Lorentz, Stanisław; Rottermund, Andrzej: Neoclassicism in Poland (Warsaw, 1986)

Natolin (designed by S.B. Zug) or the smali pałace at
Głosków (designed by S.B. Zug).
Bibliography: Lorentz, Natolin, p. 13; B. Majewska-Maszkowska, Mece-
nat Izabeli z Czartoryskich Lubomirskiej. 1736-18I6(The Patronage of
Izabela Lubomirska, nee Czartoryska, 1736-1816 - in Polish), Wrocław
1976, pp. 157-187
Efraim Szreger
43 [8] Warsaw, Miodowa Street, Tepper’s house, front
elevation, 1774, L. Schmidtner, Tepper’s house, litho-
graph, (in:) Zbiór celniejszych gmachów miasta stołeczne-
go Warszawy (A Collection of the Handsomer Edifices in
the Warsaw Capital Town - in Polish), Warsaw 1823
The house was built for the banker Piotr Tepper, recon-
structed in the course of the 19th century, burnt down in
1944 and pulled down in 1947 in connection with the
construction of the W-Z thoroughfare.
Tepper’s house was the key building in early neoclassical
architecture in Poland. In addition to the noteworthy
values of the composition of the faęade, with lucid horizon-
tal and vertical divisions, it is particularly interesting to
notę the functional programme of the building. The
ground floor housed banking counters , offices and store-
-rooms, there were reception apartments to rent on the first
floor and the luxurious apartments of the owner on the
second floor. This functional programme, with commer-
cial or banking rooms on the ground floor and rooms to rent
on one of the upper storeys, contained the essential features
of the futurę urban tenement house. E. Szreger’s banking
house was distinct from the previous houses in Miodow
Street, becoming the most important motif in one of the
major streets of the capital. It was with the scalę of the
architecture of the building itself that Tepper wanted to
manifest the important position of his banking firm in the
life of the town and the country.
Bibliography: Lorentz, Architecture of the Age of Enlightenmcnt,
pp. 5-14
Domenico Merlini
44 [X] Warsaw, Royal Castle, Chapel, 1774-1777
The Chapel, which is on the first floor of the Grodzka Gate,
consists of the sąuare room of the nave and a smali chancei
on a circular plan. The Chapel was decorated at the same
time that work was carried out in the Canaletto Hall and the
Old Reception Chamber, i.e. in 1774-1777. Theexecution
of the Castle Chapel was evidence of the great skill of the
designer, who inanaged to monumentalize the very smali
interior and at the same time, by means of delicate colour
(the willow green of the column shafts, the red of the walls
and the gilded ornamentation), to give it the expression of
artistic subtlety, so typical of the Stanislas Augustus style.
The Chapel was destroyed in 1939-1944 and rebuilt within
the reconstruction of the Castle in 1971-1983.
Bibliography: Król, Royal Castle in Warsaw, p. 112; Zamek Królewski
w Warszawie (The Royal Castle in Warsaw- in Polish), collective work,
edited by A. Gieysztor, Warsaw 1972, p. 130

Domenico Merlini
45 [9] Warsaw, Royal Castle, Old Reception Chamber,
1774-1777
In terms of its composition and style this interior was
among those most typical of the Stanislas Augustus style.
Here, Merlini combined monumental painting by M.
Bacciarelli and J.B. Plersch and easel painting with the
delicate outline of architectural divisions and the patterned
floor. The theme of the ceiling painting was the flourishing
of the arts, Sciences, agriculture and commerce in the reign
of Stanislas Augustus. Four ovate frontons represented the
allegories of the monarch’s virtues: “Faith”, “Justice”,
“Power” and “Order Arresting the Impetuosity of
Youth”. The programme was complemented with the
portraits of the parents of King Stanislas Augustus and
with four busts of Henry IV, Elisabeth I, John III Sobieski
and Catherine II. Within this framework the designer
composed the decoration of the interior. In terms of style,
as M. Kwiatkowski has pointed out, “neoclassicism with
the hallmark of the baroąue” co-existed here with an
“augury of the Empire style” (eagles over the mirrors).
Bibliography: Zamek Królewski w Warszawie (The Royal Castle in
Warsaw - in Polish), collective work, edited by A. Gieysztor, Warsaw
1972, pp. 130-131; M. Kwiatkowski, Problemy wystroju architektonicz-
nego wnętrz stanisławowskich - Louis, Fontana, Merlini i Kamsetzer
(Problems of the Architectural Decoration in Stanislas Augustus Interiors
- Louis, Fontana, Merlini and Kamsetzer), (in:) Siedem wieków Zamku
Królewskiego w Warszawie (Seven Centuries ot the Royal Castle in
Warsaw - in Polish), Warsaw 1972, pp. 180-182; Chyczewska,
M. Bacciarelli, pp. 71-76
Domenico Merlini
46 [XI] Warsaw, Royal Castle, Bedchamber, 1772-1774
The Bedchamber was situated in the eust wing on the side
of the Vistula River, between the Old Reception Chamber
and the King’s Dressing Room. It was the first interior by
Merlini, showing a large number of traditional features,
such as the rounded corners of the alcove, the outline of the
panels etc. The painted compositions in the Bedchamber
were the work of M. Bacciarelli. They were four paintings
whose content drew on the Old Testament: “Rebecca and
Eleazar”, “Esther Faints before Ahasuerus”, “Hagar with
Her Son on Her Lap” and “The Angel Shows the Spring to
Hagar”.
Bibliography: Zamek Królewski w Warszawie (The Royal Castle in
Warsaw - in Polish), collective work, edited by A. Gieysztor, Warsaw
1972, p. 132; M. Kwiatkowski, Problemy wystroju architektoniczne-
go wnętrz stanisławowskich - Louis, Fontana, Merlini i Kamsetzer
(Problems of the Architectural Decoration in Stanislas A ugustus Interiors
- Louis, Fontana, Alerlini and Kamsetzer), (in:) Siedem wieków Zamku
Królewskiego w Warszawie (Seven Centuries of the Royal Castle in
Warsaw - in Polish), Warsaw 1972, pp. 178-179; Chyczewska, At.
Bacciarelli, pp. 71-76
Domenico Merlini with collaboration of Jan
Chrystian Kamsetzer
47 [10] Warsaw, Royal Castle, Ballroom, 1777-1781

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