Father Casimir Wyszynski

198 W ACŁAW M AKOŚ , MIC because Cardinal Bardi, who had the case in hand, favored the usurper. The tenor of Father Casimir’s account demonstrates his great surprise at finding out what had happened during his ab- sence. This is what hewrote: “Our attorney and I went to see Car- dinal Bardi, an official on Rev. Turczynowicz’s side, to informhim about our case. After our departure, a Religious came to see this cardinal and had a long conference with him about our cause. When our advocate once again went to Cardinal Bardi, his butler and other servants told the lawyer that another Religious had come after our departure and stayed a long time, talking to the cardinal about our case. This individual had never before come calling. Our attorney was astonished because he could not imag- inewho this person could be. However, this official changed sides and instead of further backing Rev. Turczynowicz, he took a fa- vorable attitude toward us. He insisted on having the matter re- solved as soon as possible even though the opposing party demanded adjournment.” 319 This incident happened at a specifically defined place and has material witnesses. Moreover, bothFather Alexis Fischer 320 andW. Magnuszewksi also mention it. In the latter’s account of Father Casimir’s trip to the Loreto shrine, where he went to implore the Blessed Mother’s help in this difficult matter of the Order, Magnuszewski adds that Father Casimir, after his return, learned fromthe lawyer about themysterious visit of theReligiouswearing the Marian garb. Father Casimir then showed Father Stanislaus’ picture to one of themenwhowitnessed the visit, and themande- clared that the one in the picture was indeed the Cardinal’s visi- tor. 321 319 K. Wyszyński, Diariusz czynności … , 327. 320 A. Fischer, Życie, cnoty i śmierć święta …, 61-62. 321 W. Magnuszewski, Żywot ..., 40-41. It can be added, in addition to the ac- count of this incident that Father Casimir ordered to sign as “Vera effigies” [true likeness] the portraits [of Father Founder] painted on the basis of the existing copy and his [Fr. Casimir’s] instructions ( Diariusz czynności .., 256). Can this fact be sufficiently explained only by the acquaintance with the Founder’s oldest portrait? Perhaps. But also noteworthy is that Mr. Antonio Albertoni, who, claiming the freedom of art and his own artistic competence of the painter, refused to take Father Casimir’s critical remarks into account while creating the portrait in Rome, had—in his own reckoning—to pay for