3. - Schlösser-Magazin
3. - Schlösser-Magazin
3. - Schlösser-Magazin
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Thus the numerous small 18th-century trellis<br />
structures were not reconstructed, not even<br />
within the parterre. The clumps of lilac<br />
there date from c.1900, the grassed court<br />
of honour from the first half of the 19thcentury,<br />
the orangery square in its current<br />
shape and furnishing from the second half<br />
of the 19th-century. Larger-scale measures<br />
like the restoration of the parterre beds and<br />
the avenue trees 1 have been conducted with<br />
proper scientific care. The latter undertaking<br />
in particular was highly appreciated by<br />
experts of the time for its close approximation<br />
of Baroque planting schemes, something that<br />
had not been accomplished before.<br />
The ”International Symposium on the<br />
conservation of historic gardens“ organised<br />
in Schwetzingen in 1975 as part of the<br />
“European Monument Year”, with the<br />
assistance of the German National Committee<br />
of ICOMOS, was a tribute and proof of<br />
national and international appreciation of the<br />
high preservation and maintenance standards.<br />
Schwetzingen does not owe its high level<br />
of authenticity as an 18th-century summer<br />
residence to the outstanding number and<br />
quality of its original features only. The<br />
systematic protection of buildings and<br />
furnishings against the elements, the expert<br />
maintenance of the garden areas and the<br />
use of original materials and techniques for<br />
necessary repairs ensure the entire estate’s<br />
authenticity in accordance with the “Venice<br />
Charter” (Articles 4-14), and that of the<br />
1 The overhaul of the central parterre was limited to the beds<br />
and broderies. Historical simplifications in the vicinity, such as<br />
the dismantling of the latticework features, were accepted as<br />
given. When weighing the pros and cons the fact was relevant<br />
that by contrast to gardens like that of Nymphenburg there had<br />
been no conceptual reorientation at Schwetzingen – merely<br />
an extensification due to limited funds. In the course of the<br />
19th-century the scheme of border planting was taken up again<br />
several times, and redefined in the taste of the time. In the<br />
then-modern context of the “garden monument” discussion the<br />
original planting schemes were reintroduced as the circular<br />
parterre’s basic design pinciple. The renewal of missing lime<br />
trees (the trees were pruned regularly in the 18th and 19thcenturies)<br />
was also legitimized by the “rejuvenating” tradition<br />
inherent in the estate itself. This was put into practice after<br />
phases of relative neglect, in response to some requirement or<br />
concern and in the shape of major activities, usually involving<br />
the successful road-testing of new gardening practices. An<br />
ongoing rejuvenation of the avenue trees was not practiced<br />
at Schwetzingen, again in contrast to Nymphenburg. What<br />
ultimately caused the replanting was the fact that the aging<br />
trees made the area unsafe for passersby.<br />
<strong>3.</strong> Justification for Inscription<br />
gardens in accordance with the “Florence<br />
Charter” (Articles 10-22). These efforts<br />
to maintain that degree of authenticity<br />
are documented in detail by the park<br />
management plan, building management plan<br />
and the relevant Articles (Gestaltungssatzung)<br />
issued by the town of Schwetzingen. Five<br />
examples should serve to illustrate this:<br />
1. Protection of original features:<br />
In accordance with Article 13 of the “Florence<br />
Charter”, most of the sculptures installed<br />
in the palace gardens were replaced with<br />
copies in the second half of the 20th-century.<br />
Fountain statuary was re-cast in lead, marble<br />
statues copied in marble, sandstone sculptures<br />
reproduced in cast stone. The full set of<br />
originals has remained at Schwetzingen;<br />
an exhibition space has been created in the<br />
orangery where the sculptures are protected<br />
from the weather and may be viewed at<br />
leisure.<br />
2. Use of original materials and traditional<br />
techniques:<br />
In the case of building measures the main<br />
objective is a maximal preservation of original<br />
features, and the use of well-documented<br />
traditional materials in accordance with<br />
Article 9 of the “Venice Charter”. During<br />
the restoration of the orangery (1993-1999)<br />
the original 18th-century windows, doors<br />
and gates were merely repaired, and all<br />
plastered walls preserved in their original<br />
state. As in the 18th-century the rooms, still<br />
used as an orangery in winter, feature a<br />
high-maintenance clay floor and the original<br />
cast-iron heating stove that together with the<br />
plant tubs present an authentic image of the<br />
building and its function during the winter<br />
months.<br />
<strong>3.</strong> Expert garden maintenance:<br />
In the gardens, too, the degree of authenticity<br />
is remarkable. The fact is proved by the<br />
park management plan, which documents<br />
all stages of every area of the garden from<br />
the 18th-century to the present. This is due,<br />
<strong>3.</strong><br />
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