DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0030
elements, surviving from the times of Lubomirski and the architect Tylman of Gameren, and
some new distinctly neoclassical elements - all combined to give the impression of a uniform
whole. The conception of a recessed doorway, so well executed by Merlini and Kamsetzer in
the Łazienki Pałace, was freąuently repeated in neoclassical Polish architecture in the 18th
and 19th centuries.
The expansion of the pałace on the south side involved changes in the internal arrangement,
including the essentially significant enlargement of the Dining Chamber and a complete
change in the stucco work of its walls. The hall was lengthened to the south, which damaged
its proportions. Therefore Merlini divided off its new part by two pairs of łonie columns of
red stucco, the colour of which corresponded to new red wali marbling on a white
background. In the previous years Merlini had followed this idea in the large, elongated
Library at the Royal Castle, which he had divided by four pairs of columns.
At the end of 1784, when the expansion of the pałace was finished on the south side, the King
decided to expand ałso the northern part. These years saw very intensive construction work,
for at that time, in 1784, when the Łazienki began to be developed, the work at the Castle was
going ahead at fuli pace in the Throne Room with the Conference Closet and the Knights’
Hall. Perhaps for this reason it was not until 1787 that reconstruction potential was first found
for Łazienki, and the northern faęade of the pałace was built in 1788. As early as 1784,
Kamsetzer must be mentioned, apart from Merlini, as the fellow-creator of the style
developing at that time, calłed the Stanislas Augustus style. In time, Kamsetzer’s contribu-
tion to the King’s enterprises steadily inereased, and perhaps he should be credited with both
the northern faęade and the interior decoration in the finał stages of. the expansion of the
Łazienki Pałace. The new faęade, with a new, projecting doorway, crowned with a triangular
tympanum, was a further stage in the development of Stanislas Augustus neoclassicism; the
projecting doorway, in turn, became so widespread in Polish architecture that it has come to
be considered a peculiar feature of Polish neoclassicism.
In 1789-1795 the pałace was enlarged with three new interiors which represented the finał
stage of the Stanislas Augustus style. Since nothing significant was built at the Royal Castle
after 1786, these rooms were the last link in the history of the King’s artistic patronage.
The old octohedral salon now became the Solomon Hall, with much gilt in the architectural
decoration, and Plersch’s paintings. The rich furnishings of the Hall may suggest that
Warsaw, draft design of the Ballroom at the so-called “Four Winds” Pałace of P. Fergusson Tepper, S.B. Zug, c. 1784
25
some new distinctly neoclassical elements - all combined to give the impression of a uniform
whole. The conception of a recessed doorway, so well executed by Merlini and Kamsetzer in
the Łazienki Pałace, was freąuently repeated in neoclassical Polish architecture in the 18th
and 19th centuries.
The expansion of the pałace on the south side involved changes in the internal arrangement,
including the essentially significant enlargement of the Dining Chamber and a complete
change in the stucco work of its walls. The hall was lengthened to the south, which damaged
its proportions. Therefore Merlini divided off its new part by two pairs of łonie columns of
red stucco, the colour of which corresponded to new red wali marbling on a white
background. In the previous years Merlini had followed this idea in the large, elongated
Library at the Royal Castle, which he had divided by four pairs of columns.
At the end of 1784, when the expansion of the pałace was finished on the south side, the King
decided to expand ałso the northern part. These years saw very intensive construction work,
for at that time, in 1784, when the Łazienki began to be developed, the work at the Castle was
going ahead at fuli pace in the Throne Room with the Conference Closet and the Knights’
Hall. Perhaps for this reason it was not until 1787 that reconstruction potential was first found
for Łazienki, and the northern faęade of the pałace was built in 1788. As early as 1784,
Kamsetzer must be mentioned, apart from Merlini, as the fellow-creator of the style
developing at that time, calłed the Stanislas Augustus style. In time, Kamsetzer’s contribu-
tion to the King’s enterprises steadily inereased, and perhaps he should be credited with both
the northern faęade and the interior decoration in the finał stages of. the expansion of the
Łazienki Pałace. The new faęade, with a new, projecting doorway, crowned with a triangular
tympanum, was a further stage in the development of Stanislas Augustus neoclassicism; the
projecting doorway, in turn, became so widespread in Polish architecture that it has come to
be considered a peculiar feature of Polish neoclassicism.
In 1789-1795 the pałace was enlarged with three new interiors which represented the finał
stage of the Stanislas Augustus style. Since nothing significant was built at the Royal Castle
after 1786, these rooms were the last link in the history of the King’s artistic patronage.
The old octohedral salon now became the Solomon Hall, with much gilt in the architectural
decoration, and Plersch’s paintings. The rich furnishings of the Hall may suggest that
Warsaw, draft design of the Ballroom at the so-called “Four Winds” Pałace of P. Fergusson Tepper, S.B. Zug, c. 1784
25