II. - Schloss Schwetzingen

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II. Fig. 5: Nicolas de Pigage, cross section of the theatre looking west; pen and ink, grey wash (41,3 x 57 cm), condition after 1762. The plan shows the galleries as they were just after completion. Compared to today they were considerably deeper and more spacious. Parts of the fl yloft and the borders are visible too. 66 II. Schwetzingen – A Prince Elector’s Eighteenth-Century Summer Residence the machinery was overhauled and rebuilt, but during the late 18th and the 19th century the theatre was hardly used any more. The alterations in the course of the 20th century were tantamount to a gradual dismantling. The Baroque stage machinery of the Schwetzingen court opera was demolished in the 1950s. Wooden constructions were replaced by modern ones of steel, and in 1971, the historical stage was pulled down. The loss is particularly regrettable in view of the fact that the machinery was still largely intact at the beginning of the 20th century. Today’s stage possesses a modern technology capable of meeting all the demands made on a contemporary theatre. A dDescription of the Baroque Stage Machinery The main stage, 16m wide and 19,5m deep, had fi ve groups of three sets each, plus additional pairs of sets; the wooden construction holding the painted sets was made of posts, not the usual ladders. The sets were moved by a shaft in the stage below with fl ies and counterweights. The below stage also featured trapdoors and adjustable stage lighting. Six shafts were mounted in the fl yloft for the moving of ceiling parts and other features; several more were mounted on the galleries and beneath the roof. Only the shafts for the backcloths, the borders and the house curtain had to be assigned permanently; the others could be used for fl ying machines, cloud chariots and the like, and freely assigned to varying purposes. The available machinery lent itself to a variety of productions; changes could be made within seconds. A comparison of Pigage’s elevations, probably from the 1760s, with depictions by Schweitzer from the 1920s and 1930s shows mainly agreements, the chief difference being that Pigage’s drawings depict the machinery with the ropes in place: a comparison with other stage machineries can thus help to comprehend the function of individual elements, such as the borders. In the longitudinal section these are shown gathered up and turned up at the sides. Little can be inferred about the curtain, the backcloth and their machinery. They are shown in cross-section; the curtain is gathered up at the sides; the backcloth depicts a building; the sets show walls with columns and arcades. Neither depiction provides any information about the lighting of the house or about additional features, like thunder or rain machines, although according to other sources, both were available. Unfortunately the shafts for the counterweights have been omitted in the drawings; no traces of them have as yet been discovered in today’s building. On the whole, though, Pigage’s drawings, probably intended to document things after the completion of the building, give a clear and detailed idea of the layout of the wooden theatre and the functioning of its sets and borders. The roof truss above the house has been preserved, and as it is identical in both dimensions and construction to the one above the stage, it gives an excellent idea of the working conditions in the fl yloft, surrounded by machinery and ropes. The few pieces of the stage that have been preserved are in the care of the Mannheim
offi ce of the State Agency for Property Assets and Construction (Bauleitung Schwetzingen des Landesbetriebs Vermögen und Bau Baden- Württemberg); they are kept in the orangery building. The Mannheim offi ce has commissioned the construction of a model built to a scale of 1:20, II. Schwetzingen – A Prince Elector’s Eighteenth-Century Summer Residence and presenting the machinery in a state of functionality. In this way, with the help of the remaining pieces of the stage and the model, the workings of the Baroque stage machinery may at least be displayed and understood. (Monika Scholl/Peter Thoma) II. 67
Page 1 and 2:
Nomination for Inscription on the U
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Nomination for Inscription on the U
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Contents III. Schwetzingen - Histor
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I. Introduction In the eighteenth c
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II. Schwetzingen - A Prince Elector
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Lent) served to please and divert c
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of mutual succession to reside in M
Page 15 and 16: the residence to be situated on maj
Page 17 and 18: personnes qui ont été nommées po
Page 19 and 20: ducted. This is what distuinguishes
Page 21 and 22: The subject of Ovid’s Metamorphos
Page 23 and 24: they call attention to the fact tha
Page 25 and 26: of healing and redemption, protecto
Page 27 and 28: come real, evoke Arcadia in the vis
Page 29 and 30: fi fth of the “septem artes liber
Page 31 and 32: in the pattern of the portico fl oo
Page 33 and 34: Death and evening are symbolized by
Page 35 and 36: The Schwetzingen grounds provide ne
Page 37 and 38: Infl uences and Models The architec
Page 39 and 40: French ambassador François Bonaven
Page 41 and 42: herent nobility of the shapes was b
Page 43 and 44: the edge, spitting water down into
Page 45 and 46: interplay of light and shade as one
Page 47 and 48: the huge cost of fl . 120 000; this
Page 49 and 50: attraction of the cloister, which i
Page 51 and 52: Classicist portico. The mosque is t
Page 53 and 54: not merely with reason, but even wi
Page 55 and 56: f) The Arabic Insriptions of the Mo
Page 57 and 58: The Inscriptions of the Interior Al
Page 59 and 60: association of talk and silver is i
Page 61 and 62: capable of wit, acumen and humour a
Page 63 and 64: g) The Palace Theatre - the Ideal o
Page 65: latest developments in theatre tech
Page 69 and 70: of a pumproom and machinery, and us
Page 71 and 72: “Societas Meteorologica Palatina
Page 73 and 74: the fi rst international scientifi
Page 75 and 76: i) The Palace Garden Arboreta - a B
Page 77 and 78: The science of botany, which reache
Page 79 and 80: The newly acquired, and sometimes v
Page 81 and 82: j) Harmonious Opposites: Carl Theod
Page 83 and 84: Absolutism and Enlightenment Electo
Page 85 and 86: II. Schwetzingen - A Prince Elector
Page 87 and 88: III. Schwetzingen - Historical Cont
Page 89 and 90: condemned Catholicism as “cursed
Page 91 and 92: 2. The Cultural Landscape of Schwet
Page 93 and 94: to Mannheim. 31 The conveniently sm
Page 95 and 96: still characterized by the alterati
Page 97 and 98: intended by the Baroque building pl
Page 99 and 100: Changes of Faith, War and Reconstru
Page 101 and 102: Schwetzingen in the 19th Century Th
Page 103 and 104: c) History of the Palace 1. The Ori
Page 105 and 106: members of the Erlickheim family, p
Page 107 and 108: In 1655, cleaning up and renovating
Page 109 and 110: ooms could be heated, the ceilings
Page 111 and 112: The Castle of the von Erlickheim Fa
Page 113 and 114: III. Schwetzingen - Historical Cont
Page 115 and 116: een to create a counterpart to the
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Reconstruction Under Carl Ludwig fr
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The Development of a Baroque Summer
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III. Schwetzingen - Historical Cont
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Rococo styles, with geometric inlay
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that reason, there is no full chron
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y panelling the walls with wood and
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eastern part was restored to its or
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Uffenbach 11 noted in his travellin
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der 29 was taken on as chief court
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for the fi rst time in 1782, was co
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eticians, especially those of Antoi
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plan of 1783 (cp. Fig. 5). Leading
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In the 19th century Zeyher converte
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Grupello put up in Düsseldorf fi r
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of Botany it shelters, is a reworke
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The English Garden in the west of t
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formal gardens, where they still su
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of Baden 136 , was the court garden
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Schwetzingen is described as the mo
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pilation of the “Parkpfl egewerk
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nymous author of one garden guidebo
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to a monument of courtly life under
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derably in making the gardens widel
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de plaissance de Mrg l’Électeur
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Salvatore Sciarrino and Adriana Hö
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IV. Biographies a) Rulers (in Chron
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Maria Luisa. On 5th November 1700,
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Elector’s scholarly and artistic
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troops, who were already at the gat
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sels, where he was admitted to the
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Ferdinand Kobell (1740-1799) The pa
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Zweibrücken (1722-1775) in the cap
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Elector Carl Theodor (1724/1742-179
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In 1771, Carl Theodor commissioned
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served his apprenticeship with Cour
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V. Chronology (Tanja Fischer) 766 F
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1795 Report of an inspection tour f
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VI. List of Monuments in Schwetzing
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Carl Theodor, in the west wing a gy
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uilding probably built from plans b
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timbered walls elsewhere, saddlebac
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Ketscher Straße 2 (Flstnr. 3880/1)
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Carl-Theodor-Straße 1 (Flstnr. 259
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the 18th century; one-storey outhou
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VI. List of Monuments in Schwetzing
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VII. Bibliography (Stefan Moebus) A
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Budde 1999 - Kai Budde, “Die natu
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esidenz Schwetzingen”, in: Kurfü
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Hoffmann 1925 - Wilhelm W. Hoffmann
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Lohmeyer 1915/1920 - Karl Lohmeyer,
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Richter 2004 - Susan Charlotte Rich
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Szymczyk-Eggert 1993 - Elisabeth Sz
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Wimmer 1988/89 - Clemens Alexander
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II. - Schloss Schwetzingen

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