Lubny, where his father rebuilt an old castle; the population of the town itself could be estimated at about 1,000. Wiśniowiecki inherited lands inhabited, according to an estimate from 1628, by about 4,500 people, of which Lubny was the largest town. Smaller towns in his lands included Khorol, Pyriatyn and Pryluky. By 1646 his lands were inhabited by 230,000 people. The number of towns on his lands rose from several to about thirty, and their population increased as well. The prosperity of those lands reflected Wiśniowiecki's skills in economic management, and the income from his territories (estimated at about 600,000 zlotys yearly) made him one of the wealthiest magnates in the Commonwealth. Because of its size and relatively consistent borders, Wiśniowiecki's estate was often named Wiśniowieczczyzna ("Wiśniowieckiland"). Despite his wealth, he was not known for a lavish life. His court of about a hundred people was not known for being overly extravagant, he built no luxurious residences and did not even have a single portrait of himself made during his life. It is uncertain how Wiśniowiecki looked, although a number of portraits and other works depicting him exist. Jan Widacki notes that much of the historiography concerning Wiśniowiecki focuses on the military and political aspects of his life, and few of his critics discuss his successes in the economic development of his estates. Remembrance and popular culture Wiśniowiecki was widely popular among the noble class, who saw in him a defender of tradition, a patriot and an able military commander. He was praised by many of his contemporaries, including a poet, Samuel Twardowski, as well as numerous diary writers and early historians. For his protection of civilian population, including Jews, during the Uprising, Wiśniowiecki has been commended by early Jewish historians. Until the 19th century, he has been idolized as the legendary, perfect "knight of the borderlands", his sculpture is among the twenty sculpture of famous historical personas in the 18th century "Knight Room" of the royal Warsaw Castle. In the 19th century this image started to waver, as a new wave in historiography began to reinterpret his life, and as the era of positivism in Poland put more value on builders, and less on warriors. Further, at that time the Polish historians began to question the traditional view of the "Ukrainian problem", and the way that the Polish noble class had dealt with the Cossacks. Slowly, Wiśniowiecki's image as