Palaces of PolandPhoto: Mariusz Cieszewski / www.polska.plŁ Ó D Ź . P O Z N A Ń S K I P A L A C E .source: www.muzeum-lodz.pl/en/100 TRAVEL.LOVEPOLAND
History of the Palacetext source: www.muzeum-lodz.pl/en/The Palace – the culmination of the 19th-century empire ofIzrael Poznański, called ‘the cotton king’, was built as part of anenormous factory and residential compound, typical of theindustrial architecture of the 19th century. Factory, lavishresidence, houses for workers,school, hospital, and even a church – in times of glory it allresembled a true ‘state within state’. In less than half a century,Izrael Kalmanowicz Poznański changed from a lowly merchant,who contributed a manufactory worth merely 500 roubles intohis marriage with Leonia Hertz, into a powerful factory ownerwith 11 million in his account.In 1877, Poznański bought a multi-storey, brick-built housetogether with detached buildings: a ground-floor dyeing mill,wooden outbuildings, a square and a garden at the intersectionof Ogrodowa and Stodolniana (today Zachodnia) Streets. Thecompound was then extended and the palace itself wasmodernised during three main renovations.Despite the common opinion, it did not originate as a residentialbuilding: its main intended use was its representative andcommercial function with a residential part, designed by thecontemporary city architect, Hilary Majewski, based on modelsof the French Neo-Renaissance. The residence was surroundedby a huge garden, with the total surface area of 4,255 m²,which expanded from Ogrodowa Street to Drewnowska Street,all the way up to the bed of the Łódka River. The part situatedin the closest vicinity of the palace was a strolling garden, thefarther one was functional: a vegetable garden withgreenhouses, conservatory, shooting range and pond.Interestingly enough, until today we can admire in that gardenthe greenery that remembers the family strolls of thePoznańskis. The enormous diversity of the plants that growhere – nearly 60 species of trees, shrubs and vines that appearhere – is a characteristic feature of the palace garden. Amongthem, there is the yellow-leafed ‘Worley’ sycamore and anabsolute rarity in the form of two unique strains of maple.Their peculiarity is testified by the fact that they do not havePolish names and they cannot be found in Polish dendrologycompanions. According to Professor Romuald Olaczek, they aretrue botanical phenomena, freaks of nature of a kind,differentiated from the typical representatives of their speciesby the shape of their leaves.The current form of the garden diverges considerably from theoriginal design, however, the following elements have remainedhere up to the present day: part of the old tree stand,architecture of the current drive, rotunda, and stairs leadinginto alleys. Also the gas lanterns in the form of statues ofguardians holding torches have survived up till today.The palace earned its current form as a result of a fewmodifications introduced along with the changing financialstatus of the Poznański family. The first redevelopment tookplace in 1898, according to the design of Juliusz Jung andDawid Rosenthal. The decision about the next redevelopmentwas taken in 1901, already after Izrael Poznański’s death (hedied in 1900, at the age of 67). The enterprise of extending anddecorating the interiors of the palace fell to his sons: Ignacy,Maurycy, Karol and Herman. On their recommendation, theproject of extension that imparted its Neo-Baroque form to thepalace, was designed by Adolf Zelingson, Maurycy Poznański’sschoolmate. The architectural supervision over the works wasexercised by Franciszek Chełmiński. The works were completedin 1903. It was when the residence earned an architecturalform similar to the present one. The residence was supposed tohighlight the status and the financial possibilities of thePoznański family. The building is dominated by domes, whichhide a representative Neo-Baroque dining room and a ball room.The sculptures that crown the frieze of the facade are inspiredby the iconology of the Italian renaissance humanist CesareRipa, who described the most important symbols of the era inhis book. The designers drew inspiration also from similarresidences of the financial bourgeoisie of western Europe.101 TRAVEL.LOVEPOLAND
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