DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29195#0015
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The Palace’s history
A very good idea of what the Palace and its interiors looked like in the inter-
war period may be had from the surviving photographs, on which we observe the
shop-windows and signs described by Stanislaw Gieysztor. This image of the past
is supplemented by the posters advertising Franaszek’s and Gebethner’s, the latter
of which also sold grand pianos, and a piano is the central item on one of its post-
ers. A beautiful poster for Franaszek’s company, designed by Tadeusz Gronowski,
displays an exquisite Rococo side-table similar in style to the corps de garde and the
main edifice, with a caption informing readers that the shop sells “Refined Paper
Wall Upholstery”. The expressions “sophisticated,” “elegant,” “refined,” and “sub-
lime,” characterise the atmosphere of the Palace and its past, and today they come
to mind especially when we are facing the corps degarde, enter the court, into some
of the interiors, and observe the precinct from Plac Pilsudskiego. These walls, sculp-
tures, and interiors are witnesses to a history that starts in the first half of the 17th
century under the Vaza dynasty, in the reign of Vladislaus IV (1632—1648).
There are various texts, inventory lists and two invaluable drawings, one by Peter
Schenk dated 1703 (Fig. 3), and another by Ricaud de Tirregaille (1762: Fig. 4)
which give us an idea of the residence in the times of the Denhoff and Czartoryski
proprietorships. The unquestionable priority in the description of the Denhoff resi-
dence must go to Adam Jarz^bski, whose invaluable if not very sophisticated guide-
book to the sights of Warsaw, entitled Gosciniec, albo krdtkie opisanie Warszawy
(1634), has the following record:
Denhoff and
Czartoryski
times
Fig. 3. Peter Schenk, View of the court of Marywil, copperplate engraving, 1703; MNW
iiCfiif
The Palace’s history
A very good idea of what the Palace and its interiors looked like in the inter-
war period may be had from the surviving photographs, on which we observe the
shop-windows and signs described by Stanislaw Gieysztor. This image of the past
is supplemented by the posters advertising Franaszek’s and Gebethner’s, the latter
of which also sold grand pianos, and a piano is the central item on one of its post-
ers. A beautiful poster for Franaszek’s company, designed by Tadeusz Gronowski,
displays an exquisite Rococo side-table similar in style to the corps de garde and the
main edifice, with a caption informing readers that the shop sells “Refined Paper
Wall Upholstery”. The expressions “sophisticated,” “elegant,” “refined,” and “sub-
lime,” characterise the atmosphere of the Palace and its past, and today they come
to mind especially when we are facing the corps degarde, enter the court, into some
of the interiors, and observe the precinct from Plac Pilsudskiego. These walls, sculp-
tures, and interiors are witnesses to a history that starts in the first half of the 17th
century under the Vaza dynasty, in the reign of Vladislaus IV (1632—1648).
There are various texts, inventory lists and two invaluable drawings, one by Peter
Schenk dated 1703 (Fig. 3), and another by Ricaud de Tirregaille (1762: Fig. 4)
which give us an idea of the residence in the times of the Denhoff and Czartoryski
proprietorships. The unquestionable priority in the description of the Denhoff resi-
dence must go to Adam Jarz^bski, whose invaluable if not very sophisticated guide-
book to the sights of Warsaw, entitled Gosciniec, albo krdtkie opisanie Warszawy
(1634), has the following record:
Denhoff and
Czartoryski
times
Fig. 3. Peter Schenk, View of the court of Marywil, copperplate engraving, 1703; MNW