1.WilanwPalaceWilanw Palace Caraman IoanaColegiul Naional Pedagogic ,, ConstantinBrtescu

2. Presentation Wilanw Palace is a royal palacelocated in the Wilanw district, Warsaw.Wilanw Palace survived the time ofPolands partitions and both World Warsand has preserved its authentichistorical qualities, also is one of themost important monuments of Polishculture. The palace and park in Wilanw is notonly a priceless testimony to thesplendour of Poland in the past, but alsoa place for cultural events andconcerts, including Summer Royal 3. History Wilanw Palace was built for the Polish king John III Sobieski in the last quarter of the17th century and later was enlarged by other owners. It represents the characteristictype of baroque suburban residence built entre cour et jardin (between the entrancecourt and the garden). Its architecture is original - a merger of European art with oldPolish building traditions. Upon its elevations and in the palace interiors antiquesymbols glorify the Sobieski family, especially the military triumphs of the king. Wilanw Palace as seen from north-east by Bernardo Bellotto (1777). After the death of John III Sobieski in 1696, the palace was owned by his sons and laterby the famous magnate families Sieniawskis, Czartoryskis, Lubomirskis, Potockis andBranicki family of the Korczak coat of arms. In 1720, the property was purchased byPolish stateswoman Elbieta Sieniawska who enlarged the palace.[3] Between 1730and 1733 it was a residence of Augustus II the Strong, also a king of Poland (the palacewas exchanged with him for the Blue Palace at Senatorska Street), and after his deaththe property came to Sieniawskas daughter Maria Zofia Czartoryska. Every ownerchanged the interiors of the palace, as well as the gardens and grounds, according tothe current fashion and needs. In 1778 the estate was inherited by Izabela Lubomirska,called The Blue Marquise. She refurbished some of the interiors in the neoclassicalstyle between 17921793 and build a corps de garde, a kitchen building and abathroom building under the supervision of Szymon Bogumi Zug. In the year 1805 the owner Stanisaw Kostka Potocki made a museum in a part of thepalace, one of the first public museums in Poland.A most notable example of thecollections is Potockis equestrian portrait made by worldwide renowned French painterJacques-Louis David in 1781. Besides European and Oriental art, the central part of thepalace displayed a commemoration of king John III Sobieski and the glorious nationalpast. The palace was damaged by German forces in World War II, but it was notdemolished after the 1944 Warsaw Uprising. After the war, the palace was renovated,and most of the collection stolen by Germany was repatriated. In 1962 it was reopenedto the public. 4. The structure was designed by Augustyn Wincenty Locci. The architecture of the palace is a unique example ofdifferent building traditions - reminiscent of Polish aristocratic mansions with side towers, the Italian suburbanvilla and French palaces entre cour et jardin with two oblong wings on each side of the cour dhonneur. Sundial with Chronos. During the first stage of construction, between 1677 and 1680 it was a typical Polish manor house with fouralcove towers attached to the one-storeyed square building. Between 1681-1688, the building was enhancedand two gallery wings ending with towers were added. This new appearance was probably inspired by PalladiosVilla Montagnana.Shortly after the kings death the third stage of the reconstruction was accomplished. Between1688-1696 the pavilion above the main building was erected and the towers were covered with baroque spires,all resembling the Villa Doria Pamphili in Rome (especially its initial design by Giovanni Francesco Grimaldi). The north wing, erected by Elbieta Sieniawska. The king and his librarian Adam Adamandy Kochaski took active part in the design and construction of thepalace.The latter was responsible for the ideological and artistic programme, where motives and decorationelements played an essential role in glorifying the monarch, his wife and the Republic - busts of king and queenamong the effigies of ancient characters, gods and goddesses, roman emperors and empresses (such as theDioscuri, Zeus-Amun, Sibyl, Romulus, Rhea Silvia, Alexander the Great, Cleopatra, Dido and Vespasian amongothers), Eagle and Pogonia, personifications of the Commonwealth regions (Masovia and Greater Poland,Samogitia, Red Ruthenia and Royal Prussia).They were issued by sculptors Andreas Schlter (many reliefs andother secondary aspects of the facade),Stefan Szwaner and a stucco decorator named Antoni of Wilanw. Someof the sculptures were made in the Low Countries by Louis Willemsens and Artus Quellinus workshop, shippedto Gdask and then transported to Warsaw.An ornate sundial on the south wall with Chronos, together with theopposite composition with Uranus on the north wall, were intended to underline the kings patronage of scienceand orderliness in the Serenissima during his reign.They were executed by Antoni of Wilanw, according to thedesign by Johannes Hevelius (astronomical aspect), Adam Adamandy Kochaski (mathematical aspect) andAugustyn Locci (artistic aspect). The side wings embracing a courtyard, initiated by the king, were built long after his death by ElbietaSieniawska. They were constructed in the fourth stage of the enlargement between 1720-1729.PowerfulSieniawska was very concerned in maintaining the substantial historical residence of the Rex victoriossimus(Victorious King), as it was called.Despite that she transformed the palace into a French style palais enchantaccording to design by Giovanni Spazzio, with two new wings harmonious with the 17th century corps de logis.She employed the most renowned architects and artists for this undertaking, such as previously mentionedSpazzio, Johann Sigmund Deybel, Jzef Fontana, Jan Jerzy Plersch and Giovanni Rossi. While the originalroyal palace was decorated with reliefs depicting the deeds of John III, the new wings were adorned withbattlefield achievements of Sieniawskas husband and father-in-law - Adam Mikoaj and Mikoaj Hieronim 5. ImagesSundial with ChronosThe north wing, erected by ElbietaSieniawska 6. The most prominent Polish and foreign artists participated in the decoration of the palace interiors. It wasentrusted to painters Martino Altomonte, Jan Rayzner of Lviv, Michelangelo Palloni, sculptor Stefan Szwanerand stucco decorators Szymon Jzef Bellotti, Antoni of Wilanw and Abraham Paris.They were supervisedby the official court painters Claude Callot and later by Jerzy Siemiginowski-Eleuter. The latter, one of thegreatest Polish painters of that time, had a significant influence on the palaces subsequent internal aspects(plafonds in the state rooms, frescoes).Internal decoration was also superintended by Adam Kochaski, agreat admirer of China, who supported closer economic relations of the Commonwealth with the "Centralnation". Due to his influence, Wilanw and other residencies were full of luxury Chinese imports andchinoiserie. The 17th century palace inventories included the works of the greatest contemporary and ancient masters,like Rembrandt (Portuguese rabbi, Jewish Girl in a beret, The Adoration of the Magi, Abraham and Hagar,Portrait of an old man in the so-called Dutch Room of the palace), Pieter van Laer, called Bamboccio(Travellers), Anthony van Dyck (Christ in the Garden of Gethsemane), Ferdinand van Kessel (batalisticscenes, allegorical paintings and still lifes), Raphael, Caracci brothers, Guido Reni and Bernardo Strozzi.Thechambers were filled with precious furnishings, like silver folding screen, silver pyramid with 11 baskets, athree-storeyed silver fountain or a silk baldachin presented by the Shah of Persia.Unfortunately they werescattered by the successive proprietors, appropriated by Friedrich August of Saxony and transported toDresden or looted by the Germans during World War II (e.g. John IIIs tortoise-shell cabinet, never retrieved). African servant carrying a parrot (detail of a fresco by Giuseppe Rossi). Among the artists appointed for decoration of the palaces interiors in the 18th century were Giuseppe Rossi,an Italian fresco painter, who adorned the chambers with trompe-lil paintings and stucco decoratorsFrancesco Fumo and Pietro Innocente Comparetti. Following the example of Queen Marie Casimire, whoordered a painting of herself as a goddess on the palace plafonds, Elbieta Sieniawska embellished theLower Vestibule with a fresco of Flora. On her initiative the walls in the royal chambers were covered withGenoan velvet.The walls of the second floor, that is the Great Dining Room, were covered with frescoesdepicting Apollo, Minerva and Hercules as an allegory of Virtus Heroica (Heroic Valor), Hebe symbolizingVenustas (Beauty) completed with panoplies. Sieniawskas daughter, Maria Zofia Czartoryska, furnished thepalace with new fireplaces made of white-cherry marble and crowned with mirrors in rich rococo frames. In the contract with King Augustus II Maria Zofia obliged him to preserve the palace unchanged. Thereforehis actions were limited to finishing the new dining room, called the White Room in the southern wing and tothe decoration of some unfinished interiors.The plafonds and other paintings were executed by JulienPoison, Johann Samuel Mock and Lorenzo Rossi, while the decorative lacquer panneaux in the ChineseRoom were made by Martin Schnell. 7. ImagesAfrican servant carrying a Plafond with Allegory ofparrot (detail of a fresco by Autumn by JerzyGiuseppe Rossi) Siemiginowski. 8. Integral part of the palace, almost since itsbeginning, was a garden. Initially it had thecharacter of a baroque Italian garden in asemicircular form surrounding the palace on theeast. In its composition this geometric garden fittedin well with the ancient patterns and the palacearrangement. It consisted of an upper gardenlocated on a terrace with two arbours in the form oflanterns in each corner, and lower garden. Duringthe third stage of the reconstruction of the palacethe geometric garden parterres were replaced withembroidered parterres la franaise inspired byAndr Le Ntres treaties.At that time the gardenwas embellished with gilded lead sculptures byGaspar Richter of Gdask and vases carved incherry marble from Chciny. In the beginning of the18th century the garden was enlarged, the latebaroque parterre ornamentation was replaced withrgence motives completed with Sieniawskas coatof arms Szreniawa in the northern parts and hermonogram in the southern part.In 1784 IzabelaLubomirska transformed neighbouring territories ofWilanw folwark into a jardin anglo-chinoisaccording to Szymon Bogumi Zugs design. Thisnew garden with rich vegetation, sinuous paths andcascades was inspired by works of William