Uroczystości pogrzebowe w Wilnie po śmierci Augusta II

ENThe first half of the eighteenth century in Poland was a peak period as regards the organization of ceremonial funerals of magnates and wealthy noblemen, modelled on royal funerals. The splendour of the ceremony was a yardstick of prestige which played an essential role in the functioning of hierarchized societies. These para-theatrical spectacles operated with all available measures in order to impress the imagination of the audience. Use was made of architecture, sculpture and paintings, as well as the written word in the form of numerous inscriptions which supplemented and, simultaneously, explained the ideological premises of the decoration. Occasional funereal architecture was accompanied by music and light effects, obtained thanks to mirrors. Long sermons completed the ceremonies. The grandeur of these solemn occasions was expressed by the Latin term "pompa funebris" used for describing them. In Poland such funerals were modelled on ceremonies arranged for Western rulers. Projects for decorations were taken from special pattern-books (such as the one by Franęois Menestrier). After the death of the monarch, the duties of the inter-rex in the Commonwealth were assumed by the Primate, who issued decisions concerning all aspects of the royal burial and forms of state mourning. This was also the case following the death of August II (1 February 1733). The course and setting of most of the ceremonies is known from reports published by "Kuryer Polski". In accordance with prevalent customs, the ceremonies took place not only in Poland and Saxony, but also in Rome and even in Constantinople.In the Commonwealth, one of the most magnificent and, at the same time, most interesting from the point of view of their ideological programme, were the funeral rites performed in the Vilno cathedral on 3 March 1733. An ornate catafalque, resting on four steps, and covered with crimson velvet (a royal colour) stood inside the church. It held a large wooden gilt circlet which symbolized the celestial sphere, on which the spectators were able to read a so-called epitaphium, a poem devoted to the deceased moception of the whole castrum doloris. The epitaphium was based on a topos which could be briefly described as cosmic, and which stressed the regality of the deceased and the enormity of the dignity of his power and thus of the realm, embodied by the ruler. The author of the programme of the rites illustrated regal dignity by using the symbolics of light and radiance connected with royal majesty. In turn, a reference to Octavian Augustus was intended not only as a comparison with August II, based on a play on words, but also to depict the Polish king as an ideal ruler, personified by the Roman emperor. A portrait of the king was placed under a large golden crown, decorated with velvet festoons which hung down onto sculptures of kings whom August II had succeeded on the Polish throne.The depictions of the monarchs were accompanied by Latin poems whose common theme was a glorification of the king for his victory over the Turks, a feat which none of his predecessors had accomplished. The sculpted figures of Polish rulers stood alongside painted personifications of virtues, which completed the image of August II as an ideal monarch. The uppermost figure was that of the Genius of Sarmatia. The nave of the church was carpeted with red cloth, on which stood two tables covered with crimson velvet, situated in front of the castrum doloris. The tables held cushions carrying royal insignia. The ceremonies were attended by monastic orders, religious fraternities, the municipal magistrate, members of the Vilno Academy as well as students of the Piarist college. The pontifical Mass was celebrated by Michal Zienkiewicz, the Bishop of Vilno, assisted by the cathedral chapter. The entire ceremony lasted from dawn until 1 p. m. and was followed by a dinner held in the bishop’s palace to which he invited the chapter, magistrate, magnates and wealthy noblemen.