Parc del Laberint d'Horta
The Parc del Laberint d'Horta [ paɾk dəl ləβəˈɾin ˈdɔɾtə ] ( Catalan for Park of the Labyrinth of Horta , Spanish Parque del Laberinto de Horta ) in the district of Horta-Guinardó is the oldest preserved park in Barcelona . The area, which lies on the slope of the ridge of the Serra de Collserola , includes a classicist garden from the 18th century, which has been expanded to include elements of a romantic garden from the 19th century. The park owes its name to a central hedge maze , which can be counted among the most elaborate of the few remaining old garden labyrinths in Europe.
The park landscape and its surroundings
The park is located on a foothill of the Turó de Valldaura on the southeast slope of the ridge of the Serra de Collserola , which separates Barcelona from the plain of the Vallès in the hinterland. The area is bordered to the northwest by the ruins of the Castell del Fortí , northeast by the valley of the Torrent de Fondenills , southeast by the Vall d'Horta and southwest by the valley of the Torrent d'en Pallós . The park is now part of the Horta district , which was an independent municipality until 1904. The numerous springs made agricultural use possible for centuries. Fruit and vegetable gardens as well as viticulture shaped the slopes of the Collserola . In the 18th century, the place and its surroundings gradually developed into a summer residence for aristocratic and wealthy citizens of the nearby city.
The land on which the park is located covers a total of 54.07 hectares , which are divided as follows:
- The area between Ronda de Dalt and Palais Desvalls takes up 1.92 hectares ; the Velòdrom d'Horta (the Olympic cycling stadium ) and a small public green area with a playground and café are located here,
- 7.36 hectares claimed the Laberint ,
- 44.79 hectares are not overformed; this by far the largest area, the vegetation of which consists of maquis , joins above the park area and covers the slope of the Collserola up to the road to Cerdanyola (BV-1415).
The slope overcomes a height difference of a little more than forty meters in the area of the garden, the palace on the southern edge is the deepest, the basin with the water supply at the highest point of the Parc del Laberint . The mean height is about 180 meters.
history
founding
The land on which the park is located belonged to the monastery of Santa Maria de Manresa in the 14th century . In 1377 it was acquired by Jaume de Vallseca and passed through the Roger and Ribas families in 1776 to Maria Manuela d'Ardena i de Llupià , mother of the later park founder Joan Antoni Desvalls i d'Ardena (1740-1820). This began in 1791 on the slope above the family's summer residence with the construction of what is now the oldest part of the park. A classical garden was created, designed by Desvalls with the help of the architect and plasterer Domenico Bagutti (1760–1837) from Rovio in Ticino . The work was carried out by the local master builders Jaume and Andreu Valls and the French master horticulturalist Joseph Delvalet . This main part of the park is said to have cost 150,000 Catalan pounds to build . The work was completed in 1799. Bagutti left Barcelona in 1808.
Extensions
In addition to selective additions at different times, there are three phases in the park expansion. Between 1814 and 1825 Joan Antoni Desvalls himself and his son Antoni Desvalls i de Ribes carried out a major expansion. This phase ended with the unexpected death of Antoni Desvalls , who died just five years after his father. Little is known about the type and scope of this first extension; it may have included the layout of the romantic garden .
The second phase from 1853 to 1855 was initiated by the grandson of the park founder, Joaquim Desvalls i Sarriera , and carried out under the direction of the architect Elies Rogent . It is well documented through invoices and contracts. In addition to measures to improve the infrastructure of the park - paths, walls, wells and water pipes - the romantic canal above the labyrinth was built during this period .
In 1880 the seventh Marquis d'Alfarràs had a house garden laid out in the vicinity of the palace. The park had reached its final size.
Receptions and events
The park has hosted several royal visits and soirees throughout its history . On October 10, 1802, the Spanish King Charles IV and his family visited the park. A marble plaque on the large staircase leading up to the pavilion at the top of the park reminds of this visit. On March 20, 1828, Ferdinand VII , son of Charles IV and from 1813 King of Spain, was a guest of the Desvalls. To commemorate this reception, two lion sculptures were placed at the entrance to the park immediately behind the palace.
A special event in the history of the park was the performance of Goethe's Iphigenie auf Tauris , the first of this play in Catalan in the translation by Joan Maragall and the production by Adrià Gual , whose ensemble Teatre Íntim performed the play. The staging, influenced by symbolism and the literary variant of Catalan modernism , blended in well with the park's scenery due to the classic background; the work was created at the same time as the garden. The Ariadne Temple on the viewing terrace served as a stage; the changing natural lighting replaced the change of scenery.
Another open-air theater performance took place on October 23, 1908 on the occasion of the visit of Alfonso XIII. instead of. Scenes from Shakespeare's Midsummer Night 's Dream were shown in the translation by Josep Carner , again staged by Adrià Gual . This time the stage with the Homer bust in the grove east of the labyrinth served as a stage ; the royal guests sat on a platform specially built for this purpose. A pillar opposite the entrance to the labyrinth carries a plaque commemorating that visit. In 1929, two years before the founding of the Second Spanish Republic , Alfonso XIII visited. once again the park on the occasion of the Centenari del Romanticisme (' Centenary of Romanticism'), at which the orchestra of the Gran Teatre del Liceu gave a concert.
In 1914/1915, the production company Barcinógrafo shot three short films in the park, directed by Gual: Fridolín , based on the ballad Der Gang nach dem Eisenhammer by Schiller , El calvario de un héroe ('The suffering of a hero') after the Pieces Los dos sargentos franceses ('The two French sergeants') and Los cabellos blancos ('The white hair') based on a text by Tolstoy .
Transfer to city ownership
Until 1968 the park was owned by the Desvalls family . On January 17, 1968, the city council of Barcelona acquired the land from Lluís Desvalls i Trias in exchange for land in the Pedralbes district . The estimated value was seventy million pesetas . In 1970, under the direction of Joaquim M. Casamor i d'Espona, an extensive restoration of the park began in order to remove the considerable damage caused by neglect and vandalism in the past two years of the transition period. The plant population was supplemented, sculptures , balustrades , stairs, bridges and other park structures were repaired. The focus of the work was on the renovation of the water features and pools, the canal and the irrigation system. In addition, electrical lighting was installed in the park, an entrance gate was built and the public green space in front of the garden entrance was created. The park was opened to the general public on March 19, 1971, and around 50,000 guests came on that day.
The large number of visitors caused new damage to the sensitive ensemble of the park, which was originally designed as a private garden. The entire area was therefore subjected to another thorough restoration in 1994 under the direction of the architect Patrizia Falcone with funds from the European Union for approximately eighty million pesetas. The focus of the work this time was on the romantic garden, which was in a desolate state. 41,000 climbing plants , 22,000 perennials , 9,000 bushes, 6,000 aquatic plants and 410 trees were planted. The entire complex was reopened on September 25, 1994 in the presence of the then mayor, Pasqual Maragall .
Today the Parc del Laberint d'Horta is a garden museum . Since 1971 it has been under monument protection as Patrimoni municipal ('urban heritage') . The number of visitors who are allowed to be in the park at the same time was limited to 750 in order to prevent further destruction. About 150,000 people visit the park annually.
The park and its components
The palace
At the entrance to the park is the Palau Desvalls , the former palace of the Desvalls family. It was built and expanded in various stages in the 18th and 19th centuries around a medieval tower that towers over the roof of the main building by eight meters. The current condition of the building probably goes back to the year 1850.
The palace has an irregular floor plan. The main building consists of three floors, two two-story extensions together form a semicircle. Stylistically, it is an eclectic building with neo-Arabic and neo-Gothic elements. The front side is dominated by a large entrance portal with a horseshoe arch , which is flanked on both sides by two pillars supporting a balcony. Above it is a frieze with the coat of arms of the Desvalls family . The frescoes in oriental appearance that decorated the facade are not obtained. Originally the palace was not used as a residential building, but as a summer residence - the Desvalls family lived in the Palau d'Alfarràs near the harbor. It was only later that it became the main residence until the early 1970s. Due to its condition, the palace cannot currently be visited. Since 1993, a renovated side wing has housed a teaching institute of the Horticultural Office, the Center de Formació del Laberint , as well as an associated public specialist library.
The oldest structure on the property is the medieval guard and defense tower, which is called Torre Sobirana ('Sovereign Tower') and earlier also as Torre Superior ('Upper Tower'), Torre de Vallseca ('Tower of Vallseca') or Torre de Llupià ('Tower of Llupià'). The round tower is about 19 meters high and 4.50 meters in diameter, the outer walls are 1.30 meters thick. The original access to the interior of the tower is eight meters above ground level and was only accessible via a ladder. The platform is surrounded by a crenellated wreath . The exact age of this fortification is unknown, its existence is certain in the 14th century - at the time when Jaume de Vallseca acquired the property. It is possible that de Vallseca himself, who came from an influential family, had the tower built as a refuge.
The classical garden
The Jardí neoclàssic ('classicist garden') forms the core area of the park and is at the same time its oldest part (the neoclassicime corresponds to German classicism as an art historical epoch of the late 18th and early 19th centuries ). In terms of structure and equipment, this area has largely been preserved true to the original. In 1791, the earthworks to lay out the various levels began, which were completed in 1799. Due to the work of Domenico Bagutti, the design of this garden area was influenced by Italian garden art . Desvall's ideas are likely to be reflected in the sculpture program, which alludes to ancient Greek and Roman legends.
Six levels can be distinguished (from the level of the palace in ascending order):
- the boxwood garden
- the flower garden
- the maze
- the viewing terrace
- the romantic channel
- the pavilion with the rear basin
The box tree garden
The Jardí del boixos (' Boxwood Garden '), located directly on the east side of the palace, is the smallest of the partial gardens. It has the shape of an elongated rectangle, which is bordered on three sides by high walls, which gives it a private character in the manner of a Giardino segreto . The entire area of this garden is planted with half-height box hedges in shaped cut , which are designed as attached hemispheres at the corners. Two small round fountains adorn the central axis. At the southern end of the garden, a double staircase connects the garden ground floor with a terrace secured by balustrades . At the north end a large wrought iron gate leads to the main area of the park. A semicircular square opens up behind it, Plaça dels lleons ('Square of the Lions') or Plaça de les vuit columnes ('Square of the Eight Columns') - from here five paths lead into the park like a fan, their confluences through a total of eight Columns are marked. The lion statues commemorating the visit of King Ferdinand VII in 1828 are positioned on both sides of the gate. At this point on the high wall there are four reliefs made of white marble, two each inside and outside on both sides of the gate. The reliefs on the inside depict Uranus and the birth of Eros , as well as the distribution of the human races over the world by Demeter . The reliefs on the outside show two abduction scenes: that of Amphitrite by Poseidon and that of Europe by Zeus .
Originally, this now closed area was the main entrance to the park. Coming from the palace, the boxwood garden could be crossed to the large gate to get to the Parc del Laberint . The entrance to the side of the palace was created in 1971, the year the park was opened to the public.
The flower garden
The Jardí de les flors ('flower garden') adjoins the place of the lions above and rises significantly towards the labyrinth. It has the shape of an irregular rectangle and is crossed diagonally by a main path that leads to the Plaça del rellotge de sol ('Square of the Sundial'). A three-meter-high column is still preserved from the sundial , the shadow pointer and the number markings on the floor are missing. Also on this path, which is lined with black cypress trees, is a water basin with goldfish , the overflow of which has the shape of the head of the sea god Triton , complemented by two decorative vases adorned with shells . There are also some notable specimens of the blue eucalyptus , the western strawberry tree , the laurel tree and a (small) coastal redwood tree .
the maze
The laberint ('labyrinth') laid out in 1792 forms the center of the area. The maze has an almost square, slightly trapezoidal surface area with a size of about 45 × 48 meters. The hedge walls are 750 meters long; they are made of Italian cypress in topiary shape and reach a height of two and a half meters. The entrance on the southwest corner is formed by a hedge gate made of cypress trees and adorned with a relief that shows Ariadne handing over the ball of thread to Theseus . On the base of the relief can be read:
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Entra, saldrás sin rodeo |
Go in, you will get out without detour. |
In the center of the labyrinth is the small circular target area, from which eight paths lead out in a star shape through as many hedge arches. In the middle is a sculpture of Eros pulling an arrow out of his quiver, missing his left arm and right hand. Stone benches invite you to linger. In the past, this place was designed like an arbor, with trellises supporting the much higher hedge walls. Some of the branching paths form winding cul-de-sacs that are suitable for playing hide-and-seek or can be understood as secret meeting points.
The exit of the maze leads through a hedge gate to an approximately circular square, which is almost completely occupied by a round basin, from the center of which a small fountain rises. Another hedge arch spans a false entrance and complements the symmetry of the square design. Under the neighboring double-flighted staircase, which leads to the next higher garden level, there is a grotto with a figure of the nymph Echo , at whose feet the heavily weathered inscription can be read:
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De un ardiente frenesí |
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The viewing terrace and the temples
The third level consists of a sixty-meter-long terrace, the Terrassa del mirador ('viewing terrace'), the symmetry of which relates to the center of the hedge maze. A staircase leads from its center to the canal and further up to the pavilion. On either side of the staircase are two small octagonal water basins, each flanked by two classicist busts. On the wall behind the water basin there are two reliefs , one showing Deucalion and Pyrrha , the other two floating female figures, the meaning of which is unclear.
Two round temples of the same shape stand on the ends of the terrace, which are enlarged to form circular squares . Eight columns of Tuscan order support a dome in the striking buildings, which are slightly raised by a three-tiered foundation . The western temple contains a statue of Danae , the eastern one of Ariadne . The sculptures made of white Carrara marble stand on round plinths about one meter high, vaulted by the artificial sky of the interior of the dome. The figure of Ariadne holds a cup in his right hand, the left embraces a jug - both attributes play on the misfortunes of Ariadne, which after Theseus they on the island of Naxos had left, in fulfillment of a prophecy to a connection with Dionysus , the God of wine, was forced. The figure of Danaë was holding a coin in her right hand (missing today), next to her is a bulging money sack, both symbols of the golden rain into which Zeus turned to unite with the imprisoned Danaë. The figures of Danaë (with the purse) and Ariadne (with the wine jug) can also be understood as allegories of trade and viticulture, which for a long time contributed both to the wealth of the region and to the prosperity of the Desvalls family.
The romantic channel
The Canal romàntic ('romantic canal') was laid out in 1853 according to designs by Elies Rogent and, although located between the labyrinth and the pavilion, is not part of the classicist garden of the first construction phase, but can be assigned to the romantic garden in terms of time and style. It runs in a west-east direction in an elongated serpentine line. Its length is about 120, its width 3.50 meters; the cut in the terrain reaches a depth of up to three meters. The main path leading from the labyrinth over the viewing terrace to the pavilion crosses the canal on two parallel bridges. Originally the water was navigable with boats, today it is populated by swans and ducks. The lush vegetation on both sides and the small fountains with their intersecting jets of water give this garden a picturesque atmosphere.
A small viewing hill rises near the western end of the canal. At its eastern end is a small artificial island called Illa de l'amor ('Island of Love'). It could be reached either by boat or via a rotating iron bridge that is still in working order. Originally a small, thatched wooden house in a rustic design stood on the island. Via an external staircase of the two-storey building, the visitor reached a chamber decorated with stained glass windows.
The pavilion and the pool
A wide staircase lined with ornamental vases and busts leads to the top level of the garden. Here is an elegant little building, the Pavelló neoclàssic ('classical pavilion'). At its rear is a large basin, the Gran safareig ('large water basin'). The symmetrical building was designed in the classical style by Bagutti , it has two side doors with porticos . The two opposite windows of the central room can be opened, one to the garden, the other to the water basin, which transforms the building into a covered terrace. From here the view extends over the park to the city and the sea. The roof is crowned by a group of figures depicting art and nature, accompanied by two inscriptions on the gable in Latin that are programmatic for the concept of the garden :
Artis naturae que parit concordia pulchrum
"It (is) the harmony between nature and art that creates beauty"
Ars concors foetum naturae matris alumbrat
"Art illuminates the fruits of mother nature"
The building is adorned with four reliefs, the contents of which refer to the builder of the classicist park, Joan Antoni Desvalls . Two reliefs on the outside are dedicated to the arts and sciences to which the Marquis was committed throughout his life, two inside the building show scenes with a biographical reference to his life: the beginning of his political activity in the city council and the assumption of a military office in times of war. Is located on the octagonal ceiling of the interior of a multi-part frieze of the Nine Muses and Mnemosyne (mother of the nine Muses) and Apollo represents (protector of the Muses), supplemented by the four virtues Constancia ( 'resistance'), Genio ( 'wisdom' ), Prudencia ('circumspection') and Templanza ('moderation'). Two more inscriptions on the doors of the pavilion have not survived.
The rear storage basin has a size of about 15 × 15 and a depth of up to seven meters. It collects rainwater and water from a natural spring. The water supply is used to irrigate the gardens, it is populated by goldfish. On the side opposite the pavilion is a small fountain with dolphins spouting water . The following inscription, which is no longer preserved today, was attached:
Hoc terrae sitienti marchio ruris delitiarum amator auxilium paravit. AD. MDCCXCIV
“The Marquis, lover of the beauties of the land, prepared this care for the thirsty soil. Anno Domini 1794 "
A fountain and a stone arch overgrown with ivy , under which there is a sculpture of the spring nymph Egeria , form the end of the classical garden on the mountain side . The propped figure dates from 1804 and is also a work of Bagutti. At the back there is a semicircle with a pergola , behind which there are tall holm oaks , Aleppo pines and pines , which mark the transition from the park to the forest area of the mountain slope and thus the border of the designed garden space.
The grove
To the east, the labyrinth is bordered by an area separated from the main area of the classical garden. This area is called El bosquet ('The Grove'), Jardí de la molsa ('Moss Garden') or Petit laberint ('Little Labyrinth'). It forms a triangle, which is traversed by an irregular network of paths and is intended to give the visitor the impression of natural growth. The vegetation is dominated by holm oaks and ivy covering the ground.
In the northwest corner there is a grotto with a small pond. The stone head of a monster, a sculpture depicting the Minotaur , peeks out from a recess in the overgrown rear wall . The scenery is in the immediate vicinity of the cypress labyrinth, but cannot be seen from there. All the paths in the grove come to a small square, which is adorned with a bust of the poet Homer .
The romantic garden
There are hardly any documents about the origin of the Jardí romàntic ('romantic garden'). It can probably be seen as the work of the park's founder, Joan Antoni Desvalls and his son Antoni Desvalls i de Ribes , and its date of origin can therefore be dated between 1814 and 1825. It is possible that the romantic garden was not created until between 1853 and 1855, initiated by Joaquim Desvalls i Sarriera , the grandson of the Marquis, who had the romantic canal built and who is known to share his grandfather's interest in art and nature. The garden design followed the example of romantic, picturesque gardens that were very popular in France at the beginning of the 19th century. The temporary use of parts of the area in the 20th century as a nursery and a tennis court had the Garden equipment, however, almost completely destroyed. The renovations of the park in 1970 and 1994 were largely based on the historical appearance and tried to recreate the original condition.
The romantic garden forms a long strip that occupies the valley basin of the Torrent d'en Pallós , which connects to the west of the classicist garden. This garden area, which consists of a series of parterres , is interspersed with laurel trees, Aleppo pines and holm oaks. They give the area a shady and cool character, which is enhanced by blue flowers , mainly ornamental lilies . Summer linden trees , yews , downy oaks , plane trees and some trees of the gods complete the picture. At the northern end of the area, at the point furthest from the palace, is the cascade , an artificial rock with several small waterfalls flowing over the moss-covered stones. From here a stream leads down into the valley, which initially runs in the middle between the paths and further down on the edge of the garden in a canal-like enclosure. Two ponds, which go back to existing bodies of water, are lush with aquatic plants.
In the middle of the romantic garden are the remains of the Cabana del pagès ('the farmer's hut'), in which a life-size figure of a farmer or gardener - called Bartolomé - used to stand; he was dressed in Catalan national costume and held a bunch of keys in his hand.
At the southern end of the romantic garden, at the lowest point of the park, there is the Fals cementiri (, false graveyard '), a small ticket cemetery , of which only a few remnants can be seen. There were grave slabs on the high wall that bounded the depression on the valley side, and several sarcophagi are said to have stood between the cypresses in the square in front of it. Another memento mori is the Ermita del monjo ('hermitage of the monk') inserted into the wall , with which the motif of the hermit is recorded. In the past, it was possible to look inside through a window, where you met a life-size figure in a monk's habit - called Pare Fèlix ('Pater Felix'). The monk doll was in a sitting position behind a table with a book and a human skull. Using a simple mechanism, which was presumably triggered in a hidden way from the outside, this machine was able to greet the visitor and - according to other descriptions - even answer their questions by moving the head.
A giant oak tree, in the partly hollow trunk of which there was space for a table and a bench, and an underground passage are no longer preserved. A small oriental garden that was above the valley near the palace has also disappeared. During the restoration work of the park in 1970, this area was transformed into a small square with geometric parterres, a round fountain and benches. The only evidence of the former design is a Chinese gate .
The home garden
The area bordering the boxwood garden to the east is called the Jardí domèstic ('house garden'), which - like the boxwood garden - is separated from the rest of the park by a wall. The area is also known as Jardí de les magnòlies ('Magnolia Garden ') or Jardí de les camèlies ('Camellia Garden '). It was built around 1880 to replace the greenhouses that originally stood there . He is shaped by elements of the French horticultural art of the late 19th century as well as those of the English landscape garden under Mediterranean influence. Curved paths divide the area into different sized areas. The appearance of the house garden is characterized by magnolias and camellias as well as by some impressive large trees, including a Himalayan cedar , a tamarisk and a Canary Island date palm . There are no figurative ornaments or staffage structures, only three shaped bushes in yew represent a hand, a bird and a star - they are newer additions to the garden.
Park symbolism
The main piece of the Parc del Laberint is the classicist garden - it reflects the ideas of the gardener's founder and his architect. Bagutti's many years of work have turned the garden into an Italian garden in Spain. In particular, the staircases and the rich sculptural decoration reveal the Italian influence, as does the small boxwood garden, which, thanks to its close proximity to the palace, has the character of a Giardino segreto .
For the visitor who follows the originally intended main route - from the palace through the boxwood garden, over the place of the lions to the labyrinth, from there crossing the viewing terrace up to the pavilion - the different levels of the park appear as a sequence of variations of the love theme :
- At the beginning (the origin ) are the two reliefs in the box tree garden: the birth of Eros, the god of love, and the distribution of people in the world through Demeter, the goddess of fertility.
- The second level is the immediately adjacent square of the lions with the reliefs showing the kidnapping scenes of Amphitrite by Poseidon and Europa by Zeus.
- The hedge maze as the third, central level includes the relief of the lovers Ariadne and Theseus and the statue of Eros.
- At the exit of the labyrinth, in the grotto under the stairs, the figure of the nymph Echo reminds us of the tragedy of love ; likewise the figures of Danaë and Ariadne - both prisoners, one in prison, the other left on the island.
- From the pavilion on the fifth and last level, the classicist garden and labyrinth can be viewed from an elevated point of view and enable reflection on love - an attitude that is reinforced by the figure of the wise nymph Egeria.
The labyrinthine theme is repeatedly taken up in the figure program of the classical garden. It pervades the original concept and culminates in the impressive hedge maze. Desvalls and Bagutti reinterpret the labyrinth in their own way. The Minotaur is not in the center of this maze - it remains outside in its own grotto - rather it is Eros who is trapped and only maintains visual relationships with the figures of Ariadne and Danaë, but must always be separated from them by the hedge walls.
The central hedge maze is unprecedented - a garden-historically significant complex can be found in the park of Villa Pisani (1720/21). This originally round hedge labyrinth has a lookout tower at the finish. It is not known whether Bagutti was aware of this. Suggestions like Desvalls and Baguttis have received from the vortex maze in La Granja de San Ildefonso (1725) which has eight radiating from the center point paths arms. The number eight can be found in many ways in the Laberint d'Horta . A garden labyrinth in the gardens of the Alcázar de Sevilla , which was arranged in a horseshoe shape around a central water basin (mid-17th century, destroyed) could have been the inspiration - in the gardens of the Alcázar there is one with the Cenador del León (1644/45) pavilion with adjacent water basin, similar to the Gran Safareig . The emphasis on the labyrinthine theme did not prevent Desvalls and Bagutti from following the pictorial programs common in contemporary gardens. A figure of Egeria (1780) also adorns the beautiful fountain in the gardens of Schönbrunn Palace .
The extensive range of images in the classicist garden contrasts with the furnishings of the later added romantic garden, which is limited to typical elements of romanticism. While the pictorial program of the classicist garden is based on neo-Platonism , in the area of the romantic canal an " island of the bliss " was created with the love island - the former thatched-roof house could have been inspired by park decorations in Ermenonville . In contrast, in the romantic garden extension in the southern part of the park, only the Christian motif can be found, particularly illustrated by the hermitage. This programmatic change describes a turn from a worldview that places hope in human reason to a sentimental mood that emphasizes transitoriness: while the classicist garden celebrates the formative power of man through nature, the romantic garden in its gloomy primordiality is reminiscent of that the power of nature superior to man.
useful information
The house garden and the box tree garden can only be visited as part of guided tours, the same applies to the classical pavilion. It is not possible to visit the palace until the renovation has been completed.
The fountains and the cascade may be turned off due to water saving measures.
In 2006, the Parc del Laberint was the location of recordings for the literary film adaptation The Perfume - The Story of a Murderer by Tom Tykwer .
Individual evidence
- ↑ Parc del Laberint d'Horta ( Memento of the original from April 25, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Information about the park at Tourisme de Catalunya
- ^ Maria Rosa Moreno: Els Jardins del Laberint d'Horta . Pp. 56-57
- ↑ Jardines de Barcelona - Volume I . P. 40
- ^ Maria Rosa Moreno: Els Jardins del Laberint d'Horta . Pp. 57-59
- ↑ Joan Bassegoda i Nonell: El laberinto y el Parque Guell, jardines históricos de Barcelona . P. 378
- ^ Maria Rosa Moreno: Els Jardins del Laberint d'Horta . Pp. 62-66
- ^ A b Maria Rosa Moreno: Els Jardins del Laberint d'Horta . P. 55
- ^ Maria Rosa Moreno: Els Jardins del Laberint d'Horta . Pp. 93-109
- ^ Maria Rosa Moreno: Els Jardins del Laberint d'Horta . Pp. 111-117
- ↑ Patrícia Gabancho: Guia. El Laberint d'Horta . Pp. 47-54
- ^ Maria Rosa Moreno: Els Jardins del Laberint d'Horta . Pp. 58-62
- ^ A b Maria Rosa Moreno: Els Jardins del Laberint d'Horta . P. 84
- ^ Maria Rosa Moreno: Els Jardins del Laberint d'Horta . P. 81
- ↑ Patrícia Gabancho: Guia. El Laberint d'Horta . Pp. 33-34
- ↑ Albert Marjanedas: Jardins del Laberint d'Horta . P. 21
- ↑ Albert Marjanedas: Jardins del Laberint d'Horta . P. 2
- ^ Maria Rosa Moreno: Els Jardins del Laberint d'Horta . P. 77
- ↑ Patrícia Gabancho: Guia. El Laberint d'Horta . P. 38
- ↑ Federico Revilla: La clave amatoria en el laberinto de Barcelona , pp. 353-358
- ↑ "Perfume" is filmed - a duo that can smell each other Article on FAZ.NET from November 10, 2005
literature
- Francisco de Bofarull: El laberinto . In: Pèl i Ploma . No. 89 . Barcelona 1903, p. 213-219 .
- Federico Revilla: La clave amatoria en el laberinto de Barcelona . In: Boletín del Seminario de estudios de arte y arqueología . tape 42 , 1976, ISSN 0210-9573 , pp. 351-364 .
- Joan Bassegoda i Nonell: El laberinto y el Parque Güell, jardines históricos de Barcelona . In: Boletín de la Real Academia de Bellas Artes de San Fernando . tape 69 , 1989, ISSN 0210-9573 , pp. 375–396 (available online at Biblioteca Virtual Miguel de Cervantes ).
- Albert Marjanedas: Jardins del Laberint d'Horta . 2nd Edition. Ajuntament de Barcelona, Barcelona 1991.
- Maria Rosa Moreno: Els Jardins del Laberint d'Horta . Ajuntament de Barcelona, Barcelona 1996 ( Quaderns de l'Arxiu 1).
- Jardines de Barcelona . tape I . Editorial Ausa, Sabadell 1997, ISBN 84-88810-32-6 .
- Patrícia Gabancho: Guia. El Laberint d'Horta . Ajuntament de Barcelona, Barcelona 1998, ISBN 84-7609-907-X .
- Gran Enciclopèdia Catalana . Enciclopèdia Catalana SA, Barcelona 2003, ISBN 84-85194-81-0 .
- Carmen Añón Feliú: Respecter la force du temps. Deux labyrinthes espagnols, you XVIIIe siècle à nos jours. In: Hervé Brunon (ed.): Le jardin comme labyrinthe du monde. Musée du Louvre, Paris 2008, ISBN 978-2-8405-0602-7 , pp. 171-195.
Web links
- Information about the park of the Ajuntament de Barcelona (Catalan)
- Information to the park from the Ayuntamiento de Barcelona (Spanish)
- Information about the park of the Ajuntament de Barcelona (English)
- Website of the Center de Formació del Laberint d'Horta (Catalan, Spanish)
Coordinates: 41 ° 26 ′ 25 " N , 2 ° 8 ′ 44" E