DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0040
which Zug designed in his garden compositions in the seventies and eighties. They included
a large number of ancient motifs - in temples and their ruins, Roman amphitheatres and
circuses, ruins of triumphal arches and aqueducts; the architect also introduced the ruins of
colonnades, single columns and groups ot them; also broken columns, arcades, scenie
monopter buildings, exedras, ancient altars, vases and urns, Roman sarcophagi and
tombstones, motifs from catacombs, Egyptian motifs. Original ancient, Renaissance and also
mediaeval scułptures and monuments were set within antiąuating pavilions and garden
decorations. These occured together with exotic Oriental-like pavilions - Chinese bowers,
bridges, kiosks, and even a Chinese henhouse - and Turkish structureś, such as minarets or
the Imam’s House which contained a kitchen; or even an “Indian” hut. Neo-gothic
constructions included dwelling pavilions, smali pseudo-mediaeval castles, a church with
a tower, a grange with a smali tower, separated towers, some of which housed pigeons.
Finally, of timber and field stone there were peasant’s or fisherman’s cottages, byres,
cow-houses and mills, gardener’s lodges, inns and taverns. In his parks Zug also designed
orangeries, pineries and bird-houses. He had a partiality for asymmetrical compositions,
juxtaposing contrasting motifs and creating conglomerations of different forms. He was an
outstanding artist in the field of decorative gardening in the Age of Enlightenment in Poland.
The further development of landscape parks was no longer related to Warsaw but to Puławy,
which belonged to the Czartoryski family. New elements were introduced here into the old,
neoclassical garden about 1775, when Powązki was constructed. It was then that “a wild
promenadę”, with tangled arrangements of winding paths among trees, was madę - but this
was only an addition to a park of geometrical layout. It was not until 1786, when Puławy
became a permanent residence, that Izabela Czartoryska undertook a complete reconstruc-
tion of the whole park, unifying its composition. Work was begun on its conversion to
a sentimental landscape park and subseąuently, with the work continuing till 1830, to
a romantic one. When Powązki was destroyed during the Kościuszko Insurrection in 1794
and when Poland lost its independence the park at Puławy became the main centre of the
artistic interests of Czartoryska and took a new expression - it was to reflect patriotic feeling
and attachment to Polish traditions. Although it was enlivened by a Chinese bower,
a fisherman’s cottage, a hut by the stream, grottoes in the escarpment, an orangery, a Roman
gate in the shape of a triumphal arch, English stairs, a sculpted group “Tancrede and
Clorinda”, as well as byres and “country” cottages built at Kępa beyond the Yistula
Warsaw, draft design of the pałace of S. Poniatowski, caJIed “Ustronie” (Secluded Spot), S. Zawadzki, before 1785
35
a large number of ancient motifs - in temples and their ruins, Roman amphitheatres and
circuses, ruins of triumphal arches and aqueducts; the architect also introduced the ruins of
colonnades, single columns and groups ot them; also broken columns, arcades, scenie
monopter buildings, exedras, ancient altars, vases and urns, Roman sarcophagi and
tombstones, motifs from catacombs, Egyptian motifs. Original ancient, Renaissance and also
mediaeval scułptures and monuments were set within antiąuating pavilions and garden
decorations. These occured together with exotic Oriental-like pavilions - Chinese bowers,
bridges, kiosks, and even a Chinese henhouse - and Turkish structureś, such as minarets or
the Imam’s House which contained a kitchen; or even an “Indian” hut. Neo-gothic
constructions included dwelling pavilions, smali pseudo-mediaeval castles, a church with
a tower, a grange with a smali tower, separated towers, some of which housed pigeons.
Finally, of timber and field stone there were peasant’s or fisherman’s cottages, byres,
cow-houses and mills, gardener’s lodges, inns and taverns. In his parks Zug also designed
orangeries, pineries and bird-houses. He had a partiality for asymmetrical compositions,
juxtaposing contrasting motifs and creating conglomerations of different forms. He was an
outstanding artist in the field of decorative gardening in the Age of Enlightenment in Poland.
The further development of landscape parks was no longer related to Warsaw but to Puławy,
which belonged to the Czartoryski family. New elements were introduced here into the old,
neoclassical garden about 1775, when Powązki was constructed. It was then that “a wild
promenadę”, with tangled arrangements of winding paths among trees, was madę - but this
was only an addition to a park of geometrical layout. It was not until 1786, when Puławy
became a permanent residence, that Izabela Czartoryska undertook a complete reconstruc-
tion of the whole park, unifying its composition. Work was begun on its conversion to
a sentimental landscape park and subseąuently, with the work continuing till 1830, to
a romantic one. When Powązki was destroyed during the Kościuszko Insurrection in 1794
and when Poland lost its independence the park at Puławy became the main centre of the
artistic interests of Czartoryska and took a new expression - it was to reflect patriotic feeling
and attachment to Polish traditions. Although it was enlivened by a Chinese bower,
a fisherman’s cottage, a hut by the stream, grottoes in the escarpment, an orangery, a Roman
gate in the shape of a triumphal arch, English stairs, a sculpted group “Tancrede and
Clorinda”, as well as byres and “country” cottages built at Kępa beyond the Yistula
Warsaw, draft design of the pałace of S. Poniatowski, caJIed “Ustronie” (Secluded Spot), S. Zawadzki, before 1785
35