The paintings, most of which certainly in the Picture Gallery on the ground floor of the Palace on the Isle were framed in identical, carved and gilded frames with the royal numeral in the cartouche, were, according to the custom common in the 18th century, hung in the form of so-called wallpaper densely filling the walls. Arranged symmetrically, in rows, often with a dominant canvas of distinctive format, they were combined in pairs which were placed next to each other or alternately painted as pendants or only similarly composed and of the same dimensions.

The larger paintings were hung in the upper rows, the smallest in the lowest rows[1]. The arrangement of works was subordinated to the requirements of interior decoration, rather than to a scientific presentation according to epochs and schools, as adopted in the royal galleries in Potsdam, Dresden or Vienna, which were reorganised in the second half of the 18th century. The concept of arranging a gallery of paintings, adopted by Stanisław August and Marcello Bacciarelli, should therefore be considered traditional but not obsolete - many European residences of the time still presented paintings in this way[2]. Andrzej Rottermund has pointed out that the Royal Baths realized the concept of a villa-museum, undoubtedly inspired by the famous Roman residences well known to Bacciarelli, and through him to the king, such as the Villa Borghese[3]. The nature of the Bathsheba palace: a private, small summer residence, situated in the midst of nature, surrounded by water, predestined it to fit into such a context[4]. In this villa-museum, filled with the most valuable pieces of painting, sculpture and decorative art from the royal collection, each work represented a separate value, while at the same time being a complement to the larger, harmoniously composed whole. We do not know how the monarch's concept of presenting the art collection at the Royal Łazienki would have evolved had it not been for the fall of the Republic, the abdication and departure of Stanisław August. In the King's correspondence with Bacciarelli concerning the planned gallery of antique sculptures, we find the seeds of thinking about the Łazienki as a 'modern museum'[5]. According to Andrzej Rottermund, "we can (...) assume that the king intended the Łazienki to be (...) a museum of public character"[6]. In the unrealised plans for the extension of the Baths, we find a design for a long pavilion placed on the west side, perhaps with works of art in mind. Would the enlargement of the palace and the king's finances have made it possible to create a museum in which both sculpture and painting collections would have been exhibited according to modern, scientific principles, and would it have been opened to the public in the future? The question posed in this way must remain unanswered. However, there is no doubt that the collection of paintings assembled by Stanislaw August at the Royal Łazienki, presented in the Picture Gallery and other interiors of the Palace on the Isle, was the most comprehensively planned and the richest collection of paintings in the Republic of Poland at that time.