3. - Schlösser-Magazin

gardens in 1804-1823. 45 Here Sckell retained
the Baroque feature of the triple radiating axes
(patte d’oie) but converted the two flanking
visual axes, towards Pasing and Blutenburg
Castle respectively, into landscaped vales; for
good measure he created another meadow
vale, the “Löwental” (“Lions’ Valley”), at the
back of the Badenburg pavilion. 46
The work of Peter Joseph Lenné, who studied
Sckell’s gardens closely in his formative
years as an artist and whose own artistry
owes much to his predecesssor, features the
meadow vale too. 47 Lenné’s original intention
at Sanssouci was to convert the majestic
“Grand Avenue” into an aisle-like vale and to
alleviate the narrow length of this axis, merely
visual in Lenné’s design, by introducing
transverse sheets of water. 48
Thus the „Arboreum Theodoricum“, Sckell’s
first creation, did not merely set a style within
his own work and provide a certain amount
of trail-blazing for the landscape garden in
southwestern Germany. 49 Sckell’s design
principles, realised here for the first time,
continued to have an effect on others such as
Peter Joseph Lenné and thus contributed to
the development of the landscape garden in
central Europe, causing John Claudius Loudon
to state in his “Encyclopedia of Gardening”,
possibly with a degree of exaggeration, “[...]
the names of Sckell and Lenné, prove that
45 Uta Hasekamp: „Allein diese alte symmetrische Gartenkunst
(…) hat doch auch ihre Vorzüge“. Der formale Garten im
Werk von Friedrich Ludwig Sckell am Beispiel der Gärten
Nymphenburg und Schwetzingen“, and Rainer Herzog: Die
räumlich-visuelle Struktur des Schlossparks Nymphenburg, in:
Friedrich Ludwig von Sckell (1750-1823). Gartenkünstler und
Stadtplane., ed. Iris Lauterbach. Special Issue of „Die Gartenkunst“,
N.F. 14/2002, No. 2. Rainer Herzog: Friedrich Ludwig
von Sckell und Nymphenburg. Zur Geschichte, Gestaltung und
Pflege des Schlossparks Nymphenburg. München 2003.
46 Rainer Herzog: Friedrich Ludwig von Sckell und Nymphenburg.
Zur Geschichte, Gestaltung und Pflege des Schlossparks
Nymphenburg. München 2003.
47 Seiler, Michael, Sckell und Lenné, in: Die Gartenkunst, 14/2007,
No. 2, pp. 306-310, here p. 306.
48 von Buttlar, Adrian, Der Landschaftsgarten, Köln 1989, p. 210.
49 In his preface for the second edition of “Beiträge zur bildenden
Gartenkunst” Sckell’s nephew, Carl August Sckell, writes: „Even
though the area given to our young garden artist to prove
his talent was rather small and insignificant, the work, when
finished, was much applauded not only by the Prince but by
the whole of the educated public. Everybody was in raptures
over the loveliness and grace inherent in this style, and in this
way the road was prepared. A new taste in gardening had been
introduced in Germany, which soon was universally accepted.”
(Sckell, Friedrich Ludwig von: Beiträge zur bildenden Gartenkunst
für angehende Gartenkünstler und Gartenliebhaber, 2nd
ed., München 1825, Reprint Worms 1998, pp. IX-X).
3. Justification for Inscription
both the principles of landscape-gardening
and their application are better understood in
Germany than they are in Britain“. 50
Eighteenth-Century Theatre Buildings
At the beginning of the 18th-century, the
Baroque Italian theatre with its tiers of boxes
was a fully developed type that was imitated
throughout Europe. The first building of this
type, the Teatro San Cassiano in Venice, had
been erected in 1637. 51
Contemporary Architectural Theory
There is a notable functional difference
between the private court theatre and the
public playhouse. The general layout was
usually the same, but the two types were
different in size and character. The smaller
court theatre typically constituted part of a
palace and thus required neither a distinctive
exterior, nor did it have to fit into an existing
cityscape. The public theatre, on the other
hand, occupied a prestigious site within
the city and was conceived as an imposing
building. The court theatre, built with the
money of the ruling family, was designed
with a view to elegance, display and comfort;
the public theatre was laid out to allow
for the maximum number of seats, simply
because it was the letting of boxes that
accounted for most of the theatre’s profits.
Consequently theatres of this type had a pit
surrounded on three sides by galleries, up
to six of them stacked on top of each other,
that were subdivided into boxes. 52 Some
examples: The five-gallery “Teatro Ducale” in
Milan was built in 1714-1717, and in 1776
Giuseppe Piermarini added a sixth gallery
to “La Scala” theatre; with 4000 seats it was
considered the world’s largest theatre. 53 The
“Teatro Argentina” in Rome, built in 1732
by Giovanni Teodoli, was conceived as a
50 Loudon, John Claudius: The Encyclopaedia of Gardening,
London 1850 (1 st ed. London 1822), p. 113.
51 Jung, Carsten: Wie es jetzt üblich ist. Theaterbau und Aufführungspraxis
als Ausdruck ihrer Zeit. In Ausstellungskatalog:
Theatrum Mundi – Die Welt als Bühne. München 2003, p. 22 ff.
52 Summerson, John: Die Architektur des 18. Jahrhunderts.
Stuttgart 1987, p. 106.
53 Summerson, John, p. 107.
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