The stove in the “Greek House” in Myślenice comes from the manor in nearby Krzyszkowice, which, from 1926, belonged to Count Konstanty Romer. After his death in 1942, Krzyszkowice was inherited by his daughter Teresa, and she owned it until 1945.
This painting depicts the image of Stefan Bogusław Janota Bzowski known by the name of Bogusław. He was the son of Kazimierz and Marjanna née Dąbski, born in 1821 in Gruszów, who died in 1911 in Krakow. He was buried with his wife at the Rakowicki Cemetery in Kraków. He managed estates in the villages of Droginia, Radwan and Buk. After autonomy had been granted to Galicia, he served as the first marshal of the District Council in Myślenice. At his own initiative, the District Savings Bank was established in this city. In 1854, he married Leonia, Countess Stadnicka, with whom he had nine children.
In the manor house from Droginia (moved to the Museum in Wygiełzów), in which the apartment interiors of a wealthy noble family were recreated, the more intimate side of life was also included. The bedroom, located in the alcove, equipped with 19th century furniture, also included a night-chair which served as a privy.
The second tapestry in the series The Story of the Tower of Babel shows the consequences of human pride. The builders of the tower wanted it to reach the sky. Human pride angered God, who decided to destroy the work of sinful humanity. Bearded Nimrod, the initiator of the construction, stands at the foot of the tower with hand upraised, trying to shield himself from the Creator, who appears in the upper right hand corner of the textile. Builders working at ground level have scattered their tools and disperse in panic, while those who are on the scaffolding point the angry Creator out to reach other; furter in the background, work continues as if nothing has happened.
Portrait of Kazimierz Janota Bzowski (the last owner of the Droginia estate), painted by Stanisław Janowski in 1927. The painting belonged to the Janota Bzowski family from Droginia, a village near Kraków. It was donated to the museum by Witold Nekanda Trepka.
A portrait of Kazimierz Janota Bzowski, who died in 1862, the founder of the Droginia line of the Janot Bzowski family. The painting belonged to the Janot Bzowski family of Droginia. It was donated to the Museum by Witold Nekanda Trepka.
The 18th century, called the century of women, was the age of sophisticated social games. What item was better suited to flirting than an amusing, coquettish fan? Thus, a secret “language of fans” was created, one to be mastered by every young woman with ballroom ambitions.
Decorating walls with precious textiles added grandeur and significance to modest interiors. It is known from preserved descriptions and inventories that European rulers highly valued this artwork and loved being surrounded with tapestries since they added splendour to their owners. Tapestries were ordered for specific chambers of a ruler's residence as they performed relevant functions in a given space, expressed through the subject matter of their presentations. A special place in the entire collection of Sigismund II Augustus was occupied by monogram and heraldic tapestries, commissioned probably after 1553 (around 1555). Their subject matter and set of motifs expressed a precisely defined agenda directly related to the person of the ruler and his country.
In the late Middle Ages, popular romances and knight poems, as well as legends from the north, had an enormous influence on court culture. On their basis, court customs developed, an essential aspect of which was an image of ideal love. This was reflected in the ceremonies glorifying the figure of a lady. The decoration of a small case from the 2nd quarter of the 14th century is some kind of interpretation of the medieval world-view, centred around courtly love, which — interestingly — was an ethical problem. Its moralistic and didactic themes, having literary sources, evoked good and bad examples of behaviour, building the principles of proper behaviour.
All the medications that nowadays fill the surface of the drawer, formerly occupied an entire room. At the manors, these “first aid kits” contained natural ingredients, spices, liqueurs, vodkas, home-made brews and preserves.
The fan is made of a hand-painted fabric. In the fan’s folds, richly decorated fields with various floral patterns featuring a palette of blues and pinks, coloured using paint gouache, arranged vertically, are clearly visible. Through the floral compositions, there diamond-shaped ornaments, sewn in using golden thread, with the addition of sequins and beads at the corners. Along the fan, runs a strip of alternating brown and azure-blue panels, with white and pink flowers running respectively, in various compositions.
In front of us, the last act of the history of the Tower of Babel takes place – The Spread of the Nations. On a meadow at the foot of the hill, a group of people can be seen, with two men standing and five women sitting next to them on the grass. All attempts to communicate with one another have been in vain, the evidence of which is a tablet in the hands of the woman in a blue dress.
Verdures – tapestries presenting animals in a lanscape setting – are a large subset within the collection of Sigismund II Augustus. They can be divided into three groups. Turkeys is a part of a set of sixteen textiles in the shape of a horizontal rectangle. Central area is framed only by a narrow border of interweaving ribbons and flowers. They present animals commonly known in Europe, as well as exotic ones, such as turkeys, which were brought to Europe from America at that time. All the creatures are depicted amid the scenery of a Central European forest, in which, apart from the oaks, ivies and reeds typical of this region, there are fig trees and grapevines can.
This small tapestry belongs to a group of textiles intended as chair upholstery. It shows a colourful bouquet of flowers in a vase decorated with animal masks and small golden garlands. The flowers in the vase are probably large two-coloured irises interwoven with blooms of clematis with dark green leaves. The composition is complemented with blue periwinkles. In the corners of the tapestry, lion masks are placed on the border of interwoven ribbons filled with a floral ornament. The border ornament is characteristic of the entire collection.
The grotesque tapestry with a monogram of King Sigismund Augustus (SA – Sigismundus Augustus) and a globe is part of a series of decorative textiles in which the royal monogram plays the major role. Before our eyes, an extravaganza unfolds of ancient gods, birds, animals, fruit and flower garlands. On the axis of the composition is placed an oval shield with the monogram of the king, covered with a closed crown. A richly decorated frame is surrounded by a wreath of fruit. Aside from apples, grapes and lemons, there is also a pineapple, brought to Europe by Christopher Columbus.
The tapestry is part of a group of twelve textiles with the coats of arms of Poland and Lithuania against a background of ornamentation called Netherlandish grotesque. It belongs to a subgroup in which the coats of arms of both parts of the Commonwealth are entrusted to the care of the Roman goddess Ceres – a patron of peace, abundance and prosperity. The slender female figure in robes, modelled on clothing of ancient statues, holds a sickle and cornucopia, and stands in the middle on a marble podium. The sickle in her hand and a wreath of grain ears on her head bring associations with summer – the season of harvest, while the cornucopia symbolises prosperity.
One of six furniture tapestries in the shape of a horizontal rectangle with the SA initials of the King. It belongs to a group of textiles used to cover chairs. Eleven of such textiles have been preserved to this day (others were decorated with bouquets of flowers in vases). The small horizontal tapestries were used as backrests of furniture. The initials under a closed crown, woven with a gold thread, were placed in a blue field surrounded by an oval wreath. On the axis of the field, at the top and bottom, there are two masks – a singing one and a sleeping one. Slender vases with bouquets of fruit and flowers (columbines and anemones) are placed on the sides.
A tapestry of the same size and the same function as the tapestry with the Monogram of Sigismund Augustus in Cartouche. It belongs to a group of three monogram grotesques with the initials SA inscribed within an oval medallion. In the middle of the composition, there is a blue convex medallion with the entwined initials SA under a closed crown, placed against a background of a drapery supported by two angels sitting on crosspieces of a metal frame (a motif typical of Netherlandish grotesque).
It belongs to a series of fourteen tapestries designed to be hung under window sills. Most of them were damaged. After they had been taken to Russia in 1795, they were cut and sewn together to form semi-circular over-window or over-door tapestries. Upon their recovery from the Soviet Union in 1922, they were unstitched and put back together to reconstruct their original appearance. In the middle of the horizontal frieze, there is a metal vase supported on lion paws, filled with fruit and leaves. A huge eggplant and zucchini spill out of the vase. On both its sides, on a frame linking all the elements, two putti are perched, one of them with a bow and a quiver.
Another tapestry of a group of over-door and over-window textiles with the national coat of arms. Its size indicates that it was to be placed in a wide window bay. Eleven tapestries designed for this purpose have been preserved. The tapestry was used in Russia (in the years 1795–1922) as the covering of a sofa seat (a heraldic tapestry with the White Eagle was attached to the sofa's backrest). In 1922, during the recovery of the Sigismund collection, both tapestries were repossessed along with the furniture.