Adelheid von Carolath-Beuthen
Princess Adelheid von Carolath-Beuthen , b. Countess Pappenheim (born March 3, 1797 in Pappenheim , † April 29, 1849 in Dresden ) was a German author, letter writer and landscape painter .
She associated and corresponded with, among others, Johann Wolfgang von Goethe and Ottilie von Goethe , Rahel and Karl August Varnhagen von Ense , Bettine von Arnim and Hermann von Pückler-Muskau .
Adelheid von Carolath-Beuthen left an extensive written legacy (letters, manuscripts and life documents), which is kept on permanent loan in the Research Center Pückler Archive of the Fürst-Pückler-Museum Park and Branitz Castle Foundation .
Live and act
Adelheid was born in Pappenheim as the first child of Lucie von Hardenberg - daughter of State Chancellor Karl August von Hardenberg - and Karl Theodor von Pappenheim . Two siblings died shortly after giving birth. After the spatial separation of the parents in 1802 (the divorce took place in 1817), Adelheid settled in Berlin with her mother Lucie and her foster daughter Helmine Lanzendorf (around 1799–1843, married von Blücher) after intermediate stops in Dennenlohe, Hamburg and Frankfurt am Main low. The first documented portrait of Adelheid was also made here. The painter Wilhelm Hensel made pencil drawings of Adelheid and her mother around 1816 and immortalized the drawn in the poem Maler's Farewell to His Workshop in the verse:
O three-leaf German gracious countesses,
don't look at me so lovingly captivating !
Freedom calls - the painter hurries away, It also
becomes difficult to part his soul.
Another painting by Gerhard von Kügelgen is privately owned and as a copy in Branitz Castle . A painting by Friedrich Raschke, which was created in 1818 and shows Adelheid as a princess with a rose in her hand, has been lost and has only survived in a historical photograph. A lithograph with the portrait of Adelheid has been preserved in the memory books of Prince Hermann von Pückler-Muskau.
In Berlin, Adelheid, Helmine and Lucie got to know the travel writer and horticultural artist Hermann von Pückler-Muskau. Lucie married Pückler-Muskau in the fall of 1817 and from then on devoted himself to the creation and design of the famous Muskau landscape garden . Adelheid had already married Prince Heinrich zu Carolath-Beuthen on July 1, 1817 and had followed him to rule in Silesia.
From then on, Adelheid's center of life was Carolath Castle (today Siedlisko ), which had numerous building complexes, a garden hall, a princely hall, one of the largest private libraries in Silesia and extensive park-like facilities. Today the castle is in ruins. The two daughters Lucie (1822–1901) and Adelheid (1823–1841) emerged from his marriage to Prince Heinrich, which was characterized by shared artistic interests and mutual respect.
Rahel Varnhagen , with whom Adelheid was friends and who had a long correspondence, called Adelheid's daughters "model children" and also the Princess Liegnitz , morganatic wife of Friedrich Wilhelm III. , felt very drawn to the two girls. The musician Johann Nisle dedicated a piece of music to both of them.
Adelheid von Carolath-Beuthen had close ties to the Prussian court, especially to Friedrich Wilhelm III. Draft letters to the king have been preserved in her estate. The Prussian princes and members of the court were frequent guests for hunting in the Heinrichslust hunting lodge near Carolath. The Prussian forest scientist Wilhelm Pfeil also worked in Carolath in the 1820s . This is mentioned several times in Adelheid's letters.
In Carolath, Adelheid devoted herself to the musical training and education of her daughters as well as her own artistic interests. This included, above all, her activities as a writer of letters, poems, drafts for novels and as a landscape painter. She also promoted the establishment of institutions for the education and upbringing of girls in Silesia.
Together with her mother Lucie von Pückler-Muskau, she designed individual facilities in the Carolath Park. They were supported by the Muskau gardeners Eduard Petzold and Jacob Heinrich Rehder . A cottage in the Carolather Oderwald, which was based on the English House in Muskauer Park, was built in the early 1830s. Initially, Karl Friedrich Schinkel was also involved in the planning . This is indicated by statements in the correspondence between Lucie von Pückler-Muskau and Adelheid von Carolath-Beuthen. In later years, the poet Emanuel Geibel , a friend of Prince Heinrich, was a guest in the neo-Gothic style cottage . The cottage was therefore given the name Geibelhäuschen . Apart from path structures, a historical tree population and some historical bricks, nothing of the cottage has been preserved.
Lucie von Pückler-Muskau designed the area around the Villa Adelheid, which was built in the classicist style in the 1840s and which is seen from the Carolath Palace and which now houses a school, at Adelheid's suggestion. The terrain sloping down towards the Oder was terraced and equipped with paths.
Adelheid von Carolath-Beuthen also received inspiration in questions of gardening art from the Duchess Dorothea von Sagan , who lived in the immediate vicinity and with whom she was on friendly terms. Dorothea had landscaped gardens laid out in Sagan and Günthersdorf and exchanged views on landscape design issues with Adelheid's stepfather, Hermann von Pückler-Muskau.
Life in Carolath was repeatedly interrupted by numerous trips. Princess Adelheid often spent her summers in Bad Gastein . Among other things, the poem The View and a drawing of the Gastein waterfall were created here. The waterfall was a popular motif of the time and was also drawn by Karl Friedrich Schinkel, among others.
The longest journey took Princess Carolath to England in 1830, where she took part in the coronation ceremonies for William IV . With Queen Adelaide she was related and friendly. Letters from Queen Adelaide have been preserved in the estate of Adelheid von Carolath-Beuthen. A series of articles appeared in the Times on the occasion of the Carolaths' stay in England . The sculptor Peter Turnerelli made a bust of Adelheid's daughter Lucie, but nothing is known about her whereabouts.
Adelheid kept a travel diary that she originally wanted to publish. However, only a small part of it is published in a book by her granddaughter Adly von Pückler. The publication reproduces Adelheid's notes on her encounter with Goethe. On August 30, 1830, Adelheid von Carolath-Beuthen met Goethe and his daughter-in-law Ottilie in the Weimar house on Frauenplan. Goethe kissed her and encouraged her to publish her poems in the magazine Chaos, edited by Ottilie von Goethe . There, in 1831, the poems Meinem Mann Heinrich appeared on his birthday. November 29th and in the fall of 1821 . Verses like the following tell of the princess's strong sense of nature:
When cool evening breezes whisper, On a beautiful summer night;
Silver waves ripple in the stream, memories awaken.
When fog
floats in the meadow, in a fragrant shape;
A gentle tremor reminds me of
times that pass.
A letter from Adelheid to Goethe dated December 31, 1830 has been preserved in the Weimar Goethe and Schiller Archives . She was in loose contact with Ottilie von Goethe. Two letters from Adelheid to Ottilie are also in the archive in Weimar.
Last years, death and burial
The last years of Adelheid's life were overshadowed by increasing illness and severe blows of fate. In 1841 their daughter Adelheid died on a trip through southern Germany, presumably of smallpox. In 1843 she lost her friend and foster sister Helmine von Blücher, with whom she grew up and was in close contact throughout her life. The unrest of the revolution in March 1848 , which Adelheid experienced first hand in Berlin, shook her and contributed to the instability of her physical and psychological condition. The princess probably died of a nervous disease on April 29, 1849 in Dresden and was buried a few days later below the "Adelheidshöh" viewpoint in Carolath, which was once built for her. The tomb still exists. In 1849 the poet Oskar Hartig wrote the poem Die Gruft of Princess Adelheid zu Carolath-Beuthen, geb. Countess of Pappenheim . It says, among other things:
It rests there now! - At the foot of that height
Which bears her name to posterity;
That the Zephyr's milder west wounds, many an
anxious heart you weep deeply moved!
There it rests now! -
Seen from everyone's point of view, Shined
by the sunbeam, shimmered
by the starlight, Thickened by nature's refreshment drink - Wreathed by nature's
flowers.
Friendship with Rahel Varnhagen
Adelheid von Carolath-Beuthen had a long-term friendship with Rahel Varnhagen von Ense , whom she had already met in Frankfurt am Main in 1815. In December of the same year, Rahel wrote the then 18-year-old Adelheid in the studbook:
"The best that can be said is only that which best expresses what cannot be said."
Written evidence of friendship is a very extensive correspondence that has been going on for over two decades and is in the Varnhagen Collection (currently in the Jagiellonian Library in Krakow). Individual letters from Rahel to Adelheid can be found in Rahel's collection of letters published shortly after Rachel's death by her widower Karl August . A book of keepsakes for her friends has been published. Above the sofa in Rahel's Berlin apartment on Mauerstrasse was a portrait of Adelheid. Both women paid frequent visits to Berlin, gave each other gifts and spent a summer together in Muskau in 1828. Rahel and her husband Karl August supported Adelheid in her literary ambitions. The encounter with Goethe went back to the mediation of Karl August Varnhagen. Even after Rachel's death, Adelheid was in personal and correspondence with Karl August Varnhagen von Ense.
estate
Adelheid von Carolath-Beuthen left an extensive written estate. Parts of it are in the Varnhagen collection. These include letters to Hermann and Lucie von Pückler-Muskau as well as to Rahel and Karl August Varnhagen von Ense. The princess's main estate has been on permanent loan in the Pückler Branitz archive since 2009 and was scientifically indexed in 2012/13.
The main part of the estate is the correspondence between Adelheid and her mother Lucie von Pückler-Muskau, which encompasses more than 1400 letters and has lasted over thirty years. The letters are one of the most extensive mother-daughter correspondence of the 19th century and at the same time one of the most important sources on the life and work of the two women, who had long disappeared from cultural memory. Across epochs and at the same time extremely private, the letters reflect current affairs, political, social and cultural events and developments, the readings, fashions, preferences and idiosyncrasies of the time. The correspondence has a literary character and primarily served Adelheid as a poetic training ground, as shown by the numerous self-written verses and stylistically mature descriptions of the landscape. Carefully selected papers, watermarks, seal stamps and the pens and inks used provide information about the everyday life of the writers and the letter culture of the time. The documents are in a very good condition and of impressive materiality.
The estate also contains over 250 letters from Adelheid to her husband Heinrich von Carolath-Beuthen and her daughters, as well as over 100 letters from her father Karl Theodor zu Pappenheim. Draft letters to members of the Prussian and English royal families have been preserved in the estate. Two letters to her grandfather Karl August von Hardenberg, a draft letter to the Jesuit and Freemason Ignaz Aurelius Feßler , who taught her husband Heinrich in his youth, and a draft letter to Rahel Varnhagen can also be found here. Furthermore, two notebooks by Adelheid as well as manuscripts, copies, undated handbills, poems, notes and locks of hair have survived in the estate.
Working as an author
Adelheid was very well read. Her favorite authors were Goethe , Friedrich von Matthisson , Heinrich Heine and Paul Gerhardt . In addition, Adelheid wanted to appear as an author herself. The French épistolaire Madame de Sévigné was one of her literary models . Adelheid, however, was subject to social limits, not least because of her role as princess. Most of her manuscripts and poems remained unpublished. Two of her poems were published in 1831 in the magazine "Chaos". Above all, Adelheid used her letters as a field of literary practice and activity.
Work as a landscape painter
Adelheid was talented in drawing. Her mother named her “Claudia Lorraina” in a letter referring to the landscape painter Claude Lorrain . Heinrich Mützel made a lithograph around 1850 based on a drawing by Adelheid showing the Gastein waterfall. In the letters to the mother there are numerous references to other paintings and drawings, which, however, have apparently not been preserved.
Afterlife
In Theodor Fontane's story Schach von Wuthenow , a princess Carolath appears as a minor character, who bears the features of Adelheid von Carolath-Beuthen. Fontane wrote a letter from Rahel about Adelheid's beauty from Rahel's collection of letters . A book of remembrance for her friends adopted in a slightly different form.
Works
Landscaping
Together with her mother Lucie von Pückler-Muskau, Adelheid von Carolath-Beuthen designed individual facilities in the Carolath Park (Siedlisko) between 1820 and 1848, including the area around the Villa Adelheid and a cottage in the Carolath Oderwald.
Poems
- Adelheid (von Carolath-Beuthen): The prospect , in: Pocket book for sociable pleasure on the year 1824 , p. 286.
- AC (Adelheid von Carolath-Beuthen): Composed in autumn 1821. In: Chaos , 1831, No. 4, p. 16.
- Anonymous (Adelheid von Carolath-Beuthen): To my husband Heinrich on his birthday. November 29th , in: Chaos , 1831, No. 15, p. 59.
In addition, numerous unpublished poems have survived in the estate of Princess Adelheid.
Drawings and paintings
- Adelheid Princess of Carolath-Beuthen: Wildbad Gastein. Painted from nature , handed down as a lithograph by Heinrich Mützel, printed by Winckelmann and Sons, Berlin around 1850.
Traditional letters (selection)
- Around 800 letters to Lucie von Pückler-Muskau, 1817 to 1848.
- Around 600 letters from Lucie von Pückler-Muskau, 1817 to 1849.
- About 200 letters to Heinrich von Carolath-Beuthen, 1820 to 1848.
- 59 letters to Rahel Varnhagen, 1815–1832.
- 1 letter to Johann Wolfgang von Goethe, 1830.
- 2 letters to Ottilie von Goethe, 1830 and 1844.
- About 100 letters from Karl Theodor zu Pappenheim, 1810 to 1848.
literature
- Günther Grundmann: Das Renaissanceschloss Carolath , in: Kunstwanderungen durch Schlesien , Munich 1966, pp. 83–93.
- Barbara Hahn (Ed.): Rahel Varnhagen: Rahel. A book of remembrance for your friends , 6 vols. Göttingen 2011, ISBN 978-3-8353-0528-1
- Jana Kittelmann: Mistresses of the Terrain - The correspondence between Lucie von Pückler-Muskau and Adelheid von Carolath-Beuthen . Publication accompanying the exhibition at Branitz Castle November 15, 2013 to March 31, 2014, Cottbus 2013, ISBN 978-3-910061-23-1
- Jana Kittelmann: Mild fire - devout shower. Goethe and Adelheid von Carolath-Beuthen , in: Goethe-Jahrbuch 130 , Göttingen 2014, pp. 206-214, ISBN 978-3-8353-1497-9
- Jana Kittelmann and Christoph Wernhard: Semantics, Web, Metadata and Digital Edition - Basics and Goals of the Development of New Sources of the Branitzer Pückler Archive , in: Irene Krebs et.al. (Ed.): Resonances. Pückler research in the field of tension between art and science , Berlin 2013, pp. 179–202, ISBN 978-3-86464-040-7
- Adly Countess Pückler: The life picture of my mother Lucie Lehnsgräfin von Haugwitz, Hardenberg, Reventlow, geb. Princess zu Schönaich-Carolath . Opole undated (1903)
Individual evidence
- ^ Wilhelm Hensel: Painter's farewell to his workshop , in: Georg von Blankensee et al .: Bundesblüthen Berlin 1816, pp. 40–41.
- ↑ Astrid Roscher: Lucie von Pückler-Muskau - secret main actor in the shadow of the Green Prince. In: Die Gartenkunst , Vol. 21, 2 (2008), pp. 187–198.
- ↑ Barbara Hahn (Ed.): Rahel Varnhagen. Rachel. A book of memory for her friends , Göttingen 2011, vol. 5, p. 211.
- ↑ Jana Kittelmann: Mistresses of the Terrain - The exchange of letters between Lucie von Pückler-Muskau and Adelheid von Carolath-Beuthen , Cottbus 2013, p. 45 ff.
- ↑ Newspaper for the Elegant World , Vol. 37 Jg., 1837, Cottasches Morgenblatt für educated Estates , No. 144, 1837.
- ^ Eduard Petzold : Memories from my life , Leipzig 1890, p. 39 ff.
- ↑ Kittelmann: Mistresses of the Terrain , p. 62.
- ^ Günter Erbe : Dorothea Duchess von Sagan (1793-1862). A Franco-German career , Cologne / Weimar / Vienna 2009, p. 128 ff.
- ^ London Standard, Friday 26th of November 1830, page 2.
- ↑ Jana Kittelmann: Mild fire - devout shower. Goethe and Adelheid von Carolath-Beuthen , in: Goethe-Jahrbuch Vol. 130, Göttingen 2014, pp. 206–214.
- ^ AC (Adelheid von Carolath-Beuthen): In the fall of 1821, written. In: Chaos , 1831, No. 4, p. 16.
- ↑ Oskar Hartig: The crypt of Princess Adelheid zu Carolath-Beuthen, b. Countess of Pappenheim , Glogau 1849.
- ↑ Hahn, Rahel. A book of memory , Vol III, p. 333.
- ↑ Hahn, Ein Buch des Inenkens , Vol. 5, p. 312.
- ↑ Kittelmann, Mistresses of the Terrain , p. 35.
- ↑ See Goethe's letter to Karl August Varnhagen von Ense of September 10, 1830, in: Weimarer Ausgabe , Abt. IV, vol. 47, p. 213.
- ↑ Jana Kittelmann and Christoph Wernhard: Semantics, Web, Metadata and Digital Edition Basics and Aims of Developing New Sources of the Branitzer Pückler Archive , in: Irene Krebs et.al. (Ed.): Resonances. Pückler research in the field of tension between art and science , Berlin 2013, pp. 179–202.
- ↑ Kittelmann, Mistresses of the Terrain , p. 15.
- ^ Research center Pückler-Archiv Branitz, Pückler-Carolath-Haugwitz estate, box 5, folder 44.
- ^ Research center Pückler-Archiv Branitz, Pückler-Carolath-Haugwitz estate, box 1, folder 5 to box 6, folder 37.
- ^ Research center Pückler-Archiv Branitz, Pückler-Carolath-Haugwitz estate, box 5, folder 44 to box 7, folder 77.
- ^ Research center Pückler-Archiv Branitz, Pückler-Carolath-Haugwitz estate, box 10, folder 100 to 103.
- ^ Varnhagen Collection, currently Jagiellonian Library Krakow
- ↑ a b Goethe and Schiller Archive Weimar
- ^ Research center Pückler-Archiv Branitz, Pückler-Carolath-Hauwgitz estate, box 8, folders 82 to 86.
Web links
| personal data | |
|---|---|
| SURNAME | Carolath-Beuthen, Adelheid von |
| ALTERNATIVE NAMES | Carolath-Beuthen, Adelheid Fürstin von (full name); Pappenheim, Adelheid von (maiden name) |
| BRIEF DESCRIPTION | German author, letter writer and landscape painter |
| DATE OF BIRTH | March 3, 1797 |
| PLACE OF BIRTH | Pappenheim |
| DATE OF DEATH | April 29, 1849 |
| Place of death | Dresden |