Between Poniatowski and Malachowski there is another group of figures. Here we find the co-authors of the Constitution: Hugon Kołłątaj, shown in a black cassock, grey wig and with the Order of the White Eagle on his chest, and the elegant Ignacy Potocki, called by his contemporaries ‘the beautiful Potocki’. Behind Kołłątaj you can see the Bishop of Kraków, Feliks Turski, holding a Bible in his hands, on which the King took an oath. He is followed by the Italian Scipione Piattoli, wearing a black hat – Poniatowski's private secretary.
Kołłątaj looks towards the tussle at the feet of the deputies and tries to put a stop to it with a gesture. The perpetrator of the commotion is Jan Suchorzewski, deputy for Kalisz and future Targowica confederate. Cards have spilt from the pocket of his red robe onto the pavement, suggesting that he was a gambler. Suchorzewski – still in the Sejm hall – loudly protested against the passing of the Act. He even threatened to kill his son to save him from this constitutional ‘bondage’. The little boy, just a few years old, breaks free from his father's arms.
Stanisław Kublicki, a deputy of Livonia, bending down to the ground, tries to snatch the knife from Suchorzewski's hand. Kołłątaj mostly likely signals with his hand to another person – his secretary Kazimierz Konopka, who rushes up, equipped with a weapon, perhaps a kind of pickaxe. We cannot see his face, but the tricolour bow fastened to his cap grabs attention. This is a clear reference to the Jacobins and revolutionary terror, as Konopka will lead the erection of gallows for the Targowica confederates during the Kościuszko Uprising. Czetwertyński, who is depicted in the painting, will be hanged during that time, along with many others.
In his compositions, Matejko often created a division between a ‘scene’ (where the main event took place) and the commenting ‘audience’ (figures addressing the viewer directly). This was particularly clearly reflected in Prussian Homage, but we can also find such ‘commentators’ in this painting. In the crowd on the left, there is Jan Kiliński, a master shoemaker and a future participant of the Kościuszko Uprising. This bourgeois with a thick moustache and dark hair raises his hand in a characteristic gesture of oath, just like the figures around him. So he is undoubtedly in the group supporting the adoption of the Constitution. As Krawczyk pointed out, a similar motif of arms raised as a sign of acclamation appears in Jacques-Louis David's painting The Tennis Court Oath (1791), which is a record of events preceding the outbreak of the French Revolution.