Schwetzingen - Schlösser-Magazin

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VI. 190 VI. Schwetzingen – Historical Context the avenue of urns is a crossroads decorated with statues brought from Düsseldorf. There is a Mercury and a Minerva Pictura, both by Grupello, and an Agrippina by Andrea Vacca of Carrara. Between the angloises was the mirror basin, like the semicircular stag basin, one of the features extending the main axis west beyond the circular parterre. The terraced walks on both sides were lined with latticework arches overgrown with greenery, an extension of the avenues lining the main axis. Rows of Eastern red cedar cut into cones are set on the banks. The corners are occupied by four seated statues by Verschaffelt, representing the four elements. The ramps and stairs leading down to the mirror basin are decorated with urns. In the vicinity of the mirror basin, Pigage proved himself to be a master of subtle lighting effects. The avenue of urns with its roof of cross-vaults, provided a semi-shaded area. By contrast the adjacent bird bath, visually an extension of the avenue of urns, was open to the sky. In between were the dark vaults of the green arcades, and in the centre the mirror basin, an open surface reflecting the sky. The mirror basin was removed in 1803, along with the stag basin. The same year the octagonal central basin of the urn avenue was filled in as well, 69 and the leaden wild pig was moved to the grotto between the bathhouse and the Temple of Apollo. The stag basin was restored in 1820 in its present shape. B.3. The Large Bosquets Beyond the angloises to the west are two large bosquets. Between the angloises and the bosquets is the so-called avenue of lions. It is named for two pairs of lions guarding the stairs leading to the orangery garden at one end, and the entrance to the Turkish garden and mosque at the other. The lions, by Verschaffelt, were completed by 1773 at the latest. 70 Two waisthigh hedges divide the avenue into a wide 69 GLA 221/214 of 20.4.1803 and 6.7.1803, Heber 1992, pp. 29, 31. 70 Bayerisches Hauptstaatsarchiv München Abt. I, Allg. Staatsarchiv, Fürstensachen 832 1/3 of 30.8.1773, copy of 1777, quoted in Martin 1933, pp. 342-346; Heber 1986 pp. 432/433. central lane flanked by two narrow ones. The bosquets are laid out in larger dimensions than the angloises, and structured by an austerely geometric network of orthogonal and diagonal paths. Originally small paths wound through the beds, but they disappeared when cutting was neglected in the 19th century. The paths and cabinets are defined by high clipped hornbeam hedges. They make it impossible to gain an overview of the bosquet as a whole, and the changing views confuse visitors and add to the labyrinthine effect. The northern bosquet has a square central room laid out as a quincunx. A qunicunx is a hall of trees planted on a regular grid, providing shade but allowing a free view. It was a popular planting scheme in the 18th century. 71 The centre of the southern bosquet was taken up by an oval, sunken lawn enclosed by colonnades of trees. This layout follows the rules set down by Dezallier d’Argenvilles. Between the bosquets, the garden’s central axis continues through a long tapis vert broken up by a circular “inset” in the centre. The lawn is lined with avenues of lime trees on both sides. Originally the lawn featured a row of elm trees cut into balls on each side. The eight corners of the “interrupted” tapis vert are marked by elaborate balusters, each bearing a golden ball. The documents regarding the completion of the large bosquets mention two monuments by Verschaffelt in the southern bosquet. One commemorates historic finds excavated when building started in 1765. At the time, weapons, urns and other items had been unearthed that were believed to date back to a battle between the ancient Romans and Germans. The second monument was erected in praise of Carl Theodor and the garden he created. It is dated 1771 and was probably placed here when that part of the garden was completed. B.4. The “allée en terrasse” The whole of the bosquet area is enclosed north, west and south by an “allée en terrasse” 71 Iris Lauterbach, Der französische Garten am Ende des Ancien Régime, Worms 1987, S. 212.
that was begun in 1764 and created along with the bosquets themselves. 72 This is an elevated avenue, running on a bank and providing both a clear dividing line between the bosquets and the rest of the garden, and a fine view when used as a promenade. The tree chosen for it was the horse chestnut, that had been introduced into Europe in the 16th century and become fashionable in the 17th and 18th centuries. B.5. The Large Basin, the Bordering Canals and Avenues In his 1764 list of features to be built, Pigage envisioned the building of a “grande pièce d’Eau au bout des jardins” in 1766. 73 This was a large rectangular basin west of the bosquets, taking up the entire width of both of them. The garden’s central axis was to be extended right across it, continuing over a landscaped bay on the further side of the basin, an open field and on through a lane cut into the woodland. The basin was lined by chestnut avenues, at the ends of which statues were placed to provide “points de vue”. The avenues continued east, enclosing the garden; a water channel ran alongside, and on the further bank of this, another line of trees. A carefully worked out system of dams made sure that the water in the channels remained in motion. They were fed by the Leimbach, a natural stream running past the palace grounds; the water was admitted in the southwestern corner of the estate, and drained back into the Leimbach through a number of outlets on the north side. Beyond the avenues, a “bois champêtre” (rustic woodland) was planned that would be outside the gardens proper. Work on the basin took several years; the basin and channel rims were still under construction in 1775, as were the plinths for two statues of river deities representing the Rhine and Danube. 74 Danube 72 GLA 213/110 of 24.7.1764, Heber 1992, p.14. 73 GLA 213/110 of 24.7.1764, Heber 1992, p.14. 74 cp. Pigage’s list of impending work of 16.5.1775, GLA 221/39 of 16.5.1775 and 231/111 of the same date, Heber 1986, p.467. VI. Schwetzingen – Historical Context appeared in Verschaffelt’s 1773 bill 75 ; the Rhine, however, was not put up until some time between 1776 and 1779. 76 Four large ornamental urns marked the corners of the basin. In the 19th century Zeyher converted the great basin into a pond with gently curving banks. He started on the north, west and south sides in 1823/24; by 1834, the east side had been redesigned as well (cp. Fig. 8). The statues at the ends of the former avenues remained in place, the corner urns were removed and taken to the palace garden at Karlsruhe. B.6. The Orangery and Orangery Parterre The expensive upkeep of exotic plants in orangeries was an important element of aristocratic display in the 17th and 18th centuries. Accordingly, orangeries and their accompanying parterres were often of central importance in the layout of palaces. From the mid-18th century onwards, interest flagged somewhat, and consequently the orangeries could be moved to the periphery of gardens, which is what happened at Schwetzingen. The new orangery, begun in 1761, was first used in the winter of 1762/63. The glass house at the eastern end was added in 1770. The parterre on the south side is situated somewhat lower than the building itself, and enclosed by a canal. Bridges were planned for the narrow sides only. Pigage’s original plan of 1762 envisioned a lawn structured by paths for the presentation of plants in tubs; the layout actually realized is reflected by Sckell’s garden plan of 1783. After 1777, the corners of the parterre were graced by four stone urns by Johann Matthäus van den Branden. 77 Two of them have since been replaced by cherubs holding coats of arms. To the east and west, arcades of elms served as a windbreak. Today they are cut of lime trees. Statues of the four 75 Bayerisches Hauptstaatsarchiv München Abteilung I, Allgemeines Staatsarchiv, Fürstensachen 832 1/3 of 30.8.1773, copy of 1777. 76 Martin 1933, pp.348-349. 77 GLA 62/1136 of 6.8.1777, Heber 1986, p. 352; Johann Matthäus van den Branden, 1716-1787, sculptor, from 1740 Palatine court sculptor. VI. 191
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Nomination for Inscription on the U
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Nomination for Inscription on the U
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V. Science and Technology Contents
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I. Introduction In the eighteenth c
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II. Schwetzingen - Elector Carl The
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lives in small and crammed rooms wh
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of Benrath also served as an assert
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part also that thereby the places,
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Palatine Electorate in 1748, during
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This is clear from the memoires of
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c) Musical Life at the Court of Ele
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The Two-Season Structure: Winter an
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friend Lorenz Hagenauer in Salzburg
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III. Architectural Features a) The
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auditorium and the stage, according
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On the whole, though, Pigage’s dr
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Influences and Models The architect
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et de son bon naturel...”. 9 By t
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Idolino. 17 Both porticoes are deli
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oval basin is surrounded by a white
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to Lunéville from Einville Castle.
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the huge cost of fl. 120 000; this,
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uilding is clearly not meant to be
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probably found in the available gro
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in 1730 and translated into German
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d) The Arabic Insriptions of the Mo
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The Inscriptions of the Interior Al
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“EINSAMKEIT IST BESSER ALS BOESE
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and humour as the European one, and
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e) “… Beyond this lake, finally
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Mythology The building owes its nam
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of St John: “No man cometh unto t
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III. Architectural Features III. 65
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IV. Palace Gardens: Role and Signif
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Antiquity is a trove of model motif
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The four-column Corinthian façade
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three identical façades - has a ma
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with the colossal stags spouting wa
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to which all his subjects were invi
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) The Collection and Cultivation of
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pot plants during the winter, the s
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The Schwetzingen Orchards and Kitch
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„The merit of a natural garden is
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trees and its beautiful layout, and
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are on display. There are some magn
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space, today occupied by the palace
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The long-planned lane cut into the
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oad, where the new crossing had bee
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The interplay between the summer re
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kitchen gardens, Johann van Wynder;
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view, and that for that reason, it
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utterly misplaced. The harmony betw
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of scientific, botanical interests
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IV. Palace Gardens: Role and Signif
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V. Science and Technology a) On the
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affection for Antiquity instilled i
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knowledge and integrated directly i
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The “litmus test” is to analyse
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In contrast to the military tenor o
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the Wittelsbachs. The spectrum rang
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a notably more complex technical ef
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But postponement does not necessari
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Apollo 71 , the sight line conspire
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c) The Waterworks and Carl Theodor
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tip. The lightning conductors were
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horologist, André Le Paute Mayer b
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ecentissimisque observationibus et
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VI. Schwetzingen - Historical Conte
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Calvinists, over the use of the Hei
Page 139 and 140: 2. History of the Town of Schwetzin
Page 141 and 142: their properties when the new north
Page 143 and 144: The Twentieth Century to the Presen
Page 145 and 146: The New Town is Born The timing of
Page 147 and 148: Development North of the Market-Pla
Page 149 and 150: The foundations for the new two-sto
Page 151 and 152: ) History of the Palace 1. The Orig
Page 153 and 154: Origins A “fort” at “Sweczing
Page 155 and 156: Friedrich V and the Aftermath of th
Page 157 and 158: oofed passage; the remains of this
Page 159 and 160: The following plans (Building phase
Page 161 and 162: locks. The masonry is regular, and
Page 163 and 164: Friedrich V and the Conversion of t
Page 165 and 166: Fig. 8: Findings 8 - Inscription on
Page 167 and 168: VI. Schwetzingen - Historical Conte
Page 169 and 170: uilding done in 1715/16). Seen from
Page 171 and 172: 2. The Palace Interior Through the
Page 173 and 174: into random, occasionally fanciful
Page 175 and 176: A number of institutions were house
Page 177 and 178: honour wings, a golden yellow, to e
Page 179 and 180: the history of the Schwetzingen ora
Page 181 and 182: In 1731, Johann Friedrich Armand vo
Page 183 and 184: The Origins of the Palace Gardens a
Page 185 and 186: hunting park. The dilapidated Upper
Page 187 and 188: “berceaux en treillage”, i.e. l
Page 189: However, as the southern one is des
Page 193 and 194: displayed a collection of alpine pl
Page 195 and 196: drew up an inventory of the Schwetz
Page 197 and 198: touched any of the shores, a featur
Page 199 and 200: Neckar valleys” 6 , as the anonym
Page 201 and 202: inscriptions was faithfully recorde
Page 203 and 204: I would not like to add my own to s
Page 205 and 206: fled from the persecution of Art. I
Page 207 and 208: 2. The Schwetzinger Festspiele: the
Page 209 and 210: VI. Schwetzingen - Historical Conte
Page 211 and 212: VII. Appendices a) Biographies (Man
Page 213 and 214: was begun with the intention that t
Page 215 and 216: Elector’s scholarly and artistic
Page 217 and 218: In 1792/93, with the Palatinate wes
Page 219 and 220: were involved in building sets and
Page 221 and 222: sculptor of Duke Leopold of Lorrain
Page 223 and 224: sculptor, Mr. Lamini, has fashioned
Page 225 and 226: At the age of about twenty, Nicolas
Page 227 and 228: de Pigage. Two plans by his hand su
Page 229 and 230: At Mannheim the most important work
Page 231 and 232: in two editions together with Georg
Page 233 and 234: 1776 Physicist Johann Jakob Hemmer
Page 235 and 236: detail, inspired by late Baroque bu
Page 237 and 238: Carl-Theodor-Straße 9 (Flstnr. 374
Page 239 and 240: Forsthausstraße (Flstnr. 425) Leim
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Hebelstraße 4 (Flstnr. 179/1) Shar
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Karlsruher Straße 2a, (Flstnr. 434
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Lessingstraße 35 - cf. Lessingstra
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Marstallstraße 12 (Flstnr. 498/1)
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Schlossplatz 2 (Flstnr. 262) Confer
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Zeller and retaining the tower of t
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Zeyherstraße 2 (Flstnr. 219) Resid
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Beringer 1902 - Joseph August Berin
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Freund 1923 - Karl Freund, „Die T
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Heber/Seeliger-Zeiss 1974 - Wiltrud
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Kollnig 1993 - Karl Kollnig, Die Ku
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Mörz 1997 - Stefan Mörz, Die letz
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Schwab 1840 - Franz Schwab, Beschre
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Was bleibt. Markgrafenschätze aus
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Zeyher/Roemer 1815 - Johann Michael
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92 88 87 89 90 91 16 8 86 52 15 14
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