John Sobieski: The Tale of a King Told in Two Paintings

This article was written by James Wudarczyk and was posted October 14, 2007.

Although it is expected to find pictures of kings in European castles, the portrayal of kings in American institutions is not commonplace. Yet to find two pictures portraying the same Polish king in two Pittsburgh, Pennsylvania, churches –scarcely two miles apart—is unique.

Both Saint Stanislaus Kostka Church (now part of Saint Patrick/Saint Stanislaus Parish, located in the Strip District) and Holy Family (currently part of Our Lady of the Angels Parish located on 44th Street in Lawrenceville) share a common heritage. Prior to the reorganization of the Roman Catholic Diocese of Pittsburgh in the early 1990’s, both churches were originally Polish ethnic Roman Catholic parishes.

Reverend Klawiter, who was brought to Pittsburgh through the efforts of the Saint Stanislaus Beneficial Society, founded Saint Stanislaus Kostka Roman Catholic Church, the first Polish parish in southwestern Pennsylvania. Father Klawiter purchased an old Presbyterian Church on 15th and Penn Avenue in October of 1875, and in the following months dedicated the church to Saint Stanislaus Kostka, a bishop of Krakow who is regarded in Poland as a symbol of human rights.

Some contend that Father Klawiter made an error in assuming that the Strip District was the center of the Polish community in Pittsburgh. At the time, there were more Poles living on the South Side. The founding of Saint Stanislaus, however, drew Poles from the north and south sides of Pittsburgh.

In 1891 a lot, on 21st and Smallman Streets, was purchased for a new church at a cost of $17,000. Finally, on July 31, 1892 the new church (and present) church edifice was dedicated.

Approximately nine years later, under the pastorate of Reverend Tomazewski, the church was frescoed.

In an era of modern architecture, Saint Stanislaus stands as an oasis of devotional splendor with its high, vaulted ceiling that is adorned with religious paintings. The walls of the sanctuary are covered with magnificent paintings that signify the Mysteries of the Rosary, including the artist’s traditional interpretation of the Annunciation and the Agony in the Garden. Painted on the vast dome that covers the sanctuary are pictures of the angels and the coronation of Mary as Queen of Heaven. An awe-inspiring altar, capped with a large crucifix and angels at its foot, rests under a huge crown that bears the inscription: St Moriens In Pretium. There are also two side altars that abound with impressive statuary, including a unique Grotto of the Poor Souls in Purgatory, a side altar to the Blessed Mother, and the Infant of Prague that is richly dressed in accordance with the liturgical season.

Included in the artwork adorning the sanctuary is an armored knight mounted on a horse. Running down his back are rows of feathers. The figure portrays King John III Sobieski, one of the greatest kings of Poland, whose legendary feats included saving Western Civilization from Turkish expansion in the 17th century.

Sobieski (1629-1696) was the most notable of the monarchs of the Polish-Lithuanian Commonwealth. He served as King of Poland and Grand Duke of Lithuania from 1674 until his death. Even before serving as king, he actively engaged in the preservation of the Polish state at a time when the country was torn. His military campaigns included the suppressing of the Chmielnicki uprising and driving the Swedes from Poland. After his victories over the Ottoman Empire, the Turks referred to Sobieski as “The Lion of Lehistan.”

Versed in several languages, at one point in his career Sobieski served in the diplomatic corps, where he was envoy to the Ottoman Empire. He made a point of studying Turkish military tactics and strategies.

As king, Sobieski realized the importance of restoring stability to his country that had been long ravaged by constant warfare. He also realized the importance of building strong political alliances. After France rejected his proposal for an alliance, he found willing partners in the Holy Roman Emperor Leopold I and Pope Innocent XI.

Over the course of history, the Muslims made several attempts to over-run Christian Europe. In the eastern part of Europe, the Muslims enjoyed a number of victories, but they were less successful in the West. The last major incursion took place in 1683 when King Mustafa of the Ottoman Empire laid siege to Vienna.

To save Christendom, King John Sobieski led a collation of Polish, German, and Austrian troops. With 81,000 troops, Sobieski defeated Mustafa’s far larger force of 130,000 Turks. Pope Innocent hailed Sobieski as “The Savior of Vienna and Western Civilization.”

A few miles to the east, of historic Saint Stanislaus Church, is Holy Family edifice. As more and more Polish immigrants and their families moved further east in the city of Pittsburgh, Holy Family Church was founded in 1902 to accommodate the spiritual needs of these ethnic Catholics. The original church-school complex was built on 41st and Foster Streets in the Lawrenceville section of the city. However, in 1940, a larger and grander edifice was dedicated on 44th Street. Dubbed “the Polish Cathedral” since it was executed in the style of European churches, Holy Family remained an independent parish until 1993 when it was suppressed and merged with three other neighborhood churches.

In honor of the 75th anniversary of the parish, Reverend Edward C. Maliszewski commissioned the internationally renowned master artist John Henry de Rosen to paint a massive panoramic religious-historical mural over the sanctuary. This was de Rosen’s last great masterpiece. John Henry de Rosen (1891-1982) was the son of John de Rosen, a court painter for Czars Alexander III and Nicholas II. John Henry de Rosen is noted for painting the American Cathedral in Warsaw, the Sobieski chapel in Vienna, Pope Pious XI’s private chapel at Castelgandolfo, the National Shrine of the Immaculate Conception, Saint Matthew’s Cathedral, Saint Agnes Episcopal Cathedral, and the Episcopal Cathedral. Titled “Poland Always Faithful,” the mural depicts the Holy Family, several Polish saints, Pope John Paul II, and three major Polish kings (Mieszko, John Casimir, and John Sobieski.)

It is interesting to compare the way each painting depicts its subject matter. De Rosen uses bright, bold colors. Sobieski is mounted on a black charger, wearing a red cape and gold breastplate. His head covering is more reminiscent of a turban.

In stark contrast, the portrayal of Sobieski in Saint Stanislaus Church is very dark, but the wings on his armor depict a more historically accurate image of the Polish king at the Battle of Vienna. In 1683 Sobieski commanded four divisions of husaria cavalry. Also known as winged Hussars, the use of cavalry wearing heavy body armor dates back to at least the 15th century. What is interesting about the winged Hussars was the decorating of the armor with massive extensions of eagle feathers. The use of feathers was more than ornamental. The massive protruding feathers made the riders look terrifying, almost as descending avenging angels ridding the earth of their foes. In addition to making the riders look frightening, as the wind whipped through the feathers, the sound became that of an ear-piercing shriek. It is believed that Sobieski used this primitive psychological warfare to his advantage. Some historians believe that Mustafa’s troops became disorganized when they heard the shrieking sounds because they thought the shrill cries were Turks being slaughtered.