DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23631#0067
put in doggerel rhymes composed presumably by the customers who ordered these pieces. Some inscriptions
referred to the community of the gentry and put forward patriotic messages: 'Vivat, let us be friends!',
'Vivat hetmans!', 'Vivat kindand honest citizens', or 'Long live friends'. There were ,ilso longer, usually
rhymed inscriptions like 'Let them live as many years as there are drops in this wine goblet', some ol them
praising the custom of feasting ('A hundred days ol indulgence for anyone who drinks this glass in one
go'), traditional hospitality, friendship ('Whenever you drink lrom this glass, remember o( your friends
who are far away but left their hearts with you'). An I 8th century goblet, now in the Cxartoryski Collection
in Cracow, bears the inscription 'Corda Fidelium' (Hearts of the Faithful). Class vessels intended as
gifts were inscribed with greetings and best wishes. There were also goblets with declarations of
love, adages proclaiming affirmation of life and moral warnings ('He who indulges his senses betrays
himself and others'), as well as bawdy rhymes. There were also series of goblets ol varying sizes each
bearing a different inscription; thus for example, from the smallest to the largest glass they carried the
following related adages: 'In vino Veritas' (Truth comes out in wine), 'Bis repetita placet' (Repetition
gives pleasure), 'Omne trinum perfectum' (Perfect trinity), 'Variis lmguis loquebantur' (Various languages
are spoken) and finally Tbant qui poterant, qui non poterant iacebant' (Those who can, walk, those who
cannot, lie down). Towards the end of the 18th century, in connection with the dramatic events taking
place in Poland, various patriotic inscriptions appeared on glassware, for example 'The king and the nation,
the nation and the king', '3 May', 'Discord is averted, superstition ridiculed, anarchy abased, election
rejected', 'Freedom, Honour, Resolution, Power', 'Vivat Dulcissima Patria', and I love freedom, freedom
is dearest to me'.
The different branches of craftsmanship of the Sarmatian, baroque and c lassie 1st it period discussed
above, served the privileged classes first and foremost, leaving their mark on every sphere of life, on attire
and ornaments, arms and armour, horse trappings, hunting equipment, coaches, interior decoration
and tableware. All this, while being related to the concepts and ideals prevailing in Poland at the time,
served primarily everyday needs. To make the picture of this epoch complete we will now turn to the
purely spiritual and intellectual domains of life and the many objects of craftsmanship connected
with them. The difference between these two categories and material needs is easily distinguished and
may best be illustrated by the following example. Clothes, no matter how elegant and ornate, basically
serve as protection from the weather, and in conformity with the demands of modesty to cover nudity. But the
magnificent robes worn by sovereigns during the coronation ceremony or the bishops mitres are a reflection
of spiritual culture and symbols of specific ideological principles and beliefs. There is after all a basic
difference between a toasting-cup, no matter how ornately embellished, and a chalice. The spiritual
culture we have in mind is concerned exclusively with questions of art, intellect and science, glorification
of temporal power and authority and religious rites and rituals.
Royal majesty demanded special splendour and magnificence, especially during the coronation ceremony
the ritual of which was laid down in detail, in the Ordo ad Coronandum Regem Poloniae in 1434.
As early as the Middle Ages coronation insignia were surrounded with an almost mystical veneration.
In the 17th century it was still maintained that only the original or privileged crown which served at the
coronation of Ladislaus the Short in 1320 (and was believed to have been the crown of Boleslaus the
Brave, first to be crowned King of Poland, in 1025), could be used at the coronation of Polish kings.
This conviction gradually lost strength in the 18th century, the age of scepticism. Since the Polish royal
insignia sanctified by tradition had been hidden away by supporters of King Stanislaus Leszczynski,
Augustus III had new insignia made in Wroclaw with which he and his spouse, Maria Josepha, were
subsequently crowned. The royal insignia in question, crowns, orbs and sceptres, are now preserved in
the National Museum in Warsaw. In fact new items were constantly added to the Royal Treasury. An
inventory dating from 1669 mentions, among other objects, a queen s crown of eight plates, set with 142
precious stones and pearls, and the so-called Crown of Homage, worn by kings when receiving homage
from rulers of vassal states, which had ten plates studded with 178 precious stones, and pearls. Sigismund
111 added the Swedish Crown to the Royal Treasury (at his lying in state in 1632, Sigismund 111 wore
the Polish crown while the Swedish crown rested on a pillow next to him). During the same period the
crown of Muscovy appeared in the Royal Treasury as an expression of the Vasas' aspiration to the Russian
throne. When a king died, royal insignia were placed in the coffin, together with the so-called funeral crown
or corona funeralis. Needless to say royal insignia and other crown jewels were the work of the greatest
masters and the same was true of rings, chains, buckles, arms, coronation robes and other garments made
referred to the community of the gentry and put forward patriotic messages: 'Vivat, let us be friends!',
'Vivat hetmans!', 'Vivat kindand honest citizens', or 'Long live friends'. There were ,ilso longer, usually
rhymed inscriptions like 'Let them live as many years as there are drops in this wine goblet', some ol them
praising the custom of feasting ('A hundred days ol indulgence for anyone who drinks this glass in one
go'), traditional hospitality, friendship ('Whenever you drink lrom this glass, remember o( your friends
who are far away but left their hearts with you'). An I 8th century goblet, now in the Cxartoryski Collection
in Cracow, bears the inscription 'Corda Fidelium' (Hearts of the Faithful). Class vessels intended as
gifts were inscribed with greetings and best wishes. There were also goblets with declarations of
love, adages proclaiming affirmation of life and moral warnings ('He who indulges his senses betrays
himself and others'), as well as bawdy rhymes. There were also series of goblets ol varying sizes each
bearing a different inscription; thus for example, from the smallest to the largest glass they carried the
following related adages: 'In vino Veritas' (Truth comes out in wine), 'Bis repetita placet' (Repetition
gives pleasure), 'Omne trinum perfectum' (Perfect trinity), 'Variis lmguis loquebantur' (Various languages
are spoken) and finally Tbant qui poterant, qui non poterant iacebant' (Those who can, walk, those who
cannot, lie down). Towards the end of the 18th century, in connection with the dramatic events taking
place in Poland, various patriotic inscriptions appeared on glassware, for example 'The king and the nation,
the nation and the king', '3 May', 'Discord is averted, superstition ridiculed, anarchy abased, election
rejected', 'Freedom, Honour, Resolution, Power', 'Vivat Dulcissima Patria', and I love freedom, freedom
is dearest to me'.
The different branches of craftsmanship of the Sarmatian, baroque and c lassie 1st it period discussed
above, served the privileged classes first and foremost, leaving their mark on every sphere of life, on attire
and ornaments, arms and armour, horse trappings, hunting equipment, coaches, interior decoration
and tableware. All this, while being related to the concepts and ideals prevailing in Poland at the time,
served primarily everyday needs. To make the picture of this epoch complete we will now turn to the
purely spiritual and intellectual domains of life and the many objects of craftsmanship connected
with them. The difference between these two categories and material needs is easily distinguished and
may best be illustrated by the following example. Clothes, no matter how elegant and ornate, basically
serve as protection from the weather, and in conformity with the demands of modesty to cover nudity. But the
magnificent robes worn by sovereigns during the coronation ceremony or the bishops mitres are a reflection
of spiritual culture and symbols of specific ideological principles and beliefs. There is after all a basic
difference between a toasting-cup, no matter how ornately embellished, and a chalice. The spiritual
culture we have in mind is concerned exclusively with questions of art, intellect and science, glorification
of temporal power and authority and religious rites and rituals.
Royal majesty demanded special splendour and magnificence, especially during the coronation ceremony
the ritual of which was laid down in detail, in the Ordo ad Coronandum Regem Poloniae in 1434.
As early as the Middle Ages coronation insignia were surrounded with an almost mystical veneration.
In the 17th century it was still maintained that only the original or privileged crown which served at the
coronation of Ladislaus the Short in 1320 (and was believed to have been the crown of Boleslaus the
Brave, first to be crowned King of Poland, in 1025), could be used at the coronation of Polish kings.
This conviction gradually lost strength in the 18th century, the age of scepticism. Since the Polish royal
insignia sanctified by tradition had been hidden away by supporters of King Stanislaus Leszczynski,
Augustus III had new insignia made in Wroclaw with which he and his spouse, Maria Josepha, were
subsequently crowned. The royal insignia in question, crowns, orbs and sceptres, are now preserved in
the National Museum in Warsaw. In fact new items were constantly added to the Royal Treasury. An
inventory dating from 1669 mentions, among other objects, a queen s crown of eight plates, set with 142
precious stones and pearls, and the so-called Crown of Homage, worn by kings when receiving homage
from rulers of vassal states, which had ten plates studded with 178 precious stones, and pearls. Sigismund
111 added the Swedish Crown to the Royal Treasury (at his lying in state in 1632, Sigismund 111 wore
the Polish crown while the Swedish crown rested on a pillow next to him). During the same period the
crown of Muscovy appeared in the Royal Treasury as an expression of the Vasas' aspiration to the Russian
throne. When a king died, royal insignia were placed in the coffin, together with the so-called funeral crown
or corona funeralis. Needless to say royal insignia and other crown jewels were the work of the greatest
masters and the same was true of rings, chains, buckles, arms, coronation robes and other garments made