No artist created such an evocative vision of Polish history as Jan Matejko. Although he also painted portraits and historical genre scenes, he is best known as the creator of large-scale, expressive canvases depicting the landmark and most momentous events in the history of the Republic. They were intended not only to lift the spirits of his compatriots living under the Partitions, but also to show the reasons for the loss of independence. Almost all of Matejko's most important paintings belonging to the main historical cycle are now in the collections of Polish museums. The only exception is a monumental canvas (458×894 cm) depicting the victory of Jan III Sobieski at Vienna. At the time, the artist, on behalf of the Polish nation, presented the work as a gift to Pope Leo XIII on the bicentenary of the relief of Vienna, to emphasise the Poles' participation in the victory over the Ottoman Empire, and thus their decisive role in the defence of Christian Europe.

Sobieski at Vienna

The giant canvas was dedicated to one of the most spectacular victories in the history of Polish arms. As with his earlier paintings, such as Batory at Pskov (1872), The Battle of Grunwald (1878) or The Prussian Homage (1882), Matejko was keen to show the might of the former Commonwealth. Although paintings of triumphs over the partitioning states of Russia and Prussia occupied a special place in his oeuvre, in this case, however, the message, aimed at the most liberal partitioner, was more diplomatic. The artist enjoyed a high reputation and was counted among the three most important painters in the Austro-Hungarian monarchy (alongside Hans Makart, 1840-1884 and Mihály Munkácsy, 1844-1900). He therefore decided to use the bicentenary of the Battle of Vienna to widely publicise the Polish cause. Sobieski at Vienna was to remind the Third Partitioner that he owed his existence to the state he later erased from the maps of Europe, especially as the Habsburg Empire had from the outset marginalised Sobieski's role, attributing the victory to Prince Charles V of Lorraine (1643-1690) commanding the imperial army and Count Ernst von Starhemberg (1638-1701) defending the city.

The relief of Vienna - venimus, vidimus, Deus vicit

The relief had far more important consequences than the liberation of Vienna itself, so Matejko first portrayed the ruler of the Republic as a defender of Christianity against the Islamic invasion. This is why the artist did not depict the breakthrough moment of the relief, when, after a whole day of fighting on 12 September 1683, the Commander-in-Chief of the Allied Forces, Jan III Sobieski, from the slopes of the Vienna Forest, led Polish, Imperial and German cavalry units to the assault, which destroyed the forces of Kara Mustafa, surprised by the attack from that side.

Matejko chose to create a hypothetical scene taking place after the battle. When King Jan III Sobieski, riding the Grand Vizier's horse, hands the Krakow canon, Jan Kazimierz Denhoff (1649-1697), a letter to Pope Innocent XI (1611-1689) with the news of the victory over Kara Mustafa's army with the famous words 'Venimus, vidimus, Deus vicit' ('We came, we saw, God won'). As a sign of triumph, the king's steed tramples the Turkish banner (mistakenly believed to be the flag of Muhammad) captured in battle. Which - to the despair of the Turkish captive - is placed before the monarch by a soldier wearing caracenous armour, borrowed by the painter from the Czartoryski collection and probably worn at Vienna by Hetman Mikołaj Hieronim Sieniawski (1645-1683). In the painting we can also see his saddle.

The divine favour for Poland, which consequently ensured its victory, is evidenced by the dove of the Holy Spirit rising above the king's head and the rainbow arch symbolising God's covenant with mankind. The rainbow connects the Kahlenberg hill with the panorama of Vienna (Matejko travelled to Vienna on purpose to study the city's topography while preparing the painting).

There are more supernatural signs that were supposed to augur victory in the painting. The Capuchin friar Marco d'Aviano (1631-1699), who celebrated Mass for Sobieski in the ruins of St Joseph's Church on Kahlenberg before the battle, holds an image of the Virgin Mary - according to legend, miraculously found while digging ditches by Polish soldiers arriving in relief. Matejko, who always painted on the basis of props and, if possible, original objects, brought this holy image to his studio from the Radziwill family in Nesvizh. The famous artist had private, ecclesiastical and state collections open to him, from which he borrowed the necessary artefacts immortalised in his paintings.

The heroes of the Battle of Vienna in Matejko's painting

The Poles' triumph is recalled by the white and red pennants flying in the centre, the royal banner with the eagle and the hussar wings - a symbol of the invincible military formation whose participation had a significant impact on the success of the relief. Incidentally, it was Matejko and other nineteenth-century historical painters who created the image of a hussar moving into battle with two impressive wings on his back. At first glance, none of the characters in the theatrically staged scene is in any doubt as to who is the perpetrator of the glorious victory (even if the Polish magnates depicted fear strengthening the position of the king, symbolising destructive Sarmatian pride). Nor should those viewing the painting.

The Polish dignitaries to the left of the painting are facing the centrally depicted commander-triumphator in Polish attire, including the aforementioned Field Hetman of the Crown Mikołaj Sieniawski in a golden delia (a type of coat forming part of the Polish attire in the 17th century), Great Hetman of the Crown Stanisław Jabłonowski (1634-1702) in an escutcheon (helmet), and an ensign with a mace and shield depicted from behind. They are preceded by the German electors: Saxon John George III Wettyn (1647-1691; wearing a hat with feathers) and Bavarian Maximilian II Emanuel Wittelsbach (1662-1726; Sobieski's future son-in-law).

To the right we see imperial dignitaries, including Count von Starhemberg in a navy blue shustock (an ornate, fitted kaftan) and an unidentified Cardinal Wilczek. It is possible that the description of the figure at the time confused Count Heinrich von Wilczek (1665-1739), an Austrian diplomat, with Cardinal Opizio Pallavicini (1632-1700), Apostolic Nuncio to Poland. In 19th-century literature and painting, both were depicted as pleading with the Polish king for armed intervention. Wilczek may have been depicted by Matejko wearing a three-cornered hat behind Karol Lorraine (this figure is believed to be a German ensign). Significantly, Charles Lorraine, who ceded the role of commander-in-chief to Sobieski, who had experience in wars with the Turks, was prominently featured in this group. With his hat removed from his head, Lorraine points to the Polish monarch, who is accompanied by his eldest son Jakub (1667-1737). It is possible that Matejko wanted to symbolically erase the affront that Emperor Leopold had committed towards the Polish prince, and thus the king, by not reciprocating his greeting during the meeting of the two monarchs two days after the battle. However, he undoubtedly highlighted in this way the role of the Polish king and his army ignored in Austrian historiography and omitted in Vienna when commemorating the victory.

Sobieski at Vienna - the significance of the painting

Matejko's determination to publicise the Polish cause is evidenced by the fact that a few days after completing the painting, which was briefly shown in the Cloth Hall, he sent it at his own expense to Vienna for the jubilee celebrations. Moreover, he arranged a free exhibition in a hall paid for by him, so as to change Austrian perceptions of the battle and recall the merits of the Polish king and his soldiers. The free admission ensured crowds of visitors. Leopold's successor, Emperor Franz Joseph I, and his family also viewed the painting at the time.

Originally, the painting was to be destined for the National Museum in Krakow, but the artist eventually, despite the dissatisfaction of some of the country's public opinion, decided to offer it on behalf of the nation to Pope Leo XIII (1810-1903) to remind the international forum of Poland's role in this event perceived as a victory of Christianity over Islam. The painting was taken to the Vatican by a large delegation of Galician society, including representatives of the aristocracy, the clergy, as well as the artist himself and, at his suggestion, two peasants. In gratitude, the Pope decorated Matejko with the Commander's Cross with Star of the Order of Pius IX. However, the painting is still exhibited today in the room henceforth known as the Sobieski Room, which is located on the way to the famous Vatican stanzas (flats) with frescoes by Raphael.

In Poland, however, you can see a small oil sketch entitled "Jan III Sobieski hands a letter to the canon Denhoff to the Pope with news of victory over the Turks at Vienna" in 1683 (58×100 cm), made in 1880. It preceded work on the painting sent to the Vatican, and is now kept in the Jan Matejko House (a branch of the National Museum) in Krakow. It shows not only how the conception of the whole scene and the arrangement of the main figures changed, but also the artist's freedom of brush and expressive style, which was lost in the finished work, refined in every detail. For the Vatican painting - like many of Matejko's late works - is characterised by a kind of horror vacui, so that the viewer may feel overwhelmed by the multitude of details and props painted with illusionistic precision and meticulousness. At the same time, however, we are drawn into the space of the painting, becoming participants in the momentous scene unfolding on the canvas.