Alba Regia. Annales Musei Stephani Regis. – Alba Regia. Az István Király Múzeum Évkönyve. 22. 1982-1983 – Szent István Király Múzeum közleményei: C sorozat (1985)
Die Anjovinen in Mitteleuropa - Śnieżińska-Stolot, E.: Artistic patronage of the Hungarian Angevins in Poland. p. 21–28. t. I–V.
Alba Regia, XXII, 1985 E. SNIEZYNSKA — STOLOT ARTISTIC PATRONAGE OF THE HUNGARIAN ANGEVINS IN POLAND Poland was ruled by two soveregins from the Angevin dynasty: Louis the Great, called Hungarian, and his daughter Hedwig, wife of the Lithuanian prince and king of Poland Ladislas Jagiello. The Angevins were related to the Piast dynasty through Elizabeth, daughter of Ladislas Lokietek and wife of the Hungarian king Charles Robert. The problem of the Angevins' succession to the Polish throne was agreed upon in 1339, by virtue of the Visegrád treaty, when the last Piast — Casimir the Great accorded the right to inherit his crown to his sister Elizabeth's family, in the first place to her husband Charles Robert and his male offsprings. After the reunion in Buda in 1355 the right to the Polish throne obtained solely Louis and after him his nephew John and their male offsprings. Louis assumed the reign directly after Casimir the Great's death in 1370, but as he had no sons, he endeavoured to secure the Polish throne to one of his daughters. One of achievements towards that aim was the second Reunion in Kosice in 1374, soon baffled by death of princess Catherine destined for the Polish throne. The final settlement of the succession was paying homage to princess Mary by Polish lords during the third Reunion in Kosice. Yet, events that took place in Hungary king Louis's death and Mary's marriage with Sigismund of Luxemburg caused the reign in Poland to go over to the ten years old princess Hedwig in 1384 (DABROWSKI 1914, 71; DABROWSKI 1918, 370—372; Dabrowski 1929, 29). Louis's reign in Poland, held for 12 years (1370—1382) did not find approval with his contemporary and later chroniclers. This was due partly to an absolutist way of reigning, based on patterns arriving from Naples, and partly to the fact that the king charged his mother, Elizabeth, with regency. During his twelve-year-long rule Louis came to Poland only three times: in 1370, when he arrived to his own coronation, in 1376, when Elizabeth temporarily resigned her regency, and in 1377, on account of the expedition against Lithuania (DABROWSKI 1914, 71; DABROWSKI 1918, 171—190, 372," 381). Despite such loose personal contacts with Poland, Louis's name can be connected with creation of two works, important for development of Polish arts and culture: Casimir the Great's tomb in the Wawel cathedral and the Paulite monastery at Czçstochowa. Unfortunately, these foundations are not authenticated by documents. For Louis's raising of Casimir's tomb speak historical considerations: his desire to win over the Polish society to the Angevin dynastic plans and the fact that Louis arranged the magnificent funeral to his deceased predecessor (Sniezynska —Stolot 1978, 89—92). The foundation act of the Paulite monastery at Czçstochowa was drawn by Ladislas of Opole (Opolczyk) on 9 August 1382. Dlugosz mentions, however, that Opolczyk acted only as executor of the king's will, since Louid died a month after having established the foundation PIERADZKA 1939, 11—22). Casimir the Great's tomb originated after 1371. Its creator was linked with the Viennese princely workshop, but the tomb itself was sculpted from local marble in Hungary and then transported in parts to Cracow. Stonecutters from that workshop were employed constructing the chapel devoted to a miraculous Virgin Mary in the church at Mariazeil, founded by Louis, from where they may have moved to Hungary. The canopy over Casimir's tomb was cut in sandstone by a Cracow mason, according to a project brought to Poland. This type of a tomb, of rare occurrence, with the canopy placed on the sarcophagus (which is decorated with figures of royal officials sitting in the arcades), was repeated in the Cracow monument probably at order of Louis, who not only employed masons from the Viennese princely workshop, but also became personally acquainted with two tombs executed in their workshop: —St. Coloman's in the Benedictine church at Melk, and Rudolf IV and Catherine's in the Vienna cathedral. Casimir's monument was later on modelled on both those tombs (ániezynska—Stolot 1978, 20—92). The Paulite church and monastery at Czçstochowa were started in 1384, that is about two years after Louis's death. Our Lady's Chapel dates also from the same period. Since the monastery was a branch of monastery at Mária21
