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EN
The royal garden in Wilanow, 10 kilometres to the south-east from the centre of Warsaw, is one o f the best preserved and valuable monuments of Baroque art in Poland. Set up in the last quarter o f the seventeenth century by Jan III Sobieski, it frames the royal palace and prolongs its interiors. During the Baroque era its horseshoe pattern encircled the palace and courtyard, and was composed o f two basic parts. The first was an ornamental two -tier Italian garden located in the central part o f the palace-garden premise, with a retaining wall, geometrically designed flower beds, boskets, gilt mythological statues and a fountain in the middle. The second part, situated on both sides o f the courtyard, was a vegetable-fruit garden, divided into quarters and enhanced with sculptures, grottoes and wells. During the seventeenth and eighteenth century the garden was modified upon a number of occasions, always, however, retaining its basic Baroque composition and symmetrical balance o f plane elements. During the nineteenth century it was thoroughly redesigned in the spirit o f Romantic landscape parks. The second world war caused serious devastation o f the plants and artistic outfitting o f the royal garden. Once Wilanow became state property, the garden was subject to general reconstruction and revalorization based on historical plans, views, on-site research and inventory descriptions (1 9 4 6 -1 9 6 4 ). Despite the restoration of former splendour, a number o f elements still require correction and supplementation. One o f the important and as yet unrealised tasks is the restoration o f the bipartite courtyard and canal, which accentuated the axis of the historical Baroque premise.
EN
The intention of the article is to present to readers the Palace of the President of the Republic of Poland with its garden. This ensemble is a well-known monument, valuable for the culture of our country. It is located on a Warsaw Scarp, embedded in the landscape of the downtown. Its rich history dates back to the seventeenth century and is associated with many personages, including Stanisław Koniecpolski and Michał Kazimierz II Radziwiłł. The palace and park complex represents a unique historical and natural value, which has been the reason for bringing it under protection. While the palace itself has been broadly described in the monograph by art historians Zbigniew Bania and Tadeusz Stefan Jaroszewski, the garden inextricably linked to it has not been a subject of extensive study and publications. Therefore, the authors of this paper, after having presented the history of the palace, analyse in more detail the shape and the design of the garden: from early baroque until present times. The primary difficulty they encounter is the modest and uncertain source base. Translated by Małgorzata Laskowska-Adamowicz
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