DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29195#0051
in the Age of Mechanical Reproductiori) included the painting of Henryk Lubomirski
as Cupid by the renowned artist Elizabeth Vigee Lebrun (Fig. 46), and a copy of The
Guardian Angel, slightly smaller than the original, by the early 17th-century Italian
artist Domenico Zampieri known as Domenichino (Fig. 47). Incidentally, the War-
saw replica has a special value, as it shows the full original composition, while the
prototype, currently housed in the Museo di Capodimonte in Naples, has lost the
top of the painting, a presentation of the Holy Trinity (L’idea del bello 2000, p. 330).
And here is Anna Potocka’s recollection of the Palace’s interiors: Between my mother-
in-law’s floor and the groundfloor, which accommodated a grand apartment I had va-
catedfor Prince Murat, there was a smallapartment on the mezzanine, which the Princess
Lubomirska had appointed.... This miniature apartment, furnished and adorned in
an extremely refined manner, apparently reproduced the style ofwhat was known in that
distant age as lespetites maisons. My mother-in-law (Aleksandra Potocka nee Lubomir-
ska) only used it when it was very cold, as thanks to a concealed staircase these small rooms
afforded a well heated, cosy passage from one apartment to the other. This charming little
nook was treated as belonging to the grand apartment, thus the key to it was entrusted
to Prince Murat’s servants when he came to stay at the Palace, and thereafter no-one else
Looked after it (Memoirs of the Countess Potocka 1901, p. 81). Thus our account of the
Palace in the Princess Marshal’s times has moved on to the Napoleonic age and the
turn of the centuries, when its proprietors were that distinguished couple, Stanislaw
Kostka and Aleksandra. In 1799 the property hitherto in the hands of the Czarto-
ryski passed down to the Potocki, who owned it until the Second World War.
The Paiace’s history
Fig. 46. Elisabeth-Louise Vigee Lebrun, Por-
trait of Henryk Lubomirski as the genius of
fame; oils on oak board, 1789; Berlin, Staatli-
che Museen zu Berlin
Fig. 47. Domenico Zampieri (Domenichino),
"The Guardian Angel', workshop version,
slightly smaller than the original, oils on can-
vas, early 17,h c.; Wilanow Palace Museum
as Cupid by the renowned artist Elizabeth Vigee Lebrun (Fig. 46), and a copy of The
Guardian Angel, slightly smaller than the original, by the early 17th-century Italian
artist Domenico Zampieri known as Domenichino (Fig. 47). Incidentally, the War-
saw replica has a special value, as it shows the full original composition, while the
prototype, currently housed in the Museo di Capodimonte in Naples, has lost the
top of the painting, a presentation of the Holy Trinity (L’idea del bello 2000, p. 330).
And here is Anna Potocka’s recollection of the Palace’s interiors: Between my mother-
in-law’s floor and the groundfloor, which accommodated a grand apartment I had va-
catedfor Prince Murat, there was a smallapartment on the mezzanine, which the Princess
Lubomirska had appointed.... This miniature apartment, furnished and adorned in
an extremely refined manner, apparently reproduced the style ofwhat was known in that
distant age as lespetites maisons. My mother-in-law (Aleksandra Potocka nee Lubomir-
ska) only used it when it was very cold, as thanks to a concealed staircase these small rooms
afforded a well heated, cosy passage from one apartment to the other. This charming little
nook was treated as belonging to the grand apartment, thus the key to it was entrusted
to Prince Murat’s servants when he came to stay at the Palace, and thereafter no-one else
Looked after it (Memoirs of the Countess Potocka 1901, p. 81). Thus our account of the
Palace in the Princess Marshal’s times has moved on to the Napoleonic age and the
turn of the centuries, when its proprietors were that distinguished couple, Stanislaw
Kostka and Aleksandra. In 1799 the property hitherto in the hands of the Czarto-
ryski passed down to the Potocki, who owned it until the Second World War.
The Paiace’s history
Fig. 46. Elisabeth-Louise Vigee Lebrun, Por-
trait of Henryk Lubomirski as the genius of
fame; oils on oak board, 1789; Berlin, Staatli-
che Museen zu Berlin
Fig. 47. Domenico Zampieri (Domenichino),
"The Guardian Angel', workshop version,
slightly smaller than the original, oils on can-
vas, early 17,h c.; Wilanow Palace Museum