List of cultural monuments in the inner old town

The list of cultural monuments in the Inner Old Town contains the cultural monuments of the Inner Old Town district in Dresden's Old Town I district .
This district is divided into the districts of Innere Altstadt , Pirnaische Vorstadt , Seevorstadt and Innere Wilsdruffer Vorstadt .
The notes are to be observed.

This list is a partial list of the list of cultural monuments in Dresden .
This list is a partial list of the list of cultural monuments in Saxony .

Legend

• Image: shows a picture of the cultural monument and, if applicable, a link to further photos of the cultural monument in the Wikimedia Commons media archive
• Designation: Name, designation or the type of cultural monument
• Location: If available, street name and house number of the cultural monument; The list is basically sorted according to this address. The map link leads to various map displays and gives the coordinates of the cultural monument.
  

Map view to set coordinates. In this map view, cultural monuments are shown without coordinates with a red marker and can be placed on the map. Cultural monuments without a picture are marked with a blue marker, cultural monuments with a picture are marked with a green marker.

• Dating: indicates the year of completion or the date of the first mention or the period of construction
• Description: structural and historical details of the cultural monument, preferably the monument properties
• ID: is awarded by the State Office for the Preservation of Monuments in Saxony. It clearly identifies the cultural monument. The link leads to a PDF document from the State Office for the Preservation of Monuments in Saxony, which summarizes the information on the monument, contains a map sketch and often a detailed description. For former cultural monuments sometimes no ID is given, if one is given, this is the former ID. The corresponding link leads to an empty document at the state office. The following icon can also be found in the ID column ; this leads to information on this cultural monument at Wikidata .

Inner old town

image	designation	location	Dating	description	ID
More pictures	House Altmarkt	Altmarkt 4 (map)	1953–1956 (residential and commercial building)	Residential and commercial building in closed development; with a restaurant zone on the ground floor and first floor, plastered sandstone facades, porch on pillar arcade, in the style of the national building tradition of the 1950s, striking central development, important evidence of the reconstruction after 1945, significant in terms of building history, artistry and urban development (see also Gewandhausstraße, Kreuzstraße, Ringstraße , Weisse Gasse and Wilsdruffer Straße). Architect: Herbert Schneider .	09213825
More pictures	Altmarkt cellar	Altmarkt 5; 6 (card)	1953–1956 (residential and commercial building)	Row of residential and commercial buildings in closed development, original shop fittings, shoe store Gazelle (No. 5) and men's fashion (No. 6) and restaurant (No. 5); Distinctive buildings with a shop zone on the ground floor and first floor, plastered sandstone facades, in the style of the national building tradition of the 1950s, striking central development, important evidence of the reconstruction after 1945, significant in terms of building history, artistry and urban development (see also Gewandhausstraße, Kreuzstraße, Ringstraße, Weisse Gasse and Wilsdruffer Straße), built according to plans by Herbert Schneider and the collective.	09213826
More pictures	Row of residential and commercial buildings	Altmarkt 21; 22; 23; 24 (card)	1953–1955 (residential and commercial building)	Row of residential and commercial buildings in closed development (including the connecting building to Seestrasse with a passage to Webergasse), plastered sandstone facades, storefronts on pillar arcades, in the style of the national building tradition of the 1950s, striking central development, important evidence of the reconstruction after 1945, historical, artistic and urban planning significant (see also Seestraße, Dr.-Külz-Ring and Wallstraße), built according to plans by Johannes Rascher and Kollektiv.	09213832
More pictures	HO warehouse; Intecta; Center department store	Altmarkt 25 (map)	marked 1955 (department store)	Department store in closed development and corner location; as a head building part of the remarkable Altmarkt development, in the style of the national building tradition of the 1950s, architectural history, distinctive center development, important evidence of the reconstruction after 1945, artistically and urbanistically significant (see also Altmarkt 21-24, Dr.-Külz-Ring, Seestrasse and Wallstrasse and Wilsdruffer Straße 25), built according to plans by Alexander Künzer and the collective.	09213841
More pictures	woman Church	At the Frauenkirche - (map)	1726–1734 (Evangelical Lutheran Church), completed 1736 (organ), 1616 (Man of Sorrows), 17th and early 18th centuries (tombstones)	Church (with altar inside and other furnishings), built by George Bähr (1738); Central building with choir, stone dome (1736) and lantern , the most important baroque Protestant church building in Saxony and one of the most important in Germany, outstanding architecture, historically, artistically, town-planning and scientifically significant. Almost completely destroyed in 1945, rebuilt from 1993 to 2005 using original parts.	09213916
More pictures	Coselpalais	At the Frauenkirche 12 (map)	around 1765, two gatehouse wings (part of the building), around 1765 (property border), around 1765 (columnar figure)	Two gatehouse wings of a city palace with a courtyard border; Two-storey buildings with round gables, trophies and balustrades, the border of pillars with putti by the sculptor Johann Gottfried Knöffler (1715–1779) as well as wrought iron fence and gate, as original parts of one of the most important baroque residential buildings in Dresden and with the elaborate figural decoration in terms of history, art and architecture important in terms of local history. Erected by Julius Heinrich Schwarze and Christian Gottfried Hahmann , expanded around 1902, largely destroyed in 1945, remains of the main building blown up in 1951, reconstruction from 1967 to 2000.	09214063
More pictures	Salvaged components of a baroque town house	At the Frauenkirche 16 (map)	after 1728 (part of the building)	Salvaged components; Profiled parapet slab, garments with leaf hangings and flower hangings, capitals, consoles, cartouches , etc., included in the facade of the new building, significant in terms of architectural history. The so-called Krell fountain from the former house of Nikolaus Krell (1551–1601) in the inner courtyard of no. 17 is not mentioned here.	09210284
More pictures	Kreuzkirche	At the Kreuzkirche 1 (map)	1764–1792 (church), 1963 (organ), 1900 (relief), 1613 (relief)	Church (with equipment); Significant above all baroque church building, three-aisled hall with built-in galleries and west tower, plus fittings including organ prospectus in the sober style of the reconstruction period after 1945, main parish church of Dresden, determined the silhouette of the city to a decisive extent, structurally, art-historically, artistically, locally and town-planning significant . Erected according to plans by Johann George Schmidt , tower design by Christian Friedrich Exner , inside numerous artefacts from the Sophienkirche , including parts of the Nosseni epitaph .	09213827
More pictures	Augustus Bridge	Augustus Bridge - (map)	1907–1910 (road bridge), 1863, Wappenstein (coat of arms)	Road bridge over the Elbe, plus coat of arms stone under arch on the Neustadt side; Stone from 1863, building on nine arches with parapets, stairs, viewing platforms and bridgeheads, most important Elbe crossing in the city, oldest bridge location in Dresden , work of the well-known city planning officer Hans Erlwein , noteworthy in terms of design, in addition to other famous buildings, it gives Elbe views of the former royal seat its unmistakable, Elbe crossing historically, artistically and town-planning significant. Built by Hermann Klette and Wilhelm Kreis , damaged in 1945 and restored by 1949.	09213859
	Road and sidewalk reinforcement	Augustusstrasse - (map)	End of the 19th century (row paving, granite slabs)	with row paving and paving slabs made of granite, plus the curbs made of the same material as well as the so-called mouth stones for drainage, as an example of many streets and squares of the same design in Dresden, local historical significance.	09306261
More pictures	Stable yard ; Johanneum ; Transport Museum ; Long corridor ; Prince procession ; Dresden Residence (individual monument for ID No. 09306104)	Augustusstrasse 1 (map)	1586–1591 (royal stables), 1872 (prince procession)	Individual monument to the whole of the Dresden Residence: stable building (later gallery and museum), columned arcade including a larger-than-life picture of a cavalry procession, applied to tiles made of Meissen porcelain , the prince's procession, on Augustusstrasse, horse ramp, horse pond, pylons and pilars (not currently installed) of the former Stechbahn and boundary wall; Unique and historically significant complex in the center of Dresden from the Renaissance to the 19th century, Fürstenzug landmark of the city, ensemble architecturally and creatively singular, at the same time of artistic and urban development importance.	09213860
More pictures	SAXONIA steam locomotive	Augustusstrasse 1 (map)	1838 (original locomotive), 1988 (replica)	Replica of the first German operational steam locomotive; Initiated by the Ministry of Transport of the GDR on the occasion of the 150th anniversary of the Leipzig-Dresden Railway , important as a contemporary document of GDR history, the replica bears witness to the political efforts to tie in with the success story of German railway history, still being largely true to the original Replica of scientific and documentary value as well as of high experience and memory value.	09299167
	Entrance and ventilation shed	Bernhard-von-Lindenau-Platz (map)	around 1910 (ventilation)	Entrance and ventilation house of the Dresden sewer system; Part of the historic Dresden sewer system, significant in terms of building history and local history.	09217792
	Historic district heating channel	Brühlsche Gasse - (map)	1899–1900 (district heating duct)	Historic district heating channel under the old town of Dresden; Testimony to the earliest "city heating " using district heating in Germany, singular, of great importance in terms of technology and urban history.	09304122
More pictures	Material entirety Brühlsche Terrasse with numerous individual monuments	Brühlsche Terrasse - (map)	from 1814, Wallpromenade (Promenade)	Brühlsche Terrasse (referred to as the »European Balcony«) with the following individual monuments: fortress with casemates , maiden bastion , the two overpasses via Brühlsche Gasse and Münzgasse , bear kennel and the so-called large barrel as well as the cannon yard of the Hasenbergbastion, former court gardening , large open staircase with groups of figures, Stairs to Münzgasse, stairs to Georg-Treu-Platz ; Significant in terms of building history, art history and local history, artistically and urban planning.	09305203
More pictures	Dresden Fortress ; Maiden bastion ; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlsche Terrasse - (map)	1546–1555 (fortress)	Individual monument belonging to the Brühlsche Terrasse as a whole: preserved area of ​​the Dresden Fortress with the Jungfernbastei, the two overpasses via Brühlsche Gasse and Münzgasse, Bärenzwinger, casemates and so on. Large barrel and the cannon courtyard of the Hasenberg bastion under the parish hall of the Reformed Community; Part of an important renaissance bastionary fortress, ramparts in the 18th century were transformed into a pleasure garden and after 1814 a promenade. Alexander von Humboldt's unique panoramic promenade aptly referred to as the »Balcony of Europe«, developed into a main attraction for the city during the 19th century the Dresden residents and the many guests of the city, significant in terms of architecture, art and local history, artistic and urban planning.	09213873
More pictures	Large flight of stairs; Four times of the day ; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlsche Terrasse - (map)	1814 (staircase), 1905–1908 (group of figures)	Individual features of the Brühlsche Terrasse as a whole: wide, representative staircase to the palace square with groups of figures; remarkable urban and artistic ensemble, unique in this form, one of the landmarks of Dresden. Erected by Gottlob Friedrich Thormeyer , figure group Vier Tageszeiten by Johannes Schilling .	09213876
More pictures	Rietschel Monument ; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlsche Terrasse - (map)	1872 (monument)	Individual monument of the whole of the Brühlsche Terrasse: Monument to Ernst Rietschel, bronze bust by Johannes Schilling on a pedestal surrounded by three bronze seated figures, in memory of the sculptor Ernst Rietschel (1804–1861), artistically and personally significant.	09213877
More pictures	Art academy and art association; Dresden University of Fine Arts	Brühlsche Terrasse 1 (map)	1887–1893 (academy)	Main building with corner pavilion (art academy building), side building with glass dome ( art exhibition building ) and rear enclosure; The building complex is significant in terms of building history, artistry and urban planning.	09213879
More pictures	Secondogenitur library	Brühlsche Terrasse 3 (map)	1896–1897 (library), early 18th century (portal)	Library building, at the back the baroque portal of the Hellerschänke; Today a restaurant, free-standing neo-baroque building with a protruding central projection and mansard roof , closely connected to the work of the Wettins, the Saxon rulers, architect: Hofbaurat Gustav Frölich , typical of the time, located on the Brühlsche Terrasse, determined with this old town view of the Elbe, the portal creatively striking next to it Support pillars and ramp, object of architectural, artistic, urban and local significance. Burned out in 1945 and restored until 1964, today used as a restaurant.	09213880
More pictures	Dresden Fortress ; Maiden bastion; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlscher Garten (map)	1546–1555 (fortress)	Individual monument belonging to the Brühlsche Terrasse as a whole: preserved area of ​​the Dresden Fortress with the Jungfernbastei, the two overpasses via Brühlsche Gasse and Münzgasse, Bärenzwinger, casemates and so on. Large barrel and the cannon yard of the Hasenberg bastion under the parish hall of the Reformed Congregation (ID no. 09305203); Part of an important renaissance bastionary fortress, ramparts in the 18th century were transformed into a pleasure garden and after 1814 a promenade. Alexander von Humboldt's unique panoramic promenade aptly referred to as the »Balcony of Europe«, developed into a main attraction for the city during the 19th century the Dresden residents and the many guests of the city, significant in terms of architecture, art and local history, artistic and urban planning.	09213873
More pictures	Brühl's Basin; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlscher Garten - (map)	around 1740 (water basin)	Individual monument of the whole Brühlsche Terrasse: water basin; Floor made of folded sandstone slabs and half of the profiled edging from the middle of the 18th century, as a preserved part of the so-called » Brühlschen Herrlichkeit « and the terrace, especially important in terms of architectural and local history.	09305692
More pictures	Gottfried Semper Monument ; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlscher Garten - (map)	1892 (monument)	Individual monument of the whole Brühlsche Terrasse: Monument to Gottfried Semper ; Bronze statue on pedestal, in memory of the architect Gottfried Semper (1803–1879), of artistic and personal importance. Bronze figure by Johannes Schilling , pedestal design by Constantin Lipsius.	09213878
More pictures	Dolphin fountain ; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlscher Garten - (map)	1747–1749 (fountain)	Individual monument of the Brühlsche Terrasse: fountain system with basin, back wall, staircase, railing and plastic made of putto, dolphin, shell and rock; artistically and historically significant.	09213875
More pictures	Two sphinxes; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlscher Garten - (map)	around 1750 (group of figures)	Individual monument of the Brühlsche Terrasse as a whole: two sphinxes on pieces of wall; originally part of the Belvedere, artistically and historically significant. Created by Johann Gottfried Knöffler , originally placed in front of the Belvedere in the Brühl Gardens .	09210285
More pictures	Johann Friedrich Böttger Monument; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlscher Garten - (map)	1982 (monument)	Individual monument of the whole Brühlsche Terrasse: stele with portrait relief of Johann Friedrich Böttger , co-inventor of the European hard porcelain; of personal and artistic importance.	09305240
More pictures	Court gardening; Ev.-ref. Municipality of Dresden; Brühlsche Terrasse (individual monument for ID No. 09305203)	Brühlscher Garten 4 (map)	around 1753 (court gardening), 1955–1957 (outbuilding)	Individual monument belonging to the Brühlsche Terrasse: Hofgärtnerhaus; Former horticultural building (today a church parish building) with an L-shaped floor plan, with a north-western main wing, wing in a south-easterly direction (former hall extension), a flat extension (today a café) and enclosure (ID no 1999 location of the church hall) and large barrel (ID no. 09213873); since 1956/57 Evangelical Ref. Church, parish hall and old people's home, as a modified but preserved part of the so-called »Brühlschen glories« and the terrace, above all significant in terms of architectural and local history. Former court gardener with side building, burnt out in 1945, restored from 1955 to 1958, conversion to a residential building with a community hall according to plans by Heinrich Rettig (1900–1974), today the church of the Reformed Church after the ruins on Dr.-Külz-Ring were cleared .	09213881
	Soft stone (copy)	Dr.-Külz-Ring - (map)	marked 1550 (copy of Weichbildstein)	Soft stone (copy); with coat of arms, year and numbering, year of installation unknown, this was the emblem of the soft image law, which included certain privileges, especially market and trade rights, within an area that went beyond the city walls, of local historical importance.	09210295
	Row of houses in closed development	Dr. Külz Ring 9; 11; 13 (card)	around 1958 (residential building)	Objectively designed, with axial facade structure, loggias and hipped roof , plus a shopping area, characteristic example of the modern phase of GDR architecture and the all - German post-war modernism , striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban development (see also Altmarkt, Seestraße and Wallstraße ).	09214055
More pictures	Deutsche Bank; Dresdner Bank (former)	Dr.-Külz-Ring 10 (map)	around 1900 (bank building)	Bank building (Dr.-Külz-Ring 10 and Waisenhausstraße 11 / 11b); representative building in historicist style, especially based on the Renaissance , extremely elaborate facades, formerly in closed development, of local history, architectural history and also artistically significant.	09214059
More pictures	new town hall	Dr.-Külz-Ring 19 (map)	1904–1910 (town hall), 1911, Hietzigbrunnen (fountain), 1908 (town hall man), 1910 (sculpture), 1910 (lion figures)	Town hall with all outdoor facilities as well as plenary hall and ballroom; Complex of architectural and artistic importance, at the same time singular in terms of design, with its tower decisively shapes the silhouette of Dresden, thus also of importance in terms of urban planning.	09213885
More pictures	Koehler's house	Frauenstrasse 14 (map)	1746–1747 (facade part)	Recovered and reinstalled facade fragments; Due to their age and their design qualities, they are of architectural and artistic importance.	09302190
More pictures	Country house and wheelhouse; Country house ; Dresden City Museum	Friesengasse 6 (map)	1770–1776 (Ständehaus)	Museum; Formerly an administration and parliament building, two-wing complex with a central building facing the courtyard (including a double staircase), in the baroque-classical style, later expanded, of regional, artistic and architectural importance. Country house built according to plans by Friedrich August Krubsacius , initially used by the Saxon state estates, later district and administrative authority Dresden; Burned out in 1945, rebuilt from 1963 to 1966, since then used as Dresden City Museum .	09214044
	"Great Mourning Man"; »Dresden warns«	Georg-Treu-Platz - (map)	marked 1983 (seated statue)	Plastic; refers to the bombing of Dresden in 1945, artistically demanding work by the well-known German sculptor and graphic artist Wieland Förster , who created the majority of his oeuvre in GDR times, art-historically and artistically significant.	09304898
More pictures	Stairs to Georg-Treu-Platz; Brühlsche Terrasse (individual monument for ID No. 09305203)	Georg-Treu-Platz - (map)	1885 (staircase)	Individual monument of the whole Brühlsche Terrasse: stairs to Georg-Treu-Platz; A distinctive design approach, of importance in terms of building history, local history, artistically and town planning.	09305239
More pictures	Art academy and art association; College of Fine Arts	Georg-Treu-Platz 1 (map)	1887–1893 (academy)	Main building with corner pavilion (art academy building), side building with glass dome (art exhibition building) and rear enclosure; The building complex is significant in terms of building history, artistry and urban planning.	09213879
	Parts of the passenger steamer » Schmilka «	Georg-Treu-Platz 3 (map)	1897 (steam engine)	Parts of a passenger steamer: steam engine and two paddle wheels; Significant in terms of technology history, the owner is the Sächsische Dampfschifffahrt based in Dresden, Georg-Treu-Platz 3, facilities are currently outsourced and are located at the Roßlauer Schiffswerft (RSW).	09218545
	Parts of the passenger steamers "Junge Pionier" and "Schmilka"	Georg-Treu-Platz 3 (map)	1898 (steam engine)	Parts of two passenger steamers / paddle steamers (1. “Karlsbad”, “Saxony”, “Young Pioneer” and 2. “Hohenzollern”, “Meissen”, “Saxony”, “Schmilka”): steam engines, engine room and paddle wheels; Significant in terms of technology history, the owner is the Sächsische Dampfschifffahrt based in Dresden, Georg-Treu-Platz 3, facilities are currently outsourced and are located at the Roßlauer Schiffswerft (RSW).	09218546
	Five showcases	Gewandhausstrasse (map)	around 1960 (showcases)	Five showcases; Set sideways, striking examples of street furniture typical of the GDR, probably created in connection with old market development, significant in terms of building history and urban planning.	09306021
	Row with residential and commercial buildings	Gewandhausstrasse 1; 3; 5; 7; 9 (card)	1958–1961 (residential and commercial building)	Row with residential and commercial buildings as well as two-storey shop wing in closed development; Objectively designed, with an axial facade structure, characteristic example of the modern phase of GDR architecture and the all-German post-war modernism, striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban development (see also Altmarkt, Kreuzstraße, Ringstraße, Weisse Gasse and Wilsdruffer Straße) .	09213922
	Residential and commercial building in closed development	Gewandhausstrasse 2 (map)	1958–1961 (residential and commercial building)	Residential and commercial building in closed development and corner location (Wilsdruffer Strasse 5/7 and Gewandhausstrasse 2); with a front shop zone on the ground floor and first floor, on Gewandhausstraße a two-story wing with offices and a restaurant (formerly a shop), objectively designed development with an axial facade structure, a characteristic example of the modern phase of GDR architecture, here still with traditional elements, such as a wide one Stand bay, and the all-German post-war modern, striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban development (see also Altmarkt, Kreuzstrasse, Ringstrasse and Weisse Gasse).	09214046
	New moat; Gondola port; Elbhafen promenades; Botanical Garden; Gondola Harbor Garden	Hasenberg - (map)	1589–1592 (ditch), from 1820 (harbor), 1855–1856 (park)	Fortress moat, then harbor, finally filled in and redesigned into a park, with wall, plants and pathways; Wall surely outer moat wall (Contrescarpe) of the Dresden Renaissance fortress, since the early 19th century probably the quay wall of the so-called gondola harbor, the facility was later redesigned to the promenade and added to the botanical garden and maintained from this until 1890, especially historically significant, as a former arboretum (Collection of plants) of the garden is also of importance in terms of garden history. Former Gondola harbor with an outer moat wall, filled in and greened in 1856.	09210297
More pictures	Memorial stone for the former synagogue	Hasenberg - (map)	1975 (memorial stone)	Memorial stone on the former site of the Semperschen synagogue , erected in 1975, designed by Friedemann Döhner. Example of the GDR memorial culture, significant in terms of local history.	09216623
More pictures	Fountain of peace ; Turk Fountain	Jüdenhof - (map)	1616 (fountain), after 1683 (fountain sculpture)	Fountain with sculpture; Octagonal fountain trough with a sculpture of Victoria, the goddess of victory, peace or Turkish fountain (Jüdenhof), one of the oldest fountains in the city, striking in design, historically and artistically significant.	09213852
	Krellstein	Jüdenhof - (map)	19./20. Century (memorial stone)	Memorial stone; Stone with the initials "Kr.", Commemorates the execution of Chancellor Nikolaus Krell (1550–1601) on Neumarkt (1601), which is significant in terms of local history.	09210319
More pictures	Law firm ; City wall; Dresden Residence (individual monument for ID No. 09306104)	Chancellery 1; 3 (card)	around 1454 - Dendro (sapwood estimate oak), removal, 16th century (facade), 14th century (city wall)	Individual monument to the whole of the Dresden Residence: piece of city wall to the stable courtyard and original parts of the office building (cellar and remains of walls on the ground floor); of importance in terms of building history and local history.	09305226
	Row of houses in closed development and corner location	Kreuzstrasse 1; 3 (card)	1958–1961 (residential building)	With a shop area, objectively designed, with an axial facade structure, loggias and hipped roof, characteristic example of the modern phase of GDR architecture and the all-German post-war modernism, striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban development (see also Altmarkt, Gewandhausstraße, Ringstraße , Weisse Gasse and Wilsdruffer Straße).	09213959
More pictures	new town hall	Kreuzstrasse 2; 4; 6; 8 (card)	1904–1910 (town hall), 1911, Hietzigbrunnen (fountain), 1908 (town hall man), 1910 (sculpture), 1910 (lion figures)	Town hall with all outdoor facilities as well as plenary hall and ballroom; Complex of architectural and artistic importance, at the same time singular in terms of design, with its tower decisively shapes the silhouette of Dresden, thus also of importance in terms of urban planning.	09213885
	Row of houses in closed development	Kreuzstrasse 5; 7 (card)	around 1958 (residential building)	with a shop area, objectively designed, with an axial facade structure and hipped roof, characteristic example of the modern phase of GDR architecture and the all-German post-war modernity, striking central development, important evidence of the reconstruction after 1945, significant building history and urban development (see also Altmarkt, Gewandhausstraße, Ringstraße, Weisse Gasse and Wilsdruffer Straße).	09213961
More pictures	British Hotel	Landhausstrasse 6 (map)	around 1712 (facade part)	Recovered and reinstalled facade fragments at the British Hotel (also Palais Beichlingen) as well as preserved baroque cellars; Fragments are of architectural and artistic importance due to their age and their design qualities, preserved cellars of architectural importance.	09303049
	Stairs to Münzgasse; Brühlsche Terrasse (individual monument for ID No. 09305203)	Münzgasse (map)	1848 (staircase)	Individual monument of the whole Brühlsche Terrasse: stairs to Münzgasse; A distinctive design approach, significant in terms of building history, local history and urban planning.	09305238
More pictures	Monument to Friedrich August II.	Neumarkt - (map)	1861–1866 (monument)	Memorial to Friedrich August II of Saxony; Bronze statue on pedestal, bronze statue by Ernst Julius Hähnel with four surrounding seated figures, in memory of the Saxon King Friedrich August II. (1797–1854), artistically demanding, artistically and personally significant.	09213973
More pictures	Luther monument	Neumarkt - (map)	1885 (monument)	Monument to Martin Luther; Bronze statue of the reformer Luther by Adolf von Donndorf on a pedestal, based on a design by the sculptor Ernst Rietschel , creatively demanding, historically and artistically significant. Damaged in 1945, re-erected in 1955.	09214064
More pictures	Heinrich Schütz House	Neumarkt 12 (map)	around 1535 (children's frieze), around 1695 (main portal), 1730 (corner bay window)	Recovered and reinstalled facade fragments; Due to their age and their design qualities, they are of architectural and artistic importance.	09302191
More pictures	Waiting hall; so-called "cheese bell"	Postplatz - (map)	1927–1928 (bus shelter)	Bus shelter with sales point and toilet; distinctive building with a cloverleaf-shaped floor plan, ending with a flat pagoda roof, historically significant small architecture.	09213986
More pictures	"Rubble woman"	Rathausplatz - (map)	1952 (statue)	Sculpture; Bronze figure on a stepped, brick base, larger than life, reminiscent of the Dresden rubble women, especially important in terms of local history. Cast iron statue created in 1952 by Walter Reinhold , replaced by a bronze cast in 1967.	09210327
More pictures	new town hall	Rathausplatz 1 (map)	1904–1910 (town hall), 1911, Hietzigbrunnen (fountain), 1908 (town hall man), 1910 (sculpture), 1910 (lion figures)	Town hall with all outdoor facilities as well as plenary hall and ballroom; Complex of architectural and artistic importance, at the same time singular in terms of design, with its tower decisively shapes the silhouette of Dresden, thus also of importance in terms of urban planning.	09213885
More pictures	New Gewandhaus ; City bank; Gewandhaus Hotel	Ringstrasse 1 (map)	1768–1770 (Gewandhaus)	Gewandhaus and fountain of the Dinglinger-Haus Frauenstrasse 9; Today it is used as a hotel, four-wing structure, striking late baroque building with pilaster strips, accentuated ground floor, plastered mirrors and mansard roof, enlivened by the central projection and lateral templates, decorative accents on the central projection, the most important urban building after the Seven Years' War, significant in terms of architectural, artistic and local history. Gewandhaus with sculptures, built according to plans by Johann Friedrich Knöbel , burned out in 1945, rebuilt until 1966, now used as a hotel. Former The courtyard fountain of the Dinglingerhaus , destroyed in 1945, salvaged fountain parts added around 1966 and attached to the rear of the Gewandhaus.	09213987
	Row of houses	Ringstrasse 3; 5; 7; 9; 11 (card)		Row of houses in closed development and corner location; With a shop area, objectively designed, with axial facade structure, loggias and hipped roof, characteristic example of the modern phase of GDR architecture and the all-German post-war modernism, striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban development (see also Altmarkt, Gewandhausstraße, Kreuzstraße , Weisse Gasse and Wilsdruffer Straße).	09213988
More pictures	Royal Police Headquarters ; today police headquarters in Dresden	Schießgasse 7 (map)	1895–1900 (police headquarters)	Police headquarters; Four-wing construction with additional inner wings and three inner courtyards, cell wing and canteen area new building, monumental historicizing building, defensive appearance through corner towers and massive attic walks, entrance highlighted by means of round arches, columns and superstructures, behind it a spacious stairwell, inner courtyards with elaborate brick facades, architectural history and location Significant in terms of urban development. Erected by Julius Eduard Temper, castle-like building in the style of the Italian Renaissance with baroque elements.	09213995
More pictures	Schlossplatz	Schloßplatz - (map)	18./19. Century (square)	Town square; Designed square with striking paving and other design elements, such as the bollards around the Hofkirche, an outstanding example of many other squares in the city paved with great craftsmanship, part of an unmistakable ensemble in the center of Dresden, location of many important events, historically and urbanistically significant.	09210328
More pictures	Memorial to Friedrich August I.	Schloßplatz - (map)	1843 (seated statue)	Memorial to Friedrich August I of Saxony; A sculpture on a high pedestal with four corner figures, in memory of the Saxon King Friedrich August I (1750–1827), remarkable work in terms of design and craftsmanship, first monumental work by the sculptor Ernst Rietschel, artistically and art-historically significant.	09214269
More pictures	Catholic Court Church ; St. Trinity Cathedral	Schloßplatz - (map)	1739–1754 (Catholic church), 1752–1756 (silver candlestick), 1752–1756 (crucifix), 1752–1765 (Ascension of Christ), 1750 (Maria Immaculata, Joseph's dream)	Catholic Church (with equipment); Three-aisled basilica in southwest orientation with the processional corridor surrounding the central nave, axis and corner chapels and north-east tower, in Roman high baroque style, significant evidence of the church architecture of its time, decisively shapes the silhouette of Dresden, the last church to be built by an Italian in Germany , town planning, local history and artistic importance.	09214029
	Napoleon stone	Schloßplatz - (map)	1801/1900 (memorial stone)	Memorial stone; Stone with initial N, commemorates the last great victory of Napoleon on German soil, the French Emperor commanded his troops from here on August 26th, 1813, the battle he won at Dresden lasted until August 28th, 1813, memorial stone of local history. The stone marks the place from which Napoleon Bonaparte is said to have accepted the parade of troops on August 26, 1813 before the battle of Dresden .	09210329
More pictures	Saxon State House ; today higher regional court; State Office for Monument Preservation Saxony	Schloßplatz 1 (map)	1901–1907, entrance door marked 1907 (parliament)	Parliament building with sculptural jewelry; Representative public building with a tower on the Elbe, built on a trapezoidal floor plan, enclosing five inner courtyards, three-storey sandstone-clad facades, accentuated by risalits, with the side facing the Schloßplatz highlighted in terms of design, here also the main portal with an elaborate foyer behind it, bulky historicist building with echoes of the Renaissance and the Baroque era , in the sense of the zeitgeist, already formal tendencies towards simplification, significant in terms of building history, as an essential part of the unique silhouette of the old town also of importance in terms of urban development, also as a work by Paul Wallot, the creator of the Reichstag building in Berlin, artistically valuable, apart from the above-mentioned criteria of importance, a singular testimony to the Architecture around 1900, including parts of the district heating duct (ID no. 09304122).	09213861
	Gravestones and fragments of the Busmann Chapel from the Sophienkirche	Schloßplatz 1 (map)	17th century (tomb)	Gravestones and fragments (various architectural parts / fragments) of the Busmann Chapel from the Sophienkirche; Due to its age and its design qualities, it is of architectural and artistic importance, now partly in the Busmann Chapel Memorial .	09302695
More pictures	Palace of Culture	Schloßstraße 2 (map)	1967–1969 (house of culture)	Event building, plus three flagpoles; Building with foyer, stairwells, concert hall (new building, completed 2017); Remarkable example of all - German post-war modernism , with its artistically demanding fronts and the largely preserved interior from the time of its creation, also artistically significant.	09301767
More pictures	Mural » The Path of the Red Flag «	Schloßstraße 2 (map)	1969 (wall and ceiling painting)	Mural by Gerhard Bondzin , at the Kulturpalast Dresden; monumental depiction with scenes from the labor movement and the political life of the GDR, produced with a new method on the basis of concrete slabs that were electrostatically coated with glass and natural chippings, key work of program visual art in the GDR, example of the action art in construction , significant in art history, meanwhile also with rarity value (Kulturpalast, ID-Nr. 09301767).	09210006
More pictures	Law firm ; City wall; Dresden Residence (individual monument for ID No. 09306104)	Schlossstrasse 24 (map)	around 1454 - Dendro (sapwood estimate oak), removal, 16th century (facade), 14th century (city wall)	Individual monument to the whole of the Dresden Residence: piece of city wall to the stable courtyard and original parts of the office building (cellar and remains of walls on the ground floor); of importance in terms of building history and local history. Remains of the office building, the oldest administrative building in Dresden, built by Hans Irmisch .	09305226
More pictures	The whole of the Dresden Residence with several individual monuments	Schlossstrasse 25 (map)	1468–1480 (palace complex)	The Dresden residence with the following individual monuments: Residenzschloss and Georgentor (ID No. 09214022), Johanneum and Stallhof, later a gallery, then a museum, including a larger-than-life picture of a cavalry procession, applied to tiles made of Meissen porcelain, the Prince's Train (ID No. 09213860) , Piece of city wall to the stable yard and originally preserved parts of the chancellery house (ID No. 09305226), castle chapel portal (ID No. 09210308), small garden at the castle (garden monument) as well as the entire material part of the chancellery house; Architecturally and art historically, artistically, historically and regionally as well as town planning of importance, unique and significant complex in the center of Dresden, spanning a period from the Renaissance to the 19th century, Fürstenzug a landmark of the city.	09306104
More pictures	Residential palace ; Dresden Residence (individual monument for ID No. 09306104)	Schlossstrasse 25 (map)	1468–1480, later expanded (castle), 1889–1901 (castle), 1897–1899 (connecting passage)	Single monument to the whole of the Dresden Residence: Castle with the transitions to the Hofkirche as well as the Taschenbergpalais and enclosure; Complex around the rectangular main courtyard with the main tower , side courtyards , Georgentor, stair towers and extensions, the elaborate, mostly reconstructed fencing on Sophienstrasse and Taschenberg (ID No. 09306104), unique complex, significant evidence of Saxon and German castle architecture, architectural and art historical, artistic, local as well as significant in terms of urban development, plus parts of the district heating duct (ID no. 09304122).	09214022
More pictures	Portal of the castle chapel ; Dresden Residence (individual monument for ID No. 09306104)	Schlossstrasse 25 (map)	1555–1556 (portal)	Individual monument belonging to the Dresden Residence: Gate to the Dresden Palace Chapel; Erected as a triumphal arch, made of Corinthian columns over pedestals, architrave with rich frieze, attic with relief and niche figures, one of the most important sculptural works of the Renaissance in Germany, historically and artistically significant, unique.	09210308
	Row of residential and commercial buildings	Seestrasse 2; 4; 6; 8th; 10 (card)	1953–1955 (residential and commercial building)	Row of residential and commercial buildings in closed development; Sandstone plastered façades, with a shop zone on the ground floor and first floor, partly shop front on pillar arcade, in the style of the national building tradition of the 1950s, striking central development, important evidence of the reconstruction after 1945, significant in terms of building history, art and urban planning (see also Altmarkt, Dr .-Külz-Ring and Wallstrasse). In the house Seestr. 10 was the Café Prague .	09218816
	Row of residential and commercial buildings in closed development and in a corner	Seestrasse 12; 14; 16 (card)	1956–1958 (residential and commercial building)	Sandstone plastered façades, with a shop zone on the ground floor and first floor, in the strongly reduced style of the national building tradition in the course of the building turnaround towards the modern age after 1957, striking central development, important evidence of the reconstruction after 1945, significant building history and urban planning (see also Altmarkt, Dr .-Külz-Ring and Wallstrasse).	09213828
	Seven showcases	Seestrasse 12; 14; 16 (forward) (map)	around 1960 (showcases)	Slanted, striking examples of street furniture typical of the GDR, probably created in connection with old market development, significant in terms of building history and urban planning.	09210330
More pictures	Old Town Main Guard ; Schinkelwache	Sophienstrasse - (map)	1830–1832 (military guard), 1830–1832 (group of figures), 1830–1832 (statue)	Guard building; Central building with temple fronts and two wings, the most important building of classicism in Saxony, part of the unique ensemble on Theaterplatz, noteworthy in terms of design, important Schinkel building, historically, urbanistically and artistically significant.	09213851
More pictures	Cholera fountain	Sophienstrasse - (map)	1843 (fountain)	Fountain; Octagonal fountain basin with neo-Gothic tower including pinnacles, figures and finials, Semper's work, remarkable in terms of design, significant in terms of building history and art. Design by Gottfried Semper , built by Julius Moritz Seelig in neo-Gothic style, sculptures by Franz Schwarz .	09214021
More pictures	Reichsbank (formerly); later state central bank	St. Petersburger Strasse 2 (map)	1928–1930 (bank building)	Bank building in corner position; surviving parts of a former three-wing bank building, one of the few Dresden solitaires, especially in the sense of the international style of modernity, characterized by simple, cubic main forms, ribbon windows and the lack of ornamentation and profiling, which is of monumental, architectural and local significance. Erected by Heinrich Wolff , partially destroyed in 1945-	09213820
More pictures	Taschenberg	Taschenberg - (map)	2nd half of the 19th century (square)	Town square; Designed square with striking paving, part of an unmistakable ensemble in the center of Dresden, artistically and urbanistically significant.	09210343
More pictures	Residential palace; Dresden Residence (individual monument for ID No. 09306104)	Taschenberg 2 (map)	1468–1480, later expanded (castle), 1889–1901 (castle), 1897–1899 (connecting passage)	Individual monument and aggregate: Castle with the transitions to the Hofkirche as well as the Taschenbergpalais and enclosure; Complex around the rectangular main courtyard with main tower, side courtyards, Georgentor, stair towers and extensions, the elaborate, mostly reconstructed fencing on Sophienstrasse and Taschenberg, unique complex, significant testimony to Saxon and German castle architecture, significant in terms of building history and art history, artistically, locally and in terms of urban development, plus parts of the District heating duct (ID No. 09304122).	09214022
More pictures	Taschenbergpalais ; Hotel Kempinski	Taschenberg 3 (map)	1706–1711 (palace)	Palais with fences, gates and sculptural decorations; Complex with main building, angled side wings and courtyards mainly from the 18th century, the entrance side dominated by an ornamentally decorated central projectile, extensions around 1850 in a reduced formal language, one of the most important baroque buildings in Dresden, associated with the names of August the Strong and Countess Cosel, architectural history , local history, personal history, artistic and urban planning. Taschenbergpalais presumably built by Johann Friedrich Karcher and Christoph Beyer, four-wing construction from the amalgamation of various individual buildings, including the Haugwitzsche Haus, the city palace by Anna Constanze von Hoym and various civil buildings, renovations from 1747 and extensions from 1756 and 1764, final completion in 1857.	09214023
More pictures	Elector Moritz Monument; Moritz monument	Terrassenufer - (map)	after 1553 (monument)	Monument to Moritz von Sachsen; Epitaph-like monument with base architecture, sculptures and inscription panels on the side, framed by means of Doric columns and entablature, in memory of the Saxon Elector Moritz (1521–1553), copy of the original (now in the Residenzschloss), monument significant in terms of art history and personal history as well as artistically.	09213874
More pictures	Passenger steamer "Dresden"	Terrassenufer - (map)	Commissioning 1926 (passenger steamship), 1926 (steam engine)	Passenger steamer, steam engine; belongs to the White Fleet in Dresden and is therefore part of the world's largest and oldest paddle steamer fleet, significant in terms of technology history and unique in connection with the other ships of the association.	09218524
More pictures	Passenger steamer »Leipzig«	Terrassenufer - (map)	1929 (passenger steamship), 1929 (steam engine)	Passenger steamer, steam engine; belongs to the White Fleet in Dresden and is therefore part of the world's largest and oldest paddle steamer fleet, significant in terms of technology history and unique in connection with the other ships of the association.	09218525
More pictures	Passenger steamer »Pillnitz«	Terrassenufer - (map)	1886 (passenger steamship), 1886 (steam engine)	Passenger steamer, steam engine; belongs to the White Fleet in Dresden and is therefore part of the world's largest and oldest paddle steamer fleet, significant in terms of technology history and unique in connection with the other ships of the association.	09218526
More pictures	Passenger steamer »Meißen«	Terrassenufer - (map)	1885 (passenger steamship), 1885 (steam engine)	Passenger steamer, steam engine; belongs to the White Fleet in Dresden and is therefore part of the world's largest and oldest paddle steamer fleet, significant in terms of technology history and unique in connection with the other ships of the association.	09218527
More pictures	Passenger steamer "Stadt Wehlen"	Terrassenufer - (map)	1879 (passenger steamship), 1857 (steam engine)	Passenger steamer, steam engine; The oldest ship of the White Fleet, thus also part of the world's largest and oldest paddle steamer fleet, significant in terms of technology history and unique in connection with the other ships in the association.	09218528
More pictures	Passenger steamer »Diesbar«	Terrassenufer - (map)	1841 (steam engine)	The oldest steam engine used by the White Fleet, the boiler (steam generator) is still operated with coal, largely preserved in its original form, especially important in terms of technology history. Manufacturer: J. Penn & Son Engineers Greenwich 1841.	09218529
More pictures	Passenger steamer »cribs«	Terrassenufer - (map)	1892 (passenger steamship), 1892 (steam engine)	Passenger steamer, steam engine; belongs to the White Fleet in Dresden and is therefore part of the world's largest and oldest paddle steamer fleet, significant in terms of technology history and unique in connection with the other ships of the association.	09218530
More pictures	Passenger steamer "Kurort Rathen"	Terrassenufer - (map)	1896 (passenger steamship), 1896 (steam engine)	Passenger steamer, steam engine; belongs to the White Fleet in Dresden and is therefore part of the world's largest and oldest paddle steamer fleet, significant in terms of technology history and unique in connection with the other ships of the association.	09218531
More pictures	Passenger steamer »Pirna«	Terrassenufer - (map)	1898 (passenger steamship), 1898 (steam engine)	Passenger steamer, steam engine; belongs to the White Fleet in Dresden and is therefore part of the world's largest and oldest paddle steamer fleet, significant in terms of technology history and unique in connection with the other ships of the association.	09218532
More pictures	Shipping building , bridge keeper's house	Terrassenufer 1 (map)	1st half of the 19th century (bridge keeper's house)	Significant in terms of local history, also as part of the Elbe view of the old town of importance in terms of urban planning.	09210345
More pictures	Total theater space with several individual monuments	Theaterplatz - (map)	2nd half of the 19th century (square)	Schmuckplatz with the following individual monuments: Semperoper with three functional additions to the rear as well as side balustrades and stairs (ID No. 09214026), memorial for Johann von Sachsen (ID No. 09214027), open space design northwest and northeast of the Semperoper complex (as a garden monument) and paving ( as an entity part); Essentially designed system with a central motif in the form of an oval, in the middle the equestrian statue of King John, as a forecourt to the opera building, including this at the same time, an outstanding example of many other places in the city paved with great craftsmanship, part of an unmistakable ensemble in the middle in the center of Dresden, unique place, especially artistically and urbanistic significant.	09210346
More pictures	King Johann Monument ; Theaterplatz (single monument for ID no.09210346)	Theaterplatz - (map)	1889 (monument)	Individual monument of the entity Theaterplatz: Monument to Johann von Sachsen; Equestrian monument on a high pedestal surrounded by candelabra with a picture frieze, in memory of the Saxon King Johann (1801–1873), striking in design, by Johannes Schilling , artistically and historically important, rarity.	09214027
More pictures	Monument to Carl Maria von Weber ; Zwinger (individual monument for ID No. 09306255)	Theaterplatz - (map)	11.10.1860 unveiled (monument)	Individual monument belonging to the Zwinger group of objects: Monument to Carl Maria von Weber , created by Ernst Rietschel ; Bronze statue on pedestal by Hermann Nicolai , in memory of the composer Carl Maria von Weber (1786–1826), of artistic and personal significance.	09214028
More pictures	Comprehensive kennel with several individual monuments	Theaterplatz 1; 1a (card)	1709–1728 (palace complex)	Material collection of the Zwinger with the following individual monuments: the Zwinger (ID No. 09214040), the Semper Gallery with two circular, symmetrically arranged pool fountains (ID No. 09214025) and the Carl Maria von Weber monument (ID No. 09214028) as well as the Zwingerhof, the park-like outdoor area with ramparts, Zwingerteich , Zwingergraben including planting and the green areas on the side of the theater square (as garden monuments) and the remaining, mostly paved, remaining areas in between (as parts of the whole); the buildings and parts of the planting in their architectural, garden design quality of European rank, the construction of the Zwinger main work of German baroque architecture, one of the most important cultural monuments of Dresden and Saxony, moat and wall preserved parts of the former Dresden city fortifications , all parts in the course of time into one Unity amalgamated, historically, locally, artistically, scientifically and in terms of urban development significant, unique ensemble.	09306255
More pictures	Zwinger with building sculpture, fountain and other equipment (individual monument for ID No. 09306255)	Theaterplatz 1; 1a (card)	1709–1728 (palace)	Individual monument belonging to the Zwinger as a whole: Zwinger with architectural sculpture, fountain and other equipment; The layout of the former festival area with conversion of entrance and corner pavilions, nymph baths , crown gate , surrounding galleries, so-called prop building as well as annexes A and B, plus rich sculptural decorations, surrounds the Zwingerhof (garden monument, see under material list), apart from the more recent additions a work of the most famous baroque master builder of Saxony, Matthäus Daniel Pöppelmann , a building that is unique in its architectural quality, the main work of European baroque architecture , one of the most important cultural monuments of Dresden and Saxony, significant in terms of building history, local history, artistic, scientific and urban planning.	09214040
More pictures	Old Masters Picture Gallery ; Armory ; Semper Gallery ; Zwinger (individual monument for ID No. 09306255)	Theaterplatz 1; 1a (card)	1847–1854 (gallery)	Individual monument of the Zwinger: gallery / museum, plus two symmetrically arranged pool fountains on the square; One-wing building with a central projectile and dome, in the style of the neo-renaissance, architect: Gottfried Semper, main work of the museum building of the 19th century, of architectural, art-historical, artistic and urban-planning importance.	09214025
More pictures	Court theater; Opera house; Semperoper ; Theaterplatz (single monument for ID no.09210346)	Theaterplatz 2 (map)	1871–1878 (opera house), 1977–1985 (functional extensions), 1985 (relief)	Individual monument of the entity Theaterplatz: theater / opera with three functional additions to the rear as well as side balustrades and stairs; Rank theater with segmental arched auditorium, high entrance portico and stage with flat gable, entrance portico crowned by Quadriga, in the neo-renaissance style, architect: Gottfried Semper, one of the most important venues in the German-speaking area, outstanding architectural testimony of its time, important in terms of culture and building history, with its sophisticated and unmistakable design also artistically significant, the objectively designed additions are remarkable examples of the late post-war modernism of the GDR, together with the actual opera building and in the context of the theater ensemble of urban planning, as unmistakable postmodern architecture also historically and artistically valuable, the entire ensemble is unique.	09214026
More pictures	Italian village	Theaterplatz 3 (map)	1911–1913 (restaurant), 1911–1913 (relief), 1911–1913 (group of figures), 1911–1913 (fountain)	Restaurant building with patio including linden trees (garden monument) and retaining wall, plus a fountain, plastic jewelry, plastic "Putto with turkey" and some reconstructed room settings; Building complex consisting of the main building, connecting tract and side pavilion, noteworthy in terms of design, dominated by arched structures, central projections with balcony porches and hipped roofs, high-quality, accentuating architectural decorations, part of the unique theater ensemble, significant in terms of building history and local history, artistic and urban planning.	09214030
More pictures	Armory ; Albertinum	Tzschirnerplatz 2 (map)	in the core 1559–1563, inscribed 1559 (armory), 1884–1889, inscribed 1889 (conversion to a museum), 1891–1895 (group of figures), 1909 (relief)	Museum building with sculptural jewelry, plus a north footpath with paving; Representative four-wing building with two inner courtyards, floor plan over a slightly shifted rectangle, conversion to a museum by 1887 determines today's appearance, sandstone facade in the style of the Italian High Renaissance , ground floor rusticated, cornices separate storeys, the facade is enlivened by central projections and the figures crowning them, front to the Brühl Garden Most elaborate, the ground floor hall with Tuscan columns and rustic portals are evidence of the 16th century, today the location of the sculpture collection, coin cabinet and picture gallery of New Masters, an architectural, historical and artistically unique building, also part of the unique urban front of the Brühl Terrace. Former Armory, rebuilt several times (1743–1747 expanded to a three-storey complex, rebuilt in 1887 in the style of the Italian High Renaissance ), heavily damaged in 1945, rebuilt by 1969; Albertinum for museum purposes since 1887, today Gemäldegalerie Neue Meister and sculpture collection.	09213822
More pictures	Kurländer Palais	Tzschirnerplatz 3; 4; 5 (card)	1728–1729 (palace)	City palace, named after the temporary owner Prince Karl of Saxony (1733–1796) , Duke of Courland; Distinctive building from the first half of the 18th century, one of the most important baroque buildings in Dresden, most of the surrounding walls, interior walls of the ground floor and cellar vaults original substance, reconstructed additions, significant in terms of architectural, artistic and urban planning, and its design is also unique. Built as a city palace in the Rococo style by Johann Christoph Knöffel , the ballroom damaged by fire in 1763 and refurbished by Friedrich August Krubsacius , the palace burned down in 1945, rebuilt from 2006 to 2008.	09214031
More pictures	Bank building (former)	Waisenhausstrasse 11; 11b (card)	around 1900 (bank building)	Former Bank building of Deutsche Bank and Dresdner Bank (Dr.-Külz-Ring 10 and Waisenhausstraße 11 / 11b); representative building in historicist style, especially based on the Renaissance, extremely elaborate facades, formerly in closed development, of local history, architectural history and also artistically significant.	09214059
	Row of houses in closed development	Wallstrasse 1; 3; 5; 7; 9 (card)	1958–1960 (residential building)	Objectively designed, with an axial structure of the facade, loggias and hipped roof, plus a shopping area, a characteristic example of the modern phase of GDR architecture and the all-German post-war modernism, striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban development (see also Altmarkt, Seestrasse and Dr . Külz-Ring).	09213842
	Row of houses in semi-open development and corner location	Wallstrasse 15; 17; 19; 21 (card)	1958–1960 (residential building)	Objectively designed, with an axial structure of the facade, loggias and hipped roof, plus a shopping area, a characteristic example of the modern phase of GDR architecture and the all-German post-war modernism, striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban planning (see also Altmarkt and Dr. Külz -Ring).	09213847
More pictures	Goose thief well	White Alley - (map)	1878 (fountain), 1878 (fountain sculpture)	Fountain; Bronze sculptures on pedestal and plinth, plus a fountain bowl and fountain basin, a remarkable design of high artistic quality, bronzes by the well-known sculptor Robert Diez , especially artistically significant. Monument text: Gänsediebbrunnen. Base and basin made of granite, on it the strongly moving bronze figure of thieving traveling student Thomas Platter (1499–1582), by Robert Diez, 1876–80 (Dehio Dresden 2005, edited).	09213921
	Row of houses in closed development and corner location	White Lane 1; 3 (card)	around 1958 (residential building)	Objectively designed, with an axial structure of the facade and a hipped roof, plus a shopping area, a characteristic example of the modern phase of GDR architecture and the all-German post-war modernism, striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban planning (see also Altmarkt, Gewandhausstraße, Kreuzstraße, Ringstraße and Wilsdruffer Straße).	09214032
	Row of houses in closed development and corner location	White Alley 2; 4 (card)	around 1958 (residential building)	Objectively designed, with an axial structure of the facade and a hipped roof, plus a shopping area, a characteristic example of the modern phase of GDR architecture and the all-German post-war modernism, striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban planning (see also Altmarkt, Gewandhausstraße, Kreuzstraße, Ringstraße and Wilsdruffer Straße).	09214033
	Row of residential and commercial buildings in closed development	White Alley 5; 7 (card)	1953–1956 (residential and commercial building)	Row of residential and commercial buildings in closed development and corner location, together with Wilsdruffer Straße 15–21; The shop area on the ground floor and the restaurant area on the first floor, sandstone plastered facades, in the style of the national building tradition of the 1950s, striking central development, important evidence of the reconstruction after 1945, significant in terms of building history, artistry and urban development (see also Altmarkt, Gewandhausstraße, Kreuzstraße, Ringstraße and Wilsdruffer Strasse).	09214036
	Row of residential and commercial buildings with two-story connecting corridor	White Lane 6; 8 (card)	1956–1958 (residential and commercial building)	Row of residential and commercial buildings with two-storey connecting corridor to Weißen Gasse 4, in closed development and corner location, together with Wilsdruffer Straße 9–13; Shop area on the ground floor and restaurant area on the first floor, in the ground floor room on the left side wall a large picture with motifs from flora and fauna has been preserved under cover, probably decorative painting from the time the house was built, in the style of the national building tradition of the 1950s, but already objectified few accentuating elements (including historicizing bay windows), significant in terms of building history and urban development (see also Altmarkt, Gewandhausstraße, Kreuzstraße, Ringstraße and Wilsdruffer Straße).	09214037
More pictures	Country house and wheelhouse; Country house ; city ​​Museum	Wilsdruffer Strasse 2; 2a (card)	1770–1776 (Ständehaus)	Museum; Formerly an administration and parliament building, two-wing complex with a central building facing the courtyard (including a double staircase), in the baroque-classical style, later expanded, of regional, artistic and architectural importance.	09214044
More pictures	Residential and commercial building in a corner	Wilsdruffer Straße 3 (map)	1958–1961 (residential and commercial building)	Residential and commercial building in closed development and corner location, as a tower-like head building; With a shop zone on the ground floor and first floor, a functional building with an axial structure of the facade, a characteristic example of the modern phase of GDR architecture, here still with traditional elements such as the hipped roof and the all-German post-war modernism, striking central development, important evidence of the reconstruction after 1945 , significant in terms of building history and urban development (see also Altmarkt, Gewandhausstraße, Kreuzstraße, Ringstraße and White Gasse).	09214045
	Restaurant Szeged (formerly)	Wilsdruffer Strasse 4 (map)	1961–1962 (colored glass window)	Stained glass window; Artistically sophisticated colored window, especially with folk motifs from Hungary, artistically significant.	09301772
	Residential and commercial building	Wilsdruffer Strasse 5; 7 (card)	1958–1961 (residential and commercial building)	Residential and commercial building in closed development and corner location (Wilsdruffer Strasse 5/7 and Gewandhausstrasse 2); with a front shop zone on the ground floor and first floor, on Gewandhausstraße a two-story wing with offices and a restaurant (formerly a shop), objectively designed development with an axial facade structure, a characteristic example of the modern phase of GDR architecture, here still with traditional elements, such as a wide one Stand bay, and the all-German post-war modern, striking central development, important evidence of the reconstruction after 1945, important in terms of building history and urban development (see also Altmarkt, Kreuzstrasse, Ringstrasse and Weisse Gasse).	09214046
	Row of residential and commercial buildings	Wilsdruffer Strasse 9; 11; 13 (card)	1956–1958 (residential and commercial building)	Row of residential and commercial buildings as well as a lower porch to Wilsdruffer Straße 15, in closed development and corner location, together with Weißer Gasse 6/8; The shop zone on the ground floor and first floor, in the style of the national building tradition of the 1950s, but already objectified, the two-storey, still conservative porch designed as a passage with a pillar hall and round arches, significant in terms of building history and urban development (see also Altmarkt, Gewandhausstraße, Kreuzstraße, Ringstraße and White Alley).	09214048
	Sliding and climbing elephant	Wilsdruffer Straße 13 (map)	1962 (play equipment)	Typical and at the same time artistically demanding testimony to GDR art, also with rarity value, artistically significant.	09305788
	Row of residential and commercial buildings	Wilsdruffer Strasse 15; 17; 19; 21 (card)	1953–1956 (residential and commercial building)	Row of residential and commercial buildings as well as a low connecting building to Wilsdruffer Straße 13 in closed development and corner location, together with Weißer Gasse 5/7; Shop area on the ground floor and first floor, in the style of the national building tradition of the 1950s, significant in terms of building history and urban development (see also Altmarkt, Gewandhausstraße, Kreuzstraße, Ringstraße and Weisse Gasse).	09214051
More pictures	Kulturpalast Dresden	Wilsdruffer Straße 18 (map)	1967–1969 (house of culture)	Event building, plus three flagpoles; Building with foyer, stairwells, concert hall (new building, completed 2017); Remarkable example of all - German post-war modernism , with its artistically demanding fronts and the largely preserved interior from the time of its creation, also artistically significant. Bronze doors by Gerd Jaeger (1927–2019).	09301767
More pictures	Mural »The Path of the Red Flag«	Wilsdruffer Straße 18 (map)	1969 (wall and ceiling painting)	Mural at the Kulturpalast; monumental depiction with scenes from the labor movement and the political life of the GDR, produced with a new method on the basis of concrete slabs that were electrostatically coated with glass and natural chippings, key work of program visual art in the GDR, example of the action art in construction , significant in art history, meanwhile also with rarity value (Kulturpalast, ID-Nr. 09301767).	09210006

Remarks

• This list is not suitable for deriving binding statements on the monument status of an object. As far as a legally binding determination of the listed property of an object is desired, the owner can apply to the responsible lower monument protection authority for a notice.
• The official list of cultural monuments is never closed. It is permanently changed through clarifications, new additions or deletions. A transfer of such changes to this list is not guaranteed at the moment.
• The monument quality of an object does not depend on its entry in this or the official list. Objects that are not listed can also be monuments.
• Basically, the property of a monument extends to the substance and appearance as a whole, including the interior. Deviating applies if only parts are expressly protected (e.g. the facade).

Detailed memorial texts

1. ↑ Monument text
   The district heating channel is an approximately 1,100 meter long section of today's district heating supply network in Dresden. It is located below the inner old town and is mainly designed as an accessible collecting channel with the original clinker walls, Prussian caps as ceilings and a drainage channel in the floor, which is also clinkered. Some sections and branches to or under the connected buildings are pure heating ducts and not accessible. A section about 300 meters long - the so-called “visitor channel” - has been accessible to guided visitor groups since 2000. As a testimony to the first public district heating supply in Germany, the district heating channel is unique and of great technical and urban historical importance.
   Historical classification
   As early as 1895, the refusal to install a heating system in the Dresden court church due to fire protection concerns led to the proposal for an external heat generation system by the building officer Julius Temper. His original plan to transport heat from a heating plant to the church by means of a steam pipe was expanded to include a more comprehensive supply system. In 1897 the state parliament approved the construction of a district heating and electricity plant on Packhofstrasse to supply several court and state buildings with "heating and light" (Kummer, Friedrich, Association for the Promotion of Dresden and Tourism: Dresden and the Elbe Area. Dresden [approx. 1911], p. 113.). These were the following buildings:
   1. Customs and tax office building (on Stallstrasse)
   2. Royal Opera House
   3. Gemäldegalerie and Kupferstichkabinett
   4. Kennel building
   5. Catholic court church
   6. Royal residential palace
   7. Ständehaus (on Schloßplatz)
   8. Johanneum (at Neumarkt)
   9. Secondogenitur library (on Brühl's terrace)
   10. Art academy and exhibition building
   11. Albertinum
   12. Cosel-Palais (at the Frauenkirche)
   13. Police headquarters building (on Schießgasse)
   14. "Future new buildings on the former botanical garden and the former military station"
   (Trautmann, R .: Königliches Fernheiz- und Elektrizitätswerk zu Dresden. 1903, p. 2)
   In addition to the reduction in the risk of fire due to the many individual fireplaces in the buildings - which is also an advantage in view of the works of art stored there - the reduction in nuisance also spoke through Smoke and soot for district heating in these buildings. Since many of the buildings to be supplied required not only heating, but also electrical lighting, a spatial combination of district heating and power station finally made sense. However, it was not just a question of joint use of the planned new building by heating and power plant systems, but rather a "not yet implemented in Europe" (Trautmann 1903, p. 1) partial linking of both technical systems. For example, a joint steam boiler system should supply superheated steam for district heating as well as for the steam engines used to generate electricity. This enabled the boiler system and the necessary operating personnel to be "used twice", so to speak, and enabled a comparatively economical operation. The different times of the day for district heating and electricity also led to better utilization of the technical systems, so heating was mainly demanded in the morning, while light was demanded in the evening (see also Haiko, Peter: Die Architektur des XX. Jahrhundert. Zeitschrift für moderne Baukunst . [Representative cross-section through the 14 published years 1901 to 1914.] Tübingen 1989, pp. 89ff.).
   After almost two years of construction, the first German district heating and electricity plant was put into operation in Dresden in 1900 . Here ten steam boilers generated steam with a "moderate overheating" (Trautmann 1903, p. 6) of 140 ° C. This was kept in a main steam distributor at a pressure of around 6 bar for further use and, as required, either fed to the steam engines of the power plant or fed into the steam line system. The steam reached the steam distributors in the individual buildings via two main steam lines, each about 22 cm in diameter and smaller branch lines. When the outside temperature was low, both main steam lines were in operation; in the summer months, an independent pipeline supplied the Semper Opera with district heating that was not in demand by the other buildings. The steam pressure in the pipe system was still around two bar even at the point at which it was most distant from the generating point. In the buildings, the heat was transferred to various types of heating equipment, such as B. steam, water or air heating (see. Trautmann 1903, p. 2f.), Released and the resulting condensate collected. After measuring the amount of rainwater to determine the respective heating requirement, the still hot water could be returned to the thermal power station in a separate condensation pipe and fed back into the steam boiler. The return flow took place automatically due to the pipe gradient, only the rainwater from buildings behind the Brühlsche Terrasse (i.e. art academy, Albertinum, Cosel-Palais and police headquarters) had to be pumped into a high-level collecting tank by means of float pumps, in order to then flow over an underpass to the main condensation pipe.
   All pipelines were laid underground on the side wall of an accessible canal approximately 1,100 meters long and with a clear height and width of two meters. Possible changes in the length of the pipes caused by temperature fluctuations were attempted to be compensated for by mounting them on movable ball slides and “in large flat arcs made up of straight and curved sections” (Trautmann 1903, p. 6). In order to prevent greater cooling losses during the transport of steam, the pipelines were also insulated according to Pasquay with a cover made of twisted and plaited silk waste.
   Three DC dynamos set in motion with the help of the steam engines mentioned above were used to generate electricity in the thermal power station; the DC current was fed to the consumption points via a three-wire system with a grounded center conductor. Since many of the buildings to be supplied with district heating were also to be provided with electrical lighting, a spatial combination with the district heating system was the obvious choice for laying the necessary electrical lines. The bare copper pipes were also installed in the underground duct, but on the side wall opposite the pipes. Protected by a grid, the ropes, rods or wires laid on porcelain insulators were supported by built-in iron supports (cf. Trautmann 1903, p. 8). At the same time, the electricity that was now available was used to illuminate the canal electrically using simple incandescent lamps. Furthermore, various reporting and measuring devices were integrated, such as B. a telephone system between the individual consumers and the thermal power station for direct demand regulation or temperature, pressure and humidity measuring stations with alarm function for central monitoring of the operation (cf. Trautmann 1903, p. 9).
   In 1928, the district heating and electricity works on Packhofstrasse ceased because it could no longer meet the immensely increased demand for district heating and electricity. The district heating channel has now been taken over by the Westkraftwerk, which has been converted into a thermal power station, by means of a steam connection line. The old building of the district heating and electricity works served as a steam distribution station until 1977, whereby the now obsolete chimney was demolished in 1934. In 1978 the building had to give way to the new extension of the rebuilt Semperoper, only the pipeline channel - now known as the district heating channel - has been preserved as a testimony to this first German "city heating system".
   Current condition
   Most of the original technical equipment in the district heating duct was dismantled and partly replaced by modern systems for district heating and cooling by the current supplier, DREWAG. The sewer is still used today as a maintenance channel for the current pipeline system for district heating, only the electricity supply to the connected buildings is no longer provided via the sewer. Apart from the accessible canal itself, which is broken through in some places by newer set pieces made of concrete, remains of the original equipment can still be seen in places, e.g. B. insulators, supports of the pipelines or passages for these in the doors to the basements of the connected buildings. In particular, the remnants of the original equipment of the district heating duct listed below - which are not exhaustive - are definitely worth preserving. In the Tzschirnerplatz - Kunstakademie sewer section, for example, a pair of iron brackets, which originally carried the district heating pipes, have been preserved in addition to an iron two-wing door to the canal access at Tzschirnerplatz. The drainage channel in the floor has been preserved in some areas where the Prussian cap ceiling has already been replaced by concrete slabs.
   Today's district heating pipe then leads through the basement of the art academy to the next accessible canal section between Brühlscher Gasse and the art academy. The original canal to the art academy opens at another iron door, which still has the openings for the pipelines that were once used to supply the building with district heating and electricity. Behind it is a basement area of ​​the art academy, in which the lines attached to this area were led into the smaller distribution channels under the building itself. This is evidenced by various fragments, such as the remains of the electrical wiring, some small insulators and brackets for these, as well as a label "220 V ~" on a building wall. The drainage channel in the floor has also been preserved in several places in this section.
   In the canal section Kunstakademie - Brühlsche Gasse, in addition to the floor drainage channel, an iron door to the basement of the art academy with now partially closed pipe openings and further iron doors to Töpferstrasse, there are above all several iron girders with insulators over the current steam pipes as well as remnants of the iron supports built into the canal wall for the former electrical conduit system remarkable. The Brühlsche Gasse - Residenzschloss canal section, also known as the “visitor canal”, also has several iron girders with insulators and remains of electrical cables on the canal ceiling. Traces of original cable carrier supports can also be found on the canal wall. In addition, there are fragments of the historical technical equipment, which are presented as a collection in this section. The canal section ends in a staircase in the north wing of the castle, which is accessed via an outside door in a building niche west of the Georgenbau. In the last section of the canal, the end structure at the Semperoper, the remains of a signal wire run along the canal ceiling over the entire length of the canal. Traces of the former cable support brackets can also be seen in the duct walls. The roughly knee-high clinker tiles with bolts cut off above them, which are visible at regular intervals on the canal walls, could originally have supported the iron consoles of the pipelines. Most noticeable in this section of the canal are several girders with insulators at the junction to the emergency exit near the Italian village (LfD / 2012).
2. ↑ Brühlsche Terrasse with the following individual monuments: fortress with casemates, maiden bastion, the two overpasses over Brühlsche Gasse and Münzgasse, bear kennel and so-called Großer Tonne as well as the cannon yard of the Hasenbergbastion under the parish hall of the reformed community Brühlscher Garten 4 (ID-Nr. 09213873), Former court gardener, today the parish hall of the Reformed Community (ID No. 09213881), large outside staircase with groups of figures (ID No. 09213876), stairs to Münzgasse (ID No. 09305238), stairs to Georg-Treu-Platz (ID- No. 09305239), Rietschel monument (ID No. 09213877), Semper monument (ID No. 09213878), Böttger monument (ID No. 09305240), two sphinxes on pieces of wall (ID No. 09210285), Dolphin fountain (ID no. 09213875) and Brühl's basin (ID no. 09305692), with the design of the panoramic promenade and Georg-Treu-Platz, including plants (garden monument), other monuments and sculptures, as well as pavement and terrain he - paved area with the functional building of the White Fleet, Terrassenufer 2 (all parts of the whole), original fortress wall in the 18th century transformed into a pleasure garden and after 1814 transformed into a promenade, which Alexander von Humboldt aptly describes as the »balcony of Europe« In the course of the 19th century it became a main attraction for Dresden residents and guests of the city, from the Elbe that characterizes the townscape with the rear buildings that serve as the wall, plus the views of Georg-Treu-Platz , Hasenberg , Schloßplatz and Tzschirnerplatz , historically, Significant in terms of art history and local history, artistically and in terms of urban development, plus parts of the district heating duct (ID no. 09304122).
3. ↑ ^{a b} Monument text
   city ​​fortifications and so-called casemates . Extensive parts of the medieval and especially the Renaissance fortifications have been exposed under the Brühl Terrace (large remains have been preserved underground in the urban area). The city was surrounded by fortifications shortly after its foundation, parts of the fortifications are documented at different times, the wall as such for the first time in 1299. The Renaissance fortress was built in several stages in the 16th century: under Duke Georg 1519– 29 Reinforcement and expansion of the medieval wall, including the suburbs around the Frauenkirche, fortification of the banks of the Elbe and construction of the first brick gate. 1546–56 under Duke Moritz and his successor August I. Construction of a modern bastionary fortification based on the northern Italian model based on plans by Caspar Voigt von Wierandt . The new brick gate and the small bastion were also built (around 1553). When fortifying the bastion (of which all the typical elements under the Brühl terrace have been preserved), instead of the thin medieval walls, the city was surrounded by a thick earth wall, which was fortified with walls on both sides. The whole system ran around a wide moat, also fortified with walls, the water level of which could be regulated independently of the Elbe. The area in front of the ramparts could be shot at from bastions that protruded into the ditch like arrows. Because of the resulting powder smoke, open courtyards were built into the bastions behind the painting weirs. The city gates were designed as tunnels through which traffic could pass the wall. Expansion and reconstruction of this facility in 1569–78 by Rochus von Lynar (1525–1596).
   The new armory (Albertinum), built directly behind the fortress wall in 1559–63, with its high roof protruded from the wall and was visible from afar, making it the weak point of the fortress. Paul Buchner therefore received the order in 1590 for a necessary, protective expansion of the facility. By 1592 he built a new large bastion in front of the brick gate and over the previous moat, into which he incorporated the small bastion. It was called the Maiden Bastion (renamed Venus Bastion under Augustus the Strong in 1721) after a statue placed on the top . - In 1748, Imperial Count Heinrich von Brühl received the parts of the fortifications on the Elbe side that had been preserved since 1739, as well as the Venus bastion as a gift. He had the courtyards filled up and the Brühlsche Terrasse built with numerous buildings; the bastion was redesigned into a garden. When the city fortifications were razed in 1814, the Elbe front was left standing, but the terrace was now opened to the general public by building the open staircase on the Schlossplatz. In 1890/91 another large flight of stairs was built in front of the old town side of the brick gate. The brick gate and casemates served as storage rooms until the 1960s. First excavations and exploration of the complex 1965–68, much more extensive since 1990.
   So far, the following areas have been exposed: brick gate with side rooms, the moat spanned by a five-arched bridge, over which Paul Buchner built the three large, over 40 m long casemates and the small bastion with several different rooms and two courtyards. In the casemate that connects these two courtyards, the remains of a foundry from the 16th century were uncovered. Below runs a canal that could be used by barges from the Elbe. Openings in its vault enabled them to be loaded and unloaded. Bruehl Terrace. On the scale in the 16th century. Fixing the old town (fortification / casemates) was Count Heinrich von Brühl , the prime minister of Augustus III., Where he acquired and 1748, Wall elbseitigen several buildings, designed by Johann Christoph Knöffel build and the entire Design the area with horticultural facilities and fountains to form an ensemble of the highest artistic quality. Nothing of the numerous buildings has been preserved, but the successor buildings (which often emerged after heated discussions) are closely related to them: first the Brühlsche Palais (Ständehaus) was built in the immediate vicinity of the palace, then the garden as a connection to the library (secondary school ). Below the library, on the fortress wall facing the city, the Klepperstall built in 1588 (renewed by Knöffel in 1743), next to the library the gallery building (art academy). A small garden pavilion at the level of the small bastion later became Ernst Rietschel's studio (Rietschel monument). The pleasure house of the Jungfernbastei, which was destroyed in 1747, was replaced by a new Belvedere according to Knöffel's plans (from: Dehio Dresden 2005, edited).
4. ↑ ^{a b} Main building with corner pavilion (art academy building), side building with glass dome (art exhibition building) and rear enclosure, built according to plans by Constantin Lipsius in the neo-Renaissance style , plus parts of the district heating duct (ID no. 09304122) and two sculptures; Building complex one of the most impressive historic buildings in Dresden, extremely representative facade design, with extensive image program of figures and reliefs, determined with Brühl's terrace, view of the old town of the Elbe, significant in terms of building history, artistry and urban planning, the two damaged monumental sculptures of reclining, once winged lions (wings meanwhile lost) by Eugen Kircheisen , Eisenguss 1893, originally flanking the gable triangle of the south entrance, since 1992 in the outdoor area north of the HfBK studio building in Dresden (Pfotenhauerstraße 81/83).
5. ↑ ^{a b c} City Hall, plus outdoor facilities such as a reconstruction (copy) of the Hietzigbrunnen by Georg Wrba on the side of the Kreuzkirche, two flagpole bases each at Dr.-Külz-Ring and City Hall Square and some sculptures: two bronze shield lions in front of the main entrance to City Hall Square (Goldene Pforte ), Bronze sculpture of Dionysus on a donkey in front of the entrance to the Ratskeller etc., also a figure of the so-called town hall man on the top of the tower; Building complex with six inner courtyards and tower, inside with entrance area behind the Golden Gate, main staircase in the tower building including two-armed curved staircase, plenary hall, ballroom, area in front of plenary hall and ballroom and consultation room 2-171, complex as a particularly outstanding example of different architectural epochs since the beginning of the 20th century (later historicism as well as post-war modernism) and because of its numerous sculptural jewelry and many parts of the interior of architectural and artistic importance, at the same time creatively unique, with its tower decisively shapes the silhouette of Dresden, thus also of urban development importance. Town hall building with inner courtyards and tower, built according to plans by Karl Roth and Edmund Bräter , partially destroyed in 1945, reconstructed until 1965, spire with the town hall man by Richard Guhr .
6. ↑ Monument
   text The bronze figure “Great dreading man”, erected in 1985 on Georg-Treu-Platz, in the center of Dresden, appears as an upright rectangular person sitting on a stone with knees sharply drawn up. Mourning, despair and emotional torment are effectively staged with it. The creator of the sculpture, Wieland Förster (born 1930), processed his personal experiences of suffering during the bombing of Dresden in 1945. The location was specially selected by the artist for the expressive work. The theme of mourning in particular runs like a red thread through Förster's work, who created a “Mourning Man” in the holdings of the National Gallery Berlin as early as 1973–1975. The Great Neeberger Figure in the Magdeburg Sculpture Park is also known nationwide. During the GDR era, Förster made a name for himself not only as a sculptor, but also as a graphic artist. There is no doubt that he is one of the better-known GDR artists, as a large number of publications (published before and after 1989) show. As an important and expressive work of a well-known German sculptor and graphic artist, the “Great Mourning Man” is both art-historical and artistically significant (LfD / 2013).
7. ↑ ^{a b} Kulturpalast Dresden (design: Leopold Wiel , planning: Wolfgang Hänsch ); Concert and event building, plus three flagpoles; Building with foyer, butterfly staircases, concert hall (new building, completed 2017), studio stage and choir rehearsal room, steel frame construction, facade of the basement floor made of natural stone, the upper floor made of aluminum-glass elements, mural »The path of the red flag« (ID No. 09210006) on Schloßstraße, idiosyncratic copper roof structure, sophisticated interior design, one of the most important public buildings of GDR architecture, cultural houses and palaces important building tasks, played a major role in conveying music, theater and other art genres, so the Kulturpalast was not only a significant testimony to the modern phase of the GDR architecture, but also of cultural and socio-historical relevance, also a remarkable example of all-German post-war modernism, with its creatively demanding fronts and the largely preserved interior from the time of its creation, is now one of the landmarks of Dresden.
8. ↑ ^{a b} Monument text of the
   Residenzschloss, today the Green Vault / Kupferstich-Kabinett / Münzkabinett / Art Library (Schloßstr. 25 / Taschenberg 2). The extensive building complex is - although badly damaged in 1945 - still a first-rate monument, in which 800 years of Saxon history and culture are reflected. The Hausmannsturm as the tallest tower in Dresden and the stately Georgentor in the axis of the Augustus Bridge are particularly prominent in the cityscape. The core of the palace is a four-wing complex from the 16th century. The west wing is visible from the Theaterplatz , while the north wing is largely covered by the court church, with which it is connected by a passage. The east wing, which is still badly damaged, forms the street front of Schloßstraße. The south wing separates the large palace courtyard from a small palace courtyard from the late 16th century that adjoins it to the south. On its east side is the former only entrance within a gatehouse. To the south there is another farmyard building from the late 19th century.
   Building history: Despite intensive archaeological research, the genesis of the previous buildings in the 12th and 13th centuries is not clear and the historical role of the excavated buildings is disputed. At the end of the 12th century there were wooden houses in the area of ​​today's Great Castle courtyard, which supposedly served as construction huts when the stone bridge was built, but the early dating of the stone arch bridge, first mentioned in 1287, is not certain. In the 13th century there were two feudal building complexes, one near today's Sophienstrasse, the other in the area of ​​today's east and north wing of the palace and within the courtyard. The older part was a stone room below the eastern part of the north wing, allegedly a bath. Inside the present-day courtyard was a bower, from which former groin-vaulted cellars were excavated, which could have been built around 1230 but just as easily around 1260/70. At that time, the roughly square courtyard was surrounded by buildings and several square towers. The assumption that this "fort-like Curie" belonged to the Burgrave of Dohna has not been proven. Perhaps it is identical with the castle of the Wettin margrave Heinrich, first mentioned in 1289, who has resided in Dresden more and more often since 1263. Around 1300 the castle, which was supposedly included in the city fortifications, was secured by a ditch surrounding it. Around 1400 - arranged by Margrave Wilhelm - new construction of the eastern part of the north wing with the Hausmannsturm at the western end, of which the rising masonry with a pointed arched portal was preserved. After the 15th century, the entire complex was gradually rebuilt and rebuilt, particularly brisk construction activity from 1468–80. The result was a four-wing complex, documented by a model from 1530, which is remarkable for the art of palace architecture in Central Germany: the buildings of three storeys, the west wing, which adjoined the Hausmannsturm to the south and contained the chapel, of four storeys, on the south side the round castle tower, in the middle of the southern end of the courtyard is the square, tower-like gatehouse with polygonal oriels (the foundations of which have been excavated), to the south in front of it a ditch bounded by a wall, above it a bridge in front of the gate. In front of the east wing on the courtyard side a stair tower, here on the ground floor a two-aisled hall with groined vaults and other ribbed vaulted rooms.
   In 1530–35, Duke Georg rebuilt the old Elbtor in the axis of Schloßstraße into the so-called Georgentor. This building was an incunable of Renaissance architecture in central Germany. It had two front sides, a side showing death and transience in relief facing the Elbe, a side dedicated to the new life in Christ facing Schloßstraße, from which the portal on the west side of today's Georgentor and parts of the southern portal east of the Georgentor are preserved. From the north facade of the dates of Christoph Walther I created Totentanz (Epiphany Church, Dresden-Neustadt interior) and a medallion portrait of the Duke and Duchess of Arms, beautiful of the south facade details such. B. a polychrome Madonna relief (currently in the depot). The reason for an extension of the old castle was the acquisition of the electorate for the Albertine Wettins by Moritz in the wake of the Battle of Mühlberg in 1547. In 1547 the west wing was demolished, construction began in 1548, decision to double the castle in 1549. Completion construction activity in 1556, but largely finished in 1552. Caspar Voigt von Wierandt acted as the building manager. The gatehouse in the south wing of the old complex was preserved, and the outer walls of the east wing and the eastern part of the north wing including the Hausmannsturm. The new building is again an almost regular four-wing system of three storeys with gable roofs and mid-height houses with volute gables. The south side of the north wing is designed as a show side with a loggia-like arbor of four storeys in front of the Hausmannsturm using the classic column arrangements, two corner helical stones on the side. The west wing, the "New House", is wider than the other wings, only here the rooms are arranged on two hips. Another Wendelstein in the southwest corner. To the south of the south wing, backfilling of the trench and construction of a bathhouse with a monumental fountain. The most important rooms were the giant hall in the east wing, a ballroom named after the portraying figures painted here, and the two-storey castle chapel to the west of the Hausmannsturm. The magnificent entrance portal in high renaissance form from 1555/56 has been preserved (portal of the castle chapel), reconstruction at the original location is planned. The interior was a hall with pillars, galleries and a ribbed vault. The chapel repeated the type of the Torgau castle chapel . The interior is richly decorated with an altarpiece, partly in alabaster, partly in sandstone, of extremely fine design, in parts preserved. The baptismal font of Hans Walther II (Sophienkirche, Dresden) with fine relief was also badly damaged . The organ work on the east gallery by Gottfried Fritzsche , 1612, opposite on the west gallery was the royal box. On the upper floors of the west wing rooms for government affairs and electoral living quarters, here a little later on the ground floor in three vaulted rooms the “Secret Storage”, first called “ Green Vault ” in 1572 , this group of rooms including their stucco ceilings received. The art chamber was set up in the attic in 1560 under Elector August. The external appearance of the renaissance castle was determined by the sgraffiti covering all the facades outside and inside, based on designs by the brothers Gabriel and Benedikt Tola, who came from Brescia. These unified the facades by suggesting an architectural structure, between the paired windows, images of "Roman histories" and biblical scenes. On the back of the arbor there are colored murals with the following themes: Conversion of Paul, Adoration of the Magi, Queen of Sheba before Solomon. On the parapet reliefs with scenes from the capture of the Promised Land by Joshua from Hans Walther II, remains in the Dresden City Museum. There are also reliefs with battle scenes on the side spiral stones, for example three scenes from the Trojan War on the north-western part and probably from the Persian Wars on the north-eastern part. The entire pictorial program referred to Elector Moritz as a general in his struggle for the Protestant cause and to the virtues to be expected of a prince. In 1565/67, under the direction of Hans Irmisch, the three-wing chancellery was built east of Schloßstraße. Under Elector Christian 1588–95 construction of the small palace courtyard south of the large courtyard with the two-storey gatehouse and a three-storey loggia under Paul Buchner, the dorising portal on Schloßstraße with plastic decorations by Andreas Walther III . At the same time the stable yard was built. Johann Georg I initiated the design of the giant hall from 1627, completed only in 1650 according to plans by Wilhelm Dilich , the ceiling as a wooden barrel encroaching on the roof structure. Painting by various court painters with the figures of the "nations" and Saxon city vedutas, the latter by Dilich, signs of the zodiac on the ceiling. In addition to the castle chapel, the giant hall was the most representative room in the castle, it was used for state ceremonies and festivities, and thus also the main place of activity of the court conductor Heinrich Schütz. Under Johann Georg II. Johann Georg III. Renovations of the castle, some in the Renaissance style, such as renovations of the sgraffiti (1676–78) and a copy of the southwestern Wendelstein in the southeast corner (1682/83), on the other hand, interior design with stucco in Baroque forms under the direction of Wolf Caspar von Klengel , probably carried out by Italians, remains of which have been preserved. Klengel also raised the Hausmannsturm from 1674–76. A comedy house was built to the west of the palace in 1667, a ballroom to the southwest was built in 1668. A new wing with a Welsch roof to the west of the former bathhouse and a pillared loggia at the Bear Garden based on plans by Wolf Caspar von Klengel. 1682/83 conversion of the late Gothic gatehouse and construction of a baroque portal according to plans by Johann Georg Starcke , the figurative decoration by Conrad Max Süßner . Under Johann Georg IV. 1693 installation of the English staircase in the former workshop in the southeast corner. At the same time, the Green Gate, a memorial to the battles of Johann Georg III, was built on the outside of the Hausmannsturm. reminiscent of the Turks, the sculptural design with coats of arms and trophies by Marcus Conrad Dietze. In 1701 the Georgentor, the east wing and the eastern part of the north wing were destroyed by fire. Reconstruction only in 1718, with the demolition of the locksmith tower and restoration of the English staircase, the giant hall rebuilt in modest baroque forms, the exterior architecture of the Renaissance gable stripped. The Georgentor was also prepared as the apartment of Augustus the Strong until 1719, and at the same time the tower room on the second floor and the stone hall above the chapel, known as the Propositionssaal since 1722, are richly decorated. The aim was to create a solemn sequence of rooms on the second floor, which was used as a festival floor. The proposal hall was followed by the corner parade hall on the northwest corner, then several anteriors in the west wing. The high point were the audience chamber and the parade bedroom. In the audience chamber pilasters of precious gold relief embroidery on gold brocade in front of a red velvet wall surface. Supraport pictures by Louis de Silvestre , from this also the ceiling picture with a representation of Hercules as the protector of virtues. Numerous items of equipment such as mirrors, embroidery, overhangs and furniture, including the famous silver furniture, have been preserved. In the prime bedroom green velvet with framing embroidery, the ceiling picture depicting the Aurora, also by Silvestre. The picture gallery in the south wing connected the parade rooms with the English stairs. In connection with the subdivision of the objects previously kept in the Kunstkammer into individual collections, the treasury was set up on the ground floor of the west wing as the "Green Vault" 1723–29, with the artists involved Matthäus Daniel Pöppelmann , Raymond Leplat , Zacharias Longuelune , Johann Benjamin Thomae as sculptors, Christian Reinow and Martin Schnell as painters for marbling and lacquer work. Separate arrangement of the objects in a bronze room, an ivory room, a white and silver room, a silver room, the precious room, the coat of arms room and the jewel room. With the exception of the last two, the furnishings in these rooms are safe with wood paneling, mirrors and consoles. Under King August III. 1737 Closure of the Protestant castle chapel and expansion for residential and administrative purposes. After 1761 the east wing was rebuilt, giving up the giant hall and building over the gatehouse. In the following years, the roofs were also changed to the west of the Hausmannsturm, with the renaissance gable being abandoned. Of the rooms created in the 2nd half of the 18th century, the furnace niches of the corner parade hall redesigned in 1767 have been preserved. Brisk building activity only started again under King Friedrich August II from 1833, when the Georgentor was raised. 1838–54 Design of the halls on the second floor of the north wing, as a ballroom to the east of the tower room as a booth or proposition room to the west, the interior design by Otto von Wolframsdorf, the painting by Eduard Bendemann . In the Ständesaal historical pictures from the life of the Saxon King Heinrich. In the ballroom wedding scenes on one side, Peleus with Thetis and Alexander with Statira, on the other pageants of Apollo and Dionysus, the muses of the arts continue between the windows. The program of the Estates Hall glorified the ruler as a people's king from a romantic perspective. Under King Johann, a richly stuccoed small ballroom in Georgentor was set up in 1866-68 according to plans by Bernhard Krüger, under King Albert further neo-baroque interior designs, including an increase in the large ballroom and a ceiling painting after 1880. On the occasion of the 800th anniversary celebration the Wettin dynasty 1889–1901 redesign of the inconspicuous exterior of the palace under Gustav Dunger & Gustav Frölich, beginning with the west wing in 1889, progressing in 1892/93 with the construction of a wing south of the small palace courtyard, which is grouped around another newly created farm yard . Here also the redesign of the transition to the Taschenbergpalais, which had existed since the 18th century and which had already been renewed under Wolframsdorf. Reconstruction of the east wing in 1894/95, using architectural elements that differed greatly from the historical, such as bay windows and gables, then of the north wing in 1896, with cladding of the transition to the court church with plastic jewelry embossed in copper sheet after a plaster model by Kurt Roch. The structural completion was the representative redesign of the Georgentor 1899-1901. In the course of the renovation, stylistic changes from the style of the German Neo-Renaissance with neo-baroque echoes to a historicism interspersed with Art Nouveau forms . In 1896 the courtyard side of the north wing was also redesigned by moving the arbor and adding a walkway in front of the ballrooms on the second floor. On February 13, 1945, all parts burned out and badly damaged, only the halls of the Green Vault including their furnishings were preserved, only two rooms burned out. 1946/47 securing of the Hausmannsturm and in the following years emergency roofs over the vaulted ground floor rooms. In the 1960s provisional use of the rooms of the Green Vault, 1964–67 restoration of the Georgenbau. Provisional refurbishment of the south wing in the 1970s. Since 1985 reconstruction of the west wing, after 1989 the north wing, 1991 completion of the hood, lantern and top of the Hausmannsturm, 1991–94 completion of the north wing and the south wing in the large courtyard. Since 1996 restoration of the small courtyard, preservation of the loggias. The aim of the reconstruction is to restore the large and small castle courtyard in the sense of the time it was built in the 16th century, including the sgraffiti, but to restore the exterior facades according to the design of Dunger & Frölich.
   Description: The following parts are to be mentioned from the historical inventory: Georgentor: Representative, late-historical display side crowned by a gable facing the Schloßplatz, from 1899–1901, the two-storey bay window was carried by warriors, the central building flanked by round corner cores, in the gable niche with the equestrian monument Duke Georgs, the rich plastic jewelry from Christian Behrens, the decorative details interspersed with Art Nouveau elements. Simpler the south, west and east sides. The passage to Schloßstraße has three aisles with ribbed vaults. After the stable yard to the vault on a squat column from the building stock of the 16th century. Two portals are attached to the building, on the west side the former north portal of the Georgenbau from 1530–35, round arched, flanked by two candelabra columns and closed by an entablature The entire architecture is covered in fine Renaissance decor. At the top of the arch a shield with a skull, in the spandrels reliefs of Adam with a hoe and Eve with a distaff. In the attic the inscription: PER. INVIDIAM. DYABOLI. MORS. INTRAVIT. IN . ORBEM (Death came into the world through the devil's envy - motto of George the Bearded) refers to the north side of the old George Gate, which is dedicated to death. The second Renaissance portal has been preserved on the east side in the former passage to the stable courtyard, round arched with beautiful beams and two medallions in the spandrels. The room layout of the Georgentor was preserved on the first and second floors, while a Renaissance portal from 1535 has been preserved on the first floor. Remnants of stucco found in a niche on the south side of the small ballroom. North wing: The exterior architecture shows the design from 1896, simple three-storey plaster architecture with a rusticated, sandstone-clad ground floor, in the roof zone two dormitories with volute gables. The Hausmannsturm, in the lower part E. 19th century clad with sandstone, the upper part octagonal above a corridor of Klengels sandstone architecture projecting on consoles with a blind arch, oval windows and strong, sculptured keystones. In its ground floor zone the so-called Green Gate, a rustic architecture with Tuscan columns and a mighty spa coat of arms in the keystone. The trophies in the reserves and above the attic as well as the figures on the segmental arched roofing of a window above the portal by Marcus Conrad Dietze . Only the surrounding wall of the eastern part and the spiral stones have been preserved on the courtyard side. Only a few reliefs and figures from the north-western, badly burned Wendelstein, as well as the original grille, the plastic jewelry showing Dutch influences, copied from 1993-95, also the reliefs with scenes from the Trojan War - formerly probably by Hans Walther II - recreated. The jewelry of the northeastern Wendelstein with figures of Adam and Eve, Cain and Abel, Wild Man and Wild Woman as well as scenes from the Persian War in the main cornice are better preserved. On the courtyard side of the eastern part a pointed arch portal from the first building around 1400, a similar one on the eastern side of the Hausmannsturm on the upper floor. The cellars under the north wing are barrel vaulted, and the two-aisled, groin vaulted rooms in the eastern part from the 16th century have been preserved. On the second floor there is fine ornamental stucco on the vault of the former tower room from the 16th century Large parts of the stucco decoration of the ballroom in Wolframsdorf have been preserved, along with the window grilles from the time it was redesigned by Dunger & Frölich. - Portal of the castle chapel (currently under restoration). The sandstone portal, which was removed in 1738 after the chapel was closed, was initially moved to the west side of the Sophienkirche, then erected next to the main facade of the Johanneum at Jüdenhof in 1864-2003. Restored in 1876 (marked in the reveal of the arch), damaged in 1945. Return to the original location planned. The portal made of Cotta sandstone, probably begun in 1554 (marked in the grotesque candelabra of the arch edging) and completed in 1555 (marked between the columns), is one of the most important sculptural creations of the Renaissance in Germany. The design comes from Italian artists whose name cannot be precisely proven (perhaps Giovanni Maria da Padova and Johann Agania), who were involved in the castle renovation after 1547, while the execution was probably partly taken over by German sculptors (Hans Walther II) (figures). Modeled on the ancient Roman triumphal arch, it shows rich, finely crafted ornamentation with candelabra grotesques as well as figures and reliefs of excellent quality. Between the Corinthian columns, two niches each arranged one above the other, the figures on the left, Johannes d. T. and John the Evangelist, as well as the right side, Moses and Peter, proclaim the firmness of faith. The relief of the attic shows the resurrection of Christ, which is attested by the figures in the niches, Isaiah on the left for the OT, Paul on the right for the NT. Above the portal, between the figures of Faith and Strength, is the Salvator. The richly carved oak door (currently in the depot) shows Christ with the adulteress in the center relief, designed as a portico, above the letters "VDMIE" for the motto of the Protestant party in the disputes about the 16th century . standing: “Verbum domini manet in aeternum” (The word of the Lord remains in eternity), presumably by Hans Walther II.
   West wing: Relatively well preserved, the exterior architecture is shown in the design by Dunger & Frölich, three-storey with corner towers, gable roof and three dwelling houses with volute gables. In the middle is a balcony over atlantic figures by Adolf Rentsch. Only the surrounding walls and part of the volute gable from the 16th century have been preserved in the courtyard. On the south side of the west wing there are still parts of the portico from the time of Wolf Caspar von Klengel, the coupled Tuscan columns have stalactite motifs. On the ground floor, the rooms of the Green Vault are largely undamaged. Of particular importance are the silver room with stuccoed fruit cords on the vault and the two-aisled precious room vaulted over two columns, both rooms preserved in their design from 1550. The extraordinarily fine stucco decoration of the precious hall, which shows a coffering and cameo-like oval fields with figural reliefs, is of outstanding artistic quality. This shows the influence of ancient stucco decoration in Rome. The door frames, the iron doors and the iron shutters come from the baroque redesign, the example of a restored mirrored wall and the furnishing of the corner cabinet with mirrors and consoles, as well as the paintings in the flat dome and in the window reveals from this period. From the rooms on the second floor - in addition to the oven niches - the extended and outsourced equipment has been preserved.
   South wing of the Great Palace Courtyard: Preserved in its surrounding walls from the 16th and 17th centuries, partly also the dwarf houses and volute gables. The plastic decoration on the southwestern Wendelstein was badly damaged, approximate copies of which are better preserved on the southeastern one from 1683. The portal by Johann Georg Starcke was badly damaged, double Tuscan columns flank the arched opening, in the keystone the spa coat of arms, the figures of Hercules and Minerva this place copies - destroyed.
   East wing of the Great Palace Courtyard: Heavily destroyed, four yokes of the late Gothic pillar hall still exist on the ground floor, as well as two rib-vaulted rooms at the north end. At the southern end, the English Staircase, a three-course system developing around a square central shaft, was badly damaged.
   Small courtyard: Bounded to the east is the gatehouse, a block-like, two-story building. The exterior architecture rusticated, the portal to Schloßstraße flanked by double Tuscan columns, in the keystone a pelican, lively lion heads as metopes of the triglyphic cornice, the sculpture by Andreas Walther III, the lions above the portal from the redesign in 1896. To the side of the portal and above Windows with triangular gables. On the south side of the small courtyard there is a two-storey loggia with an arch on Tuscan columns, in the south-west corner a spiral stone. The interiors of the buildings surrounding the Kleiner Hof have been preserved including some groin vaults on the ground floor.
   Farm yard: Adjacent to the south, the components surrounding it come from Dunger & Frölich. The round towers at the corners of Taschenberg and Schloßstraße are important for the view of the castle, as well as elaborate gables and bay windows, and the architecture is heavily rusticated and decorated with neo-baroque decorative elements. A small Renaissance portal from the 16th century has been added to the southeast corner tower.
   Green vault (Residenzschloss, Taschenberg 2). The world-class treasury collection emerged from the electoral “secret custody”, a vault located in the west wing of the Dresden Residenzschloss. The inventory of masterpieces of gold and silversmithing was brought together from the electoral art chamber, the silver chamber, the "secret safekeeping" and increased jewelry work that was created by purchases and on behalf of August the Strong (from Dehio Dresden 2005, H. Magirius).
9. ↑ Monument text
   The Altstädter Hauptwache, also known as Schinkelwache, today used as a theater box office, is located between Theaterplatz and Sophienstrasse. It was built as a sandstone building in the style of a Greek temple in 1830–32 , based on drafts by the Military Building Authority and Karl Friedrich Schinkel . It was also Joseph Thürmer involved. He provided the detailed drawings for the facades and possibly also worked as artistic director. Along with Albrechtsberg Castle and the Stockhausen Villa (both in Loschwitz), the guard is the only building of Berlin classicism in Dresden. The old guard at Neumarkt, a predecessor, built in 1715 (or 1715–1716) according to plans by Johann Rudolph Fäsch, was demolished in 1765 after a fire. The Schinkelwache burned down in 1945 and was restored in 1955/56. From 1985 it served as the central box office. Important restorations / renovations are carried out in 1993 and 1995/96. Its central part is formed as an antenna temple, flanked by lower triaxial tracts. The former weapon hall (vestibule) facing the castle is enlivened by six Ionic columns, above a flat gable (tympanum) with the figure of Saxonia by Joseph Herrmann. The figure of Mars by Franz Pettrich appears in the gable to the Theaterplatz . The Altstädter Hauptwache in Dresden is the most important building of German classicism in Saxony, even if Schinkel was unable to achieve the unique effect of his Neue Wache in Berlin here. In addition, together with the other buildings on Theaterplatz, it forms a unique urban ensemble of world class (from: Dehio Dresden 2005, edited on May 8, 2019).
10. ↑ Monument text
    Zwinger (Sophienstraße / Ostra-Allee). As an ensemble of galleries and pavilions around a courtyard with its architectural quality of European importance, built 1709–28 by Matthäus Daniel Pöppelmann and Balthasar Permoser for Elector Friedrich August I (August the Strong) (1670–1733). The name of the building refers to the place of its origin, the "Royal Zwingergarten" in the area between the medieval city wall and the fortifications of the Renaissance. The initial situation was a kitchen garden following on from a permanent assembly set up between 1673 and 1696, consisting of a riding house, shooting house and comedy house, which was gradually removed in the course of the new construction of the kennel.
    Building history: Since 1709, initially only the construction of the semicircular terracing of the embankment in the area of ​​the later wall pavilion to set up an orangery. At the top of the complex there is a large, two-flight staircase to access four terrace levels. These stairs were modified and retained in the wall pavilion built later . 1711 Construction of the arched galleries on both sides of the stairs and start of construction of the two-storey pavilions adjoining at right angles with a nymph bath. Since 1712 designs for a pavilion at the top of the arched galleries above the stairs. The orangery assembly, designed for three pavilions and arched galleries, was initially intended as a self-contained complex. Since 1712 drafts for the connection of the orangery to a planned new palace. Basis for planning the intersection of the main axes of the orangery, the old castle and the new castle. As part of this planning, conception of the long gallery, construction started in 1713. In this context, the Kronentor takes up the main axis of the planned new castle building and functions as the “first portal” to the castle area. 1714 start of construction for the Kronentor, 1715 for the wall pavilion. In addition to the architecture, furnishing with building-related and mobile sculpture became increasingly important. It reached its climax in the decoration of the wall pavilion. Headed by Balthasar Permoser appeared Paul Heermann , Johann Joachim Kretzschmar , Johann Benjamin Thomae , Johann Christian Kirchner , Johann Matthäus Oberschall and Johann Paul Egell . 1718 new plans to round off the Zwingerhof on the city side with a tower with a water reservoir and a cascade. 1719 final determination of the floor plan through a mirror image repetition of the already erected pavilion group: construction of the two city-side pavilions with opera house (following the porcelain pavilion) and redoubt (following the German pavilion). Parts of the south-eastern arched gallery and the city pavilion (carillon pavilion) were made makeshift in wood. Pöppelmann closed the courtyard that opened to the Elbe with a wooden grandstand. In the same year wedding celebrations in the Zwinger on the occasion of the marriage of Prince Elector Friedrich August II. To Archduchess Maria Josepha of Austria (1699–1757) . Use of the Zwingerhof as a festival area. 1723 Vaulting of the gallery buildings, which until then had only been covered with wooden planks, and completion of the city pavilion with the adjoining arched galleries. 1728 Completion of the town-side assembly except for the sculptural work, establishment of the Zwinger as a “Palais Royal des Sciences”. Since then, the pavilions and galleries have served as the repository of the royal library and artistic and natural history collections. First serious damage to the building as a result of the Seven Years' War. 1783–85 renewal under the direction of Johann Daniel Schade . Johann Baptist Dorsch and Thaddäus Ignatius Wiskotschill completed the building-related sculptures on the city-side assembly .
    1847–55 Completion of the open courtyard on the Elbe side with the establishment of the picture gallery by Gottfried Semper and installation of the King Friedrich August I monument in the Zwingerhof. 1849 Fire of the eastern pavilion group as a result of the Dresden May Revolution . Reconstruction under the direction of Karl Moritz Haenel 1852–63. Instead of the burned down opera house at the porcelain pavilion and the structure behind the German pavilion, additions were made for museum purposes, which significantly upgraded the city side of the Zwinger. Demolition of the external stairs at the city pavilion and construction of two staircases in the hall on the ground floor of the city pavilion, which was open until then. The sculpture program was supplemented by works by Ernst Julius Hähnel . Open space design by Carl Adolf Terscheck . 1880–98 second extensive repairs and painting with oil paints.
    1924–36 extensive restoration under the direction of Hubert Ermisch . Georg Wrba , Paul Polte and Alexander Höfer worked as sculptors . New sculptures “from the spirit” of Permoser were created for the Nymphenbad and the city pavilion. The sculptures on the balustrades, which were removed in the 19th century, have been replaced by copying some originals. The courtyard design was reconstructed based on Pöppelmann's garden plan from 1729 (copperplate engraving). 1933–36 Installation of clock and carillon with bells made of Meissen porcelain on the city pavilion (courtyard side). Severe destruction on February 13, 1945 by high-explosive bombs and incendiary ammunition. The wall pavilion was destroyed except for the ground floor and a few wall shafts on the upper floor, and the arched gallery on the Elbe side was severely damaged. The following remained: the Nympenbad, the surrounding walls of the four corner pavilions, the long galleries, the city pavilion and the crown gate. Reconstruction began in 1945 under Hubert Ermisch and was completed in 1963. 1990 restoration of the crown gate, since then ongoing restoration work.
    Description: “No building of the century shows the same degree of spontaneous ingenuity. In the Zwinger, one must not regard the enchanting abundance and the romantic arrogance of the individual form as the only essential thing, it is just as much the clarity and size of the floor plan. ”(Georg Dehio 1931). The Zwinger encloses a quasi-square courtyard that opens on two sides into mirror-symmetrical courtyards with segmental arches. The harmony of his layout is in contrast to the changeful genesis of the design, which in the meantime has followed a multitude of other, unfinished concepts. The realized version based on classic models (engravings by Carlo Fontana ), gardens in Vienna (Palais Schönbrunn) and Dresden festival courts of the 17th and 18th centuries. Century (amphitheater west of the residential palace 1697 / arcade for a bird shooting 1699 / arena in front of the palace 1709). The courtyard extends over 186 m along the axis of the Wall and City Pavilion.
    The building made of Elbe sandstone shows seven pavilions connected by gallery buildings, which mark the main axes of the courtyard. It rests on a base that has only been broken open by portals and stairs. The filigree structure of the galleries, which also characterizes the ground floor of the four corner pavilions, determines the courtyard. The basic motif is the arched opening flanked by pilasters under balustrades on classic entablature. The frieze, keystone, capitals of the pilasters and arched gussets are enriched with vegetal and decorative elements. In the axis of the pilasters figures and vases on all galleries. In front of the windows of the four arched galleries, brackets were placed in front of the orange trees, on the wall side in front of each window, on the city side in front of every other window. Wild mythical creatures serve as console supports, alternating with masks on volutes on the side of the wall pavilion. The second console southwest of the Permoser Wall Pavilion (copy). The eighth, twelfth and fifteenth consoles southwest of the wall pavilion are the original. The great sensitivity of their masters for the, as it were, organically modeled surface structure of the expressive beings is remarkable. The consoles from the time after 1783 by JB Dorsch and FI Wiskotschill on the city side show great empathy for Permoser's style. The third, fifth and seventh consoles (with signature) to the northeast, the second, third and seventh consoles southwest of the city pavilion have received their original original. The courtyard side of the long gallery has been reinterpreted into a grotto wall by integrating 10 multi-shell fountains as well as mirrors and balusters in grotto and stalactite decoration. The figurative program of the fountains, largely preserved in its substance, shows mythical creatures, fauns and putti as gargoyles and carriers of the basins.
    The four corner pavilions repeat the facade structure of the galleries in their noble proportions: construction in two storeys over nine axes, on the front over three axes. The central axis of the main façade is accentuated by the pair of stairs rising up in a semicircle, by a column portal under the broken gable on the ground floor and by a cartouche framed by gable segments above the window on the upper floor. Similarly, the central axis on the upper floor accentuates the front sides. In the frieze under the eaves the double-headed imperial eagle, a reference to the imperial vicariate of Augustus the Strong after the death of Emperor Joseph I in 1711. Above the eaves (courtyard and back) four dormers crowned by vases. The corner points of the roof foot are each accentuated by a pair of figures. Only a few of these sculptures were created on the two wall-side pavilions during the construction period. The iconography (gods, shepherds, musicians, nymphs and fauns) is heterogeneous, as it is obviously intended for other contexts. Supplemented with images (allegories) from 1783 and 1852. A putto crowns each of the pavilions in the axis of the pilasters. The roofs were laid out in a modification of a mansard roof and covered with copper. Two richly decorated ventilation chimneys on each ridge.
    The back of the French pavilion was included in the decorative program of the Nymphenbad, an open-air cave room. In the apex of the complex a cascade with water-spouting tritons and nymphs on the edge of the pool. Two flanking flights of stairs open up the wall. The structure of the wall surfaces follows the style of the galleries. In place of the windows there are niches to accommodate sculptures. Only the surface structure was decoratively modified. Ribbons in grotto decor adorn all pilasters. Keystones, entablature and capitals show reed and shell ornamentation. In the niches of the side walls there are sculptures in the shape of nymphs. The original masterpieces by Permoser, Kirchner and Egell are preserved in six niches on the SW side of the grotto. Particularly noteworthy are the sculptures ascribed to Balthasar Permoser in the second, fifth and sixth niches behind the pavilion. The quasi-painterly interpretation of human bodies in contrast to the dynamism of the garments convincingly presented in their materiality is remarkable. Compared to free work from the workshop of Wrba, Polte and Höfer based on the naturalism of the 1920s. Above the cascade the group of figures "Neptune and Amphitrite" and "Triton and Nereid".
    The Kronentor is one of the architectural highlights of the Zwinger, to which the ensemble owes its world fame. With the building, Pöppelmann tied in with works of the Italian high baroque (GL Bernini), but in particular with designs for the gates of honor by JB Fischer von Erlach for Vienna. Designed as a gate tower, its arched passage breaks through the base of the building. Two pairs of columns flank the arch on the left and right, to which niches with sculptures (the originals have recently been replaced by copies) have been assigned. On the left side of the grave volcano by Permoser and on the right Bacchus by Johann Joachim Kretzschmar. On the courtyard side, Ceres von Permoser on the left and Pomona probably von Egell on the right. The excellent quality of those pictorial works is particularly vivid in the, as it were, expressive-dramatic depiction of the volcano, which anticipates the expressiveness of Hermen at the Wallpavillon, who is a few years younger. Heavily cranked beams, blown gables and mighty keystones with heads and coats of arms mark the turning point to the upper floor with its hall open on four sides, which gives the building its graceful lightness. Inside four wall niches under groups of putti in stucco from the period after 1852 in the revision of the twenties. The attic also rests on cranked beams, broken gables, figured keystones, the Saxon-Polish coat of arms, name and crown after the courtyard and moat. On the attic there are twelve sculptures with different themes about Hercules and the seasons. The parallelism of both themes and the addition of Mercury and Apollo suggests that the attic program of the Crown Gate was once worked out for other destinations. The copper sheet dome serves as a support for four Polish eagles and the royal crown. Acanthus tendrils trace the shape of the dome. On the courtyard side in front of the portal two life-size sculptures of a tambourine beater (copy) and a flute player (original).
    In the Wallpavillon Pöppelmann reached the height of his expressiveness as a designing architect. The amalgamation of stairs and pavilion is one of the strangest and most important structures in European art. The pavilion “blows up” the “ring” of the galleries like a precious stone. The shell of the building in the constant alternation of the concave and convex arching windows and pillar axes emerges fragile-dynamic. The close fusion of sculpture and architecture constitutes the vital organic quality of its appearance. The iconography of the pictorial program is illustrated on two levels: like the nymph bath, the arched galleries and the long gallery, the ground floor of the wall pavilion with its herms also serves to represent the forces of nature. In contrast, the worlds of mythology and politics penetrate each other above the eaves. Iconographic center of Hercules (Hercules Saxonicus), representing the globe, above the coat of arms of Electoral Saxony. In it an allusion to the imperial governorship of August the Strong in 1711. On both sides of the gable cartouche the group of the three goddesses Venus, Minerva and Juno around King Friedrich August I in the role of Paris. Another four pairs of sculptures on the attic are personifications of the four winds that carry the ruler's glory in all four directions. On the wall-side gable Juno and Jupiter. The pavilion rests on a generously curved stepped plateau. The ground floor, as it were, "torn open" in five axes by arches of different sizes and two openings under a horizontal lintel. A staircase in the middle opens up the level of the arched galleries. The herms are organically tied to the groups of pilasters between the arches and are "carriers" of groups of vases above the strongly cranked cornice. The bundles of pilasters between the arches serve as carriers for the herms that are organically detached from the core of the architecture. Unsurpassed in the expressiveness of individually distinctive characters. The right entablature of the eastern group of three based on David von Bernini. Attributed to Balthasar Permoser except for the herms of the two eastern bundles of pillars (Paul Heermann). In spite of severe damage, large parts of the original have been preserved. The keystones of the arches in the form of cartouches with the monogram of Augustus the Strong and course swords of Polish eagles and vegetal decorations are integrated. The upper floor can also be experienced in its facade facing the wall. Characteristic is the "tattered" gable structure above the eaves broken open by arches. The middle gable is of great weight with the heraldic cartouche, crown and flanking genii under the image of Hercules Saxonicus by Balthasar Permoser (copy). The groups of figures crowning the plinths of the wall pillars are copies of works by Paul Heermann (Prince Paris, Venus, Juno and Minerva), Johann Christian Kirchner (Groups of the Winds) and Johann Benjamin Thomae (Juno and Jupiter). Some of the originals in the lapidary. The roof with a pronounced attic, which traces the moving floor plan, serves as a background for the spectacle above the eaves.
    The city pavilion (carillon pavilion) repeats the basic shape of the wall pavilion in its view of the courtyard. Noteworthy are the herms on the pillars between the arches, which were very sensitively modeled after 1783 by Johann Baptist Dorsch and Thaddäus Ignaz Wiskotschill in the style of the high baroque. Associated further figures with allegorical content above the attic (courtyard side). The city side in the version by Karl Moritz Haenel also shows on the first floor flat pilasters on pillars between five arches that open onto the first floor. On the ground floor, four curved flights of stairs provide access to both arched galleries. The once open hall was modified in its original appearance by building two staircases as an extension of the galleries. Originally preserved putti adorn the pedestals of the stair balustrades.
    The interiors of the galleries vaulted over Tuscan columns and pilasters. The ground floor of the mathematical-physical salon was designed as a grotto hall similar to the Nymphenbad, but was dissolved again in 1815. Today, just like the ground floor of the French Pavilion, a simple hall divided into three room compartments under groined vaults. On the ground floor of the German Pavilion and the Porcelain Pavilion, there is a large, undivided hall under a simple ceiling. The representative halls once on the upper floor of the four corner pavilions. The most valuable furnishings up to the destruction in 1945 in the marble hall of the French pavilion. Floor and walls clad in Saxon marble. A ceiling painting (Apotheosis of Hercules Saxonicus) by Heinrich Christoph Fehling above a rich cornice. The planned reconstruction is based on preserved pilaster bases, parapets under the windows, capitals and fragments of the cornice. The room on the upper floor of the Mathematical-Physical Salon is similarly furnished with a ceiling painting (Cupid and Psyche) by Louis de Silvestre. The painting on the city-side pavilions destroyed as early as the 19th century. The Zwingerhof is structured around four large water basins by lawn mirrors.
    In the corner of the nymph bath of the Zwinger, to the west of the picture gallery, a single-storey, arched building with remains of the original painting from the 19th century (originally part of the Kupferstich-Kabinett, now a café), probably the prop building or Braun's studio , which was built according to plans by Carl Moritz Haenel and Bernhard Krüger 1853-1854, as well as the extensions A (side to Postplatz) and B (side to Taschenberg) (from Dehio Dresden 2005, edited, 23.11.2015).
11. ↑ Monument text
    opera house (Theaterplatz 2). The second Dresden Court Theater, known as the Semper Opera, represents a high point in the history of theater construction in Europe with its powerful exterior and glitzy interior. The previous building, the first court theater by Gottfried Semper from 1838–41, was part of a forum plan, burned out in 1869 and torn down. New building 1871–78 also based on a design by Gottfried Semper, construction management by his son Manfred Semper. Burned out in 1945, the rear gable collapsed in 1948, structural protection from 1952–57, reconstruction from 1977–85 under the direction of Wolfgang Hänsch, with restoration of the exterior of the auditorium as well as the vestibule and foyer, but widening of the annexes to the stage, at the rear - from the upper foyer - semicircular in front, the gable-crowned side wings contained halls. Some of the rich figurative decorations have been preserved in the current building, such as the figures of Goethe and Schiller by Ernst Rietschel, the characters of Shakespeare, Molière, Sophocles and Euripides by Ernst Julius Hähnel. One of Ernst Rietschel's gables today in the Ortenburg Bautzen. The second court theater relocated to create the space of the theater square surrounded by the court church, castle and picture gallery. The building of the second court theater built in Elbe sandstone is more expansive and designed in the forms of the High Renaissance. The auditorium now has a segmental arched floor plan, segmented arched foyers also run as galleries on two floors, the stairwells and car access roads to the side, the building dimensions staggered and dominated by the box-like stage building with triangular gables. In front of the foyer galleries there is an exedra with a large niche, crowned by a magnificent panther quadriga with Dionysus and Ariadne by Johannes Schilling, the bronze reliefs behind the figures of Schiller and Goethe. The figures of the muses on the side of the parapet of the exedra, Terpsichore by Robert Ockelmann, Thalia by Georg Dielmann, Melpomene by Rudolf Hölbe, and Polyhymnia by Heinrich Epler come from Schilling's students. In the calotte paintings of the three Graces as well as Marsyas and Apollo by Paul Kießling.
    The pairs of figures on the side vestibules refer to the classical stage art on the Elbe side and the romantic on the Zwinger side, created by students of Ernst Rietschel and Ernst Julius Hähnel. On the Elbe side Zeus and Prometheus by Heinrich Bäumer, Antigone and Creon by Carl August Robert Härtel, Medea and Jason by Herrmann Hultzsch and satyr and bacchante by Carl Friedrich Echtermeyer, on the kennel side Hexe and Macbeth by Gustav Braßmann, Faust and Mephisto by Gustav Kietz , Steinerner Gast and Don Juan by Heinrich Möller and Titania and Oberon by Robert Diez. The lunette pictures in the two upper round foyers, which at the same time represent the development of theatrical art, are dominated by the same subject matter. The original picture of Prometheus by Friedrich Preller the Elder is preserved on the Elbe side. J., Antigone and Medea by Heinrich Gärtner, Horatius and Phaedra by Friedrich Preller the Elder. J., Iphigenie by Adolf Thomas and Alkeste by Heinrich Gärtner. On the side of the kennel, the bezels Hamlet by Erwin Oehme, Die Räuber by Carl Wilhelm Müller, Wilhelm Tell by Erwin Oehme, Die Zauberflöte by Theodor Choulant have been preserved. All other images are reconstructions based on historical models.
    The imaginative stairwells and the associated vestibules have the original room design and partly the original design with stucco marble and stucco lustro. In the lower round foyer, the painterly design has been reconstructed with painted oak panels with golden inlay decorations. Remnants of the original vault decoration have been preserved. In the festive upper round foyer, some columns and wall panels in stucco marble and stucco lustro, the ceiling design and painting with scenes from the life of the god Dionysus and other myths relating to the development of the acts of a tragedy, reconstructions. The auditorium has been changed in terms of the floor plan and the arrangement of the tiers, but the decorative features and polychromy in green and rosé have come closer to the original, and the ceiling has been reconstructed with images of the four European theatrical nations and with stage sets of the Throne of Pontic Justice. Also newly created is the large stage curtain with a representation of the imagination with muses of the stage art, formerly by Ferdinand Keller. The artistic direction of the restoration of the interior was in the hands of Helmar Helas and Matthias Schulz. The restoration of the Dresden Opera with the help of the preservation authorities is to be seen as a commitment to the historical Dresden traditions that were fought for a long time after the destruction of the war (Dehio Dresden 2005, slightly edited).
    The functional add-ons of the Semperoper for fundus, cloakrooms, rehearsal stages, rehearsal rooms, company restaurant and administrative rooms, which were built up to 1985, appear as a consistently modern addition to the historicist Sempers opera house. The chief architect was Wolfgang Hänsch, who also played a key role in the Kulturpalast. They are historically (architectural, as outstanding examples of the architecture of the late phase of the GDR) and (in connection with the actual opera house and the theater ensemble) urban planning. There is much to be said for giving them an artistic value. In the largest of the buildings, the cloakrooms have been successfully placed around the rehearsal stages and halls. One floor below, under the cloakrooms, there are the fundus and rooms for the administration and under the rehearsal stages and halls rooms for the heating center, etc. Apart from that, the routing between the functional buildings and between them and the main building of the Semperoper seems well thought out. The interior fittings have been effectively coordinated. The sandstone masks on the extension facing the Elbe for the large rehearsal stage were made by the Dresden sculptor Peter Makolies .
    On the first floor of the gastronomy building, a secondary stucco relief by Pettrich student Christian Gottlieb Kühn, 1826, originally attached to his house in Dresden, Pillnitzer Str. 26. According to what has been explained so far, the historic, artistic and urban significance of the additions makes them suitable for monuments. In addition, you are also considered a monument, as the monument quality and the need to maintain the extensions are plausible to at least a broad group of experts. Such significant examples of post-war modernism have been recognized and treated as monuments by the preservationists of other federal states for some time. In addition, the functional extensions are also artistically important, which is the reason for their worthiness from the start. Added to this is their authenticity and integrity (LfD / 2013).
12. ↑ Monument text
    Italian village, restaurant (Theaterplatz 3). Located directly on the banks of the Elbe at the site of the former living quarters and workshops of the Italian stonemasons employed at the Hofkirche, it forms the north-eastern end of the theater square. On the Elbe side, it is surrounded by a narrow terrace and, towards the bridge, by a terrace garden with lime trees that are arranged in a grid-like manner and cut into a box, next to which there are monumental steps leading to the river. Low, multi-section sandstone building, erected in 1911–13 by Hans Erlwein in the form of neo-classicism with echoes of Art Nouveau , heavily damaged in 1945. Reconstruction 1955–57, the exterior largely restored, the interior redesigned. 1991–93 restorations of the exterior and reconstruction of some interior rooms under the direction of Matthias Schulz. The single-storey main building with a mansard floor and large dwelling houses above the column portico on the Elbe and the square, to the west the single-storey connecting building to the rectangular, raised pavilion. The individual parts of the building in a broken facade with hipped and saddle roofs. Fluted Ionic pilasters and high, arched window doors, the walls of which almost form an arcature, structure the facades. The reliefs over the window doors (portraits) and the allegorical figures in the gable fields of the dwelling houses as well as the fountain on the west side of the wing and the bronze sculpture Putto with turkey in the terrace garden by Georg Wrba. Corridor-like vestibule, optically widened and vaulted by ionic columns and pilasters. The interior of the individual halls was originally designed in an eclectic style by Otto Gußmann, Paul Perks and Paul Rößler. The coffee rooms in the main building designed by Otto Gußmann: in the large hall a baroque stucco ceiling and classically colored wall paneling with genre scenes and pieces of flowers, in the small hall a painted coffered ceiling in the Renaissance style. The wine salon with stuccoed Art Nouveau ceiling after Georg Wrba, the painting depicting the goddess Diana after Paul Rößler. In the beer and dining room of the west wing, painted wooden ceilings and friezes that were also inspired by the Renaissance and inspired by Paul Perks (from: Dehio Dresden 2005, changed in 2015).
13. ↑ Monument text
    The large-format glass window in the former HO restaurant “Szeged” was designed and executed by the artists Kurt Sillack (1911–2005) and Rudolf Kleemann on behalf of the Dresden City Council. The glass cutting, firing and assembly of the work completed in 1961 was in the hands of Rudolf Beier. This is a black solder painting on leaded antique colored glasses. The 688 cm × 820 cm picture consists of 48 individual fields. The work entitled “Socialist Hungary” shows mainly folk motifs. The guest room on the upper floor of the location is accessed by a staircase swinging freely in the room, which leads the guest past the artistically high quality and unique glass window. A large glass wall following the stairs incorporates the colorful glass painting into the guest area. This has not changed after the redesign to a modern meeting place with bar, lounge and restaurant. The work of Sillack and Kleemann is one of the few surviving examples of art in architecture in Dresden from GDR times. Thus the artistically valuable object also has a rarity value (LfD / 2008).
14. ↑ Monument text
    The concrete sliding and climbing elephant created in 1962 by the artists Peschel , Ponndorf and Wanitschke from the Kunst am Bau Dresden production cooperative is a typical and at the same time artistically demanding testimony to GDR art. It impresses with its distinctive and child-friendly design. Obviously such elephants, known as "trunk slides", have existed more frequently. The copy standing in Dresden was created again a year later by the same sculptors for the Clara-Zetkin-Park in Leipzig. Whether it is identical to the well-preserved elephant in the “Palmengarten” playground in Lindenau, Alt-West, has not been researched. In addition, another example has been preserved in Neubrandenburg. There were three elephants here, all of which can be traced back to the production cooperative in Dresden. The fact that it was not only the Dresden artists who built "trunk slides" shows a rather constructive, objective-looking object in Halle-Neustadt by Otto Leibe, erected in 1970, which was to be included in the list of monuments. Unfortunately it was removed beforehand. Apart from that, concrete elephants in children's playgrounds were not just a GDR phenomenon. In 1963 the sculptor Ernst Thomann created an expressive example for Emmendingen in Baden (see attachment). It would be interesting to find out if there was an idea transfer. In the broadest sense, the sliding and climbing elephant is an example of building art that was part of the GDR's agenda. As the example in Halle-Neustadt shows, such objects are endangered and have become rare in the meantime, which, in addition to the reasons already mentioned, justifies the monumental property of the Dresden “trunk slide” (LfD / 2015).

literature

• Old town. In: Georg Dehio (Hrsg.): Handbook of German art monuments. Dresden. Updated edition. Deutscher Kunstverlag, Munich / Berlin 2005, pp. 3–92.

swell

• List of monuments of the state of Saxony

Web links

Commons : Cultural monuments in the district of Altstadt I  - collection of images, videos and audio files

• Cultural monuments on the Dresden themed city map

 Map with all coordinates: OSM | WikiMap