DOI issue:
Nr. 3
DOI article:[Inhaltsverzeichnis]
DOI chapter:Artykuły
DOI article:Polanowska, Jolanta: Powązki - „Un jardin de plaisance, à la mode ou coutume anglaise”*
DOI Page / Citation link:https://doi.org/10.11588/diglit.71008#0565
Powązki - „Un jardin de plaisance, a la mode ou coutume anglaise"
555
le gout champetre. The Czartoryskis visited: the
Versailles Petit Trianon of Louis XV with a model
farm L 'Hermitage (1749) and Le Hameau used by
Madame de Pompadour. The Petit Trianon Palace
may have served as the model for the Czartoryskis'
house's disposition: ground floor, piano nobile,
mezzanine, and basement with the bathroom and
the lift.
The layout and location of Powązki point out to
the analogies with Le Moulin Joli belonging to the
amateur painter and writer Claude-Henri Watelet,
located in Colombes (near Paris) on islands on the
Seine, referred to in the play titled La Maison de
campagne d la mode, ou la comedie d'apres nature
[...], composee en 1777, and which was visited by
the fashionable society: among others, Prince
Charles-Joseph de Ligne (in ca 1786 Prince de Ligne
visited Powązki, which he described in Coup d'ceil
sur Belceil et sur une grande partie des jardins de
I'Europe, 1786). The Czartoryskis may have met
Watelet and visited Le Moulin Joli, which also re-
sembled Powązki in the fact of incorporating farms
and fields.
The hameau form stemmed from La Chartreuse
in Luneville belonging to Stanisław Leszczyński
(1737-66), which, in its turn, stemmed from the
Chateau de Marly of Louis XIV. That created on the
island of La Chartreuse constituted a set of houses,
of which the main one: Le Trefle, was surrounded by
small houses with gardens meant to provide court
entertainment. In Powązki the Chartreuse model was
applied, though with blurred geometricity, as the com-
plex was located amidst a landscape garden. As for
the hameau type, Powązki constitutes an intermediate
link between Leszczyhski's La Chartreuse and Mary
Antoinette's Hameau de la Reine (from 1774).
When in France, the Czartoryskis also came
across the growing Anglomania, e.g. the reception of
the English landscape garden (jardin a la anglaise) as
a new phenomenon (i.e. new or modern gardening),
formed around 1750. It was yielded as an effort of
two generations of estate owners (being at the same
time amateur architects, occasionally also writers)
and professional architects, garden designers, and
painters. They created the "canon" of the layouts vis-
ited on the English Garden Tour: Lord Burlington's
Chiswick House, Alexandre Pope's villa in Twick-
enham, Horace Walpole's mock Gothic Strawberry
Hill, the royal Richmond Park and Kew Garden, as
well as: Stowe, Blenheim, and Rousham near Ox-
ford. Thomas Whately described these accomplish-
ments in Observations on Modern Gardening
(1770). The residences were also visited by the Fam-
ily members. Adam Kazimierz Czartoryski paid a
visit to Stowe (1757), met Horace Walpole, and
studied the work of Edmund Burke called A philo-
sophical Inquiry in the Origin of our Idea of the
Sublime and Beautiful (1757). In 1768, both the
Prince and Princess were visiting London, possibly
Kew Garden, where they may have seen the Cottage
of Queen Caroline (1754-71) as well as Stowe. Dur-
ing her stay in London (1772-73), Izabela Czarto-
ryska came across the fashion among the
aristocracy, inspired by Rousseau's ideas of "natu-
ral" education; moreover, she made friends with
individuals from among Horace Walpole's circle,
eventually becoming a lover of Alexander Pope's
poetry. It can be supposed that the Prince too was
an adherent of landscape gardening, which seems
to be demonstrated by Tadeusz Kościszko's work
A Fabulous Layout of Czartorysk (ca. 1774-75)
dedicated to the Prince.
Of major importance for Powązki's layout was
also Thomas Whateley's study Observations on
Modern Gardening, illustrated by descriptions...
(1770), containing the description of almost 20 gar-
dens, and adapted by August Fryderyk Moszyński
(1774). Both texts comprise a number of solutions
similar to the facilities found in Powązki.
Moszyński mentioned, among other things, histori-
cizing pavilions and recommended the owner's
house to remain like "the castle in Amboise or
Olesko". The mention of Olesko can be related to
the castle at Powązki, while that of Amboise may
apply to the cow house. This confirms the adoption
of the picturesque landscape garden model.
Powązki's set of decorations inspired by the ruins
of ancient Rome are as follows: the motif of three
corner columns referred to the Temple of Vaspe-
sian and Titus at the Roman Forum; the Amphithe-
atre echoed the Roman Theatre of Marcellus; while
the ruins of the triumphal arch might have referred
to the arch designed by William Chambers for Kew
Gardens. The pavilions on the eastern edge of the
estate drew inspiration from modern facilities: the
ruined castle from the castle in Olesko near Lvov;
both ranked among little fortified castles with a
square tower. The alteration conducted on the
Czartoryskis' house to bestow Gothic and Oriental
style ("Moorish") upon it may have been related to
Horace Walpole's Strawberry Hill's circle, also
through the person of the architect: Johann Hein-
rich Muntz, brought over by the Prince's nephew
Stanisław Poniatowski, a supposed author of his
"Moorish" palace in Korsuń in the Kiev Region,
the latter actually showing some affinity with the
Powązki House. The Powązki historicizing pavil-
ions made the residence be perceived as an English
landscape garden. Their architect, Szymon
Bogumił Zug, drew from his experience as a stage
designer, similarly as e.g. William Kent, Hubert
Robert, Johann Heinrich Muntz. In order to give it
555
le gout champetre. The Czartoryskis visited: the
Versailles Petit Trianon of Louis XV with a model
farm L 'Hermitage (1749) and Le Hameau used by
Madame de Pompadour. The Petit Trianon Palace
may have served as the model for the Czartoryskis'
house's disposition: ground floor, piano nobile,
mezzanine, and basement with the bathroom and
the lift.
The layout and location of Powązki point out to
the analogies with Le Moulin Joli belonging to the
amateur painter and writer Claude-Henri Watelet,
located in Colombes (near Paris) on islands on the
Seine, referred to in the play titled La Maison de
campagne d la mode, ou la comedie d'apres nature
[...], composee en 1777, and which was visited by
the fashionable society: among others, Prince
Charles-Joseph de Ligne (in ca 1786 Prince de Ligne
visited Powązki, which he described in Coup d'ceil
sur Belceil et sur une grande partie des jardins de
I'Europe, 1786). The Czartoryskis may have met
Watelet and visited Le Moulin Joli, which also re-
sembled Powązki in the fact of incorporating farms
and fields.
The hameau form stemmed from La Chartreuse
in Luneville belonging to Stanisław Leszczyński
(1737-66), which, in its turn, stemmed from the
Chateau de Marly of Louis XIV. That created on the
island of La Chartreuse constituted a set of houses,
of which the main one: Le Trefle, was surrounded by
small houses with gardens meant to provide court
entertainment. In Powązki the Chartreuse model was
applied, though with blurred geometricity, as the com-
plex was located amidst a landscape garden. As for
the hameau type, Powązki constitutes an intermediate
link between Leszczyhski's La Chartreuse and Mary
Antoinette's Hameau de la Reine (from 1774).
When in France, the Czartoryskis also came
across the growing Anglomania, e.g. the reception of
the English landscape garden (jardin a la anglaise) as
a new phenomenon (i.e. new or modern gardening),
formed around 1750. It was yielded as an effort of
two generations of estate owners (being at the same
time amateur architects, occasionally also writers)
and professional architects, garden designers, and
painters. They created the "canon" of the layouts vis-
ited on the English Garden Tour: Lord Burlington's
Chiswick House, Alexandre Pope's villa in Twick-
enham, Horace Walpole's mock Gothic Strawberry
Hill, the royal Richmond Park and Kew Garden, as
well as: Stowe, Blenheim, and Rousham near Ox-
ford. Thomas Whately described these accomplish-
ments in Observations on Modern Gardening
(1770). The residences were also visited by the Fam-
ily members. Adam Kazimierz Czartoryski paid a
visit to Stowe (1757), met Horace Walpole, and
studied the work of Edmund Burke called A philo-
sophical Inquiry in the Origin of our Idea of the
Sublime and Beautiful (1757). In 1768, both the
Prince and Princess were visiting London, possibly
Kew Garden, where they may have seen the Cottage
of Queen Caroline (1754-71) as well as Stowe. Dur-
ing her stay in London (1772-73), Izabela Czarto-
ryska came across the fashion among the
aristocracy, inspired by Rousseau's ideas of "natu-
ral" education; moreover, she made friends with
individuals from among Horace Walpole's circle,
eventually becoming a lover of Alexander Pope's
poetry. It can be supposed that the Prince too was
an adherent of landscape gardening, which seems
to be demonstrated by Tadeusz Kościszko's work
A Fabulous Layout of Czartorysk (ca. 1774-75)
dedicated to the Prince.
Of major importance for Powązki's layout was
also Thomas Whateley's study Observations on
Modern Gardening, illustrated by descriptions...
(1770), containing the description of almost 20 gar-
dens, and adapted by August Fryderyk Moszyński
(1774). Both texts comprise a number of solutions
similar to the facilities found in Powązki.
Moszyński mentioned, among other things, histori-
cizing pavilions and recommended the owner's
house to remain like "the castle in Amboise or
Olesko". The mention of Olesko can be related to
the castle at Powązki, while that of Amboise may
apply to the cow house. This confirms the adoption
of the picturesque landscape garden model.
Powązki's set of decorations inspired by the ruins
of ancient Rome are as follows: the motif of three
corner columns referred to the Temple of Vaspe-
sian and Titus at the Roman Forum; the Amphithe-
atre echoed the Roman Theatre of Marcellus; while
the ruins of the triumphal arch might have referred
to the arch designed by William Chambers for Kew
Gardens. The pavilions on the eastern edge of the
estate drew inspiration from modern facilities: the
ruined castle from the castle in Olesko near Lvov;
both ranked among little fortified castles with a
square tower. The alteration conducted on the
Czartoryskis' house to bestow Gothic and Oriental
style ("Moorish") upon it may have been related to
Horace Walpole's Strawberry Hill's circle, also
through the person of the architect: Johann Hein-
rich Muntz, brought over by the Prince's nephew
Stanisław Poniatowski, a supposed author of his
"Moorish" palace in Korsuń in the Kiev Region,
the latter actually showing some affinity with the
Powązki House. The Powązki historicizing pavil-
ions made the residence be perceived as an English
landscape garden. Their architect, Szymon
Bogumił Zug, drew from his experience as a stage
designer, similarly as e.g. William Kent, Hubert
Robert, Johann Heinrich Muntz. In order to give it