Brühl's garden pavilion

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Bernardo Bellotto's painting Dresden from the right bank of the Elbe above the Augustus Bridge from 1747 also shows the Brühl glories , which were only a few years old at the time . The Brühl garden pavilion is the light-colored building on the projection of the wall, on the right above the sailing ship.

The Brühlsche Gartenpavillon , also known as the Brühlscher Pavillon or Brühlscher Gartensaal , was the garden pavilion of the Palais Brühl in Dresden . Erected around 1740 according to plans by the Oberland master builder Johann Christoph Knöffel for the Saxon statesman Heinrich von Brühl , the rococo-style architectural gem stood in an exposed position on the Brühl terrace high above the banks of the Elbe until it was demolished in 1861 . The building, which as part of the Brühl Gardens is one of the so-called Brühl's splendors , also gained importance through its subsequent uses: from 1828 to 1833 as the founding seat of the earliest predecessor of the TU Dresden and then from 1833 to 1854 as the studio of the important Saxon sculptor Ernst Rietschel . The Rietscheldenkmal has been located at the former location of the pavilion since 1876 .

Location

Detail from the plan of the Brühl Terrace from 1761 with the garden pavilion in the middle.

The Brühl Garden Pavilion was located on the northern edge of the western section of the Brühl Terrace in the north of Dresden's inner city . There it stood in the northeast corner of the Small Bastion , an area also known as a platform or, according to the taste of the time, in Italian Piattaforma . This bastion of the Dresden fortifications , located in the middle between the northwestern bastion Feuerwerkplatz (Sol) and the Jungfernbastei (Venus) in the northeast , interrupted the extra-long curtain wall along the Elbe front in the form of a protrusion only a few meters deep. The bastion, which was built around 1550, was used to set up guns to secure the Elbe crossing and was therefore undeveloped until the pavilion was built.

The surface of the bastion is about eight meters above the terrace bank . The location of the Brühl garden pavilion was therefore extremely exposed. From the bastion there is still a 180-degree view over the river landscape of the Elbe , starting on the bank of the Pirnaische Vorstadt in the east over the Neustädter Elbe bank with the silhouette of the Inner Neustadt in the north and Augustusbrücke and Ostragehege in the northwest up to the tower the Catholic Court Church in the west. The pavilion itself was oriented to the northeast, i.e. with a view of the wooded heights of the Dresdner Heide . Accordingly, the pavilion can be seen on many cityscapes of Dresden from the second half of the 18th and first half of the 19th century, including works by Bernardo Bellotto (Canaletto).

The location is directly to the east of what was once the immediate front garden of Palais Brühl. The pavilion could be reached from this front garden in a few steps, although it is still a few steps lower today. Behind the pavilion stood the Brühl library , which now houses the secondary school . To the east of the pavilion was the Brühlsche Galerie in the ensemble of the Brühlsche Glories , which is now located in the northwestern part of the art academy . The Rietscheldenkmal now stands exactly in the center of the former building site of the Brühl Garden Pavilion . It is located in a small flower circle, surrounded by an ornamental fence. The remaining part of the former location of the pavilion is covered with granite slabs.

Structural matters

Brühlsche Galerie (center) and Brühlscher garden pavilion (under the tower of the Catholic Court Church ) around 1850; to the right the first Semperoper .

The single-storey, symmetrical building in the Rococo style consisted of a protruding, semi-oval and three-axis central building, crowned by an approximately truncated cone-shaped roof with a slightly flatter upper roof, as well as two side wings to the west and south-east. They were angled slightly backwards, had three axes and had a hipped roof. The floor plan of the northeast facade closely followed the predetermined course of the fortress outer walls. It was designed as the front side of the garden pavilion, but showed itself with simple, rather economical building decoration. In the middle building there were three French doors with round arches, while the windows on the side wings had straight ends. The central entrance was highlighted by a central projection, which was crowned with a cartouche with the von Brühl coat of arms as the main accent instead of a gable .

Mirrors and pilaster strips were also used to decorate and structure the facade . In the roof areas of both side wings there was a dormer window and a chimney each, another chimney was the top end of the central axis. In the middle of the rear of the building was the entrance to the garden pavilion from the direction of the Brühl Palace. After a vestibule-like anteroom, the central, oval hall opened, to which two further rooms were connected to the right and left in the side wings. The oval as a room shape of the Rococo was only used for the second time in the secular architecture of Dresden in the garden pavilion. The art historian Fritz Löffler sees this as overcoming the classic block form of Zacharias Longuelune . The short sides of the pavilion each had a window, the corners facing the back of the building were bevelled and each also contained a window.

The few remaining remains of the Brühl glories include the two balconies , which rest on brackets that are clearly visible from the terrace . While one of these balconies lies exactly on the former central axis of the Brühlsche Galerie and thus refers to its former location east of Münzgasse to this day , the other half-round sits on the corner of the Small Bastion, where the garden pavilion was once located. It is possible that remains of the foundation of the pavilion have been preserved below the granite slabs.

history

The garden pavilion under Count Brühl and Prince Repnin

This 1861 photo by Hermann Krone shows the Brühl garden pavilion shortly before its demolition and, on the right, the Meissen steamship built in 1857 .

The statesman Heinrich von Brühl (1700–1763), who acted as Saxon-Polish Prime Minister at the height of his career , had a residential palace named after him built on Augustusstrasse from 1737 . From 1739 onwards, Elector Friedrich August II (1696–1763) gave Count Brühl some of the areas adjacent to the palace in the northern part of the Dresden city fortifications, the military importance of which had declined significantly. Brühl had the area redesigned in a representative form in the 1740s according to his ideas for "recreational use on one's own doorstep".

Among other things, a library building , a gallery building and a spacious garden area were created in this way , which was to receive a garden pavilion in the first construction phase. This was built around 1740 - in the literature the dates vary from 1739 to 1743 - according to plans by the master builder Johann Christoph Knöffel (1686–1752) as one of the first buildings on the terrace initiated by Brühl and served as a pleasure house for courtly festivities. The Brühlsche Garten was mainly accessible via an outside staircase that led from the palace via Terrassengasse. Thus it was not yet publicly available at the time.

By the end of the 1740s, Brühl had also received the maiden bastion, where Knöffel had the second Belvedere built for him . This building, which can be described as the high point of the Rococo style in Dresden, was destroyed by Prussian bombardment as early as 1759, during the Seven Years' War . With regard to various similarities between the two buildings, including the orientation to the northeast, the beautiful view, the location on the bastions of the Brühlsche Terrasse high above the banks of the Elbe, the similar use as a summer house and the elliptical shape of the main hall, the garden pavilion can be considered the forerunner of the belvedere.

After Brühl's death, the Electorate of Saxony took over the facilities and their buildings in the late 18th century . The Russian Tsar Alexander lived in the palace in 1813 and had the garden pavilion made to his taste. Prince Nikolai Grigoryevich Repnin-Wolkonski , a Russian general who was appointed Governor General of Saxony in 1813, instructed in 1814 to make the Brühl terrace accessible to everyone, for which he had, among other things, the outside staircase built on the Schlossplatz . The garden pavilion was now in a public park. In addition, in the 1820s, a ramp called Appareille, in keeping with the taste of the time, was built at the base of the Small Bastion in order to access the terrace bank from the Schloßplatz, and the shipping building was built on it.

As the founding seat of the technical training institute

Bronze plaque created in 1986 by Martin Hänisch to commemorate the first location of the predecessor of the TU Dresden .

The Brühlsche Gartenpavillon was to gain lasting importance due to the fact that it was the founding seat of the Technische Bildungsanstalt zu Dresden for a period of five years , making it the earliest location of the TU Dresden and its direct predecessor. On May 1, 1828, the opening ceremony took place in the pavilion, which was attended by cabinet minister Detlev von Einsiedel and other representatives as well as future teachers and students. The garden pavilion thus became the workplace of teachers such as the surveyor Wilhelm Gotthelf Lohrmann , who was also the head of the institute, the railway pioneer Johann Andreas Schubert , the gas lighting pioneer Rudolf Sigismund Blochmann and the physician and natural scientist Heinrich David August Ficinus .

The pavilion was thus Saxony's center for the training of specialists in technical areas against the background of increasing industrialization , but had only one lecture hall (the oval main hall) and two rooms for drawing with a total area of ​​550 square cubits. Since this room was no longer sufficient, the courses in the departments of physics and chemistry were relocated to a room in the vault of the Kuffenhaus (also: Kufenhaus) on Zeughausplatz (corner house Rampische Strasse / Schießgasse ), which was built by 1589 and demolished in 1895 for the benefit of the police headquarters . After the armory had moved to the Zwinger in 1832 , the technical training institute was given a larger domicile in the armory complex (former war chancellery) on Schösser- / Sporergasse near Jüdenhof , before it was given its own new building for the first time (on Antonsplatz ) by 1846 .

Ernst Rietschel's studio, demolition and monument site

Rietscheldenkmal , 2008.

Ernst Rietschel (1804–1861), who is considered one of the most important German sculptors of late classicism and had become professor at the Dresden Art Academy in 1832, had already received assurance in August 1832 that the Brühl garden pavilion as a studio for the work on the Friedrich-August- Monument and beyond. After the technical training institute moved out of the building, he was accommodated in it in 1833. There he worked on many works, including the Rietschel gable exhibited today in Bautzen and the Goethe-Schiller monument in Weimar . The important sculptors Johannes Schilling and Gustav Adolph Kietz also worked in the studio in the 1840s - as a master student and assistant to Ernst Rietschel. However, he was dissatisfied with his poorly heated and too small studio, where he did not have a room of his own, but had to do all the work in front of his students and visitors. Therefore, in 1854, Rietschel was given larger studio spaces in the neighboring Brühl Gallery, which is also sometimes referred to as the garden hall in historical literature .

As a result, the garden pavilion, which was more than 100 years old at that time, was empty and left to decay. Finally it was demolished in 1861. The fact that the pavilion still existed in 1860 but no longer existed in 1862 can be seen from various illustrations and city maps from that time. As a result, Fritz Löffler is wrong with his statement, taken from various literature, that the demolition did not take place until 1872. In fact, in 1872, Johannes Schilling completed the execution model of the Rietschelden monument and exhibited it. It was finally erected in a rondola of flowers that was laid out on the square of the oval hall soon after the pavilion was demolished and unveiled there on February 21, 1876 - Rietschel's 15th anniversary of his death - to commemorate the sculptor of his former place of work. Meanwhile, a bronze plaque with dimensions of 53 by 88 centimeters, created in 1986 by Martin Hänisch, points to the pavilion as the nucleus of the TU Dresden .

literature

Web links

Individual evidence

  1. ↑ Barbara Marx: Art and Representation at the Dresden Court. Deutscher Kunstverlag, Munich 2005, ISBN 3-422-06556-3 , p. 41.
  2. ↑ Barbara Marx: Florence on the Elbe. Italian presence in Dresden 16. – 19. Century. Verlag der Kunst, Munich 2000, ISBN 90-5705-150-8 , p. 111.
  3. ↑ a b c Ute Christina Koch: Maecenas in Saxony. Courtly representation mechanisms of favorites using the example of Heinrich Graf von Brühl. Technische Universität Dresden, Diss., Dresden 2010, p. 109; qucosa.de (PDF; 3 MB)
  4. ↑ a b Fritz Löffler : The old Dresden - history of its buildings . EA Seemann, Leipzig 1981, ISBN 3-363-00007-3 , p. 242 f.
  5. ↑ a b relating to historical-topographical contrasts, the garden hall and the Brühl terrace in Dresden. In: Heinrich Zschokke (Hrsg.): About the history of our time. Born in 1818, Heinrich Remigius Sauerländer, Aarau 1818, p. 44, books.google.de
  6. ^ History of the TU Dresden. tu-dresden.de, accessed on March 15, 2019.
  7. ^ Reiner Pommerin : History of the TU Dresden 1828–2003. Böhlau Verlag, Cologne / Weimar / Vienna 2003, p. 26, books.google.de
  8. ↑ German Academic Yearbook. Complete list of all academies of sciences, universities and technical colleges located in Germany, Austria, Switzerland and the German provinces of Russia, their members, teachers and board members. Verlagbuchhandlung von JJ Weber, Leipzig 1875, p. 189, books.google.de
  9. ↑ Julius Ambrosius Hülße : The Royal Polytechnic School (Technical Educational Institute) in Dresden during the first 25 years of its activity. Dresden 1853, p. 12, Textarchiv - Internet Archive
  10. ^ Gerd Spitzer: State policy and fine arts. The monument to King Friedrich August I and the situation of sculpture in Dresden around the middle of the 19th century. In: Winfried Müller, Martina Schattkowsky (eds.): Between tradition and modernity. King John of Saxony 1801–1873. Leipziger Universitätsverlag, Leipzig 2004, p. 275 (digitized version)
  11. ^ Gerd Spitzer: State policy and fine arts. The monument to King Friedrich August I and the situation of sculpture in Dresden around the middle of the 19th century. In: Winfried Müller, Martina Schattkowsky (eds.): Between tradition and modernity. King John of Saxony 1801–1873. Leipziger Universitätsverlag, Leipzig 2004, p. 280 books.google.de
  12. ↑ Berthold Auerbach : Memories of Ernst Rietschel, Part II . In: The Gazebo . 1861, p. 314 ( full text [ Wikisource ]).
  13. ↑ Royal. Police Direction Dresden (Hrsg.): Floor plan of the royal. Capital and residence city of Dresden. City map, approx. 1: 11,000, Ch.G. Ernst am Ende, Dresden 1860.
  14. ↑ Friedrich August Lang (Ed.): Special situation plan of the royal capital and residence city of Dresden in section sheets 16 inches high and 20 inches wide…. City map, 1: 840, self-published, Dresden 1862.
  15. ^ Fritz Löffler : The old Dresden - history of its buildings. EA Seemann, Leipzig 1981, ISBN 3-363-00007-3 , p. 484.
  16. ↑ Architecture and sculpture . In: Illustrirte Zeitung . No. 1517 . J. J. Weber, Leipzig July 21, 1872, p. 70 . books.google.de
  17. ^ Carl Clauss: The Dresden School of Sculpture. In: Carl von Lützow (Hrsg.): Journal for fine arts. 7th volume, EA Seemann, Leipzig 1872, p. 229 books.google.de

Coordinates: 51 ° 3 ′ 12.8 "  N , 13 ° 44 ′ 26.3"  E