rybak

And I'm eating żurek right now

So, since we are two hours away from closing the voting process there is time to present another traditional for Polish Easter dish, this dish is... Żurek Żurek (żur, acidified flour soup) - soup made on the basis of a meat broth thickened with bread leaven, usually made of rye flour, having a characteristic sour taste. A specialty of regional Polish, Belarusian, Czech and Slovak cuisine as well as other northern Slavs. Prepared in combination with bone and vegetable broth, with the addition of dried mushrooms, or cooked with sausage, smoked pork bacon, ribs, and pork tail. There are doubts as to whether żurek (sour rye soup) is the same as white borscht, because, for example, according to one tradition, the names sour soup and white borscht are used interchangeably. In other traditions, sour rye soup is a soup made of rye flour, and white borscht is based on wheat flour. On the other hand, other customs dictate that sour rye soup should be called acidified lenten soup served with egg or potatoes, while white borscht would be an acidified soup made on the basis of a broth of bacon and sausage. However, these are contradictions resulting from the displacement confusion throughout Poland. Żur is known for its leaven made of flour, because it was the most popular and the best preparation; nowadays it is also prepared with the use of wheat, oat or spelled leaven. Regional kitchens have their own various recipes. It is an Old Polish dish - hence it is sometimes called Old Polish sour rye soup. Sometimes served with separately cooked potatoes topped with melted bacon or bacon, smoked or steamed sausage, offal or boiled egg. In Upper Silesia, sourdough for sour rye soup is prepared from wholemeal rye flour.

From this moment 2 hours and 41 minutes, but originally it would remain 41 minutes

@Fly_like_a_don Well, everyone had 17 days to send their votes and even three weeks, if we consider when deadline to send the songs passed, I think that it was enough much time to decide about choosing 12+3 songs. I can't also extend time again and again, because firstly it would be unfair to other users who send votes on time and are waiting for next stage and second because I also need time to prepare templates and eveything related with Opening ceremony and grand final. I can give you max 1-2 hours more today, but that's all.

A little bit than 3 hours left to vote and I'm still waiting for votes from: @Yannakis @Glen @Gianlu33 @Fly_like_a_don

And Bhutan just caught up Israel in percent of vaccinated population.

The rest of local Easter dishes and cakes I will post tomorrow, during Easter Monday Now let's go back to visit next special place in the country, today we will visit... Wilanów Palace Wilanów Palace is a former royal palace located in the Wilanów district of Warsaw. Wilanów Palace survived Poland's partitions and both World Wars, and so serves as a reminder of the culture of the Polish state as it was before the misfortunes of the 18th century. It is one of Poland's most important monuments. The palace's museum, established in 1805, is a repository of the country's royal and artistic heritage and receives around 3 million visitors annually. The palace and park in Wilanów host cultural events and concerts, including Summer Royal Concerts in the Rose Garden and the International Summer Early Music Academy. The palace, together with other elements of Warsaw Old Town, is one of Poland's official national Monuments of History, as designated on 16 September 1994. Its listing is maintained by the National Heritage Board of Poland. Wilanów Palace was built for king John III Sobieski in the last quarter of the 17th century and later was enlarged by other owners. It represents the characteristic type of Baroque suburban residence built entre cour et jardin (between the entrance court and the garden). Its architecture is original, a merger of generally European art with distinctively Polish building traditions. Upon its elevations and in the palace interiors ancient symbols glorify the Sobieski family, especially the military triumphs of the king. After the death of John III Sobieski in 1696, the palace was owned by his sons and later by the famous magnate families Sieniawski's, Czartoryski's, Lubomirski's, Potocki's and Branicki family of the Korczak coat of arms. In 1720, the property was purchased by Polish stateswoman Elżbieta Sieniawska who enlarged the palace. Between 1730 and 1733 it was a residence of Augustus II the Strong, also a king of Poland (the palace was exchanged with him for the Blue Palace at Senatorska Street), and after his death the property came to Sieniawska's daughter Maria Zofia Czartoryska. Every owner changed the interiors of the palace, as well as the gardens and grounds, according to the current fashion and needs. In 1778 the estate was inherited by Izabela Lubomirska, called The Blue Marquise. She refurbished some of the interiors in the neoclassical style between 1792–1793 and build a corps de garde, a kitchen building and a bathroom building under the supervision of Szymon Bogumił Zug. In the year 1805, the owner Stanisław Kostka Potocki, opened a museum in a part of the palace, one of the first public museums in Poland. A most notable example of the collections is Potocki's equestrian portrait made by renowned neoclassical French artist Jacques-Louis David in 1781. Besides European and Oriental art, the central part of the palace displayed a commemoration of king John III Sobieski and the glorious national past. The structure was designed by Augustyn Wincenty Locci. The architecture of the palace is a unique example of different building traditions - reminiscent of Polish aristocratic mansions with side towers, the Italian suburban villa and French palaces entre cour et jardin with two oblong wings on each side of the cour d'honneur. During the first stage of construction, between 1677 and 1680 it was a typical Polish manor house with four alcove towers attached to the one-storeyed square building. Between 1681-1688, the building was enhanced and two gallery wings ending with towers were added. This new appearance was probably inspired by Palladio's Villa Montagnana. Shortly after the king's death the third stage of the reconstruction was accomplished. Between 1688-1696 the pavilion above the main building was erected and the towers were covered with baroque spires, all resembling the Villa Doria Pamphili in Rome (especially its initial design by Giovanni Francesco Grimaldi). The king and his librarian Adam Adamandy Kochański took active part in the design and construction of the palace. The latter was responsible for the ideological and artistic programme, where motives and decoration elements played an essential role in glorifying the monarch, his wife and the Republic - busts of king and queen among the effigies of ancient characters, gods and goddesses, Roman emperors and empresses (such as the Dioscuri, Zeus-Amun, Sibyl, Romulus, Rhea Silvia, Alexander the Great, Cleopatra, Dido and Vespasian among others), Eagle and Pogonia, personifications of the Commonwealth regions (Masovia and Greater Poland, Samogitia, Red Ruthenia and Royal Prussia). They were issued by sculptors Andreas Schlüter (many reliefs and other secondary aspects of the façade), Stefan Szwaner and a stucco decorator named Antoni of Wilanów. Some of the sculptures were made in the Low Countries by Louis Willemsens and Artus Quellinus the Elder' workshop, shipped to Gdańsk and then transported to Warsaw. An ornate sundial on the south wall with Chronos, together with the opposite composition with Uranus on the north wall, were intended to underline the king's patronage of science and orderliness in the Serenissima during his reign. They were executed by Antoni of Wilanów, according to the design by Johannes Hevelius (astronomical aspect), Adam Adamandy Kochański (mathematical aspect) and Augustyn Locci (artistic aspect). The side wings embracing a courtyard, initiated by the king, were built long after his death by Elżbieta Sieniawska. They were constructed in the fourth stage of the enlargement between 1720-1729. Powerful Sieniawska was very concerned in maintaining the substantial historical residence of the Rex victoriossimus (Victorious King), as it was called. Despite that she transformed the palace into a French style palais enchanté according to design by Giovanni Spazzio, with two new wings harmonious with the 17th century corps de logis. She employed the most renowned architects and artists for this undertaking, such as previously mentioned Spazzio, Johann Sigmund Deybel, Józef Fontana, Jan Jerzy Plersch and Giovanni Rossi. While the original royal palace was decorated with reliefs depicting the deeds of John III, the new wings were adorned with battlefield achievements of Sieniawska's husband and father-in-law - Adam Mikołaj and Mikołaj Hieronim Sieniawski (nota bene Sobieski's comrades). The most prominent Polish and foreign artists participated in the decoration of the palace interiors. It was entrusted to painters Martino Altomonte, Jan Rayzner of Lviv, Michelangelo Palloni, sculptor Stefan Szwaner and stucco decorators Szymon Józef Bellotti, Antoni of Wilanów and Abraham Paris. They were supervised by the official court painters Claude Callot and later by Jerzy Siemiginowski-Eleuter. The latter, one of the greatest Polish painters of that time, had a significant influence on the palace's subsequent internal aspects (plafonds in the state rooms, frescoes). Internal decoration was also superintended by Adam Kochański, a great admirer of China, who supported closer economic relations of the Commonwealth with the "Central nation". Due to his influence, Wilanów and other residencies were full of luxury Chinese imports and chinoiserie. The 17th-century palace inventories included the works of the greatest contemporary and ancient masters, like Rembrandt (Portuguese rabbi, Jewish Girl in a beret, The Adoration of the Magi, Abraham and Hagar, Portrait of an old man in the so-called Dutch Room of the palace), Pieter van Laer, called Bamboccio (Travellers), Anthony van Dyck (Christ in the Garden of Gethsemane), Ferdinand van Kessel (batalistic scenes, allegorical paintings and still lifes), Raphael, Caracci brothers, Guido Reni and Bernardo Strozzi. The chambers were filled with precious furnishings, like silver folding screen, silver pyramid with 11 baskets, a three-storeyed silver fountain or a silk baldachin presented by the Shah of Persia. Among the artists appointed for decoration of the palace's interiors in the 18th century were Giuseppe Rossi, an Italian fresco painter, who adorned the chambers with trompe-l'œil paintings and stucco decorators Francesco Fumo and Pietro Innocente Comparetti. Following the example of Queen Marie Casimire, who ordered a painting of herself as a goddess on the palace plafonds, Elżbieta Sieniawska embellished the Lower Vestibule with a fresco of Flora. On her initiative the walls in the royal chambers were covered with Genoan velvet. The walls of the second floor, that is the Great Dining Room, were covered with frescoes depicting Apollo, Minerva and Hercules as an allegory of Virtus Heroica (Heroic Valor), Hebe symbolizing Venustas (Beauty) completed with panoplies. Sieniawska's daughter, Maria Zofia Czartoryska, furnished the palace with new fireplaces made of white-cherry marble and crowned with mirrors in rich rococo frames. In the contract with King Augustus II Maria Zofia obliged him to preserve the palace unchanged. Therefore, his actions were limited to finishing the new dining room, called the White Room in the southern wing and to the decoration of some unfinished interiors.The plafonds and other paintings were executed by Julien Poison, Johann Samuel Mock and Lorenzo Rossi, while the decorative lacquer panneaux in the Chinese Room were made by Martin Schnell. An integral part of the palace, almost since its beginning, is the garden. Initially it had the character of a baroque Italian garden in a semicircular form surrounding the palace on the east. In its composition this geometric garden fitted in well with the ancient patterns and the palace arrangement. It consisted of an upper garden located on a terrace with two arbours in the form of lanterns in each corner, and lower garden. During the third stage of the reconstruction of the palace the geometric garden parterres were replaced with embroidered parterres à la française inspired by André Le Nôtre's treaties. At that time the garden was embellished with gilded lead sculptures by Gaspar Richter of Gdańsk and vases carved in cherry marble from Chęciny. In the beginning of the 18th century the garden was enlarged, the late baroque parterre ornamentation was replaced with régence motives completed with Sieniawska's coat of arms Szreniawa in the northern parts and her monogram in the southern part. In 1784 Izabela Lubomirska transformed neighbouring territories of Wilanów folwark into a jardin anglo-chinois according to Szymon Bogumił Zug's design. This new garden with rich vegetation, sinuous paths and cascades was inspired by works of William Chambers, Thomas Whately and August Moszyński.

The second cake is... Makowiec Poppy seed cake (commonly called Makowiec) - it's dough layered with ground poppy seeds, sugar (or honey) and dried fruit. Such baking usually takes three possible form of: - cake or tart, where a thick layer of poppy seed mass is placed on a thin layer of dough - oblong, spiral-shaped dough in the shape of a roller (the so-called poppy seed strudel) - made of yeast dough, shortbread and yeast dough, less often semi-shortcrust - strudel - made of strudel, shortcrust or semi-shortcrust dough Poppy seeds intended for the mass should be properly prepared before grinding (or grating). One way is to scald (pour boiling water over) the grains in a sieve, then carefully drain and evaporate. Another method is to pour cold or hot milk or water over the poppy seeds and let them soak for a while - sometimes after boiling them. According to some recipes, after steaming or soaking the beans, they still need to be boiled. If the beans are soaked overnight, cooking for just a few minutes should suffice. Prepared in this way, carefully drained poppy seeds were ground twice or three times in a meat grinder through a strainer with the smallest eyes, or grated in a makutra. Grated poppy seeds are further ground with sugar or honey, and then dried fruits such as chopped walnuts, almonds, soaked raisins, candied orange or lemon peel are added. In regional cuisines, the use of additives such as hazelnuts, prunes or pears is also found. Baked poppy seed rolls are usually covered with white (boiled) frosting and decorated with raw poppy seeds or candied orange peel. The trade also includes strudels with chocolate coating. Makowiec is a typical Christmas Eve and Easter dish in Polish cuisine. In some parts of the country, it spread only after the Second World War, e.g. thanks to settlers from eastern Poland. Regionally, the poppy seed strudel takes the form of folded buns with a poppy seed filling. In the past, poppy seed cake was hosted only on well-to-do tables. It was baked in ordinary houses only for special occasions, such as the aforementioned Christmas Eve and carnival, Easter and various family celebrations.

Today, on the occasion of Easter, before the start of the visit to next place in the country, I will present you few traditional Polish cakes at Easter time, first one is... Mazurek Mazurek is a variety of very sweet, flat cake baked at Easter. According to Polish gastronomy coursebooks, typical mazurek is a cake that can be made of one or two sheets of short (or "half-short") pastry or one sheet of short (or "half-short") pastry covered with a sheet of butter sponge cake. The two sheets are "glued" together with a help of a layer of marmalade. In case of one-sheet version, marmalade is skipped or goes on top, under the layer of icing. The top of mazurek is covered with a layer of icing (i.e. sugar icing or fudge caramel cream, similar to "dulce de leche") or jelly. It is also decorated with nut-based icing or almond-based icing and candied fruits. Traditionally, home-baked mazurek cakes are often decorated with dried fruits and nuts. In the one-sheet version, the cake includes the borders made of rolled "half-short" pastry. Sometimes the shortcrust base is crowned with a lattice made of half-short or macaroon pastry. Among other versions, often to be found in popular cook books and gastronomy coursebooks is "Gypsy mazurek". A sheet of "half-short" pastry is "half-baked", covered with a layer made of dried fruit, almonds, egg yolks creamed with sugar and whipped egg white and baked again. The cake's name may have its origins in the Mazur (or Masurian) tribe inhabiting the Mazovia region of central Poland. Another theory says it might originate from the word mazurek, traditional folk dance in triple metre from Poland. A shortcrust pastry, Mazurek is considered one of the primary desserts of Easter across the country. What distinguishes it from other festive dessert cakes is the abundance of decoration with dried fruit and nuts, its overall sweetness, and chocolate icing, contributing to its prolonged freshness. Although considered uniquely Polish, almost a seasonal national dessert, the recipe for Mazurek came to Poland most likely from the East, via the spice trade-route from Turkey in the early 17th century. Its symbolism is closely associated with the period of Lent thus marking its successful completion. In fact, after a 40-day fast (not a total abstinence from food by any means), which is celebrated in Christian liturgy in memory of the Temptation of Christ, mazurek was supposed to be the rich reward for adherence to faith and tradition. Although today, the religious meaning of mazurek is virtually lost in Poland, the cake is closely associated with the seasonal celebrations nevertheless. Usually, the decorative patterns includes Easter symbols like hares, pussy willows and Easter greetings.

Hubert Hurkacz beats Jannik Sinner 7-6, 6-4 and achieved the best result not only in his career but also the best result ever for any male Polish tennis player in singles!

Send me on facebook then

24 hours left to send the votes! Some of you for sure know, but lets remind this one, last time. @Finnator123 @catgamer @Yannakis @Fly_like_a_don @Dnl @Glen @Gianlu33 @Ionoutz24 @heywoodu @Skijumpingmaster @justony

Countries which qualified more than two boats at World Championships arent allowed to compete. Our second and final chance will be regattas in Lucerne.

Happy Easter

I believe that most of users will send their votes on time, but I'm worried about and . Anyone have contact with users from these countries outside the forum?

Give the quota to us, end of discussion

The second place which we will visit today is... Nieborów Palace Nieborów Palace is an aristocratic residence located in the village of Nieborów. Built in the 17th century by one of the greatest Baroque architects, the Dutchman Tylman van Gameren, the building belongs to one of the most renowned of Poland's aristocratic residences and serves as a museum of interior design of palace residences from the 17th to the 19th century, based on the surviving furniture and collections, featuring portraits of eminent personalities of the era, several thousand drawings and sketches, books (from the 16th century), porcelain and textiles. Nieborów originates from the end of the 12th century with the creation of a village including a church built in 1314 and a wooden mansion. At the beginning of 16th century a Gothic-Renaissance manor was built. It lasted until the end of 17th century, by which time Niebórow was owned by Nieborowski clan of the Prawda (Truth) Coat of Arms. The residential complex consists of a palace, coach house, manufactory, outbuilding, orangery and two parks – a formal park and an English-style park A wooden mansion, which had been there since the Middle Ages, was replaced by a much more representative, Gothic-Renaissance building in the 16th century. The erection of the current residence was ordered by the contemporary archbishop of Gniezno Michał Radziejowski, and it commenced in 1690. The residence was finally built in 1696 on the primate's grounds, previously owned by the Nieborowski clan. After the archbishop's death, the residence was inherited by Jerzy Hipolit Towianski and Konstancja of Niszczycki clan. Their son Krzysztof sold the estate to Aleksander Jakub Lubomirski and Karolina Fryderyka von Vitzthum. Since the year 1736, it was owned by brothers Stanislaw and Jan Józef Łochocki. The estate had its prime with various owners – The Great Hetman of Lithuania Michal Kazimierz Oginski (1766–1774) and Michael Hieronim and Helena of Radziwiłł clan, who was also the creator of nearby Arkadia. During their presence in the mansion, its interior has been pompously furnished with rococo and early classicist ornaments designed by Szymon Bogumił Zug. After Michael Oginski died, the estate started to fall into decline. Its successors were too busy quarrelling among each other to actually take care of the mansion. The straw that broke the camel's back was the squandering of family assets (including Arkadia) by Zygmunt Radziwiłł, who, in addition, sold the best pieces of art gathered in Nieborów at an auction in Paris. Fortunately, Zygmunt gave over the estate to his nephew Michael Piotr Radziwiłł in 1879, before fleeing to France. Prince Michael has proven to be a good landlord – he has restored Nieborów estate to its former glory, and also bought back the Arkadia. Michael Piotr Radziwiłł died in 1903 without an heir. The estate was given over to this distant cousin Janusz Radziwiłł. In 1922, he ordered to build a second floor, which was very skilfully integrated into the tall, baroque roof, without any interference with the building's silhouette. The interior has also been rebuilt by design of Romuald Gutt. Nieborów Estate has been designed by the greatest architect of that time – Tylman of Gameren. The storied, baroque edifice was covered with a tall, layered roof. There are towers by the courtyard, slightly on the side, and the whole estate is surrounded by a vast, geometric French formal garden. The manor itself is a two-storied building, the ground floor being covered by a mansard roof from the 1922 reconstruction. It has been built on a rectangular outline, with two angular towers on the northern side. The towers are decorated with bossage, pilasters, cornices and blind windows and are roofed with tented roofs. Northern and southern façades have ostensible avant-corpses, separated by cornices on the sides. The avant-corpses contain tympanums with stucco reliefs and coat-of-arms cartouches. The middle part of the building containing the vestibule is the only remain after the original, 16th century manor. The building has a two-section interior. The mansion may pride itself with rich endowing. Right by the entrance, in the vestibule there are copies of famous sculptures – Head of Niobe and the Roman Bust, as well as the unique theatrical lamp from the 18th century. Four sandstone portals lead to the vestibule. On the left side there is the main staircase, which has walls and ceiling covered by azure Dutch tiles. There are various portraits on the walls, including those of the last Polish king Stanisław II Augustus, Hetman Stefan Czarniecki and king John III Sobieski. The stairs lead to the first floor, where the residential White Hall is located – formerly a ballroom and a chapel. In one of its corners, there is a copy of Saint Cecilia's sculpture. Next to the White Hall there is a classicistic Yellow Study with a very interesting exhibit – a harmonica made of glass. There is also a bedroom with portraits of the Radziwiłł clan and a set of furniture. The library of the estate contains approximately 12 thousand volumes in stylish bindings. Another precious showpieces of this hall are two globes from the 17th century on pedestals, crafted by an Italian geographer V. Coronelli. They were bought in 1805 from Louis XVIII, who later became the king of France. The Small Dining Room draws attention with its furniture from the turn of 18th and 19th century, as well as with a series of portraits depicting Polish kings, painted by renowned Polish-Italian painter Marcello Bacciarelli. Another interesting room is a rococo Red Study, which came into being during the 1766–1768 reconstruction by Michal Kazimierz Oginski. Its main feature is a portrait of Anna Orzelska, who was a bastard daughter of king August II and Henryk Renard. The Study is fitted with French furniture. On the first floor one can also see: the Voivode's Bedroom, the Prince's Bedroom, as well as Boudoir and the Green Study, which are located in the towers. Nieborów Estate is surrounded by an impressive park. It consists of two big parts: landscape park designed by Tylman van Gameren and rectangular, a French-style garden followed the model of the Versailles. Lime avenue runs from the Palace, through the centre of the garden leading to the so-called “aha” – a narrowing clearing at the end of the avenue which gives an impression that the park is longer than in reality. Rows of plants are on the both sides of the avenue and next to the palace, there is the so-called “salon” – geometric flower beds. The landscape park has a shape of an “L” letter. In its northern part there is a pond with a stream. A unique plant specimen grows here – Wolffia Arrhiza which is the smallest flowering plant in the world. In the park one can admire lapidariums and sculptures from different epochs. A special attention must be paid to: marble bas-relief named as “Porwanie Amfitryty przez Posejdona” (Kidnapping of Amphitrite by Poseidon), stone figures called “baby” (the women) which were transported to the park in 19th century from the Black Sea, and an ancient Roman gravestone built by Marek Wincjusz for Acilii Capitolinie. That surname was used by Henryk Sienkiewicz in “Quo Vadis”.

Nice to see winning quota and didn't need a invitational place to compete in Olympics

Due to lack of time yesterday, today we will visit two places, first one is... Krasiczyn Castle Krasiczyn Castle is a renaissance castle à la fortezza in Krasiczyn, southeastern Poland. It stands on a lowland at the right bank of the San River, along the Przemyśl-Sanok route and some 10 kilometres southwest of Przemyśl. Across the centuries, the castle has belonged to several noble Polish families, and was visited by many Polish kings. The construction of the castle started in 1580, initiated by a local nobleman Stanislaw Siecienski of Siecin, who came to the area from Mazovia. Works lasted for 53 years, and the castle was not completed until 1633, by Marcin Krasicki, son of Stanisław and Voivode of Podolia, who in the meantime had changed his name. Originally, the castle was a fortified stronghold, protecting southern border of the Polish–Lithuanian Commonwealth. However, Marcin Krasicki, who was regarded as one of the most important promoter of arts in the country, turned the fortress into a sophisticated residence (palazzo in fortezza), under supervision of Italian architect, Galleazzo Appiani. Also, he dubbed the complex Krasiczyn, after his last name. Later, a village of Krasiczyn grew near the castle, also bearing the same name. The Krasiczyn castle was built on the site of an older, wooden complex, called Sliwnica, which had probably been built in the 14th century. Despite numerous fires and wars across the centuries, the castle's complex has been essentially unchanged since the early 17th century. Built as a square, with walls representing all four quarters of the globe, at the corners there are four oval-shaped towers: Divine (Boska), Papal (Papieska), Royal (Krolewska), and Noble (Szlachecka). These names reflected the eternal order of the world, with four grades of authority. The rectangular, spacious court is surrounded to the east and north by living quarters, and to the south and west by walls, adorned with attics. In the middle of the western wall, there is a square-shaped tower of the clock, added by Marcin Krasicki at the beginning of the 17th century. This tower serves as a main gate, with a wall bridge over the moat. Across the centuries, the castle attracted most famous personalities of Polish history. Among visitors, there were kings Sigismund III Vasa, Wladyslaw IV Vasa, John II Casimir Vasa, and Augustus II the Strong. Sigismund III Vasa, of whom Marcin Krasicki was a loyal supporter, visited the castle thrice. For the first time, in 1608, together with wife Constance of Austria One of most precious elements of the complex is the chapel, located in the Divine Tower, which has been compared to the Sigismund's Chapel in Krakow’s Wawel Cathedral. Among other interesting things, there are richly sculpted portals, loggias, arcades, and unique sgraffito wall decorations, whose total area is about 7000 square meters. All works were overseen by Italian architects, and the details were completed by craftsmen from nearby Przemysl. The sgraffito depicted Roman emperors, Polish kings, members of the Krasicki family, hunting scenes, and saints of the Roman-Catholic Church. Near the castle, there is the Swiss Pavilion, connected with Krasiczyn by a secret passage. Standing also in the adjacent park is the Hunter’s Pavilion, a villa in "the hunter style". The park itself is abundant with birds and plants. After Krasicki family died out in late 17th century, the complex was inherited by Urszula Modrzewska. Then it belonged to several other families: Wojakowscy, Tarłowie (since 1724), Potoccy (since 1751), Pinińscy (since 1785). Finally, in 1835, the castle was purchased by prince Leon Sapieha, and his family owned the complex until 1944 (with the exception of the Soviet occupation in 1939-1941), when Communist government of Poland nationalized it. The Sapieha family invested plenty of money in the castle. They remodelled it, with the help of Engerth, an architect from Vienna, founded a sawmill, a brewery, and a small factory of farmers’ appliances. They actively promoted economic development of the whole area. On 3 May 1852, a great fire destroyed most of the complex, except for the chapel, and it took several years to repair the damages. In 1867, one of the most important personalities of Polish Catholic Church, Cardinal Adam Stefan Sapieha was born here.

One of the last calls: 47 hours left to send the votes!!!

Hurkacz just beats Rublev 6-3, 6-4 and made the final

Well

66 hours left to vote. I'm still waiting for votes from: @intoronto @Vic Liu @Finnator123 @catgamer @Makedonas @Yannakis @Fly_like_a_don @Dnl @Gianlu33 @Glen @mrv86 (I see that you will send the votes tomorrow) @Ionoutz24 @heywoodu who again turned into latewoodu and probably want to be first ever TISC participant, who posted song as first but will send the votes as last, @Skijumpingmaster @justony @amen09 @Olympian1010

Same here, sadly, its reason why I'm able to host TAISC