DOI article:
Markiewicz, Anna: "Różne sztuki wód" i Bernini: Wersal Ludwika XIV w relacjach polskich podróżników (1661-1715)
Citation link:https://digi.ub.uni-heidelberg.de/diglit/modus2020/0124
they saw the royal apartments (“pokoje, w których wszędzie po królewsku, i nie
dziw, jaki pan, taki kram” [rooms where everything was royal, and no wonder,
the house shows the owner])40 and the Trianon de Porcelaine, erected in the years
1670-1674 and demolished in 1687, covered with Dutch tiles, “pałacyk niewielki,
lecz specjalny, wszytek zewnątrz i z dworu porselinami okryty i przyozdobiony”
[a smali but particular pałace, covered and decorated with porselins inside and
out],41 which started European fashion for “the delftwares.”
Young travellers witnessed the constant progress of decorative works and
changes being introduced in the pałace, as Kossowicz recalled in August 1687: “[...]
szliśmy do ogroda, gdzie i król tuż prawie za nami przyszedł widzieć fontanę jedne
świeżo z gruntu prawie odnowioną i wielą kunsztów wody i białym przyozdobioną
marmurem” [[...] we went to the garden, where the King, right behind us, came
to see a fountain, freshly sprung from the ground, almost wholly renewed and
decorated with great craftsmanship, with waterworks and white marble] ,42 The
Jabłonowskis also admired new works of art brought into Yersailles to decorate
the royal residence. On 11 April 1686, at the invitation of the governor of Yer-
sailles and the steward of the court, Alexandre de Bontemps (1626-1701),43 Jan
Stanisław and Aleksander Jan went to the pałace orangery, and in its whereabouts,
in the garden, they had the opportunity to see an equestrian statuę of Louis xiv
by Giovanni Lorenzo Bernini, brought to France only recently (that is, completed
only in March of that year). A teenage Aleksander Jan Jabłonowski not only
knew the sculptors name, but also very accurately referred to the artisfs source
of inspiration, namely his earlier Roman work from 1668 depicting the emperor
Constantine, and then wrote in his diary with genuine admiration: “Ad hortum
Minus, ubi vidimus statuam equestrem Regis Galliae hodierni factam Romae
a Domino Equite Bernini. Est illa tota marmorea, facta ad modum statuae Con-
stantini Magni Romae. Quam et persona Regis, et omnia alia sint bene sculpta
40 Ibidem, p. 389.
41 Ibidem; BCzart., ms 1152 n, pp. 255-256. Aleksander Jan Jabłonowski also described: “Trianon,
hoc palatium totum tectum est ollis, quae porcelline vocantur, cubicula vero in quibus Rex
manere solent eodem colore omnia sunt colorata, tecti auro argentoque contexti peristro-
mata magnificentissima elegantissimaque,” ibidem, p. 51. About the pałace itself, see, inter alia:
Ch.A. Jones, Shapely Bodies. The Image ofPorcelain in Eighteenth-Century France, Newark 2015,
pp. 46-58, 68-86,143. Undoubtedly, similar visits, linked with a visit to the Low Countries,
indispensable during any grand tour, became an inspiration for futurę aristocratic collections
and one of the reasons for the popularity of Delft pottery among the nobility of the Polish-
-Lithuanian Commonwealth at the turn of the seventeenth and eighteenth centuries. Initial
phase of Dutch tiles’ popularity in Poland during the rule of Jan m Sobieski is discussed by:
K. Przywoźna-Leśniak, O początkach mody na “delfty” na terenie Rzeczypospolitej - rezydencje
Jana iii Sobieskiego w Żółkwi, Jaworowie i Wilanowie, “Biuletyn Historii Sztuki”, 75,2003, no. 3,
pp. 425-436; eadem, Między Wersalem a Peterhofem. Holenderskie płytki ścienne w wystroju
rezydencji arystokratycznych w xvn i xvni wieku,“Barok. Historia - Literatura - Sztuka”, 19,2012,
no. 2(38), pp. 155-163; eadem, Farfurki błękitnym pokostem per misteria malowane. Hołenderskie
płytki ścienne w wystroju rezydencji magnackich na wschodnich terenach dawnej Rzeczypospołitej
(województwo ruskie, wołyńskie i wiłeńskie), in: Stan badań nad wiełokułturowym dziedzictwem
dawnej Rzeczypospołitej, vol. 5, W. Walczak, K. Łopatecki (eds.), Białystok 2013, pp. 373-382;
J. Pluis, P. Oczko, Gabinet Farfurowy w pałacu w Wiłanowie. Studium historyczno-ikonograficzne,
Warszawa 2014; E. Kilarska, Fajanse z Dełft w dawnym Gdańsku, Gdańsk 2003; E. Więcek,
Fajansowe płytki ścienne znalezione podczas badań archeologicznych na terenie placu Zamkowego
w Warszawie, “Almanach Warszawy”, 13,2019, pp. 291-302.
42 J.M. Kossowicz, Diariusz podróży, p. 651.
43 See: M. Da Yinha, Alexandre Bontemps. Premier valet de chambre de Louis xiv, Yersailles 2011.
124
ARTICLES
Anna Markiewicz
dziw, jaki pan, taki kram” [rooms where everything was royal, and no wonder,
the house shows the owner])40 and the Trianon de Porcelaine, erected in the years
1670-1674 and demolished in 1687, covered with Dutch tiles, “pałacyk niewielki,
lecz specjalny, wszytek zewnątrz i z dworu porselinami okryty i przyozdobiony”
[a smali but particular pałace, covered and decorated with porselins inside and
out],41 which started European fashion for “the delftwares.”
Young travellers witnessed the constant progress of decorative works and
changes being introduced in the pałace, as Kossowicz recalled in August 1687: “[...]
szliśmy do ogroda, gdzie i król tuż prawie za nami przyszedł widzieć fontanę jedne
świeżo z gruntu prawie odnowioną i wielą kunsztów wody i białym przyozdobioną
marmurem” [[...] we went to the garden, where the King, right behind us, came
to see a fountain, freshly sprung from the ground, almost wholly renewed and
decorated with great craftsmanship, with waterworks and white marble] ,42 The
Jabłonowskis also admired new works of art brought into Yersailles to decorate
the royal residence. On 11 April 1686, at the invitation of the governor of Yer-
sailles and the steward of the court, Alexandre de Bontemps (1626-1701),43 Jan
Stanisław and Aleksander Jan went to the pałace orangery, and in its whereabouts,
in the garden, they had the opportunity to see an equestrian statuę of Louis xiv
by Giovanni Lorenzo Bernini, brought to France only recently (that is, completed
only in March of that year). A teenage Aleksander Jan Jabłonowski not only
knew the sculptors name, but also very accurately referred to the artisfs source
of inspiration, namely his earlier Roman work from 1668 depicting the emperor
Constantine, and then wrote in his diary with genuine admiration: “Ad hortum
Minus, ubi vidimus statuam equestrem Regis Galliae hodierni factam Romae
a Domino Equite Bernini. Est illa tota marmorea, facta ad modum statuae Con-
stantini Magni Romae. Quam et persona Regis, et omnia alia sint bene sculpta
40 Ibidem, p. 389.
41 Ibidem; BCzart., ms 1152 n, pp. 255-256. Aleksander Jan Jabłonowski also described: “Trianon,
hoc palatium totum tectum est ollis, quae porcelline vocantur, cubicula vero in quibus Rex
manere solent eodem colore omnia sunt colorata, tecti auro argentoque contexti peristro-
mata magnificentissima elegantissimaque,” ibidem, p. 51. About the pałace itself, see, inter alia:
Ch.A. Jones, Shapely Bodies. The Image ofPorcelain in Eighteenth-Century France, Newark 2015,
pp. 46-58, 68-86,143. Undoubtedly, similar visits, linked with a visit to the Low Countries,
indispensable during any grand tour, became an inspiration for futurę aristocratic collections
and one of the reasons for the popularity of Delft pottery among the nobility of the Polish-
-Lithuanian Commonwealth at the turn of the seventeenth and eighteenth centuries. Initial
phase of Dutch tiles’ popularity in Poland during the rule of Jan m Sobieski is discussed by:
K. Przywoźna-Leśniak, O początkach mody na “delfty” na terenie Rzeczypospolitej - rezydencje
Jana iii Sobieskiego w Żółkwi, Jaworowie i Wilanowie, “Biuletyn Historii Sztuki”, 75,2003, no. 3,
pp. 425-436; eadem, Między Wersalem a Peterhofem. Holenderskie płytki ścienne w wystroju
rezydencji arystokratycznych w xvn i xvni wieku,“Barok. Historia - Literatura - Sztuka”, 19,2012,
no. 2(38), pp. 155-163; eadem, Farfurki błękitnym pokostem per misteria malowane. Hołenderskie
płytki ścienne w wystroju rezydencji magnackich na wschodnich terenach dawnej Rzeczypospołitej
(województwo ruskie, wołyńskie i wiłeńskie), in: Stan badań nad wiełokułturowym dziedzictwem
dawnej Rzeczypospołitej, vol. 5, W. Walczak, K. Łopatecki (eds.), Białystok 2013, pp. 373-382;
J. Pluis, P. Oczko, Gabinet Farfurowy w pałacu w Wiłanowie. Studium historyczno-ikonograficzne,
Warszawa 2014; E. Kilarska, Fajanse z Dełft w dawnym Gdańsku, Gdańsk 2003; E. Więcek,
Fajansowe płytki ścienne znalezione podczas badań archeologicznych na terenie placu Zamkowego
w Warszawie, “Almanach Warszawy”, 13,2019, pp. 291-302.
42 J.M. Kossowicz, Diariusz podróży, p. 651.
43 See: M. Da Yinha, Alexandre Bontemps. Premier valet de chambre de Louis xiv, Yersailles 2011.
124
ARTICLES
Anna Markiewicz