Bolesław Chrobry – the first King of Poland

Although the sculpture of the so-called ‘Laughing Polish Woman’ (Die lachende Polin) dates from the 13th century, to tell the story of this mysterious princess we must go back a further two hundred years. At that time, Bolesław I the Brave, the first formal King of Poland, sat on the throne in Gniezno. He went down in history as the ruler under whom the Congress of Gniezno took place in the year 1000, during which the German Emperor Otto III confirmed the independence of the Polish state.

However, maintaining the political status quo required considerable effort on the part of the Polish ruler. Bolesław I emerged unscathed from frequent armed conflicts, which is why his subjects posthumously bestowed upon him the epithet ‘Chrobry’, meaning valiant, brave and courageous.

The wives and children of Bolesław Chrobry

Chrobry fathered numerous children by four successive wives, but only the names of the last two – Emnilda and Oda – are known. As Paweł Jasienica notes, the names of Bolesław’s two daughters have not been preserved in contemporary sources, including the Chronicle of Thietmar, Bishop of Merseburg. We know only of his sons: Mieszko II Lambert and Otto, and his daughter, Regelinda. According to Jasienica, this indicates that the chronicler ‘did not regard the Poles, who were already Christian, as a nation equal to the Germans’. He therefore did not consider it important to record such details.

In that era, even the daughters of rulers rarely had their names preserved for posterity. Fortunately for us, 13th-century foundation documents have been discovered, on the basis of which Regelinda’s personal details were deduced, and these were subsequently linked to the figure in Naumburg Cathedral.

The Polish princess Regelinda – Margravine of Meissen

Almost a thousand years later, the daughter of Bolesław Chrobry became the heroine of Maria Krüger’s children’s story *The Princess’s Smile*. In it, we find the story of a very young princess who, together with her entourage, sets off in 1002 or 1003 to meet her future husband, Margrave Herman I. The author of this narrative draws attention to the girl’s delicate smile, which is said to have instantly charmed her husband and future subjects. It is certain that this royal marriage was based as much on sentiment as on strategy.

What was Regalinda’s life like in a foreign land? Did she have any children? How long did she live? Historians have so far been unable to answer any of these questions with absolute certainty. The only suggestion that has emerged is that she shared a strong, loyal bond with her husband Herman and, when necessary, stood by his side, even against her father’s interests.

The Royal Sculptures of the Naumburg Master

The fortunes of the Catholic Church in Germany were not easy, and the history of Naumburg Cathedral, dedicated to Saints Peter and Paul the Apostles, was equally turbulent. The first construction work began in 1026, when the bishopric was established in Naumburg. In the 13th century, the Romanesque church was rebuilt in the Gothic style, and the sculpture of Regelinda and her husband, Herman I, dates from this period. Until the mid-16th century, the building was in Catholic hands, but upon the death of the last bishop, it passed into the hands of the Protestants. It was then that the church took on the form we recognise today.

It is a three-nave basilica, with a transept, crypts and two chancels, which house, amongst other things, sculptures of interest to those seeking Polish cultural artefacts. The Master of Naumburg was largely responsible for the church’s magnificent décor. In keeping with medieval custom, his name is unknown to us. Most likely, however, he worked with a team with whom he created the full-length figures of the donors: Regelinda and Herman I, Ekkehard I and Uta, as well as the Passion and Crucifixion cycle, and the tomb of Bishop Dietrich II.

A distinguishing feature of the anonymous master was undoubtedly his individual approach to his subjects. Although the sculptures were created over two hundred years after the subjects’ deaths, thanks to the artist’s talent and the meticulous documentation—by the standards of the time—one gets the impression that these are real people. Art historians also highlight the accurate depiction of period costumes and attributes. It is worth noting that copies of these figures are housed in London’s Victoria and Albert Museum as examples of medieval German sculpture.

The sculpture of Regelinda in Naumburg Cathedral

In Naumburg, we are primarily interested in the most famous of all: the ‘Laughing Polish Woman’. From time to time, voices are raised questioning the origins of this cheerful lady. For the time being, however, there is still no evidence to effectively confirm any other attribution.

Let us therefore take a closer look at Regelinda. She is dressed in a long gown, covered by a sort of cape or cloak. She holds the folds of the cloak in place with her left hand. The inexorable passage of time has faded the original colours of her garments; only traces of red remain visible – a colour which, for centuries, being exceptionally costly, was reserved solely for the most distinguished.

The princess’s hair and neck are covered by a light-coloured bonnet and a veil; she wears a decorative tiara on her temples. Her face is characterised by joy and warmth, which seem to radiate towards her husband Herman, who is actually leaning towards his wife as she gazes into the distance.

It is also worth noting another, equally beautiful and interesting female figure from the same church. This is Uta von Ballenstedt, a German countess and wife of Ekkehard, Margrave of Meissen. Uta’s figure is not quite as open and friendly as Regelinda’s, at least in relation to her husband, as she shields her cheek from him with her hand, which also holds up the hem of her gown. Fortunately for viewers, her magnificent face is clearly visible. Interestingly, this haughty and proud figure was regarded for centuries – and particularly during the Romantic period and (sic!) the Third Reich – as the ideal of the German woman.

Friedrich Nietzsche, Regelinda and Agnes of Austria

There are many reasons to visit Naumburg in Saxony. Gothic architecture enthusiasts will explore the historic cathedral; philosophers will head to 18 Weingarten Street to visit the home of Friedrich Nietzsche’s family; whilst those seeking traces of Polish heritage will linger a while longer by the statue of Regelinda.

The town, famous for its statue of the laughing Polish woman, also harbours traces of yet another Polish princess, Agnes of Austria, wife of Władysław II the Exile, the eldest son of Bolesław III the Wry-mouthed. This heroine, however, deserves a story of her own.