DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0019
Apart from England, where most of these pałace designs appeared, one should mention
Poland, then Russia, and to a lesser extent Bohemia, Germany and Italy. Refraining from any
analysis of the properties of the various Palladian types of pałace design, the most outstanding
examples of it can be given here; namely, in the seventies, the Primate’s Pałace in Warsaw, the
palaces at Kock and Siedlce; in the eighties, the palaces at Tulczyn, Rogalin, Mała Wieś and
Wałewice, and, in the nineties, the palaces at Białaczów and Śmiełów. The Palladian
principles were followed by various architects. Most of them were executed in the eastern
territory of the previous Commonwealth.
In the late seventies, in the work of two architects, Szreger and Zug, there could be discerned
trends which are now called avant-garde. In Poland, they were equivalent to a trend in French
architecture which has also been called revolutionary, whose leading representative was the
architect Ledoux. The avant-garde trend in 18th-century neoclassical architecture indicated
a new, creative attitude of architects. The conception of buildings was based on a juxtaposi- •
tion of basie geometrical solids, either interpenetrating or combined. This was the fundamen-
tal feature of the 18th-century avant-garde architecture. It was accompanied by other
features, but these were already common to the avant-garde and antiąuating architecture in
its later stage. These features were the austerity of harmonious compositions, the reduction of
decoration to a minimum, the rustication of surfaces and a predilection for the Doric order,
most freąuently in its Tusćan variety. Ali these features were characteristic of the later stage of
antiąuating neoclassicism and were concurrent with the avant-garde trend. What was
essential in the avant-garde trend was experimentation, expressed above all in the juxtaposi-
tion of the simplest geometrical solids.
In the seventies, Zug was a true avant-garde architect. This was indicated by his designs of
garden pavilions, composed of cubes and cylinders, striking with the expression of their
geometrical structure and by his truły magnificent work, the Evangelical Church in Warsaw,
where, while making reference to the ancient building type, so many novel Solutions were
introduced. In Zug’s work certain avant-garde features could also be discerned in the shaping
of some public buildings. An outstanding avant-garde work was the church at Skierniewice
designed by Szreger: a domed rotunda with ring-shaped horizontal divisions - among
multilateral blocs; the whole structure being contained between the faęade and the tower.
And in the eighties, avant-garde tendencies became distinct in the work of yet another
architect - Jan Chrystian Kamsetzer - in the design of the sepulchral chapel of the
Poniatowski family, 1784, and in the faęade of the church at Petrykozy, 1791, composed of
geometrical blocks.
Warsaw, Academy of Sciences, draft design of the edifice, D. Merlini, c. 1774-76
14
Poland, then Russia, and to a lesser extent Bohemia, Germany and Italy. Refraining from any
analysis of the properties of the various Palladian types of pałace design, the most outstanding
examples of it can be given here; namely, in the seventies, the Primate’s Pałace in Warsaw, the
palaces at Kock and Siedlce; in the eighties, the palaces at Tulczyn, Rogalin, Mała Wieś and
Wałewice, and, in the nineties, the palaces at Białaczów and Śmiełów. The Palladian
principles were followed by various architects. Most of them were executed in the eastern
territory of the previous Commonwealth.
In the late seventies, in the work of two architects, Szreger and Zug, there could be discerned
trends which are now called avant-garde. In Poland, they were equivalent to a trend in French
architecture which has also been called revolutionary, whose leading representative was the
architect Ledoux. The avant-garde trend in 18th-century neoclassical architecture indicated
a new, creative attitude of architects. The conception of buildings was based on a juxtaposi- •
tion of basie geometrical solids, either interpenetrating or combined. This was the fundamen-
tal feature of the 18th-century avant-garde architecture. It was accompanied by other
features, but these were already common to the avant-garde and antiąuating architecture in
its later stage. These features were the austerity of harmonious compositions, the reduction of
decoration to a minimum, the rustication of surfaces and a predilection for the Doric order,
most freąuently in its Tusćan variety. Ali these features were characteristic of the later stage of
antiąuating neoclassicism and were concurrent with the avant-garde trend. What was
essential in the avant-garde trend was experimentation, expressed above all in the juxtaposi-
tion of the simplest geometrical solids.
In the seventies, Zug was a true avant-garde architect. This was indicated by his designs of
garden pavilions, composed of cubes and cylinders, striking with the expression of their
geometrical structure and by his truły magnificent work, the Evangelical Church in Warsaw,
where, while making reference to the ancient building type, so many novel Solutions were
introduced. In Zug’s work certain avant-garde features could also be discerned in the shaping
of some public buildings. An outstanding avant-garde work was the church at Skierniewice
designed by Szreger: a domed rotunda with ring-shaped horizontal divisions - among
multilateral blocs; the whole structure being contained between the faęade and the tower.
And in the eighties, avant-garde tendencies became distinct in the work of yet another
architect - Jan Chrystian Kamsetzer - in the design of the sepulchral chapel of the
Poniatowski family, 1784, and in the faęade of the church at Petrykozy, 1791, composed of
geometrical blocks.
Warsaw, Academy of Sciences, draft design of the edifice, D. Merlini, c. 1774-76
14