The inventory was prepared by a special commision appointed by King John III Sobieski and formed in 1681 basing on the Parliament decission from the same year.
14. Diamond pendant with monogram S.A. [of Sigismund Augustus], under a crown set with rubies, with three additional rubies and a large pear-shaped pearl.
17. Clasp with diamond Saint Michael, set with a large ruby [?], an emerald, 6 smaller rubies, 3 pearls.
18. Diamond cross, 6 rubies, 3 emeralds.
19. Cross with 10 diamonds, 3 pearls.
21. Medallion with Venus and Mars with 2 sharp diamonds, 12 smaller diamonds, 10 rubies.
28. Pendant with letter A [of Queen Anna Jagiellon?] made from 4 rubies, round pearl.
36. Whistle in the form of a owl, 2 rubies, 2 diamonds, 2 diamond roses, 5 pearls.
37. Medallion with Leda and the swan, 8 diamonds, 3 rubies, emerald.
39. Cameo with bust of Charles V on yellow stone.
41. Medallion with the Judgement of Paris, diamonds, rubies.
50. Medallion with the Gigantomachy with a ruby in the center, 6 other rubies, 7 diamonds.
52. Clasp with King David, 2 rubies, smaller diamond, 25 diamonds, rubies, emeralds.
53. Large clasp with diamond Saint George, pearl dragon, 6 pearls, 24 other stones.
55. Gold lion, 6 rubies, 4 diamonds, emerald.
2. Medallion with god Vulcan, 13 diamonds, small ruby, emerald.
4. Medallion with Gaius Mucius Scaevola, 5 diamonds, 4 rubies.
5. Clasp with diamond Saint George or Saint Michael with different tablets and diamond lilies.
7. Gold effigy of Charles V on stone.
9. Clasp with diamond Saint George without a horse.
11. Pendant with diamond Christogram IHS, a ruby at the top and a tablet with diamonds, 2 pearls.
13. Clasp with diamond King David, 6 emeralds, 18 rubies, 4 diamonds.
14. Gold dragon pipe with two large diamonds, smaller diamonds, rubies, emeralds, turquoises, 2 pearls.
15. Large clasp with diamond Saint Michael, 3 Indian pearls.
24. Diamond Saint George with emeralds and diamonds, 3 stones missing.
31. Whistle in the form of a Melusine with diamonds and rubies, 1 stone missing, 2 pearls.
33. Medallion with Mars and Venus, 3 rubies, 3 diamonds.
34. Medallion with Judgement of Solomon, emerald rows, 11 rubies, 8 emeralds.
35. Medallion with Deborah and Sisera, 6 diamonds, 4 rubies.
37. Medallion with Marcus Curtius, 3 diamonds, 2 rubies.
38. Medallion with Orpheus, 5 stones.
3. Agate medallion with a Roman face, diamond frame, 3 rubies.
4. Clasp with diamond Saint George, 3 rubies, 3 emeralds, pearls.
5. Medallion with Venus with a mirror, 7 diamonds, small ruby and a small pearl.
7. Pendant with a folded diamond rose, two ruby figures, 3 emeralds, large pearl, 43 tablets of diamonds.
7. Gold fan handle with 5 diamonds, 4 emeralds, 2 turquoises, 11 pearls.
8. Another fan handle, 12 diamonds, 8 rubies, 1 emerald, 16 pearls.
3. Large pendant with elongated diamond of 22 1/4 carates, small pearl 12.
14. Largest diamond with a pearl of 27,5 carates weight, valued at 20.000 aureos, pearl 2.500 aureos.
Summary of the Jewel Commission
presented to the Lord Treasurer of the Crown, Year 1682
Value of all jewels of the Commonwealth in red zlotys ... 101.670
Gold medallion with Sacrifice of Isaac by Anonymous from Poland, turn of the 16th and 17th century, Treasury of the Jasna Góra Monastery.
Gold pendant with Annunciation to Mary by Anonymous from Poland, first quarter of the 17th century, Treasury of the Norbertines Convent in Kraków.
The richly decorated 17th-century monstrance of Bishop Stanisław Kazimierz Dąmbski's foundation, is used exclusively for displaying the Blessed Sacrament on Good Friday and during the solemn procession of the Resurrection on Holy Saturday. It was created between 1680 and 1699 possibly by a Silesian goldsmith Christian Schrötter in Kamienna Góra. Made in silver and adorned with semi-precious stones, it represents Christ in the form of a Host, accompanied by figures from the Old (Abraham, Melchizedek) and New Testament (Mother of God, St. Joseph, St. Peter). It was bequeathed to the Wawel Cathedral by the founder as an equivalent for the gold chalice and silver sanctuary lamp offered traditionally by the bishops at their inauguration.
Bishop Stanisław Dąmbski's monstrance by Christian Schrötter in Kamienna Góra, 1680-1699, Cathedral Museum at Wawel Hill in Kraków.
The monstrance, a chief example of the 17th century Polish goldsmithery, was commissioned by Augustyn Kordecki, Abbot of the Jasna Góra Monastery and later Provincial of the Pauline Fathers, as an ex-voto for the defence of the monastery during the invasion of the Polish-Lithuanian Commonwealth by the neighbouring nations in 1655, so-called Deluge. It was created in 1672 in Warsaw by Royal goldsmith Wacław Grotko from Prague in Czechia (also known as Grottke or Grottkau, active in Warsaw between 1665 and 1675), who was paid 30,000 zlotys in gold.
The work was made from jewels donated by pilgrims to the monastery. Over one meter high (103 cm) and over 13 kg weight monstrance was adorned with 2.366 diamonds, 2.208 rubies, 30 saphires, 81 emeralds, 215 pearls and enamel. A large diamond set in the crown at the top, was bequeathed to the monastery by Zygmunt Przerembski, voivode of Sieradz in 1668. Prophet Aaron and King David kneeling at both sides of the glory are holding wheat sheaves, an eucharistic symbol. Scenes at the foot of the monstrance are related to two themes: the sacrifice of Christ (the Sacrifice of Abraham and the Passover) and the eucharist (Elijah in the Desert and the Last Supper).
According to inscription on the base of the monstrance, Father Augustyn Kordecki was Provincial, Father Stanisław Ligęza was Abbot of the Jasna Góra Monastery and Father Romuald Dymalski was Sacristan of the monastery at the time of its creation.
Abbot Augustyn Kordecki's monstrance by Wacław Grotko in Warsaw, 1672, Treasury of the Jasna Góra Monastery.
Main centers of craftsmanship in the Polish-Lithuanian Commonwealth (PLC) in the late 16th and at the beginning of the 17th century, a period dominated by late Renaissance forms in arts, were large cities like Gdańsk, Poznań, Vilnius, Lviv and Kraków. Although now perceived as former German territory, Königsberg, known in Polish as Królewiec, was at that time the capital of Duchy of Prussia, a fief of the Crown of Poland, hence part of the Commonwealth and one of the country's important production and trade centers. Amber crafts developed therein, can be therefore considered as integral part of the PLC's production. Mannerist forms in applied arts prevailed till mid-17th century.
Carouche with coat of arms of the Polish-Lithuanian Commonwealth by Anonymous from Gdańsk, 1612, Artus Court in Gdańsk. Modified in 1690 to honour John III Sobieski.
Amber tankard in silver frame by Anonymous from Königsberg, ca. 1610, Czartoryski Museum.
Rock crystal reliquary in silver frame by Anonymous from Kraków, beginning of the 17th century, Mogiła Abbey.
Silver votive plaque with velvet background of Jan Wolski by Anonymous from Poland, 1631, Treasury of the Jasna Góra Monastery.
Polish Eagle, fragment of silver goblet with Saint Catherine by Anonymous from Kraków, first quarter of the 17th century, Kremlin Museum.
Vera icon of Constance of Austria in a silver-gilt frame founded by Primate Jan Wężyk by Anonymous from Poland, 1630s, Diocesan Museum in Łowicz.
Bishop Piotr Gembicki was one of the most meritorious benefactors of the Wawel Cathedral in Kraków. Among numerous goldworks donated personally by the bishop to the Cathedral there was a gold chalice in 1643, a gold monstrance in 1647, silver figures of Saints Sigismund and Ladislas (of approx. 20 kg each) in 1653, silver reliquaries of Saints Venerandus and Maschalina and a wooden coffin for relics, lined with velvet and decorated with silver fixtures before 1654.
Subsequently after his death the following valuables were given to the Cathedral by executors of Bishop's last will: a gold cross with diamonds to adorn a monstrance, a set of gold figures representing the Christ Crucified, the Saviour, St. Mary, St. John the Baptist and the Apostles, bought in 1656 from Queen Marie Louise Gonzaga, two silver altar sets (cross and six chandeliers), silver basin with a jug, silver crosier.
According to the Bishop's will also some mobilia from Kraków's Bishop Palace were granted to the Cathedral like "a pair of red velvet Italian chairs with gilded wood" and another "high gilded chair with statues of Saints Peter and Paul".
Monstrance donated by Bishop Piotr Gembicki to the Wawel Cathedral by Anonymous from Bologna and Kraków, ca. 1647, Wawel Cathedral Treasury.
Throne of Bishop Piotr Gembicki with statues of Saints Peter and Paul and his coat of arms by Anonymous from Kraków, between 1642 and 1654, Wawel Cathedral.
The set was commissioned by the Empress Dowager Eleonor Gonzaga (1630-1686) in about 1668. The monstrance preserved in the Kunsthistorisches Museum in Vienna (inv. no. GS D 25), while candlesticks, together with the smaller monstrance were offered by the Empress to the Jasna Góra Monastery in 1670 on the occasion of the wedding of her daughter, the Archduchess Eleanor Maria Josefa of Austria with King Michael Korybut Wiśniowiecki.
Silver and crystal monstrance set with precious stones by Hans Jakob Mair, ca. 1668, Jasna Góra Treasury.
Silver candlestick set with precious stones by Hans Jakob Mair, ca. 1668, Jasna Góra Treasury.
The first wooden manor on the site was constructed for Dukes of Masovia in the 15th century. It was later owned from 1516 by Anna Radziwiłł, Duchess regent of Masovia and Queen Bona Sforza after 1546 for whom an Italian style Renaissance garden was created. The new lavish wooden manor in mannerist style was built in 1570s for Anna Jagiellon. It was here that the premiere of blank-verse tragedy The Dismissal of the Greek Envoys by Jan Kochanowski took place on January 12, 1578. Sigismund III Vasa resided in the manor during the summer. Between 1602 and 1603, according to the Royal accounting books, the old manor was renovated and a new wooden house was built nearby. In 1606 the plan of the manor and garden was prepared for the king by Alessandro Albertini.
When in 1619 the king purchased the allotments belonging to Augustinian friars the construction of a new brick palace become possible. The spot for a Royal summer palace was chosen approximately 120 meters north from the original manor. According to the cornerstone found in 1972 in the foundations of the eastern wing the construction started on September 16, 1624. The structure was designed by Matteo Castelli and Constantino Tencalla and accomplished after king's death by his son Ladislaus IV Vasa. In 1655 during the so-called Deluge of the Polish-Lithuanian Commonwealth (invasion of allied forces of Sweden from north, Brandenburg from west, Transilvania from south and Muscovy from East), the castle was devastated and remained practically uninhabited till 1668 when it was given to Teodor Denhoff.
It is a rectangular building with four octagonal towers at the corners, arcaded courtyard and a loggia with a view on Vistula River. Largely destroyed several times, it was reconstructed in 1975.
Plan of the manor and garden in Ujazdów near Warsaw in 1606 by Alessandro Albertini, scale from. 1: 800, hand drawn multicolored document, 42 × 56 cm (16.5 × 22 in), signed: Il sito della villa di Jasdovia; Alessandro Albertini, 1606, Archiwum Główne Akt Dawnych w Warszawie, Zb. Kart. 570 – 1.
Cornerstone of the Ujazdów Castle, sandstone, 57 × 57 × 10 cm (22.4 × 22.4 × 3.9 in), inscription in Latin: REGIAE AMOENITATI / SACRA / COELO SOLO LVCO LACV COLLE VALLE / LAETA / PALATIA AESTIVA / FELICIB[us]. FVNDAMENTIS AVSPICATVRV[m.] SAXVM / ANNO D[omi]NI MDCXXIV SEPTEMBR[e] / SIGISMVNDO III POLONIAE XXXVII / CO[n]STANCIA ANNO REGE / POSITVM / ANNO D[omi]NI 1624 DIE 7[septem]BRIS (Devoted Royal delight (...) summer palace), Muzeum Zamku i Szpitala Wojskowego na Ujazdowie.
In 1622 Constance of Austria, Queen consort of Poland, sent a gift to sons of her younger sister Duchess of Tuscany. The sons of Maria Maddalena of Austria were presented with a set of colourful costumes - żupan dress, delia coat and other necessary utensils of a Polish noble, including pernach mace and zygmuntówka sabre, among others. Their new exotic attires were captured in a series of portraits by Justus Sustermans, at least one of which was sent to Warsaw in gratitude to Queen of Poland.
The portrait in the collection of Flint Institute of Arts (inventory no. 1965.15) depicting Maria Maddalena of Austria with her son Ferdinand in Polish costume is an exact copy of a painting preserved in the Uffizi in Florance (inventory no. 1890, 2246). It was by most accounts in the possession of the Polish Vasas and was transferred by John II Casimir Vasa to France after his abdication in 1668.
Portrait of Maria Maddalena of Austria, Duchess of Tuscany with her son Ferdinando in Polish costume by Justus Sustermans, 1622, Flint Institute of Arts.
Portrait of Leopoldo de' Medici in Polish costume with a pernach mace by Justus Sustermans, 1622, Uffizi Gallery.
Equestrian portrait of Ferdinando de' Medici in Polish costume with a sabre by Justus Sustermans, ca. 1622, Konopiště Castle.
Portrait of dwarf in Polish costume holding a pernach mace and a dog by Anonymous from Florence, 1620s, Uffizi Gallery. Its possible that the dwarf or his costume was a gift from Constance of Austria to her sister Duchess of Tuscany. Identification by Marcin Latka (Artinpl).
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