WWII VICISSITUDES OF THE INSIGNIA OF KING AUGUSTUS III

During WW II, numerous precious art works from Polish public and private collections were looted, displaced and taken out of Poland. In view of the value of some of those pieces, the invaders’ authorities decided to have them transferred to German museums, and this is what happened to the coronation insignia of King Augustus III and his spouse Maria Josepha. German officials took over the regalia which were property of the National Museum in Warsaw already in 1939. Some time after, they were transferred to Cracow, the capital of the General Government. Several months later the insignia returned to Warsaw. In 1941, Dr Hans Lammers, Chief of the Reich Chancellery, requested them. On Adolf Hitler’s decision they were to be transferred to Dresden’s Grünes Gewölbe; in order to be transported there they were taken from Warsaw in 1942. By the end of the war, they were evacuated to a repository of artworks in the cellars of the Königstein Fortress. After WW II had ended, they were relocated, together with other cultural goods, to Moscow. It was only in 1960 that the Soviet regime returned the precious regalia to Poland.

The Coral Altar with the Apocalyptic Woman in the Treasury of St Mary’s Basilica in Krakow. Theological Contents

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 64 (2016), issue 4. In Polish museum collections there are a few objects made of coral or decorated with it. They are, among others, altars, holy water fonts, crucifixes and other liturgical items. Most often they were bought during Poles’ travels to Italy in the Mannerism and Baroque epochs. St Mary’s Basilica’s treasury boasts of a portable coral altar dated to the middle of the 17th century, a gift from Maria Josepha, the wife of King Augustus III. It has a golden frame and is embellished with enamel and coral. Its centre features the figure of the Blessed Virgin Mary standing on a crescent, in a radiant coral glory, surrounded by Marian symbols. It is an apotheosis of the Blessed Virgin Mary based on a fragment of the Apocalypse of St John. The figure of Mary is presented with her cosmic attributes: twelve stars around her head; she is clothed with a radiant glory; and she has a crescent under her feet. Around her seven symbolic biblical signs are presented, ones connected in the exegetic tradition with her being the mother of the Messiah. The term Cedrus exaltata—is perceived as the symbol of majesty, sublimity, loftiness, paradisaical beauty, safety. Fons signatus is a sealed spring, an enclosed one, accessible only to the Mother of God’s Son, chosen by God. Hortus conclusus is the symbol of St Mary’s virginity. Oliva speciosa points to St Mary’s charity, her extraordinary fertility, inner peace, the gift of relieving sufferings. Rosa plantata is a metaphor of wisdom, love, medicine for sinners. Puteus aquarum viventium, a well of living waters, indicates St Mary’s mediation for people redeemed by Jesus. Turris eburnea—the ivory tower is another feature of the Virgin Mary’s beauty, of her immaculate body and fortitude.