3. - Schlösser-Magazin

Géza Galavics: Egy elfeledett angolkert - Rovnye Trencsén
megyében. In: Tanulmányok Szabolcsi Hedvig 80.
Születésnapjára (Ars Hungarica 34/2006,1/2). Budapest
2006, p. 119-166.
Ramona Simone Dornbusch: Vom abschlagbaren
Pomeranzenhaus zum Palmenhaus. Der Wandel der
Orangeriekultur in Lednice/Eisgrub. In: Simone Balsam,
John Ziesemer (ed.): Orangerien in Europa. Vom fürstlichem
Vermögen und gärtnerischer Kunst (Hefte des Deutschen
Nationalkomitees/ICOMOS, Internationaler Rat für
Denkmäler und Schutzgebiete, 43). München 2007, p. 59-66.
Inka Truxova: Il complesso di Lednice-Valtice. Un ambiente
lacustre patrimonio dell‘umanità. In: Renata Lodari (ed.):
Il giardino e il lago. Specchi d‘acqua fra illusione e realtà
(Natura & artificio, 1). Rom 2007, p. 164-166.
Castle Howard
3. Justification for Inscription
Basic Facts
Location: Great Britain, England, county of
North Yorkshire, city of York
Historical outline: from 1699 construction of
the palace from plans by Sir John Vanbrugh
with input by Nicholas Hawksmoor for
Charles Howard, 3rd Earl of Carlisle; at
the time of Vanbrugh’s death in 1723 still
unfinished; numerous follies by Vanbrugh
in the park; 1699 plans by George London
for the laying out of a garden involving the
clearing away of a copse of old beeches called
Ray Wood (not realised); garden design put
into practice from 1705 (artist unknown) into
the 1720s, retaining the trees and laying out
meandering paths and waterfalls, installation
of statuary and summer houses; 1714 raising
of Vanbrugh’s Obelisk in the drive; 1719
monumental Entrance Arch; 1724-1728
“Temple of the Four Winds” (both also by
Vanbrugh); 1728 Pyramid, 1729 Mausoleum
(both by Hawksmoor); 1853 laying out of
a parterre with Atlas Fountain by William
Nesfield.
Characteristics: The park of Castle Howard
marks the threshold between the Baroque
and the landscape styles and is considered an
early precursor of the latter; the surrounding
countryside far beyond the reach of the actual
axes becomes an integral part of the estate;
the largely purposeless follies are placed
picturesquely, the course of the paths and the
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