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DOI Artikel:Oleńska, Anna: Projekt powiększenia ogrodu w Wilanowie z około 1740 roku
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.49351#0300
294
Anna Oleńska
quire an explanation. The cross, a rare motif in
parterres, may take its source in late- 16th- and 17th-
century Italian and French designs of geometrie
flowerbeds. However, this motif should perhaps be
interpreted as an emblematic symbol, in which case
it would then be an allusion to Prince Augustus
Czartoryski, a knight of the Maltese Cross and
owner of Wilanów from 1733.
A certain indication in dating the Paris plan may
well exist in the sculptural decoration which has sur-
vived to the present day; in particular the stone statues
surmounting the balustradę of the stairs linking the
two levels of the garden. These are personifications of
the Four Seasons of the Year (or Four Stages of the
Life of Man), the Four Stages of Love as well as two
groups of sphinxes with putti on their backs - all al-
most certainly the work of Jan Chryzostom Redler.
The dating of this decorative work to the turn of the
1740s indicates that the Paris project originates from
the years immediately predating this design.
Comparing the plan presented here with the four
paintings by Bernardo Bellotto Canaletto from
1776-7 depicting the pałace and its gardens from
various sides, as well as a plan from 1794, revealing
the State following changes to the Southern part in
the spirit of an Anglo-Chinese garden, it must be
stated that the Paris design was carried out at least to
a certain extent. It was almost certainly on the basis
of this plan that the ornamentation of parterres was
altered and the earth ramps carried out to link both
levels of the garden, of which one, in the northern
part, next to the orangery, has survived to present
times. The orangery garden also arose, planted with
boskets closing in the shape of a horseshoe the ter-
race flowerbeds of the lower terrace. as well as the
Iow cropped bosket with miniaturę cabinets occupy-
ing the site of the old horticultural gardens. Howev-
er, without doubt the regulation of the pond and its
transformation into a decorative basin never went
any further than the planning stage - no bosket was
ever to replace the farm buildings either.
Analysis of historie materials suggests that the
design now belonging to the Bibliotheque Nationale
de France should be dated to the 1740s, to the period
when Wilanów belonged to Sophia and Augustus
Alexander Czartoryski. The plan’s partial realisation
should be interpreted as a copy of the design to ex-
tend the gardens and refashion its decoration. The
discovered plan has filled a gap of several decades
in the history of alterations to the gardens at
Wilanów.
Translated by Peter Martyn
Anna Oleńska
quire an explanation. The cross, a rare motif in
parterres, may take its source in late- 16th- and 17th-
century Italian and French designs of geometrie
flowerbeds. However, this motif should perhaps be
interpreted as an emblematic symbol, in which case
it would then be an allusion to Prince Augustus
Czartoryski, a knight of the Maltese Cross and
owner of Wilanów from 1733.
A certain indication in dating the Paris plan may
well exist in the sculptural decoration which has sur-
vived to the present day; in particular the stone statues
surmounting the balustradę of the stairs linking the
two levels of the garden. These are personifications of
the Four Seasons of the Year (or Four Stages of the
Life of Man), the Four Stages of Love as well as two
groups of sphinxes with putti on their backs - all al-
most certainly the work of Jan Chryzostom Redler.
The dating of this decorative work to the turn of the
1740s indicates that the Paris project originates from
the years immediately predating this design.
Comparing the plan presented here with the four
paintings by Bernardo Bellotto Canaletto from
1776-7 depicting the pałace and its gardens from
various sides, as well as a plan from 1794, revealing
the State following changes to the Southern part in
the spirit of an Anglo-Chinese garden, it must be
stated that the Paris design was carried out at least to
a certain extent. It was almost certainly on the basis
of this plan that the ornamentation of parterres was
altered and the earth ramps carried out to link both
levels of the garden, of which one, in the northern
part, next to the orangery, has survived to present
times. The orangery garden also arose, planted with
boskets closing in the shape of a horseshoe the ter-
race flowerbeds of the lower terrace. as well as the
Iow cropped bosket with miniaturę cabinets occupy-
ing the site of the old horticultural gardens. Howev-
er, without doubt the regulation of the pond and its
transformation into a decorative basin never went
any further than the planning stage - no bosket was
ever to replace the farm buildings either.
Analysis of historie materials suggests that the
design now belonging to the Bibliotheque Nationale
de France should be dated to the 1740s, to the period
when Wilanów belonged to Sophia and Augustus
Alexander Czartoryski. The plan’s partial realisation
should be interpreted as a copy of the design to ex-
tend the gardens and refashion its decoration. The
discovered plan has filled a gap of several decades
in the history of alterations to the gardens at
Wilanów.
Translated by Peter Martyn