📖 Introduction

The unassuming suburban manor, nestled by the picturesque Lake Wilanów and just half a mile from Warsaw, underwent a remarkable transformation into a splendid summer palace. Jan III Sobieski (1629-1696), revered as a king, warrior, and national hero, cherished this retreat alongside his beloved wife Maria Kazimiera (1641-1716), affectionately known as Marysieńka, and their children. He acquired the estate in 1677 and expanded it under the guidance of the Polish architect and artistic advisor Agostino Locci. The result of their work was the addition of a second floor to the existing central building and copper helmets crowning the towers. Additionally, gardens were laid out around the palace, giving them a geometric form. A farmstead and a small orangery were also added, where King Jan III stored his collection of citrus plants.

The flanking wings leading to the palace are attributed to another remarkable owner of Wilanów: Elżbieta Sieniawska (1669-1729), known as the “queen without a crown”. Sieniawska, a close lady-in-waiting to the queen, was both an heiress of immense fortune and an educated woman with exceptional managerial abilities. She maintained regular contacts with French King Louis XIV and Tsar Peter I. In 1720, the Wilanów properties came into her possession, which she repurchased from Sobieski’s son, Konstanty. These properties were already in disrepair, neglected, and deteriorating. Sieniawska’s strong relations with the Sobieski family allowed her to outpace even King August II the Strong in acquiring the palace. During Elżbieta’s era, the palace underwent restoration and expansion, following Baroque concepts and the plans left behind by the late Sobieski. Distinguished Italian architects, under the watchful eye of Giovanni Spazza, harmoniously integrated the newly added side wings with the existing central structure—an effect we can still admire today.

In the late 18th century, Wilanów witnessed further expansion under the ownership of Izabela Lubomirska (1736-1816), Elżbieta’s equally remarkable granddaughter. During her stewardship, the complex saw the construction of the Guardhouse, Kitchen, and Bathhouse around the courtyard. Izabela also infused the southern garden with an English-Chinese style. She bequeathed the estate to her daughter, Aleksandra, and Aleksandra’s husband, Stanisław Kostka Potocki. A symbolic neogothic mausoleum, commissioned in 1836 by their son, Aleksander Potocki, stands in the forecourt followed a design by Henryk Marconi, inspired by King Kazimierz the Great’s tomb in Wawel Cathedral. The sarcophagus chest features 16 bas-reliefs depicting Stanisław Potocki’s actions. Proud lions, positioned since 1843, rest atop heraldic shields of the Potocki and Lubomirski families. Among the many contributions of Aleksandra and Stanisław Potocki, the opening of a museum accessible to all within the palace in 1805 stands out. This museum was dedicated to the memory of King Jan III and continued the artistic endeavors initiated by him. 

Stanisław Kostka Potocki (1755-1821) was an extraordinary figure—a count, senator, major general of cavalry artillery, poet, playwright, art enthusiast, and patron. Decorated with numerous titles, including the Order of the White Eagle, he was one of the signatories of the Constitution of May 3rd. However, his most significant impact lay in his role as a historian and connoisseur of art, shaping the collections of Wilanów. To this day, the palace showcases the apartments of King Jan III and Marysieńka, along with their numerous mementos. The rich collection at the palace also includes exhibits of oriental and antique art, as well as outstanding paintings. Among these works are pieces by Lucas Cranach, Jan Lievens, and the eminent representative of French neoclassicism, Jacques-Louis David. Notably, the Polish collection features David’s monumental Equestrian Portrait of Stanisław Kostka Potocki—a masterpiece over four meters long.

During the 19th century, the primary focus at the palace was on renovations and adapting the interiors for both museum and residential use. The Branicki family, who inherited it from the Potocki family in 1892, were the last aristocratic owners of Wilanów before World War II.

During World War II, the Germans and Hungarians looted around 80% of the palace’s interior furnishings, and the palace garden suffered severe damage. Post-war, the state took ownership of Wilanów Palace. Initially, it became a division of the 🔗 National Museum in Warsaw, and since 1995, it has operated independently.

🚶🏻‍♀️ Visit

Our exploration of Wilanów begins at the forecourt, now part of the external park. The Potocki Mausoleum immediately captures attention and merits close examination. Proceed to the Caretaker’s Cottage, housing the museum ticket office, with additional self-service ticket vending machines nearby. This small mid-19th-century house stands on the palace’s main axis. Directly from the cottage, head to the Main Gate, designed during King Jan III’s lifetime by the Vasa family architect, Augustyn Wincenty Locci. Serving both practical and representational purposes, the gate stands as a unique monument to the king’s glory. Its adornments include figures symbolizing just war, peace, and security. The Roman-armored knight bears the Sobieski coat of arms, while the female figure holds a palm branch—a symbol of peace. Nearby rests a sphere representing knowledge. In the 18th century, sculptures of a bear and a dog were added, symbolizing endurance, justice, and safety.

The Royal Palace

Beyond the Main Gate lies a two-part courtyard. If you turn right from the gate, you’ll reach the entrance gates to the Palace. Visitors explore the Palace with audio guides obtained from the cloakroom located in the basement. The tour begins with the former Chinese rooms of Stanisław Kostka Potocki, where ornate vases, paintings, and furniture adorn the rooms embellished with exquisite paneling. Moving to the first floor, you’ll find the apartments of Princess Marszałkowa Lubomirska, which served as the private chambers of Izabela Czartoryska. The walls display paintings from Stanisław Kostka Potocki’s collection, including a beautiful portrait of Elżbieta Sieniawska.
The most impressive space is undoubtedly the two-story White Hall, where balls and receptions were held. In the 19th century, it showcased portraits from the Potocki collection. Continuing the journey, you’ll be awestruck by the equestrian monument of King Jan III, created around 1693 to commemorate the 10th anniversary of the Battle of 🔗 Vienna. Originally placed in the Great Hall, which occupied a central position in the palace, the monument faced the main entrance. During the king’s time, this was the largest and most representative part of the palace, also serving as a dining area. The route further leads through the King’s Library, adjacent to which is the chapel—arranged in the room where the great king passed away. You can then peek into the separate bedrooms of the king and queen. On the upper floor, you’ll find low private apartments with an entirely tiled original room, housing numerous exhibits and collections of porcelain, Turkish tents, and sacred paintings.

The Royal Gardens

Integral to a visit to Wilanów are the palace gardens. In simplified terms, we can divide them into the northern, southern, and central baroque garden. The oldest part is the northern garden, established during the reign of King Jan III. Initially an orchard, it retained its original layout. Elżbieta Sieniawska initiated its decorative transformation. Stanisław Kostka Potocki added a place for reflection and contemplation—the secluded Grove of Academus, featuring a stone bench and a collection of sculptures.

The Orangery, situated at the edge of the garden, was built between 1746 and 1748 at the behest of Elżbieta Sieniawska’s daughter. Unfortunately, it was completely destroyed during World War II, and the current building is a beautiful reconstruction from 1955. To the north, the park seamlessly merges with the Lasek na Kępie, forming a charming water garden where a small ferry shuttles between both shores of Lake Wilanowskie. Additionally, within the garden stands the Chinese Pavilion from 1806, most likely designed by Potocki himself. Also, the Roman Bridge, a work by Piotr Eigner (the same architect who designed St. Alexander’s Church at Three Crosses Square), adds to the garden’s allure.

Centrally situated, the baroque garden is the most representative of all the sections, further enhanced by its picturesque location on terraces along the slope. Dual-flight grand stairs add charm, leading from the upper terrace to the lower garden salon.
Centrally situated, the baroque garden is the most representative of all the sections, further enhanced by its picturesque location on terraces along the slope. Dual-flight grand stairs add charm, leading from the upper terrace to the lower garden salon. To the south, the landscape park runs along the edge of the pond and Służewiecki Stream, descending with the terrain. During the king’s time, this area served as a farmstead with stables, a dovecote, and a brewery—where barrels of spirits were cooled in the nearby pond. To this day, beyond the current Rose Garden wall, stands Góra Bachusa (Bacchus Hill), offering a panoramic view and once used for cultivating grapevines. The farm buildings disappeared from this spot in 1811, when Stanisław Kostka Potocki established the landscape garden.

Both World Wars have left their mark on the magnificent gardens. Centuries-old trees fell victim to artillery fire, but they were also converted into firewood. Many ancient sculptures vanished without a trace. The post-war years were laden with the laborious task of slow reconstruction, despite some perplexing decisions—such as asphalting the park paths. However, it was only in the 21st century that comprehensive work took place, supported by European funds. The spectacular results are visible today, and we can anticipate further effects from ongoing efforts in the coming years.

✔ Planner

• Ticket counters 🎫 are located in the Caretaker’s Cottage, on th axis of the Main Gate, or at the vending machines in front of it. You can also purchase tickets 🌐 Online
• Thursdays offer free admission 🆓 to the palace and park for everyone, with ticket collection at the counter (limited availability).
• Individual audio guides 📳 are available for rent at the museum.
• Children under 6 can explore for free, while children aged 7-16 visit for “1 zł”.