Instytut Sztuki (Warschau) [Hrsg.]; Państwowy Instytut Sztuki (bis 1959) [Hrsg.]; Stowarzyszenie Historyków Sztuki [Hrsg.]: Biuletyn Historii Sztuki (78.2016)

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the general character of ajardin paysager, possibly
the painter Jean-Pierre Norblin de la Gourdaine was
also asked to cooperate.
At Powązki, apart from the pastoral "Arcadian"
garden ofthe Prince, there also appeared innovatory
in Poland types of spatial layout: landscape layout of
the idyllic countryside surroundings and a garden
village (hameau); both palace costumes: the one of a
poor cottage and the Oriental-Gothic one; historiciz-
ing costumes of the pavilions and decorations with
artificial antiquitizing ruins.
However, in the ideological programme of Po-
wązki, which constituted a complex of intricate and
varying structures, the following stable ideas can be
pointed to, namely: the cult of nature, physiocracy,
and harbingers of historicism. The cult of nature, in-
spired by literary and painterly works, transformed
from the concept of natura naturata to natura natu-
rans. Moreover, of major importance was the Prin-
cess's fascination with the ideas of Jean-Jacques
Rousseau recommending "natural" education of
children. The further evolution of her concepts oc-
curred on the grounds of poetry. Initially, Powązki
echoed the tradition of "pastoral gardens", in the
spirit of Salomon Gessner's oeuvre and his ideal of
I'homme tendre assuming the stylization for a family
land and friendly idyll. Subsequently, the Princess
enthused about the poem of Jacques Delille titled
Les Jardins, ou I 'art d'embellir les paysages (1782),
to the extent of commissioning its translation, and
began corresponding with the author (1783). Influ-
enced by Delille's ideal of / 'homme des champs, the
owners gave the fetes champetres salon appearance
to Powązki. Additionally, Delille's poetry allowed
for the departure from the model of created nature.
This tendency was consolidated by yet the third trip
the Princess made to England and Scotland, and
when becoming acquainted with nature in those
countries, she confessed in a letter: "Nature works
with most taste. [...] Art should only preserve what
Nature creates." It is in this spirit, of the cult of nat-
ura naturans, that she transformed Puławy and pre-
sented her experience in the work Myśli różne o
sposobie zakładania ogrodów [Miscellaneous
Thoughts on Laying Out Gardens] (published in
1805), with the following motto: "To build, to plant,
whatever you intend [...] let Nature never be for-
got", which was the quote from Alexandre Pope's
epistle to Lord Burlington her husband had pointed
out to her.
Additional content was given to this programme
by the decoration and costume of the Powązki func-
tional pavilions. The individualized ruins of the cas-
tle echo the Olesko one, the birthplace of John III
Sobieski (1629). According to the old yet erroneous
tradition, the castle was also the birthplace of King

Michał Korybut Wiśniowiecki (mistakenly in 1639),
which may have been alluded to by the date "1639"
featured on the cow house. This was both the "golden
and black legend" of Olesko, which was echoed
also by Adam Kazimierz Czartoryski in his work
Suum caique (1772) in which he condemned Kory-
but. This could constitute the updating of the
thought of good and bad governance and the ex-
pression of the cult of John III in the spirit of the
Czartoryskis' reverence for Wilanów and of Mo-
szyhski's recommendations. The idea may have
been inspired by the British Worthies monument at
Stowe. The Powązki historicizing pavilions bore
testimony to the knowledge August Fryderyk
Moszyński and Szymon Bogumił Zug had ofthe old
architecture and, next to the decoration of Kazi-
mierz Poniatowski (from 1773) at Solec, ranked
among the earliest in Warsaw.
The forms of ferme ornee and care for good
farming were related to physiocracy of the Prince
and Princess: at Powązki the "process of transform-
ing the noblemen into landowners" began.
On the whole, the developing of the "tasteful
thought" of the Princess yielded the French
hameau placed in the English landscape garden,
initially set in the Gessner-and-Delille-idyllic to-
nality: a sentimental garden with pavilions repre-
senting the pictoresque style. Powązki, maison de
plaisance, close to the urban palace of the Prince
and Princess, played the role of the summer
"green" literary and artistic drawing room. Its hosts
followed the Paris and London novelties, and they
"transferred" the Enlightenment ideas they also
adopted in Powązki. They held fetes galantes,fetes
champetres, and shows of the theatre de societe
where the operas: L'amoureux de quinze ans by Jean
Paul Martini and La Colonie, with the Princess star-
ring the gardener Marianna as the main character, by
Antonio Maria Sacchini may have been staged.
There also existed a "green theatre" and a bowling
alley, while the pond occasionally turned into a skat-
ing rink, with Turkish tents around.
Apart from formal solutions coming from Paris,
what dominated were English inspirations from the
first stage ofthe development ofthe landscape garden
when (this in compliance with Rudolf Wittkower's
understanding of the English garden), the Enlighten-
ment ideals were blended with the ideals of freedom,
the combination regarded as the harbinger of Roman-
ticism, in Poland defined as pre-Romanticism. The
formula coined by Izabela Czartoryska in 1790 of un
jardin de plaisance, d la mode ou coutume anglaise,
summing up her Powązki experience, combined the
native Renaissance tradition of a villa, French vogue,
and English praxis, as her own attempt to combine
the residential function, recreation, and farming. At