 Okej, zauważyłam się, dziękuję za te inwitacje. Teraz wziąłem się do Polski, która jest daleko od U.S. kolekcji latenia, bo chciałabym mówić o Dacze Izabela Czartoryska. Była niesamowita polska dziewczynka, która pracowała w górach, w którym ona mieszkała. Ta życie i te aktywy odręczają się w drugiej południach w XVIII i pierwszych południach w XVIX. To jest okazja o odwiednieniu periodu, a obawę romantycznego era. Ona jest zauważywana jak żołnierzem Adam Kazimierz, mężczyzna z familii Czartoryckiej, a matka Adam Jerzy, founder of the Hotel Lambert in Paris, a political faction of Polish exiles after the disaster of the November uprising in 1830. During her long life, she played a dynamic role in social diplomatic and political circus in Poland. Even if Duchess was not particularly well educated, she stood out from other Polish women aristocrats by her independence of judgments, brilliance, mind's openness, and vastness of various interests. Associated with the activity of Czartoryska is also an important date in Polish museology because she holds her fame as the founder of the first Polish Historical Museum. Nevertheless, in aim to understand the uniqueness of Czartoryska work, it is necessary to present it in a wider context of the history of antiquities collected in Poland, studies about which provide an important insight into the role of broadly understood antiquity in the elite culture of Central and Eastern Europe. It is because the interest of antique art and culture was one of the elements of searching Polish identity at once confirming an affiliation to the same cultural sphere as Italy, France or Great Britain. The history of antiquities collected in Poland can be divided into three main phases. However, due to the turbulent history of Poland, most of collections were scattered, loaded or transferred, and a large part of the artifacts is now lost. Nowadays, to retrace the history, reconstruct their content and finally estimate their value for the Polish culture, we must often rely solely on the written testimonies and collection records. Sometimes, fortunately, collections of antiquities were merely a part of the larger decorative program of noblemen's residences. This specific phenomenon occurred in the second phase with the turn of 18th and 19th century. When several Polish aristocratic families wished to commission artistic vision of the ancient world, funding gardens all antique, with imitation of ancient ruins, buildings and tombs, together with collections of original antiquities, as well as antique-like copies. Polish gardens were the reflection of the same trend which was born in Britain, then developed in France, Germany and Russia. In Poland, such park were created in Warsaw and beyond, as you can see here, just several examples. Duchess Isabela Czartoryska arranged one in Puławy, as well, and it took place at the very special moment in the history of Poland. The third partition resulting in Poland's loss of independence and the abandonment of Warsaw, but the last Polish king made the capital to lose its prominent role. The cultural life was decentralized, focus was switched to province. In Puławy, Czartoryska created the animated center of culture and arts, development called new Athens, assembling around her an incredible team of artists, writers and well-educated officers. References to the past was the main yardstick of the decorative program of the entire foundation, in the expansion and modeling of which the most famous architects were involved. Among them, Christian Piotr Aigner, was the most important individual. After studies in Italy, he was one of the first architects who applied the decorative forms of classes in Poland, being inspired directly by Roman architecture. His later works were enriched by romantic influence as well. His experience and skills allowed him to construct in Puławy several buildings referring to antiquity, some construction alluding in form style or detail to the architecture of Campania of Lazium, such as copy of Sarcophagus Scipio Barbatus and garden gate in the form of Roman arch, a fountain of pan or a series of caves with ancient or ancient like sculptures exposed both inside and outside, gave an illusion of an ancient landscape. But two of the buildings were faithful imitations of ancient monuments. The Temple of the Sibium, an exact copy of the Rans Temple in Tivoli, whereas the location of the building on the high bank of the Vistula River reinforced the likeness of the original. The second building was a church, a smaller copy of the pantheon. However, the entire residence, park and buildings were just a backdrop of Charteriska passion for collecting. One of the buildings, the Temple of Sibium, was invented as a place to cultivate the national past. From the very beginning, the leading principle of the exposition was to recall the glorious history of Poland by presenting relics, monuments and memorabilia related to Polish heroes, kings and generals. The sentence above the entrance door, the past for the future, was the best illustration of the goal of the Temple of Sibium, to keep the memory of Poland in the darkness period of captivity. That's why the building was called also simply Temple of Memory. Already during its construction, the concept of another pantheon was born. If the Temple of Sibium was to be devoted to Poland, the new building would be dedicated to the memorabilia of all countries and all nations. This Gothic house, the form was due to Piotr Eigner. However, the ideas of the exposition was created by Charteriska herself. In her letter to his son, she described her concept as follow. We will build it with different debris that I picked up on site. I also have some who come from France. I have some from Scotland and England. She had also a very precise idea of how the monuments should be excavated. Small objects, books and engravings were displayed in rooms inside the house. Much more original was the exposition inside the house. Much more original was the exposition of bigger stone fragments and architectural elements embedded in external walls. The process of the creation is well illustrated by her words. We fix in the wall outside old stones removed from various buildings, houses, bridges, reputed either for their age or thanks to illustrious person who made them famous. The concept of such lapidarium was absolutely unique in Polish collection of that time. The nine walls were called with the names of famous persons or places. The one was called simply Roman. It was here when various ancient fragments were exposed. Mostly fragments of reliefs and statues, but also vases and lamps. Now the exposition almost disappear and it can be reconstructed just thanks to the written and iconographic sources as drawings of different walls in the houses. But what kind of monuments they were? Inversely to the most of the Polish aristocrats, Czartoryska was never been an enthusiast of impressive sculptures of vases. In England visiting the Lord's Blundell collection, one of the most famous and precious at that time she described it by using such expression as a pile of tasteless things, a lot of statues, a lot of so called ancient sarcophagi etc. She appreciated much more objects seen in some collection in Glasgow as stones found in the wall, roof ties marked by legions, tom stones without decoration, an altar dedicated to a goddess named Eponium etc. So as we clearly infer, Czartoryska had much more curiosity about Roman provincial antiquities than fascination for Greek and Roman culture. Travelling in England and Scotland, she was also impressed by monuments that could be connected with prayer Roman culture of Europe. She was so touched by the immensity, a secret singularity of Stonehenge interpreted by her as a Druids temple, that in aim to keep this memory, the memory of this deep emotion she decided to take a small fragment of stone which was later on this plane in Puave. The same kind of emotion made her collect in England, the grass at the site of the former Roman camp later on the exposition in Puave. As a result of such attitude her collection was dominated by souvenir of little material value, but of immense sentimental worth. Czartoryska apart her own collected artefacts, benefit from the help of many people's member of family and friends. Adam Jerzy Czartoryski sent her specimen of famous buildings in Rome as a capital on Pantheon. Monuments from companion towns were offered, but her daughter, some objects from Turkey were donated by Fertyszek Sapieha, while Wacław Żewłowski offered small sculpture from Palmyra. But besides, mementos of famous people and events, a very important role was played by pieces from Roman western provinces, Gallia and Germania or Belgium and Germany. There were a result of exploration activity of General Michał Sokolnicki who during his travel collected different ancient samples from a beautiful of piece of Roman concrete to beds from the place where Varus perished, as well as many bronzes, figurines, vases, fragments of armor or jewelry. Together with the Roman object with England, they represent the first tangible evidence of the interest of archaeology of Roman provinces. Why the idea of such emotion came directly from England and Romantic era, the musealization of the collection followed the French model, represented by the monument of France, headed by Aleksandr Lunowach, who arranged the exhibition and was the author of the numerous catalogs. According to that model, Charteriska opened the collection in the Gothic house to public and at the same time she was working on cataloging displayed artefacts. She was the author of several catalogs, including the monumental one in French in three volumes. Few years later, its old version was published with basic information about the artefacts. To emphasize the educational role of exposition, Charteriska herself prepared the information card that were attached of the monuments excavated inside the Gothic house, as we can see here. As a consequence of the fall of the November uprising, the residence in Poivre was confiscated and the collection was dispersed, then was transferred to Paris. Now in Charteriska Museum in Krakow, just few modest artefacts testified the nucleus of the entire collection. To summarize, what's the idea of this collection, why this collection is so significant for Polish culture. Charteriska did not pay attention to the material value of the monuments, but each of them was a pretext for a deeper reflection upon the past, so her collection was built from the start as to play, to informative educational role, and from the beginning was accessible to a broader public. It is worth to appreciate the manner of excavation with informative cards or inscription in the wall. What merits attention is the content of the collection, which included archaeological objects from province, both Roman and Przeroman. Finally, the park of Isabella Charteriska in Poivre was one of the major venues for enthusiasts of antiquity in Poland in the early 19th century. Antiquity represented by now classical buildings alluding to ancient architecture, structured by faithful imitation of Greek and Roman monuments, as well as collection of antiquities, created a convenient atmosphere for arts and literature flourishing. Poivre fully deserved to be called Polish atas. Such atmosphere was favorable as well for the entertainment as to be seen on the painting of Norwin Rudenev de Satyr. Thereby, Norwin immortalized the festivity in honor of Louis de Prus' wife of Prussia of Antoni Rajiviu during which dear gentlemen and ladies were prancing along tip at the entrance of the grotto. The French poet Delil described this then exactly as if he saw it. Thank you.