Kronprinzenpalais (Stuttgart)

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The Kronprinzenpalais was a city ​​palace on Stuttgart's Schloßplatz . It was built between 1846 and 1850 under King Wilhelm I by the architect Ludwig Friedrich Gaab in the style of the Roman High Renaissance and served from 1854 to 1918 as a city residence for members of the Württemberg ruling house. In the 1920s it was used as an exhibition building for trade fairs and from 1930 as an art museum. The building, which was partially damaged in 1944, was demolished in 1962/63 in order to break through the tarpaulin . The art museum has been in its place since 2005 .

Kronprinzenpalais, design by Ludwig Friedrich Gaab, 1845. Façade facing Königstrasse, right side building on Fürstenstrasse.

Brief description

Note: The dimensions in feet of older sources have been converted to meters and rounded. According to Klimpert 1885 , page 88, 1 foot corresponds to 0.286490 m in Stuttgart.

Surname Kronprinzenpalais, also Kronprinzenpalast, Kronprinzliches Palais or Palais des Kronprinzen
place formerly: Stuttgart, Königstrasse , between Kanzleistrasse and Fürstenstrasse
Building City Palace
construction time Buildings: 1846–1850
Interior: 1850–1854
Demolition: 1963
Architectural style Late classicism , in the style of the Roman High Renaissance
Client King Wilhelm I (1781–1864)
architect Ludwig Friedrich Gaab (1800–1869)
Height above sea level 257 m
main building Length × width: approx. 77 × 26 m
Floors: basement, 3 main floors and attic
Height at the corner of Kanzleistraße: 19.5 m
Height at the corner of Fürstenstraße: 20.5 m
Outbuildings Length × width: approx. 34 × 20 m.
Floors: basement and 2 main floors

Note:

The Kronprinzenpalais is not to be confused with the old Kronprinzenpalais or the Prinzenbau.

  • The old Kronprinzenpalais at Königstraße 46, which was also called the Erbprinzenpalais (formerly Hohenheimsches Palais , today Midnight Building ), originally served the Hereditary Prince and later King Friedrich and then the Crown Prince and later King Wilhelm I as a residence and was rededicated as an administration building in 1816.
  • The Prinzenbau at Schillerplatz housed a hereditary prince (heir to the throne of the duke) in the 18th century , but only princes and no crown princes during the kingship . The future King Wilhelm II was born here in 1848 , but he only became crown prince when it became foreseeable that the marriage of King Karl and Queen Olga would remain childless.

location

  • City map of Stuttgart, 1871.
    K = Kronprinzenpalais
    W = Wilhelmspalais
    connecting line = Planie.
  • Site plan, draft by Ludwig Friedrich Gaab, 1845.
  • Floor plan of the ground floor,
    rear right: Outbuilding designed
    by Ludwig Friedrich Gaab, 1845.

The Kronprinzenpalais was built along Königstrasse on the southwest corner of Schloßplatz, where the Wittwer bookstore building has stood since 1970 and the art museum since 2005 . The building was bordered on the sides by Kanzleistraße and Fürstenstraße. The palace formed the urban counterpart to the Wilhelmspalais (originally “Prinzessinnenpalais”), which was completed in 1840 and is located at the other end of the Planie, and which houses the two eldest daughters of King Wilhelm I , the princesses Marie (1816–1887) and Sophie (1818–1877 ) should serve as a residence.

building

The building complex of the Kronprinzenpalais consisted of a three-story main building on Königstrasse and a two-story annex building on Fürstenstrasse. Both buildings were designed with three wings.

main building

Elevation of the main facade.

Dimensions

The main building stretched almost 80 meters along Königstrasse. Since the level dropped from Kanzleistraße to Fürstenstraße, the building heights varied between 19.5 and 20.5 meters.

To compare the size: The king's building, which was later built next to the palace, was around 120 meters long including the side porticos and around 17 meters high up to the cornice .

Structure

The main building consisted of three wings, a long central wing and two equally long, short side wings. The main facade was divided vertically by risalits and horizontally by a frieze band and cornices . The central axis of the building was highlighted on the ground floor by a three-axis central projection, the pillar porch of which ended with a balcony. Three round-arched entrances in the front part and a passage in the rear part led to the courtyards and the carriage shed in the adjoining building. Two uniaxial risalits flanked the porch, which was crowned by an attic . They barely protruded from the facade by the thickness of the wall, as did the identical corner and side elevations of the side facades. Between the risalits of the main and side facades there were five additional window axes, so that the main front extended over 17 axes and the side fronts over seven axes each.

Masonry

The facades were characterized by structures made of local sandstone, the ground floor had sandstone blocks with horizontal grooves, the upper floors had plastered sandstone masonry, while the partition walls were made of bricks, plastered and partly stuccoed.

Window frames

The window curtain program of the building was varied and different for risalites and reserves as well as between the main and side facades:

  • The base zone below the ground floor was provided with a barred rectangular cellar window per axis.
  • The ground floor had the most beautiful window frames in the entire building: rectangularly framed arched windows, the gusset and lintel of which were decorated with beautiful relief ornaments and ended with an architraved roof ( illustration ). The five central windows on the side facade were missing frames and ornaments. The sills were of two volute n consoles worn.
  • The window frames on the first floor ended with a simple architraved roof on the main facade, with a triangular gable in the risalits and with a high ornamented relief panel on the central axes of the side facade.
  • The window frames on the second floor had a console-supported roof on the main facade and the risalits, which was crowned by a triangular decorative relief on the risalits. The central axes of the side facade ended with a low, ornamented relief panel.
  • The nine rectangular parapet window walls were arranged in groups of three above the three window axes of the central projectile.

Vertical structure

On the ground floor, wide rusticated pilasters flanked the risalites ( illustration , which corresponded to (unrustified) double pilasters on the upper floors). The three axes of the central risalit and the five central axes of the side wings were flanked by simple pilasters.

Horizontal structure

The lower and first floor were separated by a simple strip of cornice. The ground floor ended with an ornamented relief frieze ( illustration ). The storeys were delimited by cornices, which were repeated on the two upper floors in simpler cornices. The far projecting cornice supported by volute consoles formed the end. Above this, the attic rose above the central projection and in the rest of the building a low curtain wall, which hid the flat zinc roof behind it.

Outbuildings

Elevation of the right wing and the outbuilding, design by Ludwig Friedrich Gaab, 1845.

The outbuilding joined the right wing on Fürstenstrasse at a right angle. It was flanked by two single-story, covered driveways to the backyards. Above the left entrance, which slid between the main building and the auxiliary building, there were two covered passages through which the two buildings on the first floor were connected.

The building consisted of eleven axes, three of which were allocated to the two corner projections and five to the slightly recessed central building. The two outer and the five entrances of the central building were equipped with similar round arched gates. The corner projections opened in a narrow arched door and two flanking arched windows. The windows on the upper floor were rectangular and framed, with three windows of the corner projections being coupled. In contrast to the main building, the corner projections were only limited by simple pilasters. The cornices of the main building continued in the same way on the outbuilding. Unlike the main building, the building was not covered with a flat roof, but with a hipped roof.

Spaces

  • Bedroom of Crown Prince Karl and Crown Princess Olga, before 1864.

  • Red Salon of Crown Princess Olga, 1860.

  • Cabinet of Crown Prince Karl, 1860.

  • Russian chapel, 1864.

For the following explanations, please also note the floor plans of the ground floor and the first floor.

The main wing on the right was reserved for the Crown Prince's apartment on the first floor and the Crown Princess's apartment on the first floor. Both apartments consisted of eight rooms each. The left wing also housed eight rooms on the ground floor, which originally served as guest rooms and later as duty rooms. The left part of the first floor was reserved for the two-story dance hall with two adjoining halls, lounge and buffet. From the vestibules to the right and left of the entrance hall, two opposite main stairs each led to the first floor. The dining room was located above the entrance and opened onto the arbor. The 20 rooms on the top floor were reserved for cavaliers, ladies-in-waiting and service personnel.

The two-story auxiliary building was connected to the main building by two covered passages on the first floor. It contained the ground floor on both sides of stables, in the middle of the car remise and the rear wings storerooms for accessories. On the upper floor there were six cloakroom rooms, five rooms for administration and a Russian chapel for the Crown Princess.

The pictures above show some of the interiors of the Kronprinzenpalais, see more pictures here . A detailed description of the interior can be found in Büchele 1858 and Herrmann 2000 . Büchele also describes the furniture and other inventory of the rooms in the 1850s.

history

Previous buildings

Columns of the New Lusthaus from the building of the Indigo-Müller.

On Fürstenstrasse, roughly on the site of the outbuilding of the Kronprinzenpalais, there was already a building before 1500, which Duke Ulrich acquired in 1505. In the same year he gave it to his Hereditary Marshal Konrad Thumb von Neuburg , after whom it was named Thumbenhaus or Marschallenhaus . The house remained in the possession of the Thumb family until 1658 and then changed hands in quick succession. In 1748 Duke Carl Eugen acquired the building and furnished it as a widow's residence for his mother Marie-Auguste von Thurn und Taxis . After her death in 1756 the house was designed to receive princely people and therefore princely house or Fürstenbau called. In 1816 a Greek Catholic chapel for Queen Catherine was set up in the house . The building later became the seat of the Secret Council . In addition to the Princely House, there were two other buildings in the way of the new Kronprinzenpalais: at the corner of Königstrasse and Fürstenstrasse the building of the vault administration with the court's fabric storage room and to the left of it to Kanzleistrasse the indigo trading house Johann Gottlob Müller & Co. ("Indigo Müller ”), which the king acquired from him. All three buildings were demolished in 1845 to make way for the new building.

Building history

Herzog-Max-Palais in Munich, elevation by Leo von Klenze, 1830.

After King Wilhelm I ascended the throne in 1816, the old Kronprinzenpalais at Königstrasse 46, which he had previously lived in, was rededicated as the seat of the Foreign Ministry, the Secret Council and the State Ministry. When Wilhelm's son Karl grew up, the young Crown Prince lacked a proper residence, which he was entitled to under state law. Since the Princely House was unsuitable for this in Wilhelm's view, at the end of 1843 he made the decision “to have a new palace built for His Royal Highness on the spot in Königs-Strasse, where the Princely Building is currently located”. The court chamber builder Ludwig Friedrich Gaab was commissioned with the planning of the building and one of his three submitted plans was approved at the end of 1845. Gaab's design was partly based on the Herzog-Max-Palais by Leo von Klenze in Munich's Ludwigstrasse , which incidentally was demolished long before the Kronprinzenpalais in 1937/1938 as part of the National Socialist urban redevelopment process. In mid-1845, the Chamber approved the cost estimate of 400,000 guilders for the construction, so that the previous buildings could be demolished and the new building could be started under the direction of Gaab. The construction work was completed in 1850 and the interior work was completed in 1854.

Building use

In December 1854, the Crown Prince couple (Karl had married the Russian Tsar's daughter Olga in 1846 ) was finally able to move from their interim apartment in the New Palace to the Kronprinzenpalais. When Karl succeeded his father on the royal throne after his death in 1864, he and his wife moved into the garden wing of the New Palace . The Crown Prince's Palace was now inhabited by the Queen Dowager Pauline until her death in 1873. From 1876, Crown Prince Wilhelm, who later became King Wilhelm II , lived in the palace. He himself moved to the Wilhelmspalais in 1887 , while his court remained in the Kronprinzenpalais until 1892. From 1893 to 1918, Duke Albrecht von Württemberg and his wife Margarete Sophie resided in the palace as the last princely residents .

From 1919 onwards, the Stuttgarter Handelshof AG used a large part of the palace as an exhibition building in which numerous trade fairs were held. From 1930 until it was destroyed in the Second World War in 1944, the palace was the seat of the State Art Collections and included holdings from the Museum of Fine Arts (Kupferstichkabinett, Swabian painting since 1860, newer sculptures). Most of the collection that was outsourced during the war survived.

After the " seizure of power " by the National Socialists, the art historian and SS leader Klaus Graf von Baudissin organized one of the first so-called "shame exhibitions" in the Kronprinzenpalais from June 10 to 24, 1933 under the defamatory title November Spirit - Art in the Service of Decomposition of the reproductions of works by the November Group , by George Grosz and Otto Dix, were shown as “chilling examples”. Also in the Kronprinzenpalais in September of the same year he organized an exhibition glorifying war, entitled From War to War .

Level breakthrough

After the Second World War, a crossbar was to be drawn through the plan to connect the west of Stuttgart to the city center . The Kronprinzenpalais stood in the way of realizing this urban development approach. A protracted dispute between modernists and traditionalists , who voted for or against the demolition of the Kronprinzenpalais, was decided in 1959 by the development plan "Planiedurchbruch".

Traditionalists. The traditionalist movement was represented by the country, the owner of the Kronprinzenpalais, and by some outstanding architects such as Paul Bonatz and Otto Ernst Schweizer . In a planning report for the reorganization of Stuttgart's inner city in 1953, he wrote about the Kronprinzenpalais: “If such a building were to disappear, an entire epoch would also disappear in its illustrative power of representation and its historical significance. After the huge losses of building and cultural values ​​through the war, it is all the more important to preserve and look after the few surviving witnesses of the past. "

Modernists. The position of the modernists was mainly asserted by the city's representatives, who mainly used arguments relating to traffic planning and denied the importance of the Kronprinzenpalais in terms of art history and urban planning. One of the main exponents of this direction was Mayor Arnulf Klett , who said in a letter to Paul Bonatz in 1951: “Preservation makes sense where the present that has become historical fertilizes the future, but not where it stimulates present and future developments exclusively or predominantly inhibits […]. More valuable than the damaged facade of the ruins of the Kronprinzenpalais [...] is the living people of our time and our city. "

Epilogue. In 1963 the Kronprinzenpalais was finally demolished. Six tunnels were drilled in its place, five for car traffic and one for trams. In 1968 the tubes were covered with a plate, which was called Kleiner Schloßplatz . A few years later, "parts of the huge traffic structure went out of service again because it became clear that this functionalism did not work at all and that the facilities were actually not needed". In 1980 the tram was moved underground, and in 1993 the lanes also disappeared underground. The entrances to the now useless tunnel tubes were covered by a large staircase, which developed into a popular meeting place. The tunnel tubes that were no longer needed were integrated into the art museum built on this site in 2002–2005 as exhibition rooms. With the art museum, the Wilhelmspalais got its urban counterpart at the other end of the Planie back, which had been lost when the Kronprinzenpalais was demolished.

remains

  • Arched window

  • Frieze plate

  • Frieze plate

  • Capital of a pilaster

  • Capital of a corner pilaster

Some remains of the Kronprinzenpalais were saved when the building was demolished in 1963 and are now installed in the Stuttgart City Lapidarium :

  • 5 ornamental frieze plates with two different patterns (No. 261–265)
  • 2 pilaster capitals (No. 267/268)
  • 1 arched window from the ground floor of the side wing on Kanzleistraße (No. 269)

The arched window was first set up at the Kleiner Schloßplatz, where it remained until 1993. In 1996 it was given its current place in the municipal lapidarium.

reception

At the same time as the Kronprinzenpalais, the official city residence of the Crown Prince couple, Villa Berg was ready for occupancy in 1854 , the couple's private country villa that Christian Friedrich von Leins had built. Both buildings were built in the style of the Italian High Renaissance, but otherwise differed very clearly from each other. The magnificent private palace with its spacious park overtook the rather sober, confined official residence in terms of public attention and esteem. The Kronprinzenpalais fared similarly in comparison with the royal building completed in 1860 , which, with its expansive structure and the continuous, colossal colonnades, but also as a counterpoint of the New Palace , attracted more attention than the palace on the edge of the Schloßplatz.

  • One of the earliest statements about the Kronprinzenpalais comes from Karl Moser , who in his description of the Stadtdirections-Bezirk Stuttgart from 1856 gives a purely factual representation, while he emphasizes the Villa Berg as "one of the most beautiful and charming creations of modern times".
  • In his Stuttgart Guide from 1858, Karl Büchele found words of praise for the palace: “The crown prince palace stands, an ornament of the same, on the palace square [...]. From the Königsstrasse, the palace makes a not unpleasant impression with its rich ornamentation […] ”He took over the assessment of Villa Berg literally from Karl Moser and added that it was built“ in the noblest Renaissance style ”.
  • In his chronicle of the city of Stuttgart , Julius Hartmann only reports in 1886 that the crown prince couple moved into the palace on December 2, 1854; he does not go into the structural quality of the building. On the other hand, he highlights the Villa Berg , which was inaugurated about a month earlier, on October 29, 1854: "The now completed villa of the Crown Prince, a building that has become groundbreaking for Renaissance buildings in Stuttgart [...]."
  • Gaab's younger colleague Christian Friedrich von Leins , who outlived him by almost 30 years, was the builder of Villa Berg and the Königsbau. In 1889 he published a paper on the court camps and country seats of the Württemberg regent house , in which he also discussed the Kronprinzenpalais: “The spatial division is clear and extremely simple [...]. The interior is worthy, but without any particular display of magnificence. [...]. As elegant as the location of the building is, the back space remains limited and there is no correspondingly large garden, which would have increased the comfort for the high residents, but was not to be gained at this point. After all, the building has a very stately appearance and an ornament to the Königsstrasse. "

After the destruction of the Kronprinzenpalais in 1944, interest in the building reawakened.

  • Paul Bonatz warned in 1951: "If you tear down the Kronprinzenpalais, the west side of the Schlossplatz will losehalf of its face." After the winning design for the Art Museum was announced in 1999, Dankwart Guratzsch criticized: "You will not find it again now."
  • The art historian Werner Fleischhauer said in 1952: "What remains to be admired is the security inherent in classical architects that the monumental building, with its fortunate proportions, will be an absolutely perfect closure of the Schlossplatz, in whose overall effect the palace is of integrative importance."
  • In 1957, the Swabian art historian Georg Himmelheber said: “Gaab's Kronprinzenpalais stands in Stuttgart at a crucial point in the development of 19th century architecture. In 1845 (when construction began), Nicolaus Thouret and Giovanni Salucci, main masters of mature classicism, died. Georg Gottlob Barth, to whom Gaab is very indebted, dies three years later. Gaab's successor is Christian Friedrich Leins, who is building the future-oriented Italian Villa Berg at the same time as the Kronprinzenpalais [...]. In terms of style, the Kronprinzenpalais by Ludwig Gaab is exactly at the point where classicism begins to transition into historicism. "

Before the Kronprinzenpalais was demolished in 1963, there was a lively discourse for and against the art-historical value of the building, which is discussed in more detail in the section Planiedurchbruch .

literature

Basic literature : Bidlingmaier 2017 , Herrmann 2000 , Sterra 1991 , Himmelhub 1957 , Büchele 1858 .

Post-war history: Sterra 1991 ; Boyken 1996 ; Brunold 1994 ; MacNeille 2004 .

  • B .: The new Schlossplatz in Stuttgart . In: Illustrirte Zeitung 37.1861, pages 293-294 [2] .
  • Rolf Bidlingmaier: The Kronprinzenpalais in Stuttgart. Princely seat-Handelshof subject of dispute. A palace at the transition from classicism to historicism. Petersberg: Michael Imhof, 2017.
  • Uwe Bogen (text); Thomas Wagner (photos): Stuttgart. A city changes its face. Erfurt 2012, pages 14–15.
  • Immo Boyken: Reorganization of the city center of Stuttgart: Project 1948–54 . In: Otto Ernst Schweizer 1890–1965, Buildings and Projects , Stuttgart 1996, page 199.
  • Andreas Brunold; Bernhard Sterra: Stuttgart - from the residence to the modern metropolis: Architecture and urban development through the ages; [Exhibition Stuttgart - from the residence to the modern city] , Tübingen 1994, pages 102–106, images: pages 97, 100–102.
  • Karl Büchele: Stuttgart and its surroundings for locals and foreigners , Stuttgart 1858, page 61-65.
  • The Kronprinzenpalais . In: Eugen Dolmetsch: From Stuttgart's Past Days (second volume of "Pictures from Old Stuttgart"). Self-experienced and retold. Stuttgart 1931, pages 24-25.
  • Hartmut Ellrich : The historic Stuttgart: Pictures tell , Petersberg 2009, page 75-76.
  • Herbert Fecker: Stuttgart, the palaces and their gardens. The development of palaces and gardens from the count's residence to the international horticultural exhibition , Stuttgart 1992, pages 117–118.
  • Use Feller; Eberhard Fritz; Joachim W. Siener: Württemberg at the time of the king: the photographs of Duke Philipp von Württemberg (1838–1917) , Stuttgart 1990, pages 64–65, 70–76, 90.
  • Werner Fleischhauer ; Julius Baum ; Stina Kobell : Swabian Art in the 19th and 20th Centuries , Stuttgart 1952, page 93.
  • Carl Theodor Griesinger : Württemberg after its past and present in the country and people , Stuttgart 1866, reprint Frankfurt am Main 1978, page 20.
  • Julius Hartmann: Chronicle of the city of Stuttgart: six hundred years after the first memorable mention of the city (1286) , Stuttgart 1886, page 259, US proxy .
  • Grit Herrmann: The Kronprinzenpalais on Stuttgart's Schlossplatz . In: Schwäbische Heimat: Journal for regional history, Württemberg regional culture, nature conservation and monument preservation 51.2000, pages 47–60.
  • Georg Himmelträger : The Kronprinzenpalais in Stuttgart . In: Schwäbische Heimat: Journal for regional history, Württemberg regional culture, nature conservation and monument preservation 8.1957, pages 46–51.
  • Corinna Höper: From the “Königl: ober-Hof Kupferstich-Kompounder” Eberhard Wächter to the “courtesy of the board of directors Prof. Kräutle, which can hardly be estimated high enough”: The “Royal Cabinet of Copper Engravings and Hand Drawings” in the 19th century. A contribution to the history of the graphic collection of the Staatsgalerie Stuttgart . In: Yearbook of the State Art Collections in Baden-Württemberg 42.2005, pages 31–82.
  • Corinna Höper: The first official residence in the Kronprinzenpalais Stuttgart 1854–1864 . In: The Olga-Album: Views of living rooms and representative rooms of the Royal Family of Württemberg , Stuttgart 2009, pages 10-11.
  • Wilhelm Jähnl: The development and importance of trade fairs , Leipzig 1922, page 93-95 [3] .
  • Richard Klimpert: Lexicon of Coins, Measures and Weights: Counting types and time sizes of all countries in the world , Berlin 1885, page 88, US proxy .
  • Christian Friedrich von Leins : Palace of the Crown Prince . In: The court camps and country seats of the Württemberg regent house. Festschrift to celebrate the 25th anniversary of his Majesty's government, King Karl von Württemberg , Stuttgart [approx. 1889], pp. 78-79.
  • Andrew MacNeille: Between Tradition and Innovation - Historic Places in the Federal Republic of Germany after 1945 , Cologne 2004, pages 116–120 [4] .
  • Antero Markelin; Rainer Müller: Stadtbaugeschichte Stuttgart , Stuttgart 1991, pages 122–123.
  • Rudolf Moser: Description of the Stadtdirections-Bezirk Stuttgart , Stuttgart 1856, page 170-171 [5] .
  • Manfred Schmid; Jutta Ronke: Städtisches Lapidarium, Museum Guide, Stuttgart [2006], page 98.
  • Harald Schukraft : Stuttgart then - Stuttgart now , Stuttgart 1994, pages 20-21.
  • H. Stecher; H. Prechter: The Karl-Theodor-Palais in Munich . In: Zentralblatt der Bauverwaltung 58.1938, pages 1194–1197.
  • Bernhard Sterra: Planning guiding concepts in conflict: The dispute over the Kronprinzenpalais . In: The Stuttgart city center under construction: Architecture and urban planning 1945 to 1960 , Stuttgart 1991, pages 182–240.
  • Gustav Wais : Old Stuttgart's buildings in pictures , Stuttgart 1951, reprint Frankfurt am Main 1977, page 309, 487.
  • Gustav Wais: Old Stuttgart: the oldest buildings, views and city plans up to 1800; with urban history, architectural history and art history explanations , Stuttgart 1954, pages 103–104, 120–121, 137–138, 246.
  • Gustav Wais: "Stuttgart in the nineteenth century: 150 pictures with explanations of city history, building history and art history", Stuttgart 1955, front cover, picture 10.
  • Gustav Wais: Stuttgart before the destruction: 134 pictures with explanations of city history, building history and art history , Stuttgart 1959, picture 8.
  • Oskar Wildt: Trade fairs and exhibitions . In: Fritz Elsas (editor): Stuttgart: the book of the city , Stuttgart 1925, reprint Frankfurt am Main 1980, pages 315-318.
  • Ludwig Windstosser (illustration): The Württembergische Bank, Stuttgart: the Kronprinzenpalais and the Kleine Schloßplatz , Stuttgart 1969.
  • The Kingdom of Württemberg 1806–1918, Monarchy and Modernism , Ulm 2006, page 132.
  • Gerwin Zohlen: We wanted a building that can clearly be found in the modern age of our time. A conversation about the Kunstmuseum Stuttgart with the architects Rainer Hascher and Sebastian Jehle , online [6] .

Web links

Commons : Kronprinzenpalais  - Album with pictures, videos and audio files
Commons : Kronprinzenpalais  - Collection of images, videos and audio files
Commons : Queen Olga album with pictures of the interior of the Kronprinzenpalais  - album with pictures, videos and audio files
Commons : Herzog-Max-Palais  - Collection of images, videos and audio files

Individual evidence

  1. ^ Wais 1951 , p. 487.
  2. ↑ Büchele 1858 , page 61.
  3. ↑ Leins 1889 .
  4. ↑ According to the numbering Koenigstrasse 30–34 valid at that time, see z. B. City map from 1846 . The following buildings are numbered differently today: Wittwer bookstore = Königstraße 30, art museum = Kleiner Schloßplatz 1.
  5. ↑ Sometimes the year of the demolition is wrongly given as 1956, see e.g. B. Zohlen o. J.
  6. ↑ Measurement with Google Earth.
  7. ↑ Büchele 1858 , page 61.
  8. ↑ Herrmann 2000 , page 52.
  9. ↑ Length according to Büchele 1858 , page 64. Width according to the floor plan (see illustration).
  10. ↑ The two main floors were the same height as the corresponding floors of the main building.
  11. ^ Website of the architects Belz and Lutz: [1] .
  12. ↑ Princess Sophie married the future King of the Netherlands, Wilhelm III , in 1839, one year before the palace was completed . and then lived with her husband in the Netherlands. Princess Marie lived in the palace until her death in 1873.
  13. ↑ On the available illustrations it can be seen that the two risalites on the side of the central risalit did not have parapets like in this elevation until the 1920s. However, these attics are present in pictures from the 1940s, so that the elevation shows the state of the facade around 1930 at the earliest.
  14. ↑ Dimensions according to B. 1861 . The building length was confirmed by measurement with Google Earth. The height of the building may have changed due to the reconstruction after the Second World War.
  15. ↑ Leins 1889 .; Bidlingmaier 2017, pp. 28-30, 156
  16. ↑ The information in this section is based on Herrmann 2000 , pp. 55–57; Büchele 1858 ; Gust of wind 1969 ; Leins 1889 ; Ellrich 2009 , page 76.
  17. ↑ The information in this paragraph is based on Wais 1954 ; Sterra 1991 , p. 183; Leins 1889 , p. 78; Herrmann 2000 , page 50. - Four columns from the house of the Indigo-Müller, which came from the former New Lusthaus, were built by Friedrich Wilhelm Hackländer as a balcony on his Villa Heidehaus . After the villa was demolished in 1910, the pillars were erected by the ruins of the New Lusthaus in the central palace garden .
  18. ↑ Ellrich 2009 , page 75; Wais 1954 , page 121. - The old Kronprinzenpalais, formerly Hohenheimsches Palais, today midnight building , was also called the Erbprinzenpalais.
  19. ↑ Leins 1889 , page 78.
  20. ↑ Decree of December 6, 1843 ( Himmelhub 1957 , p. 46).
  21. ↑ Sterra 1991 , page 183: (probably in error) 600,000 guilders.
  22. ↑ Sky lifter 1957 , page 47.
  23. ↑ Some authors give 1849 as the completion date. B. Fleischhauer 1952 ; Sterra 1991 , p. 184.
  24. ↑ Ellrich 2009 , page 75; Wais 1959 , picture 8.
  25. ^ Wais 1959 , Fig. 8; Sky lifter 1957 , page 48; Herrmann 2000 , page 50.
  26. ↑ Wildt 1925 ; Jähnl 1922 ; Ellrich 2009 , page 76.
  27. ↑ Höper 2005 , page 45; Wais 1951 , p. 487.
  28. ↑ Sterra 1991 , p. 200.
  29. ↑ Boyken 1996 , p. 199.
  30. ↑ Sterra 1991 , p. 214.
  31. ↑ Zohlen undated
  32. ↑ Hermann 2000 , page 51; Markelin 1991 .
  33. ↑ See section "Tunnels" in the web link of the architectural office Hascher Jehle Architektur .
  34. ^ Schmid 2006 .
  35. ↑ The different appreciation of the Kronprinzenpalais and Villa Berg can be seen from the fact that the authors of the 19th century devoted much less space to the palace than to the villa, see e.g. B. Moser 1856 , pages 164-170 (Villa Berg), 170-171 (Kronprinzenpalais); Büchele 1858 , pages 61–65 (Kronprinzenpalais), 294–318 (Villa Berg); B. 1861 ; Griesinger 1866 , pages 20, 51.
  36. ↑ See B. 1861 ; Griesinger 1866 , pages 14, 20.
  37. ↑ Moser 1856 , pp. 170-171, 164.
  38. ↑ Büchele 1858 , pp. 61, 65.
  39. ↑ Büchele 1858 , page 294.
  40. ↑ Hartmann 1886 .
  41. ↑ Leins 1889 .
  42. ↑ Dankwart Guratzsch: How Stuttgart lost face
  43. ↑ Fleischhauer 1952 .
  44. ↑ Sky lifter 1957 , page 51.

Coordinates: 48 ° 46 ′ 41.6 ″  N , 9 ° 10 ′ 39.9 ″  E