DOI Page / Citation link:
https://doi.org/10.11588/diglit.38678#0256
and.iimited cołour were characteristic of Kamsetzer and his
workshop. The motifs included puttoes in Iow relief
leading animals, trophies, eagles with garlands and bands,
and hanging fruit.
70 [34, 35, 38, 39, 40] Pałace of the Mielżyński family,
ceiling decoration
In the complex of the interiors of the pałace at Pawłowice it
is interesting to notę the decoration of ceilings, with
geometrical dmsions (rectangles, circles, diamonds trian-
gles), into which arabesque-grotesque decorative motifs
have been composed. This type of design was inspired by
the interiors designed by Robert Adam, one of the most
outstanding European architects, from whom Kamsetzer
took only the generał principle of composition; the inter-
pretation of motifs, boldness in composing new arrange-
ments and the richness of elements introduced were the
individual achievement of the Polish architect.
Bibliography: Kwiatkowski, On the Aulhorship, pp. 164-168; Ostrow-
ska-Kęblowska, Pałace Architecture, pp. 99-112, 200-224
Domenico Merlini
71 [42, 43] Warsaw, Royal Castle, Throne Room, 1781—
1786
The Throne Room was set in the south projection of the
east wing on the side of the Vistula River. It was executed to
a design probably from 1781, using a number of ready
elements of decoration and furnishing which V. Louis had
designed in 1765-1766 and which continued coming from
Paris to Warsaw until as łatę as 1778 (rose-patterned
wainscoting, clock table, chandeliers with eagles etc).
Among the Stanislas Augustus interiors, the Throne Room
had the richest interior decoration and was at the same time
composed with classical discipline, which determined the
lucid composition of the walls, ceiling and the beautifully
patterned floor. After its complete destruction in World
War II it was rebuilt in 1971-1983.
Bibliography: Zamek Królewski tv Warszawie- ( The Royal Castle in
Warsaw - in Polish), collective work, edited by A. Gieysztor, Warsaw
1972, pp. 132-133; Catalogue of Drawings, part 1, Varsaviana, p. 109;
M. Kwiatkowski, Problemy wystroju architektonicznego wnętrz stanisła-
wowskich - Louis, Fotitana, Merlini i Kamsetzer (Problems of the
Architectural Decoration in Stanislas Augustus Interiors - Louis, Fonta-
na, Merlini and Kamsetzer), (in:) Siedem wieków Zamku Królewskiego
w Warszawie (Seven Centuries of the Royal Castle in Warsaw-in Polish),
Warsaw 1972, pp. 188-190
Domenico Merlini with collaboration of Jan
Chrystian Kamsetzer
72 [41] Warsaw, Royal Castle, Library, interior, 1779-
1782 and after 1784
This room, in a separate building situated along a wing of
the Tin Roof Pałace, was built to Merlini’s design, with
some work by Kamsetzer (interior decoration, including
fire places). Medallions, designed by J.B. Plersch (one
dated 1782), were madę by J. Monaldi, F. Pinck, G. Staggi
and J.M. Graff. The Library was built for the royal
collection of books - 16 thousand volumes - and a set of
morę than 70 thousand drawings. It was the only Stanislas
Augustus interior in the Castle to survive the destruction of
World War II. Its architectural forms were influenced by
neoclassical English architecture from the last quarter of
the 18th century. It was devastated by Cherkćss troops in
the 19th century, partly destroyed in 1944 and renovated in
1961-1965.
Bibliography: W. Olszewicz, Biblioteka króla Stanisława Augusta (The
Library of King Stanislas Augustus-in Polish), “Przegląd Biblioteczny”,
V, 1931, pp. 14-57; B. Kaczorowska, “Specyfikacja malowania” Jana
Bogumiła Plerscha dla- Stanisława Augusta (“The Specificalion of Pain-
ting” by Jan Bogumił Plersch for Stanislas Augustus - in Polish), BAH,
XXIX, 1967, no 4, pp. 556-558; Król, Royal Castle in Warsaw,
pp. 141-150
Szymon Bogumił Zug
73 [45] Kock, pałace of Anna Jabłonowska, nee Sapieha,
c. 1780
Z. Vogel, The Pałace at Kock Seen from the Front, 1796,
pen, brush, India ink, 33.9x49.2; with the inscription in
the margin: “Vue de Kotsko” and, on the back, “Vogel
Zygmunt Widok Kocka (View of Kock)”; National Mu-
seum in Warsaw, inv. no 46938
Zug’s transformation of the old building consisted in
making its architecture morę classical, by adding a łonie
portico in the front elevation, a terrace supported by
Tusean columns in the garden elevation and fuli attics over
the central part of the garden elevation and over the
projections of the front elevation. Zug also reconstructed
the lateral outbuildings, linking them with the main body
of the pałace by quarter-circular columnar galleries. This
type of pałace design with quarter-circular galleries, de-
fined asPalladian, was typical of Polish residential architec-
ture in the last quarter of the 18th century (see the
Primate’s Pałace in Warsaw, Pawłowice, Rogalin, Tul-
czyn, Białaczów). Kock was one of the earliest examples of
this type of design. It was reconstructed by H. Marconi in
the 19th century.
Szymon Bogumił Zug
74 [47] Kock, parish church, 1779-1782, and town hall,
c. 1780
Z. Vogel, The Market Place with Church and Town Hall at
Kock, 1796, water colour, 36x53; National Museum in
Warsaw, inv. no 159107
VogeTs water colour shows the view of the market place at
Kock with the church and town hall a dozen-odd years after
the construction work had been finished. At present, only
the faęade of the church has preserved the original ele-
ments; the town hall was pulled down as early as the 19th
century.
The church was designed on an elongated rectangular plan,
with a six-pillar portico along the entire faęade. In his
255
workshop. The motifs included puttoes in Iow relief
leading animals, trophies, eagles with garlands and bands,
and hanging fruit.
70 [34, 35, 38, 39, 40] Pałace of the Mielżyński family,
ceiling decoration
In the complex of the interiors of the pałace at Pawłowice it
is interesting to notę the decoration of ceilings, with
geometrical dmsions (rectangles, circles, diamonds trian-
gles), into which arabesque-grotesque decorative motifs
have been composed. This type of design was inspired by
the interiors designed by Robert Adam, one of the most
outstanding European architects, from whom Kamsetzer
took only the generał principle of composition; the inter-
pretation of motifs, boldness in composing new arrange-
ments and the richness of elements introduced were the
individual achievement of the Polish architect.
Bibliography: Kwiatkowski, On the Aulhorship, pp. 164-168; Ostrow-
ska-Kęblowska, Pałace Architecture, pp. 99-112, 200-224
Domenico Merlini
71 [42, 43] Warsaw, Royal Castle, Throne Room, 1781—
1786
The Throne Room was set in the south projection of the
east wing on the side of the Vistula River. It was executed to
a design probably from 1781, using a number of ready
elements of decoration and furnishing which V. Louis had
designed in 1765-1766 and which continued coming from
Paris to Warsaw until as łatę as 1778 (rose-patterned
wainscoting, clock table, chandeliers with eagles etc).
Among the Stanislas Augustus interiors, the Throne Room
had the richest interior decoration and was at the same time
composed with classical discipline, which determined the
lucid composition of the walls, ceiling and the beautifully
patterned floor. After its complete destruction in World
War II it was rebuilt in 1971-1983.
Bibliography: Zamek Królewski tv Warszawie- ( The Royal Castle in
Warsaw - in Polish), collective work, edited by A. Gieysztor, Warsaw
1972, pp. 132-133; Catalogue of Drawings, part 1, Varsaviana, p. 109;
M. Kwiatkowski, Problemy wystroju architektonicznego wnętrz stanisła-
wowskich - Louis, Fotitana, Merlini i Kamsetzer (Problems of the
Architectural Decoration in Stanislas Augustus Interiors - Louis, Fonta-
na, Merlini and Kamsetzer), (in:) Siedem wieków Zamku Królewskiego
w Warszawie (Seven Centuries of the Royal Castle in Warsaw-in Polish),
Warsaw 1972, pp. 188-190
Domenico Merlini with collaboration of Jan
Chrystian Kamsetzer
72 [41] Warsaw, Royal Castle, Library, interior, 1779-
1782 and after 1784
This room, in a separate building situated along a wing of
the Tin Roof Pałace, was built to Merlini’s design, with
some work by Kamsetzer (interior decoration, including
fire places). Medallions, designed by J.B. Plersch (one
dated 1782), were madę by J. Monaldi, F. Pinck, G. Staggi
and J.M. Graff. The Library was built for the royal
collection of books - 16 thousand volumes - and a set of
morę than 70 thousand drawings. It was the only Stanislas
Augustus interior in the Castle to survive the destruction of
World War II. Its architectural forms were influenced by
neoclassical English architecture from the last quarter of
the 18th century. It was devastated by Cherkćss troops in
the 19th century, partly destroyed in 1944 and renovated in
1961-1965.
Bibliography: W. Olszewicz, Biblioteka króla Stanisława Augusta (The
Library of King Stanislas Augustus-in Polish), “Przegląd Biblioteczny”,
V, 1931, pp. 14-57; B. Kaczorowska, “Specyfikacja malowania” Jana
Bogumiła Plerscha dla- Stanisława Augusta (“The Specificalion of Pain-
ting” by Jan Bogumił Plersch for Stanislas Augustus - in Polish), BAH,
XXIX, 1967, no 4, pp. 556-558; Król, Royal Castle in Warsaw,
pp. 141-150
Szymon Bogumił Zug
73 [45] Kock, pałace of Anna Jabłonowska, nee Sapieha,
c. 1780
Z. Vogel, The Pałace at Kock Seen from the Front, 1796,
pen, brush, India ink, 33.9x49.2; with the inscription in
the margin: “Vue de Kotsko” and, on the back, “Vogel
Zygmunt Widok Kocka (View of Kock)”; National Mu-
seum in Warsaw, inv. no 46938
Zug’s transformation of the old building consisted in
making its architecture morę classical, by adding a łonie
portico in the front elevation, a terrace supported by
Tusean columns in the garden elevation and fuli attics over
the central part of the garden elevation and over the
projections of the front elevation. Zug also reconstructed
the lateral outbuildings, linking them with the main body
of the pałace by quarter-circular columnar galleries. This
type of pałace design with quarter-circular galleries, de-
fined asPalladian, was typical of Polish residential architec-
ture in the last quarter of the 18th century (see the
Primate’s Pałace in Warsaw, Pawłowice, Rogalin, Tul-
czyn, Białaczów). Kock was one of the earliest examples of
this type of design. It was reconstructed by H. Marconi in
the 19th century.
Szymon Bogumił Zug
74 [47] Kock, parish church, 1779-1782, and town hall,
c. 1780
Z. Vogel, The Market Place with Church and Town Hall at
Kock, 1796, water colour, 36x53; National Museum in
Warsaw, inv. no 159107
VogeTs water colour shows the view of the market place at
Kock with the church and town hall a dozen-odd years after
the construction work had been finished. At present, only
the faęade of the church has preserved the original ele-
ments; the town hall was pulled down as early as the 19th
century.
The church was designed on an elongated rectangular plan,
with a six-pillar portico along the entire faęade. In his
255