DOI Page / Citation link:
https://doi.org/10.11588/diglit.41971#0563
325
interesting project of the ”molino da vento” villa in the treatise of Serlio (fig. 341), and particularly
the most spectacular pavilion of the Ujazdów — "Łazienka” (figs 53—70). That building, erected
on a rectangular island in a smali pond, was planned as a combination of the French type of pałace,
having a projected octagonal drawing room (figs 335, 337), with the Palladian scheme of a central
villa with a round hall in the middle (figs 338, 340). That hall is by no means the Palladian salon,
but the grotto decorated with stones and shells, and the pavilion combines in itself the functions
of the habitable building, bath and park grotto.
Municipal buildings. It is also characteristic of Polish economic and social relations that
among the works of Van Gameren designs of municipal buildings are few and as to the majority
are the result of commissions from the court, aristocracy and landed gentry (szlachta).
On the borderline between the rural villa and the city palace-house is the pałace of the Ko-
towskis in Warsaw (figs 118—127), erected in the early 1680’s, and showing affiliations as to interior
planning with certain designs of Serlio and Palladio, and also to the famous Town Hall in Augs-
burg by Elias Holi. After the model of humanistic reconstructions of the ancient basilica at Fano
and the city palaces designs by Serlio based on them (fig. 344), the salon on the second fioor of the
building, higher than the side rooms, was accentuated by pediments. Following pałace faęades,
designed by Serlio and Scamozzi (figs 344—45), the composition of the main elevation of that
pałace sites the serliana of Windows of the salon over the triads of Windows of the drawing
room on the first fioor and the openings of the hall on the ground fioor.
Van Gameren utilized the Yenetian super-positicn of the serlianas of window openings also
in an interesting design of a protocapitalistic apartment house, probably to have been built in
Warsaw (fig. 293). Grouped around the interior courtyard, that apartment house resembles the
designs of the Venetian palaces by Scamozzi (fig. 343), and it is connected with villa architecture
by the monumental motif of the tempie front.
The needs of commerce were in the mind of Queen Maria Kazimiera Sobieska when she ordered
the design of a splendid square in Warsaw in the years 1692—1695, five-sided in plan, with a votive
chapel of Our Lady the Triumphant in the centre, separate pavilions for the Royal couple, and
a garden in the rear. This was called after her — Marieville (figs 219—222). In spite of obvious
references to the Place Dauphine and Place Royale (des Vosges) in Paris, Marieville constituted
a unique combination of elegant city shopping centre and a square designed for court ceremonies
and open air festivities with the country-style residence and a monumental religious foundation.
Van Gameren designed also for the Warsaw City Council a square of market stalls round
the Town Hall in Stare Miasto (Old Town) (figs 254—257).
Decoration of secular interiors. In addition to architectural and sculptural exterior
decoration, Van Gameren also designed the decoration of interiors of palaces, mansions and park
pavilions. Most frequently, these designs were madę during works carried out on particular rooms,
often several years after the completion of the building. Van Gameren’s designs were often prepared
for the interiors of buildings erected earlier — for example at Ujazdów and at Baranów where the
architect was charged with the work of converting old and uncomfortable chambers into modern
residential quarters. Sometimes only of a generał naturę, they included particulars of the stucco
decorations or even compositions of paintings in wali panels.
Salons, galleries and sleeping rooms were by Van Gameren decorated after the most splendid
pałace examples, using the pilaster architectonic arrangement, with the alcove in a sleeping room
usually separated from the remaining part of the room by a pair of columns. Such decoration of
"appartements de paradę” was most frequently a metamorphosis of modern French models,
known to Van Gameren at least from engravings by Le Pautre (figs 354—55). Also in French
style were the designs of quarters lacking pilaster arrangement, where the surface of walls was
embraced by the frame system of divisions, with frames of doors, Windows and fire-places as
determinants, prolonged by appropriate panels to the height of the cornice.
Halls and large ro of sbouirick buildings had ceilings with deep bed-mouldings filled in with
interesting project of the ”molino da vento” villa in the treatise of Serlio (fig. 341), and particularly
the most spectacular pavilion of the Ujazdów — "Łazienka” (figs 53—70). That building, erected
on a rectangular island in a smali pond, was planned as a combination of the French type of pałace,
having a projected octagonal drawing room (figs 335, 337), with the Palladian scheme of a central
villa with a round hall in the middle (figs 338, 340). That hall is by no means the Palladian salon,
but the grotto decorated with stones and shells, and the pavilion combines in itself the functions
of the habitable building, bath and park grotto.
Municipal buildings. It is also characteristic of Polish economic and social relations that
among the works of Van Gameren designs of municipal buildings are few and as to the majority
are the result of commissions from the court, aristocracy and landed gentry (szlachta).
On the borderline between the rural villa and the city palace-house is the pałace of the Ko-
towskis in Warsaw (figs 118—127), erected in the early 1680’s, and showing affiliations as to interior
planning with certain designs of Serlio and Palladio, and also to the famous Town Hall in Augs-
burg by Elias Holi. After the model of humanistic reconstructions of the ancient basilica at Fano
and the city palaces designs by Serlio based on them (fig. 344), the salon on the second fioor of the
building, higher than the side rooms, was accentuated by pediments. Following pałace faęades,
designed by Serlio and Scamozzi (figs 344—45), the composition of the main elevation of that
pałace sites the serliana of Windows of the salon over the triads of Windows of the drawing
room on the first fioor and the openings of the hall on the ground fioor.
Van Gameren utilized the Yenetian super-positicn of the serlianas of window openings also
in an interesting design of a protocapitalistic apartment house, probably to have been built in
Warsaw (fig. 293). Grouped around the interior courtyard, that apartment house resembles the
designs of the Venetian palaces by Scamozzi (fig. 343), and it is connected with villa architecture
by the monumental motif of the tempie front.
The needs of commerce were in the mind of Queen Maria Kazimiera Sobieska when she ordered
the design of a splendid square in Warsaw in the years 1692—1695, five-sided in plan, with a votive
chapel of Our Lady the Triumphant in the centre, separate pavilions for the Royal couple, and
a garden in the rear. This was called after her — Marieville (figs 219—222). In spite of obvious
references to the Place Dauphine and Place Royale (des Vosges) in Paris, Marieville constituted
a unique combination of elegant city shopping centre and a square designed for court ceremonies
and open air festivities with the country-style residence and a monumental religious foundation.
Van Gameren designed also for the Warsaw City Council a square of market stalls round
the Town Hall in Stare Miasto (Old Town) (figs 254—257).
Decoration of secular interiors. In addition to architectural and sculptural exterior
decoration, Van Gameren also designed the decoration of interiors of palaces, mansions and park
pavilions. Most frequently, these designs were madę during works carried out on particular rooms,
often several years after the completion of the building. Van Gameren’s designs were often prepared
for the interiors of buildings erected earlier — for example at Ujazdów and at Baranów where the
architect was charged with the work of converting old and uncomfortable chambers into modern
residential quarters. Sometimes only of a generał naturę, they included particulars of the stucco
decorations or even compositions of paintings in wali panels.
Salons, galleries and sleeping rooms were by Van Gameren decorated after the most splendid
pałace examples, using the pilaster architectonic arrangement, with the alcove in a sleeping room
usually separated from the remaining part of the room by a pair of columns. Such decoration of
"appartements de paradę” was most frequently a metamorphosis of modern French models,
known to Van Gameren at least from engravings by Le Pautre (figs 354—55). Also in French
style were the designs of quarters lacking pilaster arrangement, where the surface of walls was
embraced by the frame system of divisions, with frames of doors, Windows and fire-places as
determinants, prolonged by appropriate panels to the height of the cornice.
Halls and large ro of sbouirick buildings had ceilings with deep bed-mouldings filled in with