Użytkownik:Matfiziaki/Orangery in Radzyń Podlaski

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HISTORICAL INTRODUCTION

Building designed by Jakub Fontana then constructed over the years 1756-1763, is a component of a larger palace complex in Radzyń Podlaski. It’s an excellent example of the Rococo movement in architecture, Fontana was influenced by parisian Palais Bourbon and orangery in Radzyń resembles the one in Großsedlitz near Dresden, Germany. One of the most significant elements there is carved by Jan Chryzostom Redler stone representation of Apollo riding his golden chariot.

Back in the days orangery was beneficial for palace household members in various ways but now it serves as a place where Radzyński Ośrodek Kultury is situated. It allowed aristocracy to grow exotic for this setting fruits most likely citrus, specifically oranges as designation signifies as well as to maintain a garden untouched during winter. It was a place of leisure, upper class gatherings and even theatre acts.

For almost 200 years aristocrats and magnates were in charge of the palace complex yet when the State Treasury claimed hold, it notably deteriorated and orangery’s interior was transformed into a gardening warehouse. Later on a group of citizens exhorted to makeover it into theatre, alas and alack World War II came for the time of which the German military took power over the whole palace complex. They managed to renovate it in order to locate ‘’Das Deutsche Volkshaus’’ there, a place for German soldiers to dine and wind down. Since post-war times orangery has been in the hands of city authorities who initially organised one part of it to be a cinema hall and second for a restaurant yet now only prior remains.

EXTERNAL APPEARANCE

The construction of Orangery was planned to take a main place in the surrounding park, cutting a path leading right through it and aligned with lakes, it embraces with astonishing craftsmanship of late-baroque. The floor plan of Orangery fulfils T-shape, lateral avant-corps are arranged into compositions made out of putti and floral vases. Paired with compositions both walls with avant-corps have four of its own porte-fenetre  arch windows which are crested with light rocaille motifs. Previously mentioned windows were obligatory planned to face South in order for the interior garden to get the most out of sunshine hence they’re broad and filmy. Central timbering above entry risalit is borne by four distinguished ionic columns that are topped out with carving of Apollo in Sun chariot. Monaxial half avant-corps are used as exterior finish of the elevation. From the back of the Orangery there’s a gardener’s lodge that used to  function as a facility, nowadays this extension contains a flight of stairs that leads to the main long gallery.

THE CARVINGS

Meaning of the carvings that adorn Orangery is strictly bonded with how it works, main Apollo sculpture and outer groups of putti are depicting how and what it’s used for. On the front portico, among the clouds there's a capacious group surrounding Apollo in his Sun chariot pulled by triga, with winnowed cloak who embodies hours lapse during day - moving towards South along with Sun, as the day passes. At each of his sides symmetrically there are putti that personify consecutively day and night or else dawn and dusk. Upon Western avant-corps, above it’s attic, central place belongs to leaning floral vase that is steadied by putto - this whole scene is exhibited on narrow corniced socle that blends with volute headworks. On it’s skirts beside rocaille cartouches resides additional pair of putti - from the left, girl with head fallaciously reconstructed as a male, with broad straddle she holds a blossom in her right hand and with left she supports cartouche on the other side there’s a traditional boy-form of putto who totes grapes in both his hands. This scene can be interpreted as an annual season passing by - from blossom to ripe grapefruit. Design on Eastern avant-corps looks very similar only main putto here grapples with vase, on edges of this carving there are two putti who pulls on element that now is lost but it was most likely vase’s perimeter or orange tree branch. This one depicts a group scene of horticultural chores. Redler’s sculptures in the Radzyń palace complex are a unique phenomenon in the scale of Europe.

Podsumowanie

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Sources

“Radzyń Podlaski 530 lat” Stanisław Jarmuł

”Szkice z dziejów Radzynia Podlaskiego i byłego powiatu radzyńskiego” Stanisław Jarmuł

”Radzyń Podlaski, Miasto i rezydencja” Grażyna Michalska i Dominika Leszczyńska

“Radzyń Podlaski informator turystyczny” Biuro Promocji Miasta

“Radzyń Podlaski” Piotr Hapka

“Grot” 2014

”Radzyń Podlaski, Wielka historia małego miasta” Anna Wasak

”Katalog zabytków sztuki w Polsce, Powiat radzyński teksty” Instytut Sztuki Polskiej Akademii Nauk