DOI Artikel:
Artykuły i komunikaty
DOI Artikel:Lileyko, Jerzy: Pałac i ogród: natura zawłaszczona przez sztukę
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.49351#0047
The Pałace and Garden. Naturę in the possession of art
41
untamable forest? Without doubt, it continued to
express the inextinguishable pining for Heavenly
Paradise, from whose remnants attempts were madę
to recreate some kind of substitute by drawing on
human inventiveness as it capably, if insidiously,
took possession of naturę. The uncertainty, never-
theless, did arise as to whether regularity and geom-
etry are suitable for the reconstructing of heavenly
reality. Intuition hinted that in the Paradise of the
Bibie, the golden orchard of the Hesperides and on
the island of Utopia, naturę was responsible for
shaping the natural environment, and not the axe or
sheers of a gardener. Natural and ‘wild’ parks were
laid out, among others next to the castle at Caprarola
(from 1507) and villa at Pratolino (1568), predating
English conceptions of landscape parks. The pictur-
esąueness of the wooded landscape madę naturę
morę familiar and morę accessible, but a naturę
which had had the danger element removed. From
now on man was merely a step from lettmg ‘savage’
naturę into palatial interiors. Bishop Andrzej
Trzebicki decorated the main hall of his pałace in
Cracow (1670) with a series of Dutch verdures de-
picting the wildest of forests. These wali tapestries
accentuated perspectives of the interior architecture
and introduced into the hall the scenography of a
wooded landscape that created a specific backdrop
to the ceremonies of a bishop’s court.
In Poland Italian gardens from the beginning of
the 16th century were imitated. Among these, the
most interesting and original arose after 1683 at
the initiative of the Crown Marshal Stanisław
Herakliusz Lubomirski and involved the designs of
Tilman van Gameren on grounds stretching from
Ujazdów to Czerniaków in Warsaw. A major feature
of this park’s composition was its adaptation to the
preexisting terrain, copses, meadows and even fields
under cultivation, among which pavilions were
raised for frivolity and recreation. The Arcadian
naturality was entirely make-believe, sińce in reality
it was laid out with precision, but in such a way as to
lend the illusion of naturę unaffected by the dictates
of the planner and gardener.
Andre Le Nótre changed the relationship to
naturę as a materiał in garden ensembles in Europę.
He reintroduced the principles of axiality and
regularity. He also rehabilitated geometry. In the
gardens at Versailles he applied the achievements of
technical science to create the effects of perspective
and accomplish the impression of boundless
horizons to an unprecedented degree. Trees, bushes,
lawns, water, stagnant as well as moving, each
became the possession of art in a way that was total.
The setting sun illuminated or darkened successive
parts of the garden, thus introducing the element of
play between light and shade, changeability and
movement, reflected in the waters of the canals and
spurting water of the Apollo fountains of and in the
Latonne flowerbed, imparting dynamism to the
classical and ‘Carthesian’ logics of this exceptional
garden composition. The cosmological spectacle
was reflected in the great mirrors of the Galerie des
Glaces, from where they were observed by the king
and his court. The illusion of an infinite and would-
be heavenly space, imbued with the additional charm
of Le Nótre, would appear to have justified the
convictions of those alive at the time that Louis XIV
was indeed le Roi-Soleil.
Translated by Peter Martyn
41
untamable forest? Without doubt, it continued to
express the inextinguishable pining for Heavenly
Paradise, from whose remnants attempts were madę
to recreate some kind of substitute by drawing on
human inventiveness as it capably, if insidiously,
took possession of naturę. The uncertainty, never-
theless, did arise as to whether regularity and geom-
etry are suitable for the reconstructing of heavenly
reality. Intuition hinted that in the Paradise of the
Bibie, the golden orchard of the Hesperides and on
the island of Utopia, naturę was responsible for
shaping the natural environment, and not the axe or
sheers of a gardener. Natural and ‘wild’ parks were
laid out, among others next to the castle at Caprarola
(from 1507) and villa at Pratolino (1568), predating
English conceptions of landscape parks. The pictur-
esąueness of the wooded landscape madę naturę
morę familiar and morę accessible, but a naturę
which had had the danger element removed. From
now on man was merely a step from lettmg ‘savage’
naturę into palatial interiors. Bishop Andrzej
Trzebicki decorated the main hall of his pałace in
Cracow (1670) with a series of Dutch verdures de-
picting the wildest of forests. These wali tapestries
accentuated perspectives of the interior architecture
and introduced into the hall the scenography of a
wooded landscape that created a specific backdrop
to the ceremonies of a bishop’s court.
In Poland Italian gardens from the beginning of
the 16th century were imitated. Among these, the
most interesting and original arose after 1683 at
the initiative of the Crown Marshal Stanisław
Herakliusz Lubomirski and involved the designs of
Tilman van Gameren on grounds stretching from
Ujazdów to Czerniaków in Warsaw. A major feature
of this park’s composition was its adaptation to the
preexisting terrain, copses, meadows and even fields
under cultivation, among which pavilions were
raised for frivolity and recreation. The Arcadian
naturality was entirely make-believe, sińce in reality
it was laid out with precision, but in such a way as to
lend the illusion of naturę unaffected by the dictates
of the planner and gardener.
Andre Le Nótre changed the relationship to
naturę as a materiał in garden ensembles in Europę.
He reintroduced the principles of axiality and
regularity. He also rehabilitated geometry. In the
gardens at Versailles he applied the achievements of
technical science to create the effects of perspective
and accomplish the impression of boundless
horizons to an unprecedented degree. Trees, bushes,
lawns, water, stagnant as well as moving, each
became the possession of art in a way that was total.
The setting sun illuminated or darkened successive
parts of the garden, thus introducing the element of
play between light and shade, changeability and
movement, reflected in the waters of the canals and
spurting water of the Apollo fountains of and in the
Latonne flowerbed, imparting dynamism to the
classical and ‘Carthesian’ logics of this exceptional
garden composition. The cosmological spectacle
was reflected in the great mirrors of the Galerie des
Glaces, from where they were observed by the king
and his court. The illusion of an infinite and would-
be heavenly space, imbued with the additional charm
of Le Nótre, would appear to have justified the
convictions of those alive at the time that Louis XIV
was indeed le Roi-Soleil.
Translated by Peter Martyn