The engraving is an interesting example of a print made for propaganda purposes which linked the national emblem with a genealogical table. The White Eagle wearing a closed crown is depicted with 44 medallions on its breast and outspread wings which contain busts of rulers from Leszko I to Zygmunt III. The title REGES POLONIAE appears at the top of the composition. At the bottom, on either side of the eagle, are two scrollwork cartouches framed tables in with a dedication to Zygmunt III and which are signed: AD SIGISMVNDVM TERTIVM/ POLONIAE REGVM INVICTISS./ AQVULA POLONICA/ Dum tu Catholicam Fidem tueris, Omnis Nobiliatas, Senatus omnis, / Decernit tibi Regios honores,/ Imponit capiti tuo Coronam, Totam metibi deuouet dictque. Quid tu. Perficis, ut beatior sim, Ut victorix ferar aliore penna. Ut nomen volitet meum per orbem. Ergo grate vices rependo; nomen, SIGISMVNDE, tuum utvolet per Orbem", "Regumte numero Polonicorum/ Adscriptum populos fera pomnes,/ Amplexugie tenebo pertinaci./ Pracello velut alites volatu;/ Pracellam quo que vocibus canoris./ Aeternum tua facta praedicabo;/ Priscae Religionis alme CVLTOR,/ SYDVS nominis unicum POLONI,/ Nostrae SP […], COLVMEN, DECVS Salutis,/ Libertatis amator, atque VINDEX/ IAGELLONIADVM propago VIVE./ Tho. Treteri Polonij/ ANNO.M.D.LXXXVIII. ROMAE. The successive rulers, portrayed in genealogical order, show Zygmunt III as being the heir to the Polish kings thus adding emphasis to the text of the dedication and underlining the legality of his election and coronation as King. The aim of the engraving was to enhance the authority of the then young monarch, whose wisdom and power was supported by centuries-old tradition. At the same time, the intention was to intimidate any potential enemies that could threaten Poland. Tomasz Treter was for many years secretary to Stanisław Hozjusz, a Polish Cardinal. When making the engraving he may have been helped by the Italian engraver Giovanni Battista de'Cavalieri, with whom he had already collaborated earlier, although there is no evidence to confirm this. The likenesses of the monarchs depicted on the engraving are probably from a drawing of the gallery of kings executed by Treter for the publication Regum Poloniae Icones, the only example of which is in the Ossolineum collections. The composition was highly acclaimed largely due to the innovative approach; the copies made in later years are also testimony to its popularity.