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DESIGN FOR LAYING OUT A GARDEN BY THE RIVER SESUPE (LITHUANIA)

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Polanowska J.

Biuletyn Historii Sztuki

2006

vol. 68

issue 3-4

415-425

The Central Archives of Historical Records in Warsaw contains a set of five drawings, by an anonymous author, which constitute a design for creating gardens by the River Szeszupa which flows through the province of Samogitia (Lith. name: Sesupe). The design for the garden shows its layout (on a plan shaped almost like a rectangle of around two-thirds of a hectare, leading down to the river bank. The building of the two pavilions was also planned, and these are depicted on the four above-mentioned drawings, signed as follows courtyard (2) side and river elevations. The interiors consisted of only one room with a fireplace and three windows overlooking the river. The entire layout was close in style to the newly emerging type of landscape garden referred to as the Masonic Garden, in which buildings were designated to accommodate meetings of the given Masonic lodge. When signing his acceptance of the blueprint, Ignacy Potocki used his official title of Grand Master of the Grand National Lodge of Great Eastern Poland. Architectural design was purely and austerely neo-Classical in form. It may be assumed that the author of the drawing was the architect Stanislaw Zawadzki (cf.: Lubostron Palace), who worked for Ignacy Potocki, but also collaborated with the count's brother, Stanislaw Kostka Potocki. The design was probably executed around the years 1782-1783.

FROM SKETCH DESIGNS TO 'A COLLECTION OF DRAWINGS...': MAGDALENA MORSKA'S ESTATE AT ZARZECZE (SUBCARPATHIAN VOIVODESHIP)

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Dzioba I.

Biuletyn Historii Sztuki

2006

vol. 68

issue 3-4

385-411

Dealt with here are the pursuits of Magdalena Morska of the Dzieduszycki noble-titled family (1762-1847), founder of a palace-garden complex at Zarzecze, in Przeworsk parish, amateur-artist and author of a 'Collection of Drawings...' illustrating her estate (Zbiór rysunków wyobrazajacych celniejsze budynki wsi Zarzecza). The first part of the article is devoted to Morska's activities as a non-professional artist. In the light of archival materials, until now unpublished, inept artistic beginnings encompassed the estate in Zarzecze and, in particular her ideal 'Dutch' village (1821-1832) according to her concept. The second part is devoted to designs for ideal rural houses of the so-called Dutch type, some actually raised at Zarzecze, including peasant houses. The houses for those placed at the lowest end of the social hierarchy are included in the collection. Also, because of the manner in which the buildings are depicted this collection may be seen as created in the tradition of English 'picturesque pattern books'. In partitioned Poland, embellishing estates was identified with recreating the lost motherland (ojczyzna). Considering the home or estate to be a private free state, a notion deeply embedded in 'Sarmatian' mentality was arguably more relevant then than it had ever been. Because of the political restrictions, shaping the estate gained a wider dimension of forming the private 'ojczyzna', which compensated for the inadequacies of the actual (non-existent) State or Polish society. The work undertaken to embellish and increase the profitability of Zarzecze was an attempt at constructing idealised socio-cultural conditions.

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2 Biuletyn Historii Sztuki

2 2006

1 Dzioba I.

1 Polanowska J.

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DESIGN FOR LAYING OUT A GARDEN BY THE RIVER SESUPE (LITHUANIA)

FROM SKETCH DESIGNS TO 'A COLLECTION OF DRAWINGS...': MAGDALENA MORSKA'S ESTATE AT ZARZECZE (SUBCARPATHIAN VOIVODESHIP)