14.12.2012 Views

3. - Schlösser-Magazin

3. - Schlösser-Magazin

3. - Schlösser-Magazin

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

<strong>3.</strong> Elector<br />

112<br />

<strong>3.</strong> Justification for Inscription<br />

Carl Theodor’s removal to Munich<br />

the garden lost its original function, but<br />

it was still completed as a monument; the<br />

Mosque and Temple of Mercury were built,<br />

and with the great inspection record of 1795,<br />

the “Protocollum Cmmissionale”, it was<br />

preserved as a “Palatinate monument”. The<br />

record contains guidelines for the further<br />

preservation and maintenance of the garden.<br />

Due to the desolate financial situation, and in<br />

hopes of better times, the main focus was on<br />

the conservation of the basic layout; some of<br />

the fine structure was simplified. Maintenance<br />

of the woody plants was to be reconciled<br />

with artistic demands. These guidelines were<br />

adhered to in the first half of the 19th-century,<br />

the time of Garden Director Johann Michael<br />

Zeyher, who declared that his creative ideas<br />

were modelled on those of his predecessor,<br />

Friedrich Ludwig von Sckell. He converted the<br />

site of the former menagerie (discontinued in<br />

1778) into a modern arboretum (continuing<br />

the tradition of the first arboretum created<br />

by von Sckell) and turned the great formal<br />

basin into a natural-looking pond; at the same<br />

time elements like the “Uncanny Grove” were<br />

added to the landscape garden. The greening<br />

of the former court of honour, now without<br />

a function, was another change in the taste<br />

of the time. However, the basic layout of the<br />

garden remained untouched. In his garden<br />

guidebook of 1829, Thomas Leger justly<br />

praised Zeyher as a careful and intelligent<br />

conservator of the greater whole. The<br />

cultivation of the garden in the 19th-century<br />

was done in full awareness of its historical<br />

significance, and today it has become a part of<br />

the garden monument in itself: it is preserved,<br />

maintained, renewed and exhibited, as shown<br />

by the publication of a guidebook specializing<br />

on the arboreta in particular.<br />

Numerous documents bear witness to<br />

the efforts to maintain the garden. “If we<br />

but look closely, we will see the laudable<br />

endeavour to preserve this creation of an<br />

earlier century, so rare in Germany, as best<br />

the disposable means allow”, states a report<br />

drawn up in 1882 by the Grand Duchy’s<br />

gardens department. Numerous documents<br />

from the second half of the 19th-century refer<br />

to maintenance and renewal measures. The<br />

successful rejuvenating of the avenues by<br />

Garden Inspector Johan Wagner in particular<br />

was widely acclaimed. This tradition of both<br />

preserving and renewing the basic structure<br />

was the first priority of Court Gardener Unselt<br />

too. Overall there was a unique and “truly<br />

exemplary continuity in the conservation and<br />

preservation of a magnificent garden creation”<br />

(von Krosigk, 2006). At the beginning of<br />

the 20th-century experts were in agreement<br />

that the great whole had been successfully<br />

preserved and even enlarged upon (Schoch,<br />

1900).<br />

The positive response to Schwetzingen at<br />

the beginning of the 20th-century was not<br />

limited to the Baroque parts, quite contrary to<br />

the fashion of the day. If anything, it was this<br />

garden that brought the significance of the<br />

picturesque style back into the awareness of<br />

the art-loving public. Maintenance measures<br />

following the reports by Hallbaum (1928)<br />

and Heicke (1937) were based on gardening<br />

experiences from the 19th-century and<br />

remained comparatively modest in scope.<br />

Neither in the 1930s nor the 1950s were<br />

there large-scale alterations. Interest in the<br />

garden was mainly scientific and historical in<br />

those decades; in the name of the “Deutsche<br />

Gesellschaft für Gartenkunst” (Germany<br />

Society for Garden Art) Heicke suggested a<br />

grand national renewal scheme, pointing out<br />

the examples of Herrenhausen and Brühl, but<br />

the appeal never went further.<br />

It is important to note that the garden was<br />

always maintained and rejuvenated in its<br />

historicality, not restored to its late Baroque<br />

appearance. If the focus, from the point of<br />

view of monument protection, is on the late<br />

18th-century, this concerns the basic structure<br />

only. Later stages and additions such as the<br />

arboretum, inspired by an interest in botanics<br />

very characteristic of its time, are equally<br />

accepted and considered equally worthy of<br />

preservation; this goes for simplifications<br />

carried out at certain points in history too.

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!