DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23631#0068
of costly fabrics embroidered in gold and studded with pearls and precious stones. These were matched in
beauty by robes worn by Church dignitaries at royal coronations and other grand occasions, and by
all liturgical objects used in these ceremonies, including ampullae and other vessels, trays on which the
crown rested, censers, crucifixes, reliquaries, and the Bible on which the king swore a solemn oath. The
Cathedral Treasury at Wawel contains the coronation cape worn by Michael Korybut Wisniowiecki
in 1669, and the velvet coronation cloak used by Stanislaus Augustus in 1764; the latter, originally red
and now hided to a rich apricot colour, is embroidered in white eagles. Another object associated with
Stanislaus Augustus is to be seen in the National Museum in Warsaw. This is the sword probably made
in Warsaw, for the royal coronation in 1764 (though the king was crowned with the traditional Jagged
Sword). The sword's blade, made of blued steel, is inlaid in gold with the arms of Poland and Lithuania,
and with the armorial bearings of the Elect (Ciolek) and the inscription 'Stanislaus Augustus Rex Dcdit
Anno ! 764'. The hilt, made of gold, and silver and enamel, has the pommel in the shape of an eagles
head. This sword resembles in style the chain worn with the Order of the White Eagle made of gold,
inlaid with enamel and studded with sapphires. The kings sceptre was made later, in [792, and features
a large aquamarine in a delicately chiselled gold setting.
Most of the objects described above, which symbolized not only the king s majesty, but also the
sovereignty and majesty of the kingdom, had one emblem in common: the White Eagle of Poland, the
eternal and indestructible symbol of Poland's immortality which reflected the nation's patriotic feelings,
unity and aspirations. All this was most profoundly expressed in the first Polish order, the Order of the
White Eagle, established on 1 November 1705 by Augustus (11) the Strong. The emblem of this order
was worn with a light blue ribbon running from the left shoulder down across the chest; the Star of the Order
was worn on the left breast. The king's star bore the inscription 'Pro hide Lege et Rege', while those
worn by chevaliers wen emblazoned with 'Pro Fide et Rege'. When wearing the Order, a red kontush
was obligatory. In 1765, Stanislaus Augustus established the Order of St. Stanislaus, which was worn
with a red ribbon with narrow white stripes, from the right shoulder down across the chest. The Star of
the Order of St. Stanislaus carried the inscription 'Premiando Incitat' (by praising it encourages), '['his
Order was worn with a white kontush. Stanislaus Augustus also founded the Order of Virtuti Militari,
which exists to this day. The Cross of this Order also features an eagle. It is interesting to note that
Stanislaus Augustus took personal interest in designing the emblems of both these orders.
The aura of splendour which surrounded the sovereign and the highest Church dignitaries was reflected
in the magnificence of stately rooms, in large tapestries emblazoned with heraldic devices, and in rich
canopies spread over their heads, but above all in the design and embellishment of the throne. From tune
immemorial, the throne was the quintessence of symbolic meanings referring first to secular and later
also to religious life. According to the chronicler Gallus Anonymus (late 1 2th century), when the Emperor
Otto III visited Boleslaus the Brave in Gniezno in the year 1000, he presented him not only with the
spear of St. Maurice, but also the throne of Charlemagne. No original royal throne ryis survived and today
we can learn what they looked like from, for example, majestic seals. The only exceptions are chairs of
Stanislaus Augustus, preserved in Wawel Castle and the Royal Castle in Warsaw. The 1 7th century
episcopal throne used by Bishop Piotr Gembicki stands to this day in the chancel of Wawel Cathedral.
Though repeatedly repaired and subjected to various alterations, it has preserved its typically baroque
style, including the Gembicki coat-of-arms (Nafecz).
Symbolic eagles and heraldic cartouches were intended for various purposes, primarily the decoration
of official apartments. The left aisle of the Chuch of Our Lady in Cracow com.tins an e.tgle carved in
wood and covered in silver which has the Order of the Golden Fleece round its neck. I he mechanism
hidden inside it moved its wings, neck and legs. It is assumed that in the 1 Oth century this eagle embellished
a triumphal arch erected in honour of one of the Polish kings entering the capital city. Another ornament
of this kind is the early 1 7th century cartouche of gilded bronze emblazoned with the Polish armorial bear-
ings from the period of Sigismund III. This is to be seen in the Czartoryski Collection in Cracow.
I he goldsmiths art always remained in the service of royalty, adding to the splendour of the royal
person, the prestige of the sovereign and the state he ruled. This purpose was served not only by royal
insignia and crown jewels, but also by various objects of gold and silver studded with precious stones
which were always part of the king's general entourage, filled the coders of the royal treasury, adorned
the kings apartments, the royal banqueting table and served as rewards and as gifts sent to other rulers.
In the diplomatic relations of that period, most particularly in the East — the Ottoman Empire, Persia,
beauty by robes worn by Church dignitaries at royal coronations and other grand occasions, and by
all liturgical objects used in these ceremonies, including ampullae and other vessels, trays on which the
crown rested, censers, crucifixes, reliquaries, and the Bible on which the king swore a solemn oath. The
Cathedral Treasury at Wawel contains the coronation cape worn by Michael Korybut Wisniowiecki
in 1669, and the velvet coronation cloak used by Stanislaus Augustus in 1764; the latter, originally red
and now hided to a rich apricot colour, is embroidered in white eagles. Another object associated with
Stanislaus Augustus is to be seen in the National Museum in Warsaw. This is the sword probably made
in Warsaw, for the royal coronation in 1764 (though the king was crowned with the traditional Jagged
Sword). The sword's blade, made of blued steel, is inlaid in gold with the arms of Poland and Lithuania,
and with the armorial bearings of the Elect (Ciolek) and the inscription 'Stanislaus Augustus Rex Dcdit
Anno ! 764'. The hilt, made of gold, and silver and enamel, has the pommel in the shape of an eagles
head. This sword resembles in style the chain worn with the Order of the White Eagle made of gold,
inlaid with enamel and studded with sapphires. The kings sceptre was made later, in [792, and features
a large aquamarine in a delicately chiselled gold setting.
Most of the objects described above, which symbolized not only the king s majesty, but also the
sovereignty and majesty of the kingdom, had one emblem in common: the White Eagle of Poland, the
eternal and indestructible symbol of Poland's immortality which reflected the nation's patriotic feelings,
unity and aspirations. All this was most profoundly expressed in the first Polish order, the Order of the
White Eagle, established on 1 November 1705 by Augustus (11) the Strong. The emblem of this order
was worn with a light blue ribbon running from the left shoulder down across the chest; the Star of the Order
was worn on the left breast. The king's star bore the inscription 'Pro hide Lege et Rege', while those
worn by chevaliers wen emblazoned with 'Pro Fide et Rege'. When wearing the Order, a red kontush
was obligatory. In 1765, Stanislaus Augustus established the Order of St. Stanislaus, which was worn
with a red ribbon with narrow white stripes, from the right shoulder down across the chest. The Star of
the Order of St. Stanislaus carried the inscription 'Premiando Incitat' (by praising it encourages), '['his
Order was worn with a white kontush. Stanislaus Augustus also founded the Order of Virtuti Militari,
which exists to this day. The Cross of this Order also features an eagle. It is interesting to note that
Stanislaus Augustus took personal interest in designing the emblems of both these orders.
The aura of splendour which surrounded the sovereign and the highest Church dignitaries was reflected
in the magnificence of stately rooms, in large tapestries emblazoned with heraldic devices, and in rich
canopies spread over their heads, but above all in the design and embellishment of the throne. From tune
immemorial, the throne was the quintessence of symbolic meanings referring first to secular and later
also to religious life. According to the chronicler Gallus Anonymus (late 1 2th century), when the Emperor
Otto III visited Boleslaus the Brave in Gniezno in the year 1000, he presented him not only with the
spear of St. Maurice, but also the throne of Charlemagne. No original royal throne ryis survived and today
we can learn what they looked like from, for example, majestic seals. The only exceptions are chairs of
Stanislaus Augustus, preserved in Wawel Castle and the Royal Castle in Warsaw. The 1 7th century
episcopal throne used by Bishop Piotr Gembicki stands to this day in the chancel of Wawel Cathedral.
Though repeatedly repaired and subjected to various alterations, it has preserved its typically baroque
style, including the Gembicki coat-of-arms (Nafecz).
Symbolic eagles and heraldic cartouches were intended for various purposes, primarily the decoration
of official apartments. The left aisle of the Chuch of Our Lady in Cracow com.tins an e.tgle carved in
wood and covered in silver which has the Order of the Golden Fleece round its neck. I he mechanism
hidden inside it moved its wings, neck and legs. It is assumed that in the 1 Oth century this eagle embellished
a triumphal arch erected in honour of one of the Polish kings entering the capital city. Another ornament
of this kind is the early 1 7th century cartouche of gilded bronze emblazoned with the Polish armorial bear-
ings from the period of Sigismund III. This is to be seen in the Czartoryski Collection in Cracow.
I he goldsmiths art always remained in the service of royalty, adding to the splendour of the royal
person, the prestige of the sovereign and the state he ruled. This purpose was served not only by royal
insignia and crown jewels, but also by various objects of gold and silver studded with precious stones
which were always part of the king's general entourage, filled the coders of the royal treasury, adorned
the kings apartments, the royal banqueting table and served as rewards and as gifts sent to other rulers.
In the diplomatic relations of that period, most particularly in the East — the Ottoman Empire, Persia,