CHODŹKO Leonard - La Pologne historique, littéraire, monumentale et pittoresque, ou [scénes] historique, monumens, monnaies, médailles, costumes, armes, portraits [...]. Rédigée par une Société de Littérateurs Polonais [...]. Seul ouvrage publiée [...] L'Émigration Polonaise. Vol. 1-3. Paris 1835-1842. au Bureau Central. 4, pp. [4], 480, plate 60, frontisispis; [4], 480, plate 60; [4], 480, plate 58, frontispis. bound in period pd.
Banach 229, 253, 273. Abrasions of binding edges and spine, small losses of veneer on bindings, paper browned and yellowed in places. Stamp. No frontispiece in vol. 2. In vol. 3 mistaken (publisher's) pagination within pages 193-216 (it is 353-376). On spines gilt title and volume numbers. Two-page printed text, plates in intaglio and aquatint(total 178 plates and 2 frontispieces). Decorative frontispieces by two engravers: the title with a dedication to France was engraved by Antoni Marcinkiewicz, and the scene of shaking hands of two old trustees with the sentence in French "Poles and French friends for all time" was drawn and engraved by Antoni Oleszczyński.
Leonard Chodźko in 1835, together with Ignacy Stanislaw Grabowski, began publishing "La Pologne historique, littéraire, monumentale et pittoresque." Following the example of illustrated publications popular in Europe at the time, presenting the monuments, landscapes and inhabitants of each country, Chodźko decided to introduce the French to the country from which the largest group of political emigrants came. The work was dedicated to France. Chodźko declared: "For there are two great aims of Picturesque Poland: first, to leave a lasting trace and a souvenir of our pilgrimage in the hospitable land of the Franks by spreading the knowledge of our country. Repeatedly: to bring aid to the most needy of the Wanderers." Chodźko invited compatriots to collaborate - he paid for texts, paid to attract French subscribers to the publication. After exceeding 5,000 subscribers (this number guaranteed reimbursement), he planned to use the additional profits to help the poorest exiles. The editors were very emphatic in their advertising prospectuses that the publishing house did not intend to meddle in current politics. They counted on the interest and support of all, often divisive, émigré circles. The work was a great success. Unfortunately, the quarrel was not avoided by its publishers, which was reflected in the appearance of the title pages of the various editions.
The illustrations of Chodko's work represent great documentary, sentimental and artistic value. Some of the engravings in Chodko's work are engraved by Poles: Antoni Oleszczyński and Antoni Piliński, and Frenchmen: August F. Ales and Emil Rouargue represent a good artistic level. Most of them have permanently entered Polish iconography. In particular, these are views of cities, palaces, monuments and landscapes. Other plates show numerous portraits, historical scenes, costumes as well as several maps and plans and notes. The engravings include: Ojców, Pieskowa Skała, Tyniec, Częstochowa, Puławy, Troki, Nowogródek, Czorsztyn, Kazimierz nad Wisłą, Lublin, Zarzecze, Żółkiew, Kowno, Trembowla, Iłża, Olesko, Lviv, Łysa Góra, Zalesie, Wilno, Poznań, Kruszwica, Kalisz, Gdańsk, Lanckorona, Zator, Balice, Wieliczka, Łańcut and Krasiczyn. Warsaw and its environs are shown in 14 engravings (including attractive views of the Bank of Poland and the Grand Theater), and numerous engravings also feature Cracow. The texts in "La Pologne" are largely authored by Chodzko himself and his wife Olimpia. They concern all aspects of Polish life. The texts were also written by well-known writers and publicists: Ksawery Godebski, Feliks Wrotnowski, Ludwik Mieroslawski, articles on Polish music were written by Wojciech Albert Sowinski.
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