Gespeichert in:
| Titel: | Feniks świata litewskiego fundacje i inicjatywy artystyczne Kazimierza Leona Sapiehy (1609 - 1656) |
|---|---|
| Von: |
Dorota Piramidowicz
|
| Person: |
Piramidowicz, Dorota
Verfasser aut |
| Hauptverfasser: | |
| Format: | Buch |
| Sprache: | Polnisch |
| Veröffentlicht: |
Warszawa
Instytut Sztuki Polskiej Akademii Nauk
2012
|
| Notation: | LH 60460 LO 69030 |
| Schlagwörter: | |
| Medienzugang: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026120729&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026120729&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Zsfassung in engl. und lit. Sprache |
| Umfang: | 395 S. Ill., graph. Darst. |
| ISBN: | 9788363877200 |
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Datensatz im Suchindex
| _version_ | 1819268590821441536 |
|---|---|
| adam_text | DOROTA PIRAMIDOWICZ
Feni(y
świata litewskjeao
FUNDACJE I INICJATYWY ARTYSTYCZNE
KAZIMIERZA LEONA SAPIEHY (1609-1656)
INSTYTUT SZTUKI
POLSKIEJ AKADEMII NAUK
SUMMARY
While dealing with 17th century art we have to remember how much our
modern view of it is incomplete and that the objects that represent it
constitute only a small fraction of the artistic wealth of the time. It
should be highlighted that through the whole of the 17th century the
Polish-Lithuanian Commonwealth did not participate in an open war
for only three decades, while foreign armies constantly rolled over its territories. As
a consequence of various historical maelstroms, very often the most significant objects for
this era have not survived, and thus proof of the activity of wealthy patrons, who sponsored
various artistic enterprises, was lost. As a result of subsequent wars, invasions and robberies,
several buildings disappeared, together with their decorations and all fittings, artefacts
related to religion, works of art; paintings, sculptures, tapestries, gildings and many others.
The few remnants that have survived, or of which traces have been preserved in the archives,
do not give a comprehensive picture of the culture of the
époque.
Apart from the material
wealth, documents confirming the ancient greatness and showing the mutual relations
between the principals and artists were also lost.
The aim of the book was to collect and place all the activities undertaken by Casimirus Leo
(Kazimierz Leon) Sapieha,
Vice-chancellor of the Grand Duchy of Lithuania, in the field of
the arts in a cultural and historical context and, whenever possible, to determine his
connections with the artists and artistic centres of the time. The analysis of that rich and
varied patronage called for an interdisciplinary approach, which apart from the history of
art had to take into consideration works in the fields of history, genealogy, history of culture,
music and literature, as well as the history of the Church.
Foundations and orders in the field of art often served to raise the splendour and
glorification of the principals. They were often related to fulfilling a will of akind; in the case
of Casimirus Leo it meant commitments towards his father, Lew. Chancellor Lew
Sapieha
was perceived as the greatest private
donator
of the Catholic Church in Lithuania; Casimirus
Leo also showed similar activity in that field. Undoubtedly he can also be recognized as one
of the most distinguished representatives of his own family, whose numerous members had
been founders, patrons and art collectors, and sometimes just repositories of their ancestors
heritage.
The founding activity of Casimirus Leo
Sapieha
has not lived to see a modern critical
analysis. Despite the fact that the personage of Vice-chancellor is comparatively often noted
by historians, historians of art and musicologists, his activity as a patron so far has not been
properly evaluated and appreciated. Moreover, several texts, both historical and modern
analyses, include numerous, smaller or greater mistakes, citing erroneous data or interpreting
the source data inappropriately.
Objects that were created thanks to Casimirus Leo
Sapieha
within the borders of the
Polish-Lithuanian Commonwealth, currently would be located within the territories of four
countries, Poland, Lithuania, Byelorussia and Ukraine, where in relevant state archives
manuscript sources have survived related to his patronage. Among Polish centres most
369
materials are kept in Cracow: library of the Princes Czartoryski Foundation, the Provincial
Archive of Bernadine Monks, the Archive of the Regular Cannons, Library
oí
the Jagiellonian
University, Scientific Library of Polish Academy of Arts and Sciences and Polish Academy of
Sciences.
In Warsaw the documents concerning the results of the Vice-chancellor s activity in the
first place were collected at the Institute of Art of the Polish Academy of Sciences. A few
materials can also be found in Warsaw; the National Library, Central Archives of Historical
Records, the Archive of the Provincial House of Sisters of the Holy Family of Nazareth, the
Pontifical Institute for Church Studies and the Royal Castle Academic Library. Attractive
resources are also featured by the
Kórnik
Library, the Diocese Archive in
Drohiczyn,
the
Archive of Pauline Monks in
Jasna Góra
and the State Archive in Biaiystok.
Nevertheless, the greatest collection of archival documents concerning the Czereja family
line is kept in Vilnius. There, in the Library of the Lithuanian Academy of Sciences, in the
Historic Archive of Lithuania and the Library of Vilnius University, the legal documents can
be found concerning the estate of the
Sapieha
family, as well as their correspondence and
numerous visitations and church inventories. Not so rich and impressive as the ones in
Vilnius, though also interesting, are the collections kept in the Central State Historic Archive
in Kiev and the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. Few documents,
mostly related to the sacred foundations, are kept in the Belorussian archives, the National
Historic Archives in Grodno, Brest and Minsk and the Library of the Academy of Sciences in
Minsk, as well as in the Russian ones in Moscow: the Russian State Archive of Early Acts and
the Russian State Military Historical Archive. A priceless source is the manuscript books
concerning the Carthusian Order, kept in the British Library in London.
Most of the realizations relating to the arts which were financed by
Casimiras Leo
do not
exist; they vanished from the face of earth soon after their creation or during the succeeding
centuries. Practically, none of the surviving foundations, either sacred or secular, was
preserved in its original state. Each chapter, describing subsequent undertakings of an artistic
character financed by the Vice-chancellor, might begin with a statement that information on
the objects described are residual, and the knowledge incomplete. This concerns the
architecture (both sacred and secular), artistic crafts, as well as the activities relating to the
musical or literary patronage. For the general picture of artistic phenomena relating to the
Vice-chancellor s himself, all the conclusions that could be drawn on the basis of the surviving
objects are important, as well as prerequisites tracked in the archives. It is beyond any doubt
that a significant, if not the original, factor of several undertakings, was the position of that
educated magnate and his broad contacts in the royal courts of subsequent
Vasa
kings,
employing outstanding representatives of artistic circles, from architects, through painters
and sculptors, as well as musicians.
The chronological scope of the work is, clearly, denoted by the dates of
Casimiras Leo
Sapieha s life, that is the years
1609-1656.
Sometimes I refer to slightly earlier times, in
relation to the foundations started by his father Lew
Sapieha,
or run forward towards more
modern times, providing the data concerning the existence of the subsequent realisations.
In the title I used the phrase artistic foundations and initiatives , treated alternatively
with the concept of patronage or founding activity . The scope of the terms (including the
370
artistic
patronage )
is a subject of incessant discussion and it has not been possible to assign
any precise definition to them as yet. In this book I will attempt to prove the thesis that the
honourable title of Maecenas can be applied to the personage of Casimirus Leo
Sapieha.
In the first chapter, treated as a kind of curriculum
vitae,
the events of the Vice-
chancellor s life are presented, while consciously the stages of his political and diplomatic
career are only signalised, unless they give rise to events related to the widely understood
art. Casimirus Leo
Sapieha,
first a secretary (from
1631),
marshal (from
1637),
and finally
Vice-chancellor of Lithuania (from
1645),
was the youngest son of Lew, Chancellor, Great
Hetman
of Lithuania and his second wife,
Elżbieta
née
Radziwiłł.
His youngest years were
spent with his brother,
Krzysztof Mikołaj,
who was three-years older, at the court of their
uncle
Krzysztof Radziwiłł
and the Vilnius court of Queen
Konstancja.
Both
Sapieha
brothers
began their education at the Vilnius Academy and then, according to the customs of the time,
they were sent by their father on an educational journey around Europe, the route of which
is known from the accounts of the family biographers. Casimirus Leo was supposed to have
command of seven languages, presumably German, Flemish, Italian, Spanish, French, Greek
and Latin, which served the whole of educated Europe, in the 17th century acquiring greater
popularity that during the times of the Roman Empire. He was also thought to be a great
speaker, his
Oratio ad
Reipublicae Poloniae
senatores
(1649)
enjoying huge popularity
among the nobility. Even as a young man he owned considerable property. His father (d.
1633)
bequeathed to him numerous estates; further ones he acquired from his brother
Krzysztof Mikołaj
(d.
1631)
and his stepbrother
Jan Stanisław
(d.
1635)
and also from
members of the Chodkiewicz family
(Jan Stanisław
was married to the beloved daughter of
Lithuanian
Hetman Jan Karol
Chodkiewicz, Anna
Scholastyka).
Together, it constituted an
enormous fortune, one of the greatest in the Commonwealth. Thus he could afford great
expenses, relating to both the maintenance of the army and numerous foundations he
realised in his estates. According to his father s will, he led the family, both the Czereja and
Różana
lines, but did not transfer this economic power to his own political status.
Nevertheless, the possession of this great estate significantly added to his being later thought
the greatest patrons in his family. To approach the person of the Vice-chancellor I tried to
cover his portraits (as many as
21
paintings have been collected), despite the fact that most
of them were copies painted after his death.
The second chapter, the most extensive one, is devoted to architectural realisations
created within the frame of Casimirus Leo Sapieha s foundations. The objects presented there
were known to me personally, from archival sources and
iconographie
materials, including
those yet not published. Architectural investments created on the Vice-chancellor s initiative
can be divided into several groups. One is determined by the manner of how the buildings fell
into the circle of the Vice-chancellor s influence; whether they were founded by him
personally, or were continuations of previously started realizations. Another obvious division
belongs to the architectural character (sacred and secular buildings) and the status
(representative, such as defence constructions, palaces, mansions and those less impressive,
such as schools and hospitals). Complexes of the sacred foundations of Casimirus Leo
Sapieha,
spread throughout a vast area of the Grand Duchy of Lithuania and eastern borders
of Poland, consist of brick or wooden constructions of parish church status belonging to a few
monastery congregations. The earliest object relating to the funding activity of Casimirus
З71
Leo
Sapieha
is the parish church in Siemiatycze in the
Podlasie
region (to
1638).
Its closest
equivalents are the Bernadine temples in Druja
(1640-1646)
and of the Bernadine Sisters in
Grodno (around
1648).
Alitile
earlier than the Bernadine church in Grodno, the construction
of the parish church in
Zdzięcioł
was finished, in whose
façade
is a grand early baroque portal
In its lintel a marble tablet is fitted with an inscription which does not leave any doubts as to
the person of the founder or the date of building
(1646).
One of the most stately objects within
the circle of Vice-chancellor Sapieha s founding was the church of the Cannons of the
Lateran
in Slonim. No longer existing, wooden temples founded by
Sapieha
were located in Wolpa,
Druja-Sapieżyn, Czereja,
Bieszenkowicze or Berezyna. Most important place is given to the
analysis of the Carthusian monastery in Bereza. As one of three such monasteries established
within the borders of the Polish-Lithuanian Commonwealth and the only one in the territory
of the Grand Duchy of Lithuania, it belonged to the richest monastery foundations in the
country. In many respects it took an exceptional place among all the foundations of the Vice-
chancellor.
Sapieha
provided ample support to the newly built monastery, granting it
spacious lands in his hereditary estates, and moreover, securing for the monastery the
amount of
30,000
zlotys
in his will. According to his will the Carthusian hermitage was to be
the family mausoleum, and the crypts of the Bereza church became the resting place for the
Czereja and
Różana
family lines. The complex exists currently in an advanced state of ruin.
All the information I have managed to provide about it is the result of analyses of the archival
documents preserved
-
manuscripts, prints and iconography, as well as on-site inventory
and multi-directional comparative analyses. On the basis of the sources discovered, as well
as the historical works, I have attempted to recreate the picture of the Carthusian monastery
just before its dissolution in
1831,
but in particular I focused on the early stages of its
existence and the determination of the role played by Casimirus Leo
Sapieha
who, in a direct
or indirect way, was engaged in the building and furnishing of his own foundation. I have also
tried to enumerate all the aspects of an artistic nature, through the elements of furnishing the
newly created monastery centre to the issues concerning the person of the architect and the
circles he represented.
To the foregoing architectural foundations, subsequent ones should be added, smaller
as to their scale, but of a high artistic standard. For their artistic quality the artists employed
by
Sapieha
were responsible, mostly Italian, but also German, and representatives of national
sculptors circles. Among the structures founded by Casimirus Leo
Sapieha
three grand
marble gravestones survived, located in St. Michael s church in Vilnius. All were noted by
Mariusz
Karpowicz, who successfully attributed them to certain Italian artists staying at the
royal court, and the attributions suggested were accepted and repeated in subsequent Polish
and Lithuanian publications. The first of the works discussed is the epitaph of one of
Chancellor Lew s sons,
Krzysztof Mikołaj
(1607-1631),
featuring an excellent sculpted bust
of the deceased, which appropriately for the function of an eternal memory monument,
depicts a Sarmatian knight.
Mariusz
Karpowicz attributed the design of the epitaph to
Constante Tencalla,
pointing out the similarities of the details to his other works in Vilnius.
The portrait bust of the young
Sapieha,
on the other hand, the researcher attributed to
another Italian, who originally came from Lugano and settled in Cracow, the sculptor
Sebastiano Sala.
Another work, created soon afterwards, after
1635,
is the epitaph of Jan
Stanislaw
Sapieha
(1589-1635),
the oldest son of Chancellor Lew and his first wife
Dorota
née
372
Firi
ej.
It constitutes a frame of the door leading to the sacristy, above which there is a niche
where a marble bust of
Sapieha
used to be (no longer existing). The decorative tomb and
putta
standing by were attributed by
Mariusz Karpowicz
to a stucco artist from southern
Switzerland working in Vilnius, namely Giovanni
Battista Falconi.
The epitaph of Jan
Stanisław Sapieha
is distinguished for the innovative structure and symbolic representation
for its time, with a portal as its basis. The third monument, creation of which was supported
by
Casimiras
Leo, is a stately
(5.5
m
high and
3.2
m
wide), black marble gravestone of his
wife,
Teodora
Krystyna Tarnowska,
who died in
1652.
It was an object of frequent research
and analyses by historians of art; however, it was
Mariusz
Karpowicz who undoubtedly
managed to attribute its authorship to another Italian artist of the royal court. He was
Francesco
de
Rossi, Roman sculptor from the circles of
Alessandro Algardi,
who for three
years worked in the territory of the Commonwealth, co-operating with architect Giovanni
Battista Gisleni.
The common work by Gisleni and Rossi, brought into existence due to the
initiative of Casimirus Leo
Sapieha,
against the artistic trends of the contemporary
Commonwealth, appears to be an object of particular significance. It should be highlighted
that the creations of the versatile architect and skilled sculptor constitute the most exquisite
examples of elements of architectural structures and sculpture at the time of the King John
Casimirus. It was also a direct, immediate transfer of the art of artistic Rome avant-garde to
the territory of the Polish-Lithuanian Commonwealth.
The contacts between Casimirus Leo
Sapieha
and Giovanni
Battista
Gisleni were not
limited to this sole realization and were followed by subsequent ones. In the Milan collection
of the architect s drawings, a project of decorations has been preserved of the Vilnius St.
Michael s Church, where the funeral of
Teodora Krystyna Sapieha
was held. He was also the
author of four drawings showing the projections for a ground and first floor as well as the
façade
and side elevation of a small building intended for a library and a study. They feature
an inscription leaving no doubt as for whom the object was designed.
Among the examples of so-called small architecture created within the circle of Vice-
chancellor Sapieha s patronage, the already mentioned early-baroque portal must be named,
from the
façade
of the church in
Zdzięcioł.
It was made of Gotland sandstone and is crowned
with the Madonna with the Child seated on a throne. It is most probable that another object
of similar early-baroque structural forms and manneristic, Netherlandish ornamentation,
was the main portal framing the entrance to the Grodno church of Bernadine Sisters (the
temple
inexistent
since the 40s of the 20th century). Other objects related to the foundations
of the Vice-chancellor are two plates from the parish church in Siemiatycze. The first, quite
simple and devoid of decorations, contains the Latin inscription bearing the information of
the temple s consecration. The second, through its structure, type and manner of joining the
materials used, undoubtedly reveals its northern provenance and may be related to some
unknown workshop in
Elbląg
or
Gdańsk.
It is one of at least several objects founded by the
Vice-chancellor denoted by its northern provenance. Moreover, an irrefutable proof of the
magnate s contacts with the sculpting circles of
Gdańsk
can be found in the letters preserved
as copies, of
Wilhelm
Richter,
at the time a renowned builder and sculptor (he called himself
Bild und Stein-hauer ).
They concerned the works of the sculptor intended, inter alia, for the
Carthusian monastery in Bereza. The implication of finding Richter s letters is significant
not only in reference to the Bereza complex, but also for the reconstruction of his biography.
373
Until now the confirmed data on his activity end just after the middle of the 17th century,
neither his contacts with patrons of the Vice-chancellor s status being known. Thereby the
documents might complement the research on the artist s
oeuvre,
and in a broader sense,
the knowledge of contacts and directions of activity of the
Gdańsk
artistic circles.
The only preserved, and also extraordinarily interesting sculpture object funded by
Casimiras Leo
Sapieha,
is the main altar of the parish church in Wolpa. Its artistic class is
highlighted by and baroque pathos sculptures and ornaments which are full of expression
and which were far more stylistically advanced than any other works of contemporary Polish
art. The forms of sculpting and ornamental decoration allow this object to be associated with
the artistic circles of Cracow and central part of the
Małopolska
region, while its high artistic
standard places it among the best creations of Polish wood-carving from the middle of the
17th century. Due to the broad scope of the foundation, probably the Bereza altar might have
been even more stately
(inexistent
since the pulling down of the temple in
1866).
In his deeds related to architecture, Casimirus Leo
Sapieha
did not limit himself solely to
funding sacred objects. On his vast estates he owned numerous residential premises, which
he used during his frequent journeys. His ancestral
Różana
remained his main residence,
but he also used town houses in Vilnius, as well as the mansions in Warsaw and
Brześć,
and
visited the fortresses of Lachowicze and
Bychów.
Unfortunately, the records of building and
artistic undertakings by Casimirus Leo concerning his own residential houses are scarce and
do not allow us to ascertain what the magnate s contribution was in their transformation or
development. Casimirus Leo
Sapieha
can also be associated with military constructions, of
which more information could be found than about the strictly residential buildings. They
were greatly varied as to their military significance, from considerable to slight. The fortalice
of Lachowicze was considered to be one of the strongest in the lands of the Grand Duchy of
Lithuania and one of most notable in the whole Commonwealth. The Vice-chancellor
inherited it after
Hetman Jan Karol Chodkiewicz,
who erected there a classical bulwark
fortress as early as the beginning of the 17th century. Lachowicze was the only fortress in the
Grand Duchy of Lithuania that had not been conquered until the end of Polish-Russian war
and due to that it was called the Lithuanian
Jasna Góra .
Another great fortress of the Polish-
Lithuanian Commonwealth in possession of Casimirus Leo was located in
Bychów,
on the
right, upper bank of the Dnieper. At the time the estate, together with the castle, were owned
by the Vice-chancellor, the Cossack attacks were forced back there. An
inexistent
and
practically unknown castle owned by
Sapieha
was located in
Ikaźń
and another one, in
Ukrainian Chernobyl upon Pripet.
In chapter three, concerning artistic crafts, I gathered all the objects that are known to
have been purchased by the Vice-chancellor or made by his order. As none of Casimirus Leo
Sapieha s residences survived to our times, little is known about their
décor
or objects that
their residents liked to surround themselves with. The only source that, to some extent,
reflects the holding of the Vice-chancellor is his will, drawn up in
1655
in Warsaw. Extensive
bequests reveal that he owned precious artistic objects.
Sapieha
also cared for complete
church furnishings; through his founding, whole altar complexes were fitted, paintings,
sculptures, paraments, canonicals and bells were purchased (the Carthusian monastery in
Bereza featured particularly rich furnishings). The greatest number of the examples of
374
baroque
artistry within the patronage of Casimirus Leo
Sapieha
are represented by
goldsmiths works. An excellent example is one of the four crowns attributed to Our Lady of
Troki,
and among numerous paraments, only three
Eucharistie
chalices have been identified,
presenting a high, European artistic standard. The gifts of costly
Eucharistie
vessels and other
equipment enriching the church interiors and treasuries, were supplemented by precious
fabrics, used to sew whole sets of stately
Eucharistie
robes.
The Vice-chancellor, as an ardent worshipper of the blessed Jozafat Kuncewicz cult,
funded a stately silver reliquary coffin for the martyr s body. The magnificent sarcophagus,
made of ore worth
36,000
ducats, was supported by the figures of four angels kneeling on one
knee. Its sides are-decorated with bas-reliefs showing the scenes of Kuncewicz s martyrdom,
while on the lid of the coffin the real-life figure of the archbishop rested, dressed in rich
pontifical robes of the Orthodox rite, holding a crosier. The sarcophagus could have been
made by a well-known goldsmith of
Gdańsk,
Peter van
den Rennen,
the creator of St.
Adalbert s coffin for
Gniezno
cathedral and the reliquary of St. Stanislaus for
Wawel
Cathedral. Sadly, the silver coffin of Jozafat Kuncewicz, founded by
Sapieha,
has not survived.
Against other known artefacts relating to the person of the Unite bishop it seems to be the
most outstanding work in respect of its artistry and idea, which lends more splendour both
to its creator and the principal. Both the magnificence and the importance of the foundation
place the Vice-chancellor among the rulers and the Commonwealth, personally engaged in
the creation of reliquaries of its patron saints Adalbert, Stanislaus and Casimirus.
One of the most precious foundations by the Vice-chancellor was a series of seven
Brussels tapestries with the History of Salomon , bequeathed by
Sapieha
in his will to the
Vilnius cathedral church. Almost
80
years ago, Marian Morelowski analysed the tapestries
in question and
,
and accurately and undoubtedly attributed all the series to the studio of
Jacob van Zeunen. The activity
ofthat
Brussels workshop, known for the high quality of its
creations, falls into the second third of the 17th century, while its tapestries were eagerly
ordered by several European magnates. The gobelins purchased by
Sapieha
were created
around
1650
on the basis of charts by Abraham van Diepenbeeck and executed under the
strong influence of Rubens pupil, Caspar
de Crayer.
Of the series of eight tapestries donated,
only three survive to our times. They are the ones picturing David and Bethsheba , The
Consecration of the Jerusalem Temple and The Treasures of Solomon . In relation to the
surviving Vilnius tapestries, the choice of topics is intriguing, constituting the whole series
of The History of Solomon , which usually contains eight pieces. During my research I came
across other gobelins created in the workshop of van Zeunen, which originally constituted a
part
ofthat
series. One is the scene of Solomon s Judgment , currently displayed in the
Town Hall in Roeselare in Belgium. Two other tapestries appeared in the antiquarian market
in
2008
in one of the New York auction houses. The Consecration of Jerusalem Temple
was offered, and another representation of the theme appeared two years later in an auction
in London. I also managed to locate a complete series of eight tapestries by van Zeunen, or
rather their photographic documentation, for the tapestries themselves no longer exist. They
were displayed in the transept of the Jesuit church in the town of
Alcalá
located
30
km to the
east of Madrid. They arrived there in
1657
and survived until the Spanish civil war
(1936),
during which the church burnt down, probably together with all the Flemish gobelins of its
375
interior.
They bore the signs of Brussels and the manufacturer s mark, and it seems obvious
they had been weaved on the basis of the same charts as the Vilnius tapestries.
Chapter four is dedicated to the foundations of Casimirus Leo
Sapieha
for the benefit of
the Vilnius Academy, which comprised financing the operation of the faculty of canon and
civil law, and a priceless gift in the form of the
Różana
book collection. Bibliotheca Sapiehana
is a commonly approved name of one of the most magnificent libraries of the Commonwealth,
rich with rare works, from which King Wladislaus IV himself borrowed volumes. The
collection, started by Lew
Sapieha
and regularly expanded by his three sons, numbered over
3000
volumes in the middle of the 17th century. Questions are also raised here, related to
Sapieha s presence in the contemporary literature; Casimirus Leo, like many magnates of his
époque
was the addressee of several dedications; more than a dozen panegyric texts are
known, devoted to him. It is beyond doubt that an important, if not fundamental, factor
stimulating several undertakings in the field of broadly-taken art, was the position of
Casimirus Leo
Sapieha
and his extensive contacts at the royal court of
Vasas,
who employed
distinguished representatives from the artistic world. All monarchs
ofthat
dynasty, sitting in
succession on the throne of the Polish-Lithuanian Commonwealth, shared a particular love
of music. They also took an interest in the newest trends in that field, and so the ensembles
employed by them distinguished themselves in the European courts by a high degree of
professionalism, while their repertoire referred to the newest achievements of the Italian
elitist circles. The Lithuanian Vice-chancellor belonged to the exquisite group of those
keeping their own musical ensembles. Direct records concerning the musicians, composers
and vocalists employed have not survived; most of records available state only the fact of the
existence and financing of a musical ensemble performing during numerous festivities
celebrated in the magnate s residences.
In the Conclusion I highlight the significance of Casimirus Leo Sapieha s activity against
other important patrons in the first half of the 17th century, his connections with the artistic
circles and the ability to use the tendencies currently prevailing in art. Source annexes are
enclosed with the work, where inscriptions and texts are provided which are important for
my considerations, which could not be included in the main part of the work due to their
volume. The whole work is supplemented with illustrations; through a combination of the
objects I have attempted to show their mutual relations, which seem to be perceptible only
for historians of art.
During the first half of the 17th century, a period so difficult for the Commonwealth, the
Lithuanian Vice-chancellor Casimirus Leo
Sapieha
appears as a model son of his Homeland,
interchangeably supporting the king s rule, engaging himself in military activities at the same
time and fulfilling his own, wide-scale founding undertakings. It was due to the last-named
activity supporting works by artists representing many artistic circles, as well as the diversity
of the objects financed, that make him one of the greatest patrons of his
époque
not only in
the Grand Duchy of Lithuania, but in the whole Polish-Lithuanian Commonwealth.
The years of Casimirus Leo Sapieha s patronage and activity in the territory of the Polish-
Lithuanian Commonwealth fell in the period of early, and then mature, Bernini baroque,
initiated by the court architect of Polish
Vasas,
Giovanni
Battista Gisleni.
The Vice-chancellor s
activity, like lenses, focused the trends, tendencies and influences present in the territories
376
of Poland and Lithuania and might be called a specific artistic cosmopolitism . The diversity
concerning the provenance of particular realizations is nothing extraordinary; on the
contrary, it reflects excellently the situation of the Commonwealth in the 17th century.
Currently it might not be judged whether the choice of specific artists reflected Sapieha s
personal inclinations, or rather the taste of the
époque.
It should be highlighted, however,
that the authors of works created within the circle of the Vice-chancellor s patronage were
outstanding artists: Giovanni
Battista Gisleni
and other Italian newcomers working for the
royal court, as well as Francesco
de
Rossi,
Constante Tencalla, Sebastiano Sala
and Giovanni
Battista Falconi.
The
Gdańsk
circle was represented by a well-known artist at the time,
Wilhelm
Richter
and, probably, the goldsmith Peter van
der Rennen,
who later created two
reliquaries of the patron saints of the Commonwealth. The northern orientation was also
represented by the artist who created the portal in
Zdzięcioł
and the founding plate in
Siemiatycze, as well as the painters and creators of great parts of the paraments ordered by
Sapieha
for the churches of his founding. At the beginning for his architectural realizations,
the Vice-chancellor employed native constructors from the Lublin area, whom he could have
inherited after his father. Later there were artists, of names unknown today, whose works
showed a noticeable Italian influence. In the group of wood-carvers responsible for altar
complexes, the representatives of Cracow circles can be found. Among the imported objects,
it is the Brussels tapestries that show the founder s taste, while the great, systematically
expanded library reveals his personality, proves his curiosity of the world and the elitist
education of the owner. Since the time of his studies,
Sapieha
maintained constant contacts
with the representatives of European academic circles; he managed to bring some of them to
the Vilnius Faculty of Law, created due to his generous donation. Also the musicians
employed by him, mainly Italians, ensured the highest quality of the works performed, which
Sapieha
evidently cared for.
In one of his articles,
Mariusz Karpowicz
enlisted artistic foundations constituting an
indispensable indicator of Polish and Lithuanian status in Saxon times, which equally well can
be applied to the middle of the 17th century. Among them he mentioned the indispensability of
owning a main residence with an appropriate programme and accompanying objects; rural
residences; founding temples and their furnishing; and a sumptuous setting for family
celebrations (particularly funerals). All these factors, indispensable for the maintenance of
status, were skilfully fulfilled by
Sapieha.
His main seat
Różana
was inherited from his father;
he owned palaces in both capitals of the Polish-Lithuanian Commonwealth, in Warsaw and
Vilnius. He finances the construction of churches together with their rich decorations, both
those he finished from obligation to his father s or brother s will and others erected in a
completely new location. He also took care of his own burial site in the Carthusian monastery
in Bereza, the largest architectural realization of a contemporary Commonwealth monastery
,
which according to the will of its founder was to become the main necropolis of the family. The
repertoire of determinants of a magnate s status was completed by the foreign purchases by
Sapieha
(fashionable and costly Brussels tapestries) and his patronage of a musical ensemble.
Among magnates engaged in the founding activity during the first half of the 17th century,
Casimiras Leo
distinguished himself by the great scope and scale of initiatives undertaken.
His activity in the field of art should be recognized as one of the most important, leading
377
patrons
in the first half of the 17th century. In his realizations he always referred to
outstanding artists, who also performed orders for the royal court. The consistently high
artistic level of all the surviving foundations should be highlighted, in particular in relation
to so-called small architecture (tombstones), goldsmithery and tapestries. On the basis of
the works preserved, his clearly Italian predilections can be stated, although in a few cases
he did not spurn Netherlandish art.
The accomplishments of Casimirus Leo, like the activity of his father Lew
Sapieha,
unquestionably agree with the above-mentioned scheme of the status of a magnate. The
realizations financed by them, relating to art in a broad sense, were frequently emulated, an
example of which can be seen in referrals to the architectural accomplishments of the greatest
rivals of the
Sapieha
house, the Radziwills, in their family seats in
Biała
or Olyka.
Maja Florczykowska
|
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| author | Piramidowicz, Dorota |
| author_facet | Piramidowicz, Dorota |
| author_role | aut |
| author_sort | Piramidowicz, Dorota |
| author_variant | d p dp |
| building | Verbundindex |
| bvnumber | BV041145170 |
| classification_rvk | LH 60460 LO 69030 |
| ctrlnum | (OCoLC)856827528 (DE-599)BVBBV041145170 |
| discipline | Kunstgeschichte |
| format | Book |
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| id | DE-604.BV041145170 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T16:31:47Z |
| institution | BVB |
| isbn | 9788363877200 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026120729 |
| oclc_num | 856827528 |
| open_access_boolean | |
| owner | DE-12 DE-255 DE-11 |
| owner_facet | DE-12 DE-255 DE-11 |
| physical | 395 S. Ill., graph. Darst. |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Instytut Sztuki Polskiej Akademii Nauk |
| record_format | marc |
| spellingShingle | Piramidowicz, Dorota Feniks świata litewskiego fundacje i inicjatywy artystyczne Kazimierza Leona Sapiehy (1609 - 1656) Sapieha, Kazimierz Lew 1609-1656 (DE-588)1044026200 gnd Mäzenatentum (DE-588)4074442-5 gnd |
| subject_GND | (DE-588)1044026200 (DE-588)4074442-5 |
| title | Feniks świata litewskiego fundacje i inicjatywy artystyczne Kazimierza Leona Sapiehy (1609 - 1656) |
| title_auth | Feniks świata litewskiego fundacje i inicjatywy artystyczne Kazimierza Leona Sapiehy (1609 - 1656) |
| title_exact_search | Feniks świata litewskiego fundacje i inicjatywy artystyczne Kazimierza Leona Sapiehy (1609 - 1656) |
| title_full | Feniks świata litewskiego fundacje i inicjatywy artystyczne Kazimierza Leona Sapiehy (1609 - 1656) Dorota Piramidowicz |
| title_fullStr | Feniks świata litewskiego fundacje i inicjatywy artystyczne Kazimierza Leona Sapiehy (1609 - 1656) Dorota Piramidowicz |
| title_full_unstemmed | Feniks świata litewskiego fundacje i inicjatywy artystyczne Kazimierza Leona Sapiehy (1609 - 1656) Dorota Piramidowicz |
| title_short | Feniks świata litewskiego |
| title_sort | feniks swiata litewskiego fundacje i inicjatywy artystyczne kazimierza leona sapiehy 1609 1656 |
| title_sub | fundacje i inicjatywy artystyczne Kazimierza Leona Sapiehy (1609 - 1656) |
| topic | Sapieha, Kazimierz Lew 1609-1656 (DE-588)1044026200 gnd Mäzenatentum (DE-588)4074442-5 gnd |
| topic_facet | Sapieha, Kazimierz Lew 1609-1656 Mäzenatentum |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026120729&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026120729&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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