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WIELOPOLSKI AND FRANCISZEK KSAWERY BRANICKI PALACE ON NOWY SWIAT STREET IN WARSAW IN THE SECOND HALF OF THE 17th AND IN THE 18th CENTURY

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Putkowska J.

Rocznik Historii Sztuki

2005

vol. 30

237-258

The authoress depicts history of nonexisting palace of Wielopolski and Franciszek Ksawery Branicki on the Nowy Swiat street in Warsaw. On this site in Warsaw suburbs in 1656 there was a manor of Crown Equerry Jan Aderkas, which in 1660 was bought and probably rebuilt by palatine of Cracow and Crown Grand Chancellor Jan Wielopolski. The property consisted of residential and representative building, with a wide courtyard at the front and a little farmyard and garden in the back. The most prominent in this design was the main building of axial form. The residence did not rank among the most magnificent, nevertheless it must have stood out, since J. J. Feyge put it within the rim of the engraved panorama of Warsaw in 1701. The new owners, heirs Karol, Jan and Hieronim, the sons of Franciszek Wielopolski, margrave Gonzaga Myszkowski, in 1744-1755 converted the buildings of the property according to the design by Piotr Hiż. The program of residential representative building as well as of neighbouring buildings was changed. Apart from the utility rooms there were partitioned reasonably designed kitchen, bakery, servants rooms, latrines, stable, coach house and riding stables. The part around the main courtyard was designed on the model of baroque composition, axial and symmetrical, with continual buildings and standardised arrangement subjected to the exposure of the palace. In 1774 the residence was bought by King Stanislaw Augustus and was given as a present to his favourite Franciszek Ksawery Branicki, who after his marriage in 1781 to Aleksandra Engelhard began rebuilding according to the design of Simon Gottlieb Zug (1733-1807), Saxon architect settled in Poland. Without changes in overall layout or composition, the interior was modernised and transformed, while on the outside the classical décor was introduced, and the both gardens - decorative and utility - were redesigned according to the rules of the latter part of the 18th century. The last stage of modernisation introduced significant changes in the representative part and extension of the apartments of Aleksandra and Franciszek Branicki. In all three stages of the palace rebuilding there were no changes introduced to the size of the site, nor to the accepted rule of adaptation of the existing buildings for new use. The interior décor was modernised, as well as functional and technical solutions and architectural design. At present on this site in 67/69 Nowy Swiat street there is a palace designed by Henryk Marconi, erected in 1843-1846 for Andrzej Zamoyski, reconstructed after the destruction of the Second World War.

RESIDENCES OF MARIE DE' MEDICI. PALAZZO PITTI TO PALAIS DU LUXEMBOURG

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Chroscicki J. A.

Rocznik Historii Sztuki

2005

vol. 30

121-134

Iconography of Marie de' Medici, Florentine princess, who married Henry IV, and became the Queen of France in 1610, died in exile defeated by her own son, Louis XIII, has been a subject of my research in recent years.To honor professor Adam Milobedzki, illustrious historian of European culture and architecture, I compared Marie de' Medici's apartments, Palazzo Pitti in Florence (on the 3rd Floor), Queen's apartment in Fontainebleau, Palais du Louvre in Paris, Chateau Monteceaux-en Brie, and finally, her own creation, Palais du Luxembourg in Paris. Chateau Monteceaux-en-Brie and Palais du Luxembourg were designed by Salomon de Brosse, Marie de' Medici's court architect. Her famous letters to Cristina of Lorraine, Grand Duchess of Tuscany, written in the fall of 1611, focused on 'modelle du pallais de Piti' and its dimensions which were to be used 'pour l'ordre et l'ornement de ma maison'. Palazzo Pitti's courtyard fascade, designed around 1560 by Bartolomeo Ammanati, appears to be the most important theme of these letters. Pre-1660 Henri Sauval wrote about influence that the Florentine residence had on the one in Paris: 'l'etoit une Princesse Toscane qui vouloit faire eclater en France l'ordre [toscane] de sa Patrie'. Architects employed by Marie de' Medici skillfully related to late mannerism Italian forms. However, distant from its Tuscan equivalent, with the special attention paid to rustic decoration, well liked by Marie de' Medici.

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2 Rocznik Historii Sztuki

2 2005

1 Chroscicki J. A.

1 Putkowska J.

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WIELOPOLSKI AND FRANCISZEK KSAWERY BRANICKI PALACE ON NOWY SWIAT STREET IN WARSAW IN THE SECOND HALF OF THE 17th AND IN THE 18th CENTURY

RESIDENCES OF MARIE DE' MEDICI. PALAZZO PITTI TO PALAIS DU LUXEMBOURG