sokolow-
ski, Julian Kolaczkowski, Leonard Lepszy, Zygmunt Gloger, Aleksander Bruckner, Marian Morelowski,
Aleksander Czolowski, Tadeusz Mahkowski, Mieczyslaw Gebarowicz, Julian Pagaczewski, Tadeusz Do-
browolski, Adam Bochnak, Jerzy Szablowski, Karol Estreicher, Tadeusz Kruszynski, Kazimierz Buczkow-
ski, Zbigniew Bochehski, Maria Gutkowska-Rychlewska, Stanislaw Gebethner, and Wladyslaw
Tomkiewicz.
From earliest times, objects produced both in Poland and abroad were collected and piously preserved.
Such objects filled the treasuries of kings and princes, of great magnates, the gentry and burghers, not to
mention churches and monasteries. Above all products of gold and silver — jewelry and vessels — were
collected as both a testimony to affluence, and a reserve which could be used in case of emergency. There
is much evidence, however, that precious objects were melted down for gold and silver only in cases of
dire necessity. Consequently, despite all the misfortunes and calamities which befell Poland, a relatively
large number of objects of artistic craftsmanship have been preserved to this day. Some of them became
museum pieces a long time ago and found their way to the first historical museums in this country, such
as the Temple of Sibyl and the Gothic House in Pulawy. In the 1850s, exhibitions of such objects were
held in Cracow and Warsaw, and albums illustrated with photographs of these displays were published.
Many objects at present to be seen in Poland's national museums figure in those extraordinarily clear and
sharp photographs.
Among surviving objects of artistic craftsmanship those made in Poland and by Polish craftsmen,
which reflect the Polish national spirit and taste, Polish customs and local fashion, deserve special mention.
They represent the 'Polish line' in craftsmanship and as a manifestation of Polish identity constitute the
primary subject discussed in this book. Some objects were made in Poland by foreign craftsmen who either
stayed here for a time or settled permanently, bringing with them foreign designs, materials and technolo-
gies; most of them adapted their work to Polish tastes and requirements and eventually became polonized.
There were among them craftsmen from the West — Germans, Italians, Frenchmen — and from the
East — mainly Armenians and Greeks. Jews played an important role in the evolution of craftsmanship.
They arrived from both East and West and were particularly skilled in the goldsmith's art and high-class
tailoring. Another important group of objects were those ordered by Poles abroad and made according
to Polish requirements and designs. The best example here is the magnificent series of tapestries commission-
ed in Flanders by King Sigismund Augustus. They are adorned with pictorial scenes and the king s
coat-of-arms and ciphers. Following the royal example, many secular and Church dignitaries purchased
Flemish tapestries emblazoned with their coats-of-arms. Polish kings ordered silverware and jewelry from
Nuremberg and Augsburg, and even more frequently from Gdansk which was firmly linked with Poland.
Objects purchased abroad, foreign gifts, and war booty, particularly spoils taken in the Turkish wars,
contributed to the overall aspect of Polish artistic culture, though of course they cannot be viewed as
achievements of Polish craftsmanship.
Works on the subject published to date have tended to underestimate Polish achievements in artistic
craftsmanship. Far more has been written about objects of foreign provenance preserved in Poland than
about those produced by local craftsmen. In point of fact it is often difficult to establish the authorship and
country of origin of such movable objects. This book deals primarily with Polish artistic culture, and the
role these objects of beauty used to perform in everyday life.
17th Century in the Former Poland, Warsaw, Paris 1853—69), written by Aleksander Przezdziecki and
Edward Rastawiecki, deals almost exclusively with artistic crafts. The same may be said of one of the
most widely read works on Polish culture, namely Lycu polskje u daunych wiekach (The Polish Way of Life
in Past Centuries) by Wladyslaw Lozihski, first published in 1907 in Lvov and subsequently re-issued
many times. In the course of the last hundred years many historians of art, and culture have written on the
evolution of Polish craftsmanship, adding to and developing our knowledge on the subject in countless
articles, encyclopaedias and monographs. These have included such eminent scholars as Marian Sokolow-
ski, Julian Kolaczkowski, Leonard Lepszy, Zygmunt Gloger, Aleksander Bruckner, Marian Morelowski,
Aleksander Czolowski, Tadeusz Mahkowski, Mieczyslaw Gebarowicz, Julian Pagaczewski, Tadeusz Do-
browolski, Adam Bochnak, Jerzy Szablowski, Karol Estreicher, Tadeusz Kruszynski, Kazimierz Buczkow-
ski, Zbigniew Bochehski, Maria Gutkowska-Rychlewska, Stanislaw Gebethner, and Wladyslaw
Tomkiewicz.
From earliest times, objects produced both in Poland and abroad were collected and piously preserved.
Such objects filled the treasuries of kings and princes, of great magnates, the gentry and burghers, not to
mention churches and monasteries. Above all products of gold and silver — jewelry and vessels — were
collected as both a testimony to affluence, and a reserve which could be used in case of emergency. There
is much evidence, however, that precious objects were melted down for gold and silver only in cases of
dire necessity. Consequently, despite all the misfortunes and calamities which befell Poland, a relatively
large number of objects of artistic craftsmanship have been preserved to this day. Some of them became
museum pieces a long time ago and found their way to the first historical museums in this country, such
as the Temple of Sibyl and the Gothic House in Pulawy. In the 1850s, exhibitions of such objects were
held in Cracow and Warsaw, and albums illustrated with photographs of these displays were published.
Many objects at present to be seen in Poland's national museums figure in those extraordinarily clear and
sharp photographs.
Among surviving objects of artistic craftsmanship those made in Poland and by Polish craftsmen,
which reflect the Polish national spirit and taste, Polish customs and local fashion, deserve special mention.
They represent the 'Polish line' in craftsmanship and as a manifestation of Polish identity constitute the
primary subject discussed in this book. Some objects were made in Poland by foreign craftsmen who either
stayed here for a time or settled permanently, bringing with them foreign designs, materials and technolo-
gies; most of them adapted their work to Polish tastes and requirements and eventually became polonized.
There were among them craftsmen from the West — Germans, Italians, Frenchmen — and from the
East — mainly Armenians and Greeks. Jews played an important role in the evolution of craftsmanship.
They arrived from both East and West and were particularly skilled in the goldsmith's art and high-class
tailoring. Another important group of objects were those ordered by Poles abroad and made according
to Polish requirements and designs. The best example here is the magnificent series of tapestries commission-
ed in Flanders by King Sigismund Augustus. They are adorned with pictorial scenes and the king s
coat-of-arms and ciphers. Following the royal example, many secular and Church dignitaries purchased
Flemish tapestries emblazoned with their coats-of-arms. Polish kings ordered silverware and jewelry from
Nuremberg and Augsburg, and even more frequently from Gdansk which was firmly linked with Poland.
Objects purchased abroad, foreign gifts, and war booty, particularly spoils taken in the Turkish wars,
contributed to the overall aspect of Polish artistic culture, though of course they cannot be viewed as
achievements of Polish craftsmanship.
Works on the subject published to date have tended to underestimate Polish achievements in artistic
craftsmanship. Far more has been written about objects of foreign provenance preserved in Poland than
about those produced by local craftsmen. In point of fact it is often difficult to establish the authorship and
country of origin of such movable objects. This book deals primarily with Polish artistic culture, and the
role these objects of beauty used to perform in everyday life.