On the monument to Ivan Gundulić, a great figure of Croatian literature, situated in the picturesque heart of Dubrovnik, there is a scene linked to Polish history. This refers to the depiction of Władysław IV Vasa or – as some suggest – Hetman Jan Karol Chodkiewicz, or possibly Stanisław Lubomirski. The mystery surrounding the identity of the figure adorning the front plaque of the Gundulić monument is an intriguing aspect of the history of both the monument and the poet himself.

Ivan Gundulić, regarded as one of the most outstanding figures of the Renaissance in Croatian literature, gained not only immense popularity in his own time through his works, but also a lasting place in the culture and history of the region. To understand why a figure associated with Poland appears on the poet’s monument, it is worth delving into the concept behind the poem. The Gundulić monument in Dubrovnik not only commemorates the great poet, but also highlights certain less obvious cultural and historical links between Croatia and Poland. For Ivan Gundulić, the Battle of Chocim in 1621 served as the inspiration for his historical epic. Initially, the work was to focus on the figure of Osman, who, upon ascending the Turkish throne, launched an attack on the territories of the Polish-Lithuanian Commonwealth. As the narrative unfolded, Gundulić broadened the context to include the Battle of Chocim and Poland’s triumph, which came to symbolise hope for liberation. The poem *Osman*, in twelve cantos, recounts Turkey’s defeat at Chocim and Osman’s subsequent fate. Written in octaves and regarded as a masterpiece of Croatian literature, it is characterised by great artistry and stylistic richness.

Ivan Gundulić was one of the most outstanding and influential poets of Croatian Baroque literature. He was born on 8 January 1589 in Dubrovnik, then known as the Republic of Ragusa. He came from a wealthy and influential noble family, which enabled him to receive a thorough education. His life and work were closely linked to Dubrovnik, which at that time was an important centre of culture and learning. At a young age, he left to pursue his studies, which enabled him to delve into classical literature, philosophy and theology. This well-rounded education had a significant influence on his later work.

Gundulić’s works, imbued with patriotic sentiment and a spirit of freedom, helped to strengthen the Croatian national identity. They also served as an inspiration for later writers. Gundulić also promoted the Croatian language, which was of vital importance for the development of the national language. Such an important figure, not only in literature but also in the national life of the Croats, could not fail to be recognised in the nineteenth century, when national liberation movements were gaining particular significance. It is in this context that the idea of erecting a monument should be viewed.

It was created by Ivan Rendić, a Croatian sculptor who was educated in Venice and Rome but hailed from the town of Imotski, then part of Austria-Hungary and now part of Croatia. Rendić, who had been educated in classical culture, represented conservative tendencies in sculpture. Upon his return to the Balkans, he became involved in the artistic life of the region. He created both monuments and, amongst other things, busts of eminent figures from Croatian history and culture. These works are characterised by realism and attention to detail; the monument to Gondulić is one of his most important works, although, due to the imbalance in proportions between the sculpture and its plinth, it is not necessarily his most successful. The artist seems to focus too much on detail, causing him to lose sight of the expressive power of the whole.

The idea of erecting a monument to Gundulić in Dubrovnik arose around 1880, when the first Committee for the Construction of the Gundulić Monument was established, comprising Count Medo Pucić and prominent Dubrovnik intellectuals, such as Per Budmanija, Ivan Kaznačić, Mata Vodopić and Luka Zora. In 1884, the committee issued a proclamation calling for support for the idea of erecting the monument; as reported in the press, “over 11,000 fiorini were collected. – This is a fine thing, when we consider the economic hardship of our nation as a whole, but in truth it is not enough to cover the costs that Gundulić deserves...”.

Initially, the unveiling was planned for 1888, to mark the 300th anniversary of Gundulić’s birth. It should be emphasised that financial difficulties and delays in erecting the monument led to the establishment in 1891, on the initiative of the autonomous government of Serbia, of a new committee headed by Lord Marinica Đorđi. It was no coincidence that, following the change in committee leadership, the largest donation came from King Aleksandar Obrenović of Serbia.

On Sunday 25 June 1893, celebrations marking the Gundulić monument began in Poljana, the largest square in Dubrovnik. The unveiling took place on 26 June 1893 and was a grand, three-day event which, alongside its patriotic dimension, also contributed to promoting the city as a tourist destination. However, the celebrations were primarily of national and political significance. Although the organisation of the celebrations involved virtually all political forces, the city authorities and social organisations, it did not bring about unity across the divisions. The Committee for the Erection of the Gundulić Monument was in charge, and it sought to give the celebrations a Dubrovnik-South Slavic character in order to sidestep their national dimension and reaffirm the idea of Dubrovnik’s Serbian affiliation. However, this did not succeed. Under the influence of nationalist forces, the celebrations turned into a Croatian festival.

The scale of the undertaking is evidenced by the fact that over 5,000 people attended the celebrations. Even if today these figures – for instance, in the context of the number of tourists visiting Dubrovnik every day – may not seem particularly impressive, at the time they were truly remarkable. To lend the events a fitting atmosphere, many distinguished guests were invited, not only from Dalmatia but also from Istria, Zagreb-based Croatia, Bosnia and Herzegovina, Vojvodina and Montenegro. Among them were, amongst others, the bishop and politician Josip Strossmayer (1815–1905), an advocate of the unity of the South Slavs, Franjo Rački (1828–1894), a Croatian historian, politician and Catholic clergyman who played a significant role in the Croatian national revival, and writers including: Eugen Kumičić and Jovan Jovanović; scholars such as Baltazar Bogišić and Tadiji Smičiklas; and many others, including the governor of Dalmatia, Ambroz Marojčić. The selection of guests was intended to emphasise the local Dubrovnik and South Slavic character, but also loyalty to the monarchy and the Serbo-Croatian union. However, the initiative was taken over by the inhabitants of the Kingdom of Dalmatia, who sang Croatian songs, chanted political slogans and displayed the national colours.

The unveiling of the monument and the official celebrations had another significant aspect. They provided a major impetus for the town’s development as a tourist centre. For Dalmatia, which was sparsely populated and in economic collapse, this was of considerable importance.

From 25 June, members of the welcoming committee greeted guests arriving by ship at the harbour, accompanied by a band; however, it is known that some of the new arrivals sang the Croatian national anthem, whilst shouts of ‘Long live the Croats!’ and ‘Long live a united Croatia!’. That evening, on the eve of the celebrations, cannon fire lit up the sky, and a ceremonial gathering was held at the theatre.

The next day, at the crack of dawn – from 4 am – the orchestra marched through the city’s streets. Then, at 6 am, once again to the sound of the orchestra and cannon salvos, the celebrations began. Before midday, a Mass was held in the cathedral, after which a ceremonial procession set off for the site where the monument was to be unveiled – the square which today, in accordance with a decision of the Dubrovnik City Council of 11 October 1893, – also bears Gundulić’s name. Banners were carried at the head of the procession, followed by the orchestras, guests, representatives of social organisations and associations, city councillors, and, bringing up the rear, representatives of the Committee for the Erection of the Monument. The monument’s unveiling ceremony was marked by a speech from the Committee’s chairman and a solemn wreath-laying ceremony. The atmosphere, however, was tense. On the one hand, one could hear shouts of ‘Glory to the Serbian poet!’, whilst on the other – more numerous – were cries of ‘Glory to the Croatian poet!’. In the evening, the town sparkled with festive illuminations, and concerts and other celebrations took place throughout the town.

On 27 June, the celebrations continued. In the afternoon, cannon salutes rang out once more, followed by a folk festival and a public raffle, after which there were games, folk singing and dancing, concerts and the sale of souvenirs. In the evening, the town was lit up by illuminations, concerts were held on steamboats, and fireworks lit up the sea, bringing the event-packed celebrations to a close.

The monument and Gundulić himself became a major attraction in the town, and with them, the King of Poland found himself at the centre of attention. However, only those who had read the poem could have realised who was depicted on the monument. His figure appeared on the front plaque depicting ‘the triumphal arrival of King Władysław’. The scene likely refers to the tenth canto of the poem. The other plaques contain no further Polish references and depict the abduction of Sunčanica by Kizlar-aga, a hermit (St Blaise) blessing a Christian hero, and ‘freedom’ – a depiction of a young woman seated on a throne with the inscription ‘the embodiment of freedom’ and ‘the personification of the Republic of Dubrovnik’. The scene also illustrates the location of the then Republic of Dubrovnik between Turkey and the Republic of Venice.

Why, however, are there differing opinions as to who is depicted on the placard – Władysław IV Vasa, Jan Karol Chodkiewicz or perhaps – as such suggestions are sometimes put forward – Jan III Sobieski? This latter view seems to stem solely from the simple association that it was Jan III Sobieski who defeated the Turks. In the case of Władysław IV and Chodkiewicz, the matter is somewhat more complicated. Jan Karol Chodkiewicz was appointed commander of the Polish forces in 1621, tasked with repelling the Turkish-Tatar armies, and he reached the outskirts of Chocim. The future King of Poland, Władysław IV, also took part in the campaign, but due to illness he did not participate directly in the fighting at Chocim; however, whilst remaining in the camp, he took part in deliberations, amongst other things. The matter is further complicated by the fact that Chodkiewicz died on 24 September 1621, handing over the hetman’s authority to Lubomirski. Shortly afterwards, a ceasefire was agreed; this was not a military victory for the Polish-Lithuanian Commonwealth, as the battle remained effectively undecided, but it was of immense strategic importance – it halted the Tatar onslaught. The armies of the three great nations of the Polish-Lithuanian Commonwealth – the Poles, Lithuanians and Cossacks – jointly repelled the Turkish forces, which outnumbered them by more than two to one. Formally, therefore, Stanisław Lubomirski was the commander, but in reality it was Chodkiewicz who commanded for most of the campaign, and upon their return to Kraków, the glory fell upon Prince Władysław, who was hailed as the defender of Christianity, bringing him fame that extended beyond the borders of the Polish-Lithuanian Commonwealth. It was precisely this that Gundulić referred to, and so it is undoubtedly Władysław IV who is depicted on the front plaque. Although, of course, the depiction lacks any portrait-like features.

Gundulić’s statue is cast in bronze and set upon a marble-clad plinth; it depicts the poet wearing a long, curly wig and noble attire. In his left hand he holds a bundle of paper, and in his right a goose quill, as if he had been captured at the very moment of artistic inspiration. The marble plinth is decorated with Gothic motifs. At the top of the plinth is the inscription ‘ČIVU TO FRANA GUNDULIĆ / NAROD / 1893 //’. Below are four bronze bas-reliefs, measuring 70 x 110 cm, depicting scenes from the poem about Osman. However, the inscription visible in the drawing depicting the 1892 design of the monument – which was to have been placed on a sloping slab at the base of the monument – was never carved. Although it was damaged in 1944 as a result of Allied bombing, a surviving photograph shows the slab without the inscription.

The plaques, as we can infer from the date next to the reference number, were designed in 1892.