DOI issue:
Nr. 2
DOI article:Artykuły
DOI article:Polanowska, Jolanta: "Kiosque à la turque" - nieznany projekt Jana Chrystiana Kamsetzera do Łazienek Stanisława Augusta
DOI Page / Citation link:https://doi.org/10.11588/diglit.71010#0360
354
Jolanta Polanowska
Plan from the Side of the Entry (1784), Stanislaus
Augustus proposed to extend the northern pond for
it to form an irregular fluid bank, and to leave the
natural forest on the western banks: an asymmetrical
composition, however not applying the concept of
jardin anglais that was to appear in 1792.
An important testimony to the changes of the
King's views can be found in his correspondence
from 1786 with the English man of letters Horace
Walpole (1717-97), co-author of Strawberry Hill in
Twickenham near London, author of the Anecdotes
of Painting in England (1762-1771), in which he also
included the gardens' history outline in England titled
History of Modern Taste in Gardening. Having learnt
about this major work, Stanislaus Augustus made
attempts to acquire it, starting correspondence with its
author. In his letter to Walpole (dated 6 June 1786),
when referring to the situation in Poland, he mentioned
departing from a symmetrically planned regular garden
for the sake of landscape garden: 'as it is but a few
years since we do here creep out of the servitude of
symmetry, we have not yet had time to come to the
opposite excess, against which you endeavour to
guard your Country'. This was a reference to the stand
of Horace Walpole who opposed extremes, these
including 'exoticism'. This praise of abandoning
symmetry reveals that the King was but a moderate
fan of the jardin anglais, and if viewed in the context
of the Łazienki, it allows to bring forth the dating of
the Kiosque a la turque to around 1786.
The gazebo was among the Orientalizing:
Chinese- and Turkish-style pavilions designed by
Jan Chrystian Kamsetzer for the Łazienki. The
designating of the gazebo design as: [...] destine
pour le Sommet d'une montagne dans un Jardin
anglais, points out to its planned location at the top
of the hill in the jardin anglais section. There are
two possible locations. The first: the one connected
with the identification of the structure on the square
layout at the top of the hill planned in the above-
mentioned 1784 design ofthe King. The second: on
the western edges of the Łazienki, close to the
'Golgota Hill' at the end of the Via Crucis in the
former Ujazdów Calvary; the hill that under
Stanislaus Augustus, following the earth filling of
the ravine between the Łazienki and the Ujazdów
Avenue (1777-88), turned into the point of the
escarpment, while on its southern part, across from
the Ujazdów Castle, plans were made (1781-85) to
raise the Church of Divine Providence.
The pavilion designed for the Łazienki
manifested the fashion for Turquerie (from the early
18th century), this including garden pavilions
inspired by Ottoman architecture, e.g. the mosque in
Kew near London (from 1757, William Chambers),
the minaret in Parc Monceau near Paris (1773-83,
Louis Carrogis), Turkish Pavilion in Hagaparken near
Stockholm (ca 1785, Fredrik Magnus Piper). In
France, they were heralded by wooden garden
pavilions in Lorraine raised for the former Polish
King Stanislaus Leszczyński by Emmanuel Here de
Corny: in Luneville - Kiosque a la turque (1737) and
Trefle a la chinoise (1738-41), and in Commercy -
Kiosque (1741). Their genesis derives from wooden
Turkish architecture which Leszczyński had become
acquainted with in Moldova's Bender. His Lorraine
estates shown in the work of Emmanuel Here de
Corny, entitled Plans et elevations de la place royale
de Nancy & et des autres edifices a l’environment
batis par les Ordes du Roy de Pologne, due de
Lorraine. Dedie au Roy de France par Here, premier
architecte de SA majeste Polonaise (Paris 1753),
Picturesque Garden were the source of inspiration for
the structures ofthe French (in the 2nd half of the 18th
century). They were also well known to Poles visiting
Luneville, among whom there must have also been
August Fryderyk Moszyński who in the Essai sur le
Jardinage Anglois (1774, page 97) dedicated to
Stanislaus Augustus, proposed a gazebo: 'Sur
1'endroit le plus eleve de cette colline du cote de la
riviere, on trouve un Kyosk Ture (87) qui sert de
Belvedere. Il est fait en forme de trefle garni des
jalousies, tout у est arrange suivant la coutume
Turque. On decouvre de la une grande partie du
cours de la riviere, et tou la contree qui est en dela '.
The comparison of the Lorraine Trefle a la chinoise
Pavilion with Kamsetzer's Kiosque a la turque
demonstrates a number of similarities: both are
wooden, of 'modest' elevation, and with richly
decorated interiors with blinds; additionally, in the
layout of the Łazienki gazebo one can discern
a simplified and geometrized trefoil.
Furthermore, when creating the design, Jan
Chrystian Kamsetzer had studied Ottoman architec-
ture for almost a year when as a draughtsman of
Stanislaus Augustus' diplomatic mission to the court
of Sultan Abdul Hamid I in Istanbul (1776-77) he
was getting to know this original architecture. The
studies from his own observation allowed his own
attempt at modernizing the traditional form and
referring to Oriental ornamentation (instead of
stylization of e.g. Emanuel Here and William
Chambers). These issues in relation to the work of
Stanislaus Leszczyński and Here are discussed by
Nebahat Avcioglu who regards them to belong to the
early (ca 1785, Fredrik Magnus Piper). In France,
they were heralded by wooden garden pavilions in
Lorraine mid-18th century) stage of the exotic trend
in a Turkish 'costume'. Later on, better studies of
this art allowed to imitate more precisely traditional
Ottoman forms, and Kamsetzer's design of the
gazebo is a very accomplished example in this case.
Jolanta Polanowska
Plan from the Side of the Entry (1784), Stanislaus
Augustus proposed to extend the northern pond for
it to form an irregular fluid bank, and to leave the
natural forest on the western banks: an asymmetrical
composition, however not applying the concept of
jardin anglais that was to appear in 1792.
An important testimony to the changes of the
King's views can be found in his correspondence
from 1786 with the English man of letters Horace
Walpole (1717-97), co-author of Strawberry Hill in
Twickenham near London, author of the Anecdotes
of Painting in England (1762-1771), in which he also
included the gardens' history outline in England titled
History of Modern Taste in Gardening. Having learnt
about this major work, Stanislaus Augustus made
attempts to acquire it, starting correspondence with its
author. In his letter to Walpole (dated 6 June 1786),
when referring to the situation in Poland, he mentioned
departing from a symmetrically planned regular garden
for the sake of landscape garden: 'as it is but a few
years since we do here creep out of the servitude of
symmetry, we have not yet had time to come to the
opposite excess, against which you endeavour to
guard your Country'. This was a reference to the stand
of Horace Walpole who opposed extremes, these
including 'exoticism'. This praise of abandoning
symmetry reveals that the King was but a moderate
fan of the jardin anglais, and if viewed in the context
of the Łazienki, it allows to bring forth the dating of
the Kiosque a la turque to around 1786.
The gazebo was among the Orientalizing:
Chinese- and Turkish-style pavilions designed by
Jan Chrystian Kamsetzer for the Łazienki. The
designating of the gazebo design as: [...] destine
pour le Sommet d'une montagne dans un Jardin
anglais, points out to its planned location at the top
of the hill in the jardin anglais section. There are
two possible locations. The first: the one connected
with the identification of the structure on the square
layout at the top of the hill planned in the above-
mentioned 1784 design ofthe King. The second: on
the western edges of the Łazienki, close to the
'Golgota Hill' at the end of the Via Crucis in the
former Ujazdów Calvary; the hill that under
Stanislaus Augustus, following the earth filling of
the ravine between the Łazienki and the Ujazdów
Avenue (1777-88), turned into the point of the
escarpment, while on its southern part, across from
the Ujazdów Castle, plans were made (1781-85) to
raise the Church of Divine Providence.
The pavilion designed for the Łazienki
manifested the fashion for Turquerie (from the early
18th century), this including garden pavilions
inspired by Ottoman architecture, e.g. the mosque in
Kew near London (from 1757, William Chambers),
the minaret in Parc Monceau near Paris (1773-83,
Louis Carrogis), Turkish Pavilion in Hagaparken near
Stockholm (ca 1785, Fredrik Magnus Piper). In
France, they were heralded by wooden garden
pavilions in Lorraine raised for the former Polish
King Stanislaus Leszczyński by Emmanuel Here de
Corny: in Luneville - Kiosque a la turque (1737) and
Trefle a la chinoise (1738-41), and in Commercy -
Kiosque (1741). Their genesis derives from wooden
Turkish architecture which Leszczyński had become
acquainted with in Moldova's Bender. His Lorraine
estates shown in the work of Emmanuel Here de
Corny, entitled Plans et elevations de la place royale
de Nancy & et des autres edifices a l’environment
batis par les Ordes du Roy de Pologne, due de
Lorraine. Dedie au Roy de France par Here, premier
architecte de SA majeste Polonaise (Paris 1753),
Picturesque Garden were the source of inspiration for
the structures ofthe French (in the 2nd half of the 18th
century). They were also well known to Poles visiting
Luneville, among whom there must have also been
August Fryderyk Moszyński who in the Essai sur le
Jardinage Anglois (1774, page 97) dedicated to
Stanislaus Augustus, proposed a gazebo: 'Sur
1'endroit le plus eleve de cette colline du cote de la
riviere, on trouve un Kyosk Ture (87) qui sert de
Belvedere. Il est fait en forme de trefle garni des
jalousies, tout у est arrange suivant la coutume
Turque. On decouvre de la une grande partie du
cours de la riviere, et tou la contree qui est en dela '.
The comparison of the Lorraine Trefle a la chinoise
Pavilion with Kamsetzer's Kiosque a la turque
demonstrates a number of similarities: both are
wooden, of 'modest' elevation, and with richly
decorated interiors with blinds; additionally, in the
layout of the Łazienki gazebo one can discern
a simplified and geometrized trefoil.
Furthermore, when creating the design, Jan
Chrystian Kamsetzer had studied Ottoman architec-
ture for almost a year when as a draughtsman of
Stanislaus Augustus' diplomatic mission to the court
of Sultan Abdul Hamid I in Istanbul (1776-77) he
was getting to know this original architecture. The
studies from his own observation allowed his own
attempt at modernizing the traditional form and
referring to Oriental ornamentation (instead of
stylization of e.g. Emanuel Here and William
Chambers). These issues in relation to the work of
Stanislaus Leszczyński and Here are discussed by
Nebahat Avcioglu who regards them to belong to the
early (ca 1785, Fredrik Magnus Piper). In France,
they were heralded by wooden garden pavilions in
Lorraine mid-18th century) stage of the exotic trend
in a Turkish 'costume'. Later on, better studies of
this art allowed to imitate more precisely traditional
Ottoman forms, and Kamsetzer's design of the
gazebo is a very accomplished example in this case.