Klein-Glienicke Park
| Palaces and gardens of Potsdam and Berlin | |
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UNESCO world heritage 
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| National territory: |
 Germany
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| Type: | Culture |
| Criteria : | i, ii, iv |
| Reference No .: | 532 C |
| UNESCO region : | Europe and North America |
| History of enrollment | |
| Enrollment: | 1990 (meeting December 12, 1990) |
| Extension: | 1992 and 1999 |
The Park Klein-Glienicke , colloquially called Glienicker Park , is a publicly accessible English landscape garden , which is located in the extreme southwest of Berlin in the Wannsee district of the Steglitz-Zehlendorf district. It is part of the UNESCO World Heritage Site of the Palaces and Parks of Potsdam and Berlin (Potsdam's cultural landscape). Along with Sanssouci , the New Garden , the Pfaueninsel and the Babelsberg Park, it is one of the five main parks.
The 116 hectare complex was designed as the Potsdam summer residence of Prince Carl of Prussia in the 19th century and supplemented his main residence, the Prince Carl Palace on Berlin's Wilhelmplatz . The design focus is the princely villa called Schloss Glienicke in the south of the park, now accessible as a museum. The palace , outbuildings and pleasure ground belong to the Prussian Palaces and Gardens Foundation Berlin-Brandenburg . The actual park is subordinate to the district green space authority Steglitz-Zehlendorf and the Böttcherbergpark to the Berlin state forest administration .
designation
The official historical name was from 1824 " Park of Prince Carl of Prussia ", and from 1885 " Park of Prince Friedrich Leopold of Prussia ". It was not until the 20th century that geographical terms became common. The term “ Volkspark Glienicke ”, which is often misunderstood as democratic today, comes from the dictatorial era. After the city of Berlin had acquired the park in 1934, the programmatic name should make clear that the National Socialist policy of the city the park paid had. Since Glienicke Palace was not a princely residence, the entire complex cannot be described as a “ palace park ”.
Historical outline
prehistory
The church and jug-free village of Klein-Glienicke , first mentioned in 1375 in the land book of Emperor Charles IV. , Was built in the west of Glienickschen Werder on the isthmus between Griebnitzsee and Glienicker Lake . As a result of the Thirty Years War , the village became desolate. Resettlement with colonists was difficult in later decades .
A hunting lodge was built next to the uninhabited village spot in 1682 under the Great Elector Friedrich Wilhelm . It consisted of a simple cubic residential building and two side farm buildings that formed a modest courtyard . A garden was laid out as a rectangle in the middle of the swampy floodplain of the Havel and provided with four carp ponds.
The village center was restructured by creating a four-row landscaped avenue from the castle towards the Griebnitzsee. It was flanked to the north by a newly dug canal, which connected Griebnitzsee and Glienicker Lake in a navigable way and replaced the old mouth of the Teltower Bäke . At that time the area of today's Babelsberg Park was part of the enclosed wildlife park. In the north there was a tree garden, an old vineyard (today Böttcherbergpark ) and a new vineyard, as the map by Samuel de Suchodolec tells us.
The first wooden Glienicke bridge was built as early as 1660, but it did not yet mean a direct traffic connection to Berlin , but only led to Potsdam , or via Stolpe enabled a detour to Berlin via the road connection which was later expanded to the Königsweg .
Under King Friedrich Wilhelm I , the so-called soldier king , the hunting lodge was converted into a Potsdam military hospital in 1715 for sick soldiers who had to be separated. North of the hunting lodge area, the hospital superintendent and doctor Dr. Mirow an estate. This consisted of the stately manor house built in 1753, which was already known colloquially as a castle, a small billiard house on the Jungfernsee, farm buildings, agricultural areas and a brick and lime kiln .
With the construction of Berlin-Potsdamer Chaussee in 1792, the two systems were spatially separated from each other. While the hunting lodge subsequently degenerated into a factory and then an orphanage through misuse, the manor complex to the north gradually developed into a princely park.
Beginning of the park design under Count Lindenau
In 1796, the Prussian head stable master, Count Carl von Lindenau, took over the estate for 23,000 thalers. He had previously set up a nationally known park in Machern near Leipzig and transferred his experience there to Glienicke. A ferme ornée ( ornamental farm ) grew out of the previously purely agricultural areas , in which the fields and pastures were bordered by 16 different avenues and the first landscaped gardens.
Lindenau had various small architectures built in Glienicke, presumably by Ephraim Wolfgang Glasewald , who had created the buildings for the head stable master in Machern. The “ garden salon ” at the site of today's stibadium, which was laterally bordered by greenhouses, deserves special mention . The massive pavilion had elegant early classicist styles, its entrance portal was flanked by two sphinx figures . Nearby, a tea pavilion called “ Curiosity ” was built on the Chaussee. As a special ornament he had a reclining sphinx figure above the entrance. The billiard house Dr. Mirows had Lindenau expanded.
In addition, farm buildings were built, including a horse stable, a grain barn, a greenhouse, an arbor, the ice pit and a shooting wall. Probably the most important source of income remained the brickworks and lime kiln, which extended over a comparatively small area of about 160 × 120 meters and received a new, large brick shed. Lindenau had about 3,000 trees brought to Glienicke from Machern .
In 1802 Lindenau sold Machern and in the following years devoted himself intensively to the expansion of the Glienicker facilities. With the defeat of Prussia under the Napoleonic troops in 1806 and the stagnating Prussian economy as a result of the French occupation, Lindenau also got into economic difficulties. In 1807 he was also retired from civil service and felt compelled to sell Glienicke. But the sale of estates proved to be almost impossible at the time. After the idea of playing Glienicke in a lottery had proven to be unfeasible, Lindenau temporarily leased the stately property. At the same time he was preparing to move to his estate in Büssow (now Buszów) in Neumark .
Design of Glienicke under Prince Hardenberg
From 1810 Karl August von Hardenberg , who had just been appointed State Chancellor by the King, rented the property. Glienicke was inhabited by the most powerful politician in Prussia and his third wife Charlotte. However, Hardenberg could not make up his mind to buy it due to his constant financial bottlenecks. He had to vacate Glienicke again at the end of 1812 after the merchant Rudolf Rosentreter became the new owner for 20,000 thalers.
He invested significant funds in his new property, so he had Karl Friedrich Schinkel erect a semicircular porch in front of the south facade of the palace and set up a garden hall. Rosentreter was the first to employ Schinkel, now known as the creator of diagrams and paintings, but who had not yet come out with outstanding architecture, in Glienicke.
1814 Hardenberg was by King Friedrich Wilhelm III. raised to the hereditary prince's status and received as a gift the rulership over the office Quilitz, which was renamed Neu-Hardenberg . Hardenberg now had the necessary financial means to acquire Glienicke, whereby Rosentreter was interested in selling it and achieved 34,500 thalers for the property. In addition to his Berlin city palace on Dönhoffplatz , the Lichtenberg and Tempelberg estates , the Lietzen commandery and the Neu-Hardenberg class rule, the state chancellor now also had a summer residence near Potsdam.
Hardenberg led the Glienicker plants to their first artistic boom. Hardenberg had known Schinkel since he was transferred from Ansbach to Berlin in 1798. The latter had already carried out buildings in Quilitz around 1800 and, as a Prussian construction officer appointed in 1810, undertook a partial refurbishment of the Hardenberg city palace. In Glienicke, Schinkel continued the renovation work he had begun on the castle for Rosentreter . Hardenberg may also have worked to ensure that the then journeyman gardener Peter Josef Lenné was appointed from Bonn to Potsdam. Hardenberg brought Schinkel and Lenné together in Glienicke and thus established an extremely fruitful collaboration.
Glienicke also got its own gardener , Friedrich Schojan, who previously worked in Tempelberg. Hardenberg had numerous trees transferred from Tempelberg to decorate Glienicke. In 1816 Hardenberg commissioned Peter Joseph Lenné with a design for the Glienicker gardens. The twenty-seven-year-old Lenné had recently applied from Bonn for a job at the royal gardening director in Potsdam and had been employed as a gardener's assistant on probation. The Glienicker Garten was his first private contract. He was able to convince Hardenberg of acquiring a small Büdner position on Berlin-Potsdamer Chaussee and subsequently created a pleasure ground in the spirit of English landscape gardening between the castle , the Chaussee and the bridge keeper's house . This garden was located in a scenic spot in the Potsdam area, was clearly visible from the Chaussee and accordingly attracted a lot of attention. Due to Hardenberg's social status, this garden was of course also known to the royal family, the nobility and many public servants through visits.
Hardenberg also had an art mill built to operate water features . However, the brickworks continued to operate and is likely to have spread some unrest directly adjacent to the Pleasureground . In the north of his property, Hardenberg had a family house (small apartment house) built with four residential units in 1816 , which a decade later was to take over the role of a hunter's farm.
Schinkel not only planned for Hardenberg, but since 1820 also for his son-in-law, the enthusiastic garden designer Hermann von Pückler-Muskau . Accordingly, there was an artistic connection here that influenced the design of the Glienicke park very early on. In 1822 John Adey Repton, son and most important colleague of Humphry Repton, visited Prince Pückler in Muskau . The latter also took the English guest to Glienicke, where both of them stayed for a good week. After his return to England, Repton designed a “Hardenberg Basket” for a customer, a rose bed in a wooden basket in the middle of a round flowerbed. This bed shape subsequently enjoyed some popularity and was also published by Pückler as exemplary. The garden historian Seiler thinks that Repton saw such a basket in Glienicke and used it as a model, especially since Glienicke was more advanced in gardening than Neu-Hardenberg. As a result, Glienicke went down in European garden history for the first time with the “Hardenberg Basket”.
In November 1822 Hardenberg died unexpectedly in Genoa . His son Christian Graf von Hardenberg-Reventlow planned to sell Glienicke. Apparently he wanted to sell the property to a worthy buyer, because the sales negotiations dragged on for over a year until March 1824. The buyer became Prince Carl of Prussia. How exactly it came about that the king's third-born son, who was not even married, was given his own property as the king's first son, has not yet been clarified. However, he must have been viewed as a suitable buyer for the princely property for everyone involved, the sale of which has now reached 50,000 thalers. Carl acquired a modern, economically fully functional property from Hardenberg's heirs, which was largely modernly furnished and equipped and stood out for its gardens.
Prince Carl's Park
Prince Carl acquired the facility at the age of twenty-two. Since he reached an old age, he was able to design and expand Glienicke for almost 60 years. Initially, he continued seamlessly with Hardenberg's designs. The farm was gradually reduced to the facilities necessary for personal use (dairy farming and flocks of sheep for grazing) in favor of the park. The brick and lime kiln was completely closed in 1826.
Schinkel continued to design the buildings; they were carried out by Ludwig Persius , who was also able to work with his own designs from 1836. After Persius' death in 1845, Ferdinand von Arnim took over the role of the royal court architect. After his death in 1866, Prince Carl no longer employed a major architect for the buildings. Ernst Petzholtz , a successful master mason from Potsdam, was now active.
The gardens were initially designed by Lenné and executed by court gardener Friedrich Schojan until 1853, whom Hardenberg had already brought to Glienicke. From 1853–1896 August Gieseler, who had previously worked in Muskau, was the prince's court gardener. For the part of the Ufer-Höhenweg, Prince Carl called in the landscape painter August Wilhelm Ferdinand Schirmer . Prince Pückler also influenced the Glienicke gardens. In 1834 he dedicated his " Hints on Landscape Gardening " to Prince Carl , a book on garden design that became widely known in the following years and that Carl evidently consulted several times when designing the park.
Since the middle of the century, Prince Carl seems to have only designed the park according to his own taste, but was certainly advised by Lenné until his death in 1866. However, only insufficient information is available today about the details of the park's history, as almost all of Lenné's plans and the entire correspondence between Prince Carl and Lenné have been lost.
The park reached its final expansion at the beginning of the 1860s, the last renovations and new buildings were made in the early 1870s, half a century after the park was taken over. It showed that Prince Carl also followed fashions over time and reshaped previously designed things. In addition, he also fell into an excessive respect for lush trees, no longer applied the necessary pruning, so that lines of sight were already growing during the prince's lifetime. The middle of the 19th century is seen as the ideal phase of Glienicke Park today, when the plantings of the older western parts of the park were already fully developed and the park expansion areas in the east had undergone their basic design.
According to the few parking plans that have survived from Prince Carl's time, four planning phases can be highlighted:
- 1. A plan designed by Lenné in 1824 or 1825 and made by Schojan, which shows the original property, but has only been handed down as a black and white photo.
- 2. Two expansion plans drawn by Lenné in 1830 and 1831, which were not implemented, but which illustrate his intentions.
- 3. A map drawn by Gustav Meyer in 1845 after remeasurement for a publication on a scale of 1: 2000. This is the most accurate and detailed map of the property after the great eastward expansion. It is available in a second drawing on a scale of 1: 4,000, which should be the actual artwork.
- 4. A map from 1862 named after the lithographer “Kraatz Plan”, which has been handed down in color lithographs. It shows the park in its final dimensions, is very detailed, but not as precise as the Meyer plan. In return, however, it shows the palace complex with lion fountain and stibadium, the court gardener and machine house, casino and cloister courtyard as well as the hunting lodge with its outbuildings on four small special cards.
1. Park plan (original lost) of the main property (F. Schojan after PJ Lenné, 1824–1825)
2a. Unexecuted expansion plan for Glienicker Park (Peter Joseph Lenné, 1830)
2 B. The planned, but not implemented extension (PJ Lenné, 1831)
3a. Detail, remeasurement 1845, straight lines = water pipe, points = tree trunks, clouds = bushes (Gustav Meyer, 1845)
3b. Park plan after the expansion (Gustav Meyer, 1845, so-called print template)
4. Park plan after the last extensions (Leopold Kraatz, 1862), personal copy of Prince Carl with his addenda
Glienicker Park became famous from the middle of the century. Both Gustav Meyer and Hermann Jäger felt compelled to write a section about Glienicker Park in their gardening books (see below), thereby classifying it among the most important parks of all. And Heinrich Wagener wrote in 1882: “ Klein-Glieneke, for more than fifty years the pilgrimage destination for thousands who want to build on an almost perfect union of art and nature, is one of the jewels of scenic beauty in the Brandenburg region. "
The first scientific record of the building and art inventory of the Glienicker Park took place in the course of the creation of the inventory of the architectural and art monuments of the province of Brandenburg. The art historian Rudolf Bergau traveled throughout the province from 1879–1881, which the government builder A. Körner, who finally wrote the Glienicke article, added in 1882 while Bergau was ill. Bergau and / or Körner received their information about Glienicke from Prince Carl or at least from people from the royal court during Prince Carl's lifetime. The very extensive lists of the equipment of the garden courtyard, curiosity , casino and monastery courtyard are listed below in the notes. They describe the holdings shortly before Prince Carl's death and show that the collections had grown to such an extent that the original residential use of the rooms in the curiosity and in the casino was no longer possible.
The park after the death of Prince Carl
In his will, Prince Carl stipulated that the heirs had to raise 30,000 marks annually for the maintenance of the park. His son Prince Friedrich Karl died just two years after his father in 1885. The twenty-year-old grandson Prince Friedrich Leopold thus became the heir of the facilities, with which he apparently had not developed a particularly emotional relationship. The parks were no longer accessible to interested visitors. The lack of maintenance led to the loss of the parking spaces. For example, Prince Carl created groups of bushes from hornbeam that always had to be kept in cut. They now grew up to trees that blocked the sight lines.
In 1889, Prince Friedrich Leopold had the hunting lodge and its outbuildings completely rebuilt in southern German early baroque styles by master builder Albert Geyer . The assembly was representative and had a certain courtesy, especially due to the onion dome, but was just as stylistically isolated in the Potsdam cultural landscape as was the neo-baroque palace that Prince Carl had built here from 1859 for his son Prince Friedrich Karl.
After the humanly difficult prince fell out with his family and his cousin Kaiser Wilhelm II , he retired entirely to the hunting lodge. In 1911 he had the hunting lodge garden moved with a martial-looking concrete wall, of which a small section at the Kurfürstentor is still preserved today. The Schinkelbau, now known as the “Old Castle”, the park and the outbuildings were hardly looked after. Since the park was no longer open to the public, it disappeared from the public consciousness.
The fall of the Hohenzollern monarchy in 1918 and the later transfer of the castles to state administration did not affect Glienicke. As the property of a branch line of the formerly ruling royal family, it remained the property of the prince. However, he moved to the Villa Favorita in Lugano , which meant that the Glienicke grounds were even less well maintained. On October 1, 1920, the Gutsviertel Klein-Glienicke-Forst, which bordered the Potsdam city area, was incorporated into Greater Berlin , where it became part of the 10th administrative district “Zehlendorf” .
Prince Friedrich Leopold took numerous works of art from the “Old Castle” and the Pleasureground to Switzerland, where he sold them to repay debts. At the beginning of 1931 he had the remaining Glienick art holdings auctioned at a major auction in Berlin. The associated catalog is accordingly an important source for furnishing buildings and gardens.
He had already started selling parts of the park beforehand. The Prussian state bought the Böttcherbergpark in 1924. From 1928 a development plan for the Böttcherberg has been preserved in a very simple parceling out, but luckily it was not implemented. The once famous park was in danger of being destroyed in these years. According to Julier, the prince intended to sell the entire park extension area from 1841 as building land, which the Prussian state forbade him. The state demanded permanent preservation as a park, whereupon the prince filed claims for damages against the state. Due to the prince's death, the litigation was not pursued by the princely family.
In a certain way, however, the prince's heart hung on Glienicke, because there he had on the occasion of the death of his son Prince Friedrich Karl jun. , who died in the war in 1917, had a family burial site built. He had chosen the height above the Großer Wiesengrund, west of the Roman Bank, as the place. A circular depression was excavated in which the graves were arranged radially along the lining walls. Prince Friedrich Leopold found his final resting place here in 1931, his wife († 1959), who was completely estranged from him , refused to be buried next to him. The burial site, which is still occupied today, does not impair the historical park in its simplicity, but it has not enriched it either.
In 1934/35 the city of Berlin acquired the Glienicker facilities with the exception of the palace and the pleasure ground . Previously, at the instigation of State Commissioner Julius Lippert, pressure had been exerted on the guardian of the minor heir to sell and the purchase price had been made available by confiscating the property of Herbert Gutmann . Only the roughly triangular area between the gardener's house, farm yard and rotunda remained for the princely family. The park has now been made accessible to the public and was given the name "Volkspark Glienicke", with which Lippert wanted to make it clear that, in a sense, he had given the people a gift. The reference to National Socialist politics was underlined by the fact that the opening ceremony was held on the occasion of the Fuehrer's birthday .
However, Lippert reserved the Jägerhof and its surroundings for hunted pleasure . The interior of the Jägerhof was converted into a modern hunting lodge and expanded to match the style. Above the Jägerhof, the large hunting parachute was removed and a bastion with historical guns was built in its place , from which Lippert could, as it were, enjoy a view of the general . With the exception of the so-called hermitage, all historical wooden architecture in the park has been removed and the billet bridges have been replaced with modern squared timber structures. Apparently damaged was repaired . The Devil's Bridge was, so to speak, completed and thus robbed of its sentimental character. Cuts were also made in the path system.
When the art historian Johannes Sievers was working on the volume “Buildings for Prince Karl” published in 1942 in the series “Karl Friedrich Schinkel's Lifetime Achievement” in the 1930s , he found a largely looted complex in Glienicke. He recognized the total work of art and also documented the works of the architects and artists who worked here after Schinkel. Sievers' observations are the first fundamental scientific work on Glienicke and are an important source today, as extensive destruction began in the following.
After Heinrich Sahm's resignation, Julius Lippert also took over the office of Lord Mayor of Berlin under the title of City President . He chose Glienicke as the future official residence or official residence. In addition, the south-western part of the park should serve as a garden, which still belonged to the princely family. This part was acquired by the city of Berlin in 1938/39. Until then , Prince Friedrich Leopold junior, who was still living in the Schinkel Castle . then led the remaining works of art to Gut Imlau in the Salzburger Land, where he retired.
The castle should now by Dietrich Müller-Stüler be expanded to the town Presidential official residence, for which it did not, probably because Lippert due to an intrigue Albert Speer lost his position in July 1940th It is no longer possible to understand exactly what construction work was carried out. Destructive construction work in those years saw the demolition of half of the greenhouses, which had to give way to a tennis court.
The artistic value of the park was completely misunderstood at the time. During the expansion of Berlin-Potsdamer Chaussee in the course of Reichsstrasse 1 , large amounts of overburden were produced. For the sake of simplicity, a considerable part of this earth was dumped into the hunting lodge garden and the pleasure ground. The artistically designed park areas turned into banal green spaces on which new paths connected the remaining buildings over the shortest possible distance. In addition, the Berlin-Potsdamer Chaussee between the parks was extended from 11 to 13 meters wide to 29 meters at the expense of the Jagdschlossgarten.
During the war, the castle served as a hospital. At the end of the war, German units finally gathered on the island of Wannsee and blew up all bridges in order to fight a senseless final battle with the Red Army, which had already advanced to Zehlendorf. This caused considerable damage to the woods on the shore zone, and the casino was destroyed to the ground. All other buildings also received significant damage from artillery fighting. At the beginning of the Soviet occupation, it was used briefly by the military, with the upper floor of the Schinkelschloss being used as a horse stable and the rooms suffering further damage. The Glienicke buildings were then looted by metal thieves and further destroyed by vandalism.
Restoration of the Glienicke facilities
After mental games in the early post-war period to develop Glienicker Park into an important West Berlin sports facility on the border with the Soviet Zone / GDR and thus to completely destroy it, a rethink began to preserve the work of Schinkel and his students. The castle was outwardly substantially restored by Schinkel intention 1950-1952, was disturbed by which the garden court in his view, however, the relations Hofdamenflügel gutted and extended. The large horse stable in the cavalier wing was divided into small rooms. The castle was now used as a recreational home for athletes. In 1952 the park was placed under landscape protection, an important step towards permanent conservation.
The outbuildings were successively repaired. The casino stood for years without a roof and was then rebuilt in 1963 using the foundation walls. Architectural details of the buildings that were not rebuilt were stored in a lapidarium (lapis = Latin for the stone) in the base of the water tower. The park area, which had belonged to the princely family until 1939, was, as in the pre-war period, not open to the public and therefore not in the public eye.
On January 1, 1966, the Pleasure Grounds were placed under the administration of the State Palaces and Gardens of Berlin . While locks Director Margarete Kühn fully committed to the reconstruction of the Charlottenburg Palace was used, straightened her successor (1969) in the Official Martin Sperlich increasingly his gaze on the Glienicke plants that he did not as garden art and as a collection of Schinkel's buildings in the countryside knew . In the surveying engineer Michael Seiler he found the specialist interested in Glienicke Park, who created the scientific basis for restoring the garden and who finally presented his dissertation in 1986 on the entire history of Glienicke gardens.
As early as 1978, a department for garden monument maintenance was set up at the Senator for Building and Housing. The garden architect and historian Klaus von Krosigk took over the management and built up the department for a functional specialist authority. The thus institutionally developed Berlin garden monument preservation placed its second focus on the Glienicker facilities in addition to the Berlin zoo . In the following, spectacular garden archaeological excavations took place in the area of the Pleasureground and in the hunting lodge garden . Based on the excavation results, which were combined with the critical evaluation of the historical park plans, an authentic restoration could be carried out, which received international attention in specialist circles.
The Schinkel year 1981 brought a further boost in public interest and public funding, so that the buildings could be supplemented in important details and a reconstruction of the orangery could be carried out. In 1982 the official entry was made as a monument or garden monument for the entire complex. While the Berlin Wall caused damage to the Glienick facilities through the demolition of Swiss houses and the restoration, it indirectly enabled the Berlin-Potsdamer Chaussee to be dismantled to almost its original dimensions. This would hardly have been possible after the fall of the Berlin Wall.
In the meantime, Sperlich had made contact with the partner of Prince Friedrich Leopold Jr., Friedrich Baron Cerrini de Montevarchi, who died in 1959. In his will he bequeathed the Glienicke works of art brought to Imlau to the palace administration, including the “ Journal about Glienicke ”, an invaluable source . Cerrini died in 1985; for example, Sperlich's successor as castle director Jürgen Julier was able to open the castle, which had been used by the folk high school until then , as a castle museum for the 750th anniversary of Berlin in 1987 . At the same time, an exhibition on this park area and the recently restored gardens could be visited for the first time in the outbuildings of the hunting lodge that were newly occupied by the Heimvolkshochschule. Shortly beforehand, an exhibition on the Glienicke hunting lodge had been prepared for the event in the Haus am Waldsee .
After the unification of the German states , the palace and park complexes of the Potsdam cultural landscape could be included in the UNESCO World Heritage List on January 1, 1991 , which had already been requested but was not possible due to the border barriers. When the Prussian Palaces and Gardens Foundation Berlin-Brandenburg (SPSG) was established in 1995 , Glienicke was permanently designated as the palace museum and so far the only court gardening museum. In 2000, the SPSG was able to take over the gardens of the Pleasureground and the castle area, which had been managed by the district office until then , but the park remained with the district office. Since 1992, the park has also been part of the EU bird sanctuary Westlicher Düppeler Forst .
Prince Carl and his collections
Prince Carl was the middle of the royal couple's seven children. Queen Luise rated Carl, born in 1801, as her most beautiful child. The sculptor Christian Rauch described him in 1815 as “ a very amiable fellow, handsome and lively, with a lot of masculine grace. “Up until his thirties, Carl was a sporty, active and attractive man, but his face quickly withered.
As a child, Carl is portrayed as always in a good mood and funny. Exuberance, courage in “Toberey” with his older brothers, a desire for jokes and humor seem to have been Carl's striking characteristics. His traditional letters, too, testify to wit and a desire for occasional silliness. However, this found its limit in class differences. He made it clear to his teachers accordingly that it was not they but he who had to give instructions. From the middle of the century, Carl's humor seems to have increasingly waned in the face of political developments. Politically, Prince Carl never understood jokes.
At the time of his mother's death , he was eight years old and was raised for ten years by Heinrich Menu von Minutoli , who had a strong influence on the boy. Minutoli particularly promoted Carl's interest in antiquities and antiques and helped him to get a good general education. He later brokered the acquisition of the famous Goslarer Kaiserstuhl for Prince Carl .
Prince Carl spent most of his childhood on the ground floor of the Prinzessinnenpalais in Berlin . The prince laid out the first horticultural beds and plantings in the walled garden facing the opera house . As a child, he gained his first experience with gardening and expanded the knowledge he acquired during his youth.
A striking trait of Prince Carl's personality was his passion for collecting, which he had developed with minerals as a child. The prince later collected ancient art and the classicist sculpture of his time, Byzantine and medieval art, Renaissance and Baroque art, East Asian art, weapons, guns and hunting gear, carriages and boats, yes, Seiler pointed out that even the countless erratic boulders with which Carl decorated his park, also represented a kind of collection, especially since he brought them from Westphalia.
The young Prince Carl had a pronounced self-confidence that was paired with a pronounced sense of class and loved socializing at an early age. For example, when he was fourteen, he invited Schinkel to dinner twenty years his senior and discussed his project for a national cathedral with him. At a young age, Carl had such an engaging character that he immediately won the affection of Prince Pückler at the Aachen Congress in 1818 . But a mostly purpose-related friendliness has been handed down to Carl's social interaction. There are only indications in the family correspondence on the prince's border legal activities. The verdict on Carl in a much-quoted sentence that Friedrich Wilhelm IV. Coined about the four brothers in 1858 is particularly charmless: " If we had been born the sons of a simple civil servant, I would have become an architect, Wilhelm Sergeant, Carl would have been sent to prison come and Albrecht became a drinker. "
As the king's third-born son, Carl's professional function was that of a senior military man, with which he did not identify as strongly as his older brother Wilhelm . In contrast to this, who had the reputation of a liberal in the family , Carl was the political confidante of his eldest brother, the later King Friedrich Wilhelm IV. Both were united in a restorative policy with which all democratic developments should be prevented. Accordingly, Carl's political model was the court of St. Petersburg , where his sister Charlotte had resided since 1817. She first invited Carl to St. Petersburg in 1820, where he found a court and government that he would have wished for Prussia. There he was also able to study modern landscape gardens, with the Pavlovsk park particularly fascinating him.
Carl shared a penchant for everything English with Charlotte. Since Prince Carl, in addition to his park mania and his love of hunting, had a penchant for fashionable news and had developed a particularly pronounced Anglophilia in these passions , his nickname "Sir Charles Glienicke" developed in the royal family at that time, with which he occasionally signed letters . But Carl and Charlotte were in agreement in their rejection of British politics. Carl never traveled to England and only knew the famous English landscape gardens from publications. In 1825 Carl's brother-in-law Nikolai unexpectedly became Tsar, with which Charlotte, as Tsarina Alexandra Feodorovna, was able to make her family happy with truly imperial gifts. Carl also received valuable gifts, some of which he was able to block in the Glienicker facilities. St. Petersburg remained Carl's favorite travel destination until Charlotte's death in 1860.
On September 15, 1822, the king, accompanied by Prince Wilhelm and the twenty-one-year-old Prince Carl, began a trip to Italy, which also included a visit to the Verona Congress , but otherwise took place incognito. The crown prince was denied the coveted trip. This was Carl's first big trip and shaped him accordingly. It led him from Xanthen on the Lower Rhine up the entire course of the river and on through Switzerland , where he had his first high mountain experience.
At the congress in Verona, Carl must inevitably have met State Chancellor von Hardenberg, the head of the Prussian delegation, not knowing that he would die unexpectedly on November 26th, thereby enabling the prince to acquire Glienicke. The king's entourage also included Alexander von Humboldt , who occasionally acted as cicerone for the royal rulers. The journey continued via Venice to Rome and on to Naples , where they spent four weeks in mild winter weather and visited the excavation sites of Pompeii and Herculaneum .
The return journey was also rich in cultural experiences and led via Florence , Pisa , Genoa , Milan , Trieste and then again over the Alps to Innsbruck , Salzburg , Prague , Dresden , so that on February 1, 1823, they returned to Berlin . This trip probably influenced Carl more than he was aware. In a slightly arrogant tone, faced with the difficulties of the journey through the technically backward country, he wrote to his father the remarkable sentence that, in order not to lose one's liking for Italy , one should not look at the country for oneself, but study it in pictures and books. And with the Pleasureground and its buildings, Carl created a piece of Italy from second hand, so to speak . It was not until the early 1840s that Carl made a few trips to Italy again, now accompanied by the family. These trips were also used to contact art dealers and purchase works of art.
At the end of 1826, Prince Carl got engaged to Princess Marie of Saxe-Weimar-Eisenach . The Ordenspalais in Berlin was made available to him for the purpose of founding a household, which was completely redesigned in the following two years according to Schinkel's plans and moved into at Christmas 1828. Expansion and renovation work on the castle has now also been accelerated in Glienicke . After the May 26, 1827 Schloss Charlottenburg celebrated wedding Marie was on June 5 by the king to the strains of military music as a new (co-) owner of Glienicke introduced . To what extent the princess, who had no influence whatsoever on the Glienicke gardens, at least helped to determine the interior design of the palace , which was completed in 1827 , is unknown.
Although the marriage between Princess Marie and Prince Carl was a love affair, both relationships were short-lived. The marriage lasted nearly fifty years until Marie's death, but both spouses lived a life of their own long before the children's adolescence . The princess Marie, dissatisfied with this situation, was soon given the not particularly sympathetic nickname " Mother Wistfulness " in the royal family . Only in old age did the two find each other again.
Hunting was a very great passion of the prince . He pursued this passion all his life and reintroduced parforce hunting in Prussia . Hunting grounds in Glienicke were therefore no decoration. Prince Carl's historical collection of hunting gear was not in Glienicke, but in the city palace and is now in the Grunewald hunting lodge . It is still unknown where and how the prince presented hunting trophies in Glienicke. It can be assumed that he did this in an effective way and not arranged it en masse on the walls like his son in the Dreilinden hunting lodge .
Prince Carl made a special quirk with a court carrot . It was a black-skinned court employee who was named "Achmed" and who, in an exotic-looking oriental costume, served as a distinguishing mark for the royal court. Carl was the only Prussian prince who resorted to this 18th century fashion. When the first was replaced by a new Moor , this was again given the name "Achmed", which does not necessarily indicate any great princely interest in his personality.
Prince Carl had always had a keen interest in architecture, albeit without designing himself like his older brother Friedrich Wilhelm. He studied architecture on his travels and developed the building requirements in discussions with his architects. At the cloister courtyard, Carl said that it was created according to his statements without even a draft sketch. The defining architectural artist in Glienicke, however, was Schinkel, whose career and work development Carl followed from his youth. The prince had a respectful relationship with Schinkel, while with Persius, v. Arnim and Petzholtz - as far as journal entries and correspondence show - a more submissive deal was maintained.
“ Schinkel did not remain in such a personal relationship with any of his creations, long after his actual work was mainly completed there, as with Glienicke, who in a certain sense was never finished due to the expansion of his collections, which is why his advice is always welcome appeared. That this was the case was certainly not at least due to the personality of the princely builder, who was filled with genuine enthusiasm for art and who had been able to put the best men who were active in the field of art in Berlin at the service of his work. Glienicke emerged from this collaboration between builders and artists, the only one of its kind as the summer residence of a princely collector and art lover during the 19th century . "
But since Prince Carl was interested in architecture, he did not persist in Schinkel's architectural language after Schinkel's death. Rather, he turned to new architectural fashions, such as the neo-renaissance. The new baroque style of the hunting lodge building from 1859 is very remarkable in this regard. The fact that the palace designed by Schinkel and the outbuildings remained almost unchanged from the outside shows the respect that Prince Carl had for Schinkel's work.
Carl's extremely intensive park designs and his passion for collecting were on the one hand a balance to his professional obligations, on the other hand they were a compensation for his own political insignificance. Prince Carl's art collections and their installation in the park were certainly also an attempt to enhance their own temporally limited and historically insignificant life span by placing them in a larger, more or less timeless setting in Glienicke.
Helmut Börsch-Supan pointed out in 1987 that Carl's inclination was the antiquarian and not the artistic. On closer inspection, there is no actual art collection. Paintings were acquired as an opportunity, not on schedule. In addition, the purchased paintings were mostly common goods , while the contemporary art, which was important at the time, such as paintings by Caspar David Friedrich , Karl Blechen or Adolph von Menzel, was apparently completely disregarded. This is remarkable in view of the purchases made by the king and crown prince for the palaces and the museum in Berlin, which opened in 1830 .
Prince Carl also did not acquire any modern sculptures, rather repetitions of sculptures that had already been created for other locations were set up. For example, the figures of Tieck for the tea room in the Berlin Palace or Dankberg's boy for the frog fountain in Sanssouci. Here the collector apparently lacked a deeper understanding of art. Perhaps this corresponds to Carl's great musicality. The prince liked to talk to her. However, there are only indications of extremely fashionable music, such as by Lanner , Donizetti or Strauss . The portrait of Prince Carl, so lovingly portrayed by his biographer Countess Rothkirch in 1982, as a " connoisseur and protector of the beautiful " certainly only affects part of his personality. Nevertheless, with the creation of the Klein-Glienicke park, Prince Carl wrote a small chapter in European garden history.
Use of the facility at the time of Prince Carl (1824–1883)
You are well informed about the use of the park by the Princely Lords thanks to the “ Journal about Glienicke ”, which the Court Marshal (1824–1850 Kurd von Schöning , 1850–1867 Franz von Lucchesini) had to keep daily. This diary not only recorded the daily activities of the princely couple (the children were employed by educators), but also kept a record of all table settings for the accounting of the princely apanage . Accordingly, Prince Carl's social interaction has been handed down in detail. As a result, it is known that breakfast was often eaten in the garden, while dinner was generally served in the castle . The tea (the evening meal) was taken - if the weather allowed it - in a different place in the garden or park every evening. The large number of tea places is explained by the need to experience the park every day late in the afternoon or in the evening from as different perspectives as possible. A large number of servants made this luxury possible.
While the Pleasureground was only explored on foot, the park was largely visited by carriage. Princess Marie almost only made trips. Guests were also shown the park by means of carriage rides. The trips were supplemented by promenades at various points, for example to see the waterfall on the Devil's Bridge. Prince Carl, on the other hand, was mostly on horseback in the park. No Potsdam park owner devoted so much to garden design. Sometimes he inspected the park work every day so that he could always incorporate new ideas about the design when implementing the plans, and occasionally even lend a hand himself.
Initially, the park was not accessible to interested strangers. A historical plaque from the main gate that still existed in Glienicke in 1939 indicated that Carl had forbidden public access to the property on May 7, 1824 . Later, probably only after the park was expanded in 1840 and the entire property was fenced in, the park could be viewed on foot by interested visitors after reporting to one of the gatehouses. It was up to the guards to decide who they let in. In the absence of the princely family, recognizable by the non-hoisted flag on the castle , the pleasure ground , parts of the castle and the outbuildings could also be viewed after reporting to the castellan ( inspector ) . The princely family now saw itself as a style-forming element for the common people . In the end, the garden and park seem to have been practically open to the public. In 1882, at least, Wagener reports no access restrictions, recommends his readers to “see for yourself” what he describes and reports that Glienicke is the “ pilgrimage destination for thousands ” who wanted to build on the connection between art and nature.
The outbuildings of the park (gatehouses, court gardeners' and machine houses, sailors' house, hunter's yard, sub-foresters' houses) all had an enclosed commercial property and were not accessible to strangers. The historical fencing of the commercial properties consisted of wooden picket fences . The park boundaries were also made up of continuous, finely proportioned estaquets based on Persius' design, which prevented unintentional penetration by humans and animals.
The first of May marked the beginning of the summer season for the princely couple, when Glienicke was bought. As soon as the prince's court had moved into the castle , the prince's flag was hoisted and, in the event of intermittent absences, it was brought down again. Important holidays in Glienicke were after the couple's wedding anniversary on May 26th, the birthday of the prince (June 29th), that of his sister Charlotte (July 13th) and her husband Tsar Nikolai I (July 6th) and that of his father King Friedrich Wilhelm III. (3rd August). On public holidays, the princely miniature fleet cruised on the Jungfernsee, the masts (frigate dummy) and the castle were flagged, salutes were shot and, at dusk, flames were lit in the shells on the buildings. Illuminations with “ Bengali flames ” are also mentioned later . Such was also done when guests of state paid their respects to the prince or when the king and high-ranking guests went by ship to the Pfaueninsel or returned from there. Then the waterfall was "released".
Every year on October 18, the anniversary of the Battle of the Nations near Leipzig was celebrated with a bonfire on the Böttcherberg. In the run-up to the annual move to the Berlin City Palace, an extensive inspection of the park from the carriage with the court gardener, the court marshal and the inspector took place at the end of October, on which the autumn plantings to be carried out during the absence were ordered. The season in Glienicke ended with the Hubertus hunt on November 3rd. In the winter half-year, trips to Glienicke were only occasionally made and combined with the coordination of the park design.
During state visits it was protocol-wise to pay the attendance to Prince Carl, Glienicke was accordingly well known among the European nobility. Whether in the early days of Carl's possession the Queen of the Netherlands or in later years the Shah of Persia, many crowned heads visited Glienicke. In addition to the Tsar couple, who were closely related to Prince Carl, the visit by Queen Victoria was the highest-ranking visit that Glienicker Park received in this regard. The Journal noted this visit on August 14, 1858 quite succinctly: “ Around 6 o'clock, Her Majesty made the Queen of England, with her husband Prince Albert , the Prince of Prussia along with the Princess and Prince Fried. Wilh. with wife visit and a promenade through the garden, castle, curiosity, casino and cloister courtyard. "
Historical descriptions of Glienicke Park from the time of Prince Carl can be found in the early tourist literature by Samuel Heinrich Spiker (1833), Anonymos (1839), Anonymos (1846), Ludwig Rellstab (1854), August Kopisch (1854), and Karl Ludwig Häberlin (1855) and Robert Springer (1878). In 1882 the regional historian Heinrich Wagener described the history and shape of the Glienicke plants in great detail. Helmuth von Moltke sent a short but characteristic description (see below) to his bride when he was adjutant in Glienicke in 1841.
Historical publications of the buildings can be found in Schinkel's “ Collection of Architectural Designs ” ( castle and casino ), in the “ Architectural Album ” (rotunda, court gardener and machine house, greenhouses, sailor house, Villa Schöningen and Stibadium) and in the “ Architectural Sketchbook ” (Obertor- and wildlife park gatekeeper house, main gate gatekeeper house, Griebnitztor gatekeeper house, Unterforsterei Klein-Glienicke, canary bird house, hunting lodges and Swiss houses). Remarkably, there are no publications by Löwenfontäne, Neugierde , Jägerhof and the Klosterhof. The published park plans are a less attractive lithograph from around 1845 on a scale of 1: 5,000 and a very attractive color lithograph from around 1862 on a scale of 1: 2,500, the so-called Kraatz plan.
Glienicker Park has never been systematically depicted in images, such as a series of lithographed watercolors by Carl Graeb created for Babelsberger Park . Strangely enough, Prince Carl seems to have had little interest here. In 1843 and 1854 he put together a portfolio of already existing prints for the publication of his park, such as the sheets from the “Collection of Architectural Drafts”, the color lithographs from Haun to Schirmer and the unattractive lithographic park plan from 1845.
At the time of Prince Carl, only the pleasure ground has been documented photographically: the photographer Robert Scholz took a series of photos around 1875, perhaps on the occasion of the 50th anniversary celebration in 1874, showing the garden in a largely overgrown condition. There are no photos of the park at that time. When Johannes Sievers and his son Wolfgang documented the park and buildings in the 1930s, the wooden architecture had already disappeared and the park areas had become completely overgrown.
Park structure and design since the last expansion
Humphry Repton , probably the most influential English landscape designer of his time, formulated the design principles of the classic English landscape garden at the end of the 18th century. Accordingly, the flower garden was created directly at the house, to which the pleasure ground , the house garden, was connected. Both were separated from the actual park by fences, walls or invisible fences (quasi invisible fences or ditches), since livestock and game roamed freely in the park, which would have bitten the flowers and ornamental shrubs in the garden.
In Glienicke, the flower garden has a special form of the garden courtyard. The pleasure ground extends between the castle and Glienicke bridge. The park is divided into the part of the Großer Wiesengrund, which today occupies about the middle of the facility, to the west is the part of the Ufer-Höhenweg, which continues in the north in the Jägerhof area. In the northeast are the steep slopes of a mountain park called the "Carpathians". To the south of this and to the east of the Großer Wiesengrund there is a section dominated by valleys with a woody character. South of Berlin-Potsdamer Chaussee are the Böttcherberg-Park with the framing Schweizerhaus area and the Jagdschlossgarten. The naming of most parts of the park is historical. Only the Ufer-Höhenweg, the large Wiesengrund, the Jägerhof-Partie and the Waldtäler-Partie are auxiliary terms, as it has not been passed down how the princely lords called these parts.
A characteristic of Lennésch park design are the very numerous and seemingly surprising lines of sight both within the park and into the Potsdam cultural landscape. The constant interlocking of meadow spaces to open up a maximum of visual relationships is typical of Lenné's garden art. Figural beds, lively ponds and mountainous park areas are typical of Prince Pückler's garden art. Prince Carl combined both in Glienicke, with the western parts of the park clearly showing Lenné's handwriting.
In the 19th century, the Glienicker Park was opened up via the so-called Drive , which begins at the Mitteltor (now an inconspicuous staircase access on Königstraße) . So the visitor first drove past the large boulder with the purchase date May 1, 1824 and the Großer Wiesengrund. He then passed the castle pond and the farm yard and finally reached the open side of the garden courtyard, through which he entered the castle .
The garden courtyard
The garden courtyard is enclosed in a U-shape in the south by the palace and the court ladies' wing, and in the north it is bordered by the cavalier wing. It only opens to the east, which has been restricted since the court ladies' wing was extended in 1952. In the past, the view from the courtyard to the east was directed across the castle pond to the Großer Wiesengrund, suggesting a large expanse of the park. Since the view of the meadow has not yet been completely cleared, this is currently difficult to understand.
The courtyard was turned into the actual flower garden of Glienicke. Five round and two kidney-shaped cake beds, which had a pergola with a surrounding pergola as well as potted and potted plants, or they were decorated with rich flowers. Two water features were a sonic attraction. The ancient reliefs or fragments, which were gradually acquired at the time and finally even more numerous than today, offered an almost inexhaustible level of study.
In front of the hedge on the cavalier wing is a fountain with a crowning cast by the Ildefonso group as a quote from a corresponding facility in Weimar , the home of the prince's wife. Schinkel designed decorative terracotta tubs for laurel or orange trees on the steps to the side of the fountain. On the garden courtyard depiction by Schirmer there are strangely lined up small clay pots. Potted plants are placed in front of the hedge, which respond rhythmically to the pillars of the pergola. The center of the garden courtyard is marked by a fountain basin in which a Renaissance bowl fountain from 1562 had been located since at least 1837, which was later sold by Prince Carl's heirs.
The garden courtyard is, so to speak, the heart of the Glienicker Park. Schinkel clarifies this in the explanation of the publication in the “Collection of Architectural Designs”: “ The floor plan shows the disposition of the whole, where a courtyard, surrounded by castles and stables, arranged like a garden, surrounded by beautiful arcades constructed of iron, with fountains and Decorated bronze statues form a main part of the apartment, which, in contrast to the view of this interior, secrets of the courtyard, directs its windows to the distant view of the beautiful area and creates double enjoyment. "
Driveway
Of all Potsdam summer residences, Glienicke has the most unusual development. The castle was not accessed via an external facade, but through the garden pergola, which led to the hidden house entrance. After Schinkel's renovation, access to this pergola was a simple pillar construction that was difficult to identify as a castle entrance. You drove up to this pillar in a carriage and covered the rest of the way on foot. In the publication in his “Collection of Architectural Designs”, Schinkel depicted a front door right next to the pergola entrance, but this was not implemented because it would have led to confusion among strangers regarding the correct access.
Strangely enough, the actual focal point for those approaching is not on the castle , but on the cavalier wing, which protrudes far beyond the garden courtyard to the east, as Schinkel extended the existing building in this direction. Here is the vine arbor (see below) and above it, sculpture casts are set up in front of a wall field in a bright turquoise color for the long-distance effect. The "Felicitas Publica" from the Munich Max Joseph monument to Christian Daniel Rauchs is flanked by the figures of Odysseus and Iphigenia from Friedrich Tieck's Berlin tea salon cycle . A zinc cast of the head of the then famous "Athena Hope" was attached to the corner.
In order to accentuate the access to the castle , the simple pillars on the pergola were replaced by the propylon (portal structure) that still exists today when the court ladies' wing was added . This consists of sandstone with decorative elements made of zinc art cast. It was crowned by a cast of the Achilles statuette from Friedrich Tieck's Berlin tea salon cycle.
To the side of the propylon (as on the Stibadium) there are angular, half-height sandstone walls with cast zinc vases and benches on which the princely family could expect the right of way for particularly prominent guests or less prominent guests to be welcomed by the princely couple. The complex is also distinguished by the small stone mosaic paving with the prince's intertwined C monogram. The propylon was architecturally free until the court ladies' wing was extended to the north in 1952. In Prince Carl's time, people walked through the propylon directly into the pergola.
Since the princely couple mainly stayed in the pergola on the daily passages to the carriage, the cavalier wing was the actual view side of the garden courtyard. Accordingly, particularly expressive spoils , such as theater masks ( personae ) , were built into the facade of the wing .
veranda
The pergola, known as the veranda in the 19th century , consisted of four wings on the east, west and south sides of the courtyard and was supplemented on the north side of the garden courtyard by a hedge path in front of the horse stable in the cavalier wing. In the first wing the bowl fountain of the garden courtyard was the focus, in the second the column-flanked entrance to the ladies' wing, in the third wing the chimney with mural and in the fourth wing the entrance to the cavalier wing in the adjutant's arbor is the last focal point.
There is no axial line of sight on the main entrance, which is just in front of the fireplace, it is exceptionally hidden and only emphasized by the size of the portal and the " SALVE " in the doorstep. The pergola is covered with Aristolochia macrophylla and Passiflora , which gives it an exotic, southern character. Schirmer's picture at least temporarily points to Lonicera branding.
The pergola was initially made of iron, had a painted wooden ceiling and cast iron floor panels. In 1863 it was replaced by a cast iron construction with sheet metal covering. The structure of the new pergola - erected at the same time as the hunting lodge was being converted - corresponded to the old one, but it was more delicate and decorated. It is possible that there were also various decorative parts made of artificial zinc. Nothing has been handed down about a colored version or possibly partial gilding of the construction. This pergola was removed after 1945 and replaced by a wooden structure with an unhistorical wired glass covering that was closer to the original pergola.
The section of the pergola to the west of the main entrance to the castle was to be glazed in a mobile manner and then served as an additional winter garden-like space. There was a marble fireplace with a mural "Pegasus washed and soaked by nymphs" above, which Julius Schoppe had painted in 1827 (neither of which survived).
Carl probably received the inspiration for the painting from Alois Hirt's "Picture Book for Mythology, Archeology and Art", published in 1805. There the illustration is commented: “ The painting taken from the tomb of the Nasons, where the three nymphs wash the winged horse, Pegasus, is no less graceful . Like the Nereids , the upper body of the three naiads is shown naked, which brings them closer to the formation of the gods of love and the graces. "
The tomb of the Nasonians on Via Flaminia outside Rome from around AD 160 had been published since the beginning of the 18th century and enjoyed a certain popularity in art circles. But what the reason for the winged horse of immortality - a descendant of Poseidon and Medusa - was Glienicke's at this point has not yet been explained. To the side of the chimney were benches set into the wall, the wooden seats of which rested on cast-iron console feet with a Schinkel stamp.
The garden courtyard was used to display the ancient reliefs that Carl had acquired through the art trade. The complex saw itself not as a castle, but as an Italian villa, during the construction of which one came across ancient finds. The mostly marble relief spoils were arranged in the plaster in a decorative rather than archaeological way in the back wall of the pergola. Many of the fragments were inserted only in the last decade of the prince's life. After the trip to Italy in 1874, 33 boxes with antiques arrived in Glienicke. The tablets that are still present indicate that Prince Friedrich Karl also brought some antiques with him as a souvenir, including a piece from Troy, which the engraver noted as “Troga” - apparently in an effort to obtain high German orthography. The spolia arrangements were changed by lengthening the court ladies' wing and removing its entrance portal. Glienicke's antiques that still existed after 1945 have been cataloged in a scientific catalog.
Vine arbor and adjutant peristyle
Vine arbor and adjutant peristyle are the architectural links between the garden courtyard and the pleasure ground or the park. At the right of way in front of the cavalier wing is the vine arbor , which is also covered with Vitis vinifera . On the back wall of the arbor there were benches painted with oil paint, the shape of which probably went back to Schinkel, but has not been preserved. Later, according to the shape around the middle of the century, three niches were chiselled into the back wall, which were provided with ornate frames in marble. Replicas of children's figures were displayed in them.
On the narrow eastern side of the cavalier wing, the entrance to the castellan's ( inspector's ) apartment is accentuated by a porch flanked by herms. Originally this portal only had a metal canopy. To the side of the portal there were benches designed by Persius according to Schinkel's instructions in 1831, which can be seen in the painting of the right of way with red hunters (see above) but are not preserved. In connection with the benches on the propylon, there were numerous seating options in the area of the castle entrance.
On the opposite side of the garden courtyard, the adjutant's peristyle with a terrace above mediates to the pleasure ground between the pergola and the cavalier wing staircase entrance. The architecture, made up of twelve pillars or pillar templates, was simply but incorrectly called peristyle by Schinkel , later the term “adjutant's arbor” is occasionally used, although the structure as such cannot be used because it primarily served as a covered passage for the servants between the kitchen on the ground floor of the cavalier wing and the castle .
The terrace above could only be reached via the two French doors of one of the two adjutants' rooms in the cavalier wing and was accordingly named “adjutants terrace”. From here you have a remarkably beautiful view of both the garden courtyard and the pleasure ground . Today the terrace has only temporary railings. The shape of the historical lattice corresponded to the lattice that Schinkel designed at the same time for the dome casing of the (Old) Museum in Berlin.
The terrace in front of the peristyle in the direction of the Pleasureground with small colored stone paving acted as the actual tea place . The Mercury Fountain is located here on the south wall and opposite it, under the Renaissance decorative arch, there was a neo-renaissance bench that was still stored in the lapidary. The figure of the standing Mercury is not an ancient marble sculpture, but rather a reworked French sculpture from the 18th century. Very close in a niche in the west facade of the castle , a modern copy of the Venus Italica by Antonio Canova continues the antique program.
Occasionally, the antiquities program was duplicated during the continuous development. In 1852 the employees of Glienicke gave the prince couple for their silver wedding anniversary - certainly as requested - a cast of the resting Mercury from Herculaneum , one of the most popular life-size bronze figures of Roman antiquity since the excavation in 1758. As a result, the garden courtyard was bordered on both sides by figures of that ancient god, who is therefore to be regarded as the patron saint of Glienicke. Mercury , the messenger of the gods , had an ambivalent character in antiquity: as the patron god of traffic, travelers and shepherds, but also merchants, art dealers and thieves as well as rhetoric, gymnastics and magic.
The pleasure ground
The Pleasureground , created from 1816 on, is an early work by Lenné and at the same time one of his masterpieces. The Pleasureground appears to have a natural model of the terrain, but was completely artificially and artistically modeled by Lenné. The previously existing flat Büdnerstelle and the four fruit and wine terraces to the north, to which the avenue plantings of Lindenau were connected, can no longer be seen.
As a house garden, there are water features, three-dimensional works of art and cake beds, as well as some beds in geometric shapes, which were probably influenced by Prince Pückler. Numerous, originally cast-iron water pipes run through the Pleasureground , which not only serve for the water features, but also for the intensive irrigation of the plantations.
The pleasure ground is separated from the park by buildings. A wire shed fence runs along Berlin-Potsdamer Chaussee, an invisible fence towards the Uferchaussee and the casino's lower pergola . The historical access was via the garden hall of the palace , the adjutant arbor, the little gate at the stibadium, the two gates of the casino pergola and the cloister courtyard. Today's access from the driveway is not historical.
Beds and container plants
In the garden courtyard and in the pleasure ground there are elliptical and round cake beds with terracotta palmettes that are characteristic of Glienicke . The originals of the border stones were found in the cellar of curiosity , so that a faithful restoration was possible. Ten basic types were found in numerous variations. The beds are walled underground, which enabled specific irrigation. In addition, the beds were filled with loose substrate, which enabled the plants - which were occasionally placed in pots - to be changed quickly after they had started to wither. The large number of beds required large quantities of flowering plants to be kept throughout the season. In the midst of these plantations, cannas sometimes add an exotic touch.
There were and still are some figurative or geometrically designed beds, which set an artificial accent in the landscaped Pleasureground . These were framed with Buxus and therefore required a lot of care. Such beds can be found in front of the west facade of the palace , in front of the terrace of the stibadium, at the casino (Artemisbeet) and in oak leaf form on the side of the lion fountain. Most striking is the lily bed, which is located directly below the windows of Carl's bedroom in the central projection of the west facade of the castle . As a heraldic sign, it points to Carl's younger sister Louise , who was married to Prince Friedrich of the Netherlands and was particularly involved with flower bulb consignments in Glienicke. According to the Kraatz plan of 1862, some of the simple cake beds had been expanded to form beautiful geometric beds in the later 19th century, for example in front of the lion fountain and on Curiosity .
There are terraces in front of the west and east sides of the castle . Here citrus trees have been placed in pots since Hardenberg's time. This orangery (citrus collection) was valuable at the time, which is also evident from the fact that Christian von Hardenberg-Reventlow had stipulated in the purchase agreement in 1824 that he could choose four small and four large orange trees and two lemon trees.
In the area of the garden courtyard and the palace terraces and probably also at the casino , additional, non-winter-hardy potted plants were set up during the summer season, and they were moved to the orangery building in the winter months . As far narrated, it was not about palm trees, but - in addition to citrus - to Mediterranean and exotic flowering plants such as plumbago , Agapanthus and the decorative shells and Aloe . What is also striking is the extensive lack of rose plantings, which are an important feature on Pfaueninsel and Babelsberg, for example.
Bed with curiosity
Flower bed edging stones in palmette shape
Bed at the lion fountain with canna plants
Citrus buckets on the palace terrace
Bed in the pleasure ground with spring plants
Flower bed at the rotunda with palmette tongues and fritillary plants
Lion fountain
Since the castle did not have a base in the form of a basement, Schinkel planned a high terrace wall that would have visually set the building apart from the garden. With this plan he also published the building in his "Collection of Architectural Drafts". Carl, however, came up with the idea of a new fountain system, especially since the old cast iron fountain bowl from Hardenberg's time in front of the garden salon was too modest for him as a water feature and was used a second time at the casino . After a steam engine was purchased and installed, a large well system was planned from around 1836. In the planning, Carl included the two large Medici bronze lions that his sister Charlotte had given him for his 30th birthday in 1831. The lions were casts of two bronze lions on the Palace Bridge in St. Petersburg. Since the publication of Pushkin's poem "The Bronze Horseman" in 1833, the Petersburg Lions enjoyed a certain degree of popularity.
On October 23, 1837, a meeting between Prince Carl, Schinkel, Persius and Lenné took place in Glienicke “ about the basin and the fountain in front of the greenhouse [...] and how the bronze lions would be best placed. “Schinkel then designed the new fountain system and a new greenhouse. Persius completed the final artwork on November 19th. On it, the lion figures are still shown on rectangular bases. Schinkel designed the pedestals with columns later.
The greenhouse design envisaged a five-part system consisting of three gabled plastered buildings and two fully glazed greenhouses in between. Sievers found this design so remarkable that he paid tribute to it in detail and also published enlarged sections. He characterized the building as " elegant " and as " a [building] idea of great success ." But this building design was never realized. In its place, Persius built the stibadium in 1840.
The new system was built in the axis of the south facade of the castle and included the old quarry stone lining wall. A gently descending flight of stairs led to the fountain from the terrace, which led to a terrace path encircling the basin in a semicircle, probably colored asphalt. The latter was backed by a balustrade with vase and figure attachments. The four terracotta figures from around 1855 were allegories of trade, science, art and the military as the cornerstone of the state structure, which were probably also seasonal allegories. The latter allegory has been lost, the rest of the children's figures are fragmented and placed in the castle . Its creator was probably the Rauch student Alexander Gilli , who worked as a court sculptor for Glienicke.
The side of the complex is flanked by two high plinths made up of four bundled Doric columns each, on which the lions are placed in fully gilded mounts. The bases consist of cast zinc hollow bodies and sheets around a load-bearing iron frame. Like the reliefs on the pillars of the palace balcony, the details of the propylon and the stibadium, they were products of Moritz Geiß's zinc casting factory , which processed the inexpensive and very finely chiselable material propagated by Schinkel and Peter Beuth in the best quality. Such decorative frames can also be found at the casino , which were painted with paint, to which sand was added, so that the illusion of sandstone was created. On May 26, 1838, the Geiß company issued its invoice for the delivery and assembly of the zinc castings. This should have completed the system.
On June 2, 1838, the fountains jumped for the first time on the occasion of a visit by the Russian Tsar couple. This was a big event, as so far water fountains have only been operated by steam power in the Potsdam park landscape and in a modest setting in Charlottenhof and it would be six years before the fountains would also jump in Sanssouci.
The shape of the water feature of the Glienicker main fountain varied over time. First, a Triton figure blew a simple jet of water into the air. Later they switched to heron bush and bell shapes. The lion figures also spewed water jets, and a water veil was created by the overflow of the grooved pool edge.
The lion fountain became a kind of symbol of the Glienicker park, especially as it had the strongest effect in the direction of Berlin-Potsdamer Chaussee and was known to almost everyone. The view from the Chaussee is the most frequently depicted motif among the numerous Glienicke Park Vedutas. It is noteworthy that this not a way, but only a line of sight was shown, an axis that begins with the Tortenbeet and fountain basin and staircase to the central projection of the castle with the low over the balcony pulled down awning and flagged mast on the Belvedere - Essay leads.
In accordance with its structural structure, the lion fountain had to be repaired several times. After the Second World War, the facility was completely ruined. During the reconstruction carried out between 1960 and 1964, the aboveground components had to be largely renewed. Fifty years later, the facility again showed considerable structural defects. The renovation, which could no longer be postponed due to tree damage, was tackled in 2009. After the start of construction, there were more serious construction defects than previously recognizable. Nevertheless, thanks to sponsorship funds raised by the SPSG, the facility was inaugurated again in 2010.
Suspended staircase and small stone mosaic paving
At the side, parallel to the lion fountain, the staircase from the castle terrace leads to the lower garden area. It is a flat staircase under a simple, sloped iron mesh treillage according to a design by Persius. The sphinx figures set up at the foot of the stairs and the not precisely fitting steps still come from the early classicist greenhouse with garden salon , which Lindenau had built after 1796 instead of today's Stibadium.
In front of the eastern staircase of the lion fountain, one of the few remaining small stone mosaic pavements refers to the Theeplatz under the royal linden tree that was once next to it. The latter was one of the most impressive individual trees on the property that had to be felled in the 1980s. The now-old linden trees, on the other hand, which are now standing on the other side of the mosaic in a bizarre oblique shape, were young at the time.
Small stone mosaic pavement came into fashion in the mid-19th century. White, gray, red and black small stone blocks were laid in geometrically patterned, carpet-like coverings. In Glienicke, such pavements have been preserved in the propylon , around the casino , on the stairs of the Roman bank in the park, on the adjutant's arbor and on the lion fountain, but there were certainly considerably more that have been lost because of the delicate structure. For example, small stone paving is to be assumed for the sloping platforms of the staircase.
But not all the optically highlighted terraces were adorned with small stone paving stones. Asphalting became fashionable at the same time as the carpet-like paving. The asphalt, which was precious at the time, was colored and clearly imitated a stone slab cladding. Such asphalting has been verified in Glienicke for the terrace of the stibadium (see below) and the terrace path around the lion fountain. Due to the difficulty of repairing the asphalt, none has survived today. Today the surfaces are tiled with clay tiles.
Stibadium
The Stibadium was the main tea place of the Pleasureground with a grandiose view of Potsdam and the lion fountain at the time. The name is a quote from a description of the villa by Pliny the Elder. J. , who described a particularly attractive resting place as the Stibadium . The Glienicker Stibadium bears no resemblance to the architecture described by Pliny. The Glienicke lords did not use this name either, but spoke of the Roman Bank . The building was built in 1840 according to a design by Persius, who created a major work among his ornamental architecture and published it under the name Stibadium .
It is a half- Tholos architecture with a wooden half-conical roof, which is painted on the underside with a program of twelve gods. But since it is fourteen fields, are the classic twelve Olympian gods nor Bacchus and Amphitrite beige sets. A zinc cast kore designed by August Kiß originally served as a garden-side support . It was later replaced by a fully three-dimensional marble repetition of the "Felicitas Publica" (Public Welfare) from Christian Daniel Rauch's Munich Max Joseph Monument.
An exedra bench is set into the architecture , which was supplemented by angular benches within the tongue walls. All the benches had zinc-cast cheeks based on Stüler's design, as can be found on the castle's propylon , which was created at the same time . On the terrace is a granite bowl by Christian Gottlieb Cantian , which Prince Carl inherited from his father, who died in 1840 . It had been created from a block of waste from the boulder for the large granite bowl in Berlin's Lustgarten .
On the pillars of the terrace walls stood large antique stone vases, which are now stored in the lapidarium. The stibadium was overflowing with bronze casts of ancient statuettes and decorated with decorative vases, which are just as lost as the colored floor covering in yellow, red, white and black asphalt that Carl Daniel Freydanck's oil painting shows. The Stibadium was also easily visible from Berlin-Potsdamer Chaussee and accordingly acted as an architectural model for numerous garden seats in the Berlin-Potsdam area.
In addition to its function as a tea place , the Stibadium had the task of architecturally separating the driveway from the pleasure ground. We do not know the reason for this, in any case no thought games are known to visually integrate the right of way into the garden. The walls leading north and south from the stibadium are symmetrical. In the south there is a round arched gate with a view of the decorated bay window of the gatehouse. To the north of the stibadium, in the axis of the lion fountain, corresponds to this little gate a decorative niche in which a special sculpture must have stood. Nothing is known about their appearance and meaning.
Sievers, who evidently regretted that Schinkel's design for the greenhouse (see above) was not realized, described the Stibadium as a “ very modest building ”. He overlooked the extremely representative character of the building. In Glienicke, stibadium was virtually the counterpart to curiosity . While you could hide the traffic on the road there, you sat on the presentation table in the stibadium . From the raised terrace, the princely tea party looked down at the traffic and the people and at the same time presented themselves in a structurally festive setting. Viewed in this way, the image program of the Olympic gods borders on presumption, but is also an artistically successful expression of the social self-image of the nobility in the age of restoration .
Sphing stairs in the evening
Ceiling decoration draft (Persius, 1840)
Two ceiling panels reconstructed in 2001: Bacchus and Jupiter
Gate at the stadium between the right of way and the pleasure ground
View of the stibadium from the right of way
Flower beds on the terrace of the stibadium
curiosity
The curiosity was able to consider a gazebo, unseen hidden in the one behind stores and unabashedly curious traffic on the Berlin-Potsdamer Chaussee. The tea pavilion was built for Lindenau after 1796, probably based on a design by Glasewald, and already had its main viewing side facing the garden, where a sphinx figure above the entrance was an eye-catcher. Remarkably, in contrast to the castle and casino, curiosity has a basement. It originally had windows not only facing the street, but also in the east and west facades.
After the dilapidated roof had to be dismantled in 1824, the curiosity for Prince Carl von Schinkel was redesigned in strict Doric styles in 1825 as one of the first building measures in Glienicke. The vestibule portal to the garden was given two columns. The renovation gave the pavilion a very serious character, which on the garden side was almost reminiscent of a mausoleum. During the renovation, the side windows were omitted due to the addition of two bay-like extensions, which received semicircular niches on the inside. In the western extension there is also the access to the cellar outside.
In contrast to the exterior, the interior was pleasantly painted in Pompeiian style until 1827 , based on Schinkel's design by Julius Schoppe . These wall paintings had a close stylistic relationship with the subsequently created room decorations in Prince Carl's city palace. The inauguration of curiosity by the princely rulers was noted by the court marshal in the journal on August 20, 1827 : “ Tea for the first time in the newly painted curiosity. "
It was probably not until 1848 that curiosity also assumed the function of building a collection. Most of the preserved antique mosaics, wall painting fragments and inscription panels have now been inserted into the vestibule. At the same time, a charming Florentine Renaissance arcade, acquired through the art trade, was faded in front of the garden side. The prince acquired this arcade in 1842 from the Russian collector Anatole Demidoff di San Donato, who lived in Florence . On a photo from 1934 you can see a pedestal on each side of the vestibule, on which a vase and a bust stood.
The vestibule, initially used as a tea place with the delightful view of the Laitièrenbrunnen , had recently been completely transformed into a place of collection. On the stair stringers, where only stone rings refer to works of art formerly displayed here, there were ancient tufa fountain mouths. They probably came from Pompeii and had already disappeared when Sievers was doing his studies in Glienicke. We only know of the once rich interior fittings of the building from Bergau's inventory from 1885.
In the late 19th century, the lack of entertainment drowned out curiosity . In 1938 Johannes Sievers found a largely intact building with remains of the wall paintings on paper that he was able to secure. After the Second World War, the building, which was not damaged by the war, was already ruinous, but could be repaired. The restoration was carried out in the state of 1848. The interior was repainted in emulsion paints according to the traditional Schinkel designs and the remains of the wall paintings seized by Sievers. A comprehensive restoration took place in 2015/16.
Garden side of curiosity 1824, excerpt from the "View of Potsdam" (see above)
Design for the north side of curiosity (Schinkel, 1825)
Drawing for curiosity (Schinkel, around 1825)
Antique mosaic in the flooring of the vestibule
Ancient roman inscription panels in the vestibule of curiosity
Gable decoration of curiosity
Fountains, sculptures and arbors
In front of the curiosity is the Laitièrenbrunnen (lait = French milk), a large boulder crowned by a bronze figure of a milkmaid. The bronze was a gift from Carl's sister Charlotte in St. Petersburg in 1827 and is the second casting of a sculpture by Pawel Sokolow in the park of Tsarskoye Selo . It shows the proverbial “ milkmaid bill ” from the fable by Jean de La Fontaine . Today's Glienicke milkmaid is a new cast that was created in 1987 in the Soviet Union .
There were other sculptures in the pleasure ground, the exact location of which is no longer known today. For example, there is a report of a Cupid statue aiming with a bow and arrow at a Venus figure, which was erected under an ash tree near the Laitière, in relation to the fact that Cupid's arrows were made from the wood of that tree. Perhaps it was one of the widespread casts of the arching Cupid of Lysipp (approx. 320 BC), which was made to aim at Venus at the castle .
The path continues over the so-called Lenné Hill, from which one has a surprising view over the pergola of the casino to the Jungfernsee to the Villa Jacobs built by Persius . In the bushes, half hidden, there are column debris, an arrangement of various ancient spoils, including two column drums from the Greek temple of Poseidon at Cape Sounion and capitals from the Pantheon and the church of San Paolo fuori le mura in Rome. This was also decorated with antique " clay jugs ".
The boys' fountain is in the middle of the pleasure ground. In Hardenberg's time, a sentimental fountain memorial called "the Monument" was erected here. The "monument" remained after it was connected to the new pipeline system. It was only after 1851 that it was converted into today's Knabenbrunnen. The inspiration for this was a fountain design by Friedrich August Stülers published in 1850 , which initially served as a model for the (not preserved) frog fountain in Sanssouci. For the latter, Friedrich Wilhelm Dankberg modeled the boy figure wearing a bowl. Prince Carl acquired a zinc cast from the Kahle art foundry in Potsdam for his fountain.
In the north of the Pleasureground near the monastery courtyard, the path passes a formation of eight linden trees. This is the remainder of the geometric avenue planting of the late 18th century. This is where the axial route from the castle to the billiard house (later casino ) and the most important cross route crossed, as can be seen on Hellwig's park plan from 1805 (see above). In Prince Carl's time, these trees were transformed into a so-called linden arbor by regular pruning. Due to a lack of care in the 20th century, the trees grew tall again. Recently one has begun to gradually regain the linden arbor by pruning it back.
The linden arbor is the only one of the non-architectural arbors in Glienicke that can still be traced in terms of design. We only know by name of other arbors , such as the ash arbor, the birch arbor and the lilac arbor. The mosaic-paved terrace, on which a modern cast-iron semicircular bench stands, has been preserved from the latter. Remarkably, there was no rose arbor in Glienicke, which was otherwise mandatory in 19th century parks.
Laitian fountain
Boys' fountain
View from the casino towards curiosity
Bank of the lilac arbor
View from the lilac arbor to the castle
Venus Italica (modern copy on the castle )
Rotunda (Great Curiosity)
The construction of the Glienicke Bridge from 1831–1834 meant a small expansion of the area for the Pleasureground , as the new bridge was built parallel to the old wooden bridge to the south and the road route had to be pivoted accordingly. In addition, the old Chaussee collector's house was abandoned and its corner plot was integrated into the garden. The Crown Prince wanted a round arbor at this new garden corner, for which he also delivered the first sketches at the end of January 1835.
Schinkel implemented this basic idea with an antique reception. The victory monument of the Choregen Lysikrates in Athens, known from engravings (later also called the Lantern of Demosthenes ), determined all the details of the new pavilion, which architecturally marked the southwest corner of Glienicke. The actual pavilion was built in 1835 and was likely to receive an attachment later, but its shape had not yet been determined. In order to position the floor of the pavilion as high as possible, an inaccessible vaulted room was built under it. According to a drawing by Schinkel, the floor covering was intended to be of different colors, although it is not known whether it was " cast cement " as assumed by Sievers , or asphalt, as was the case with Löwenfontäne and Stibadium, as no notes were made when it was demolished in 1907 . The pavilion was covered with open battens, which were covered with creepers.
At that time, the 16 pillars consisted of ultra-modern terracotta workpieces from the Feilner pottery factory. Schinkel and Peter Beuth had advocated the use of artistically high quality pottery in architecture in the course of their reform of the commercial sector. The parapet areas between the pillars, which consisted of semicircles in the form of a grid, were probably also made of terracotta. The court marshal noted the inauguration in the journal on July 2, 1835: “ The tea was drunk in the new pavilion in the garden, near the bridge. "
In 1836/37, at Prince Carl's instigation, the arbor was crowned by an archaeologically almost faithful replica of the Lysikrates monument . The capitals of the pilasters, acroters, various small details and above all the crowning tripod were made by Geiß in zinc art casting according to Schinkel's designs. Such an archaeological reconstruction was something special at the time and was honored accordingly.
At the same time, instead of the battens, the pavilion was given a continuous pent roof with sheet metal covering. The wooden ceiling was ornamentally painted in restrained colors. The parapets were also magnificently changed. The fully gold-plated cast-iron balustrade grids that have now been inserted have alternating Juno and Jupiter heads as the central motif. According to tradition, Princess Marie is said to have been portrayed in the portraits of Juno, while the Jupiter head follows the type of "Zeus von Otricoli". The rotunda now also became a place for setting up parts of the antique collection. Two rows of antique face sculptures were set into the central round pillar, which was surrounded by a bench, twelve larger heads above and 36 smaller heads below in the plaster band. Some of them were sold and some of them were walled in in 1952 to supplement the relief fragments in the garden courtyard.
On Carl's birthday, June 29, 1836, the court marshal noted in the journal : “ To celebrate the day, the temple of Lysikrat was almost complete for the first time without scaffolding. “But the zinc ornaments, which could not be delivered until 1837, were still missing from the essay. The final completion - an “ Illumination of the Rotonda ” had already taken place on the king's birthday on August 3rd - was entered in the journal by the Court Marshal on August 16, 1837 as follows : “ First large company after the Rotonda is completed, in the same ; [...] Privy Councilor Schinkel and Professor Rauch had appeared here with the Crown Prince's court; Persius was invited. “So much more importance was attached to the building than to an ordinary observation pavilion.
It is currently not known whether this building was not only a formal, but also a content-related reception of antiquities. Both Lysikrates and Demosthenes are conceivable as identifying figures of Prince Carl. At that time the building was mostly named as the “ Rotonda ”, sometimes also as the “ Monument of the Lysicrates ” or “ Choragic Monument ”, occasionally also as the “ Lantern of Demosthenes ”. In contrast to the curious, the rotunda was completely visible. Prince Carl took advantage of this fact on his birthdays (June 29th) by receiving his birthday wishes from here, which significantly optimized the time of this ritual.
The design of the rotunda was directly related to Schinkel's new construction of the Glienicke Bridge. The new bridge was initially to be built as an iron structure. However, a brick building made of red stones was carried out, which with its segmental arches set a strong architectural accent in the lake landscape. At the ends, the parapet walls formed a semicircular swinging back exedra with set benches for passers-by to rest. On September 30, 1834, the bridge was inaugurated with a solemn crossing of the Tsarina .
On the bank opposite Glienicke, the Villa Schöningen , the residence of the Court Marshal von Glienicke Curd von Schöning , formed an architectural counterweight to the rotunda. This villa was built by Persius in 1843 with royal financial participation. Friedrich Wilhelm IV. Was very interested in decorating this exposed area in the Potsdam area with architectural architecture. After von Schöning's death in 1850, Prince Carl temporarily owned the villa. Thus, the Villa Schöningen can only be viewed as part of the Glienicker Park.
Due to the increased shipping traffic, Schinkel's brick bridge was replaced by today's elegant steel construction from 1905 to 1907, which, however, deprived the rotunda and the Villa Schöningen of their long-distance architectural effect. Since the road connections to the new bridge had ramps, the rotunda had to be removed and rebuilt at the new street level. At this time at the earliest, the terracotta pillars were replaced by sandstone pillars, as the cost of reproducing damaged terracotta components was out of proportion to the cost of creating a new one in sandstone. One column was kept for documentation purposes and is now in the lapidarium.
In 1938, the rotunda, now incorrectly called “ Great Curiosity ”, was again demolished when Reichsstraße 1 was expanded and reconstructed 4.50 meters into the park. This restricted the original visual relationships, because originally one could see into the roadway of the Glienicke Bridge to Villa Schöningen. The view must have been terrific: “ And only now from this Belvedere the panoramic view over the Havel basin to the Babelsberg, the distant city, over the stone bridge, to the penned frigate Royal Luise, the New Garden, over the wide Jungfernsee to the mysterious Föhrenwald near Nedlitz, the Römerschanze or to the reddish »Heilandskirchee am Port« near Sacrow. “All that remains is the view of Babelsberg to the neo-Gothic summer palace of Carl's brother Wilhelm .
In 1980/1981 the twisted, rebuilt rotunda was corrected in details such as the connection of the tongue walls and the base shape according to plans by Christiane Segers-Glocke and the truncated cone-shaped earth base with the two stone stairs was restored on the garden side. Another fundamental restoration, which restored further details, was completed in 2009. The rotunda is of great importance within the Potsdam cultural landscape, because on the one hand it has an impact on urban development and on the other hand it is one of the most important small-scale architectures in Schinkel's architectural work. In 1882, when Schinkel's buildings were generally little appreciated, Heinrich Wagener wrote: “ The gaze of all passers-by lingers with interest at this noble work of art, which is an incomparable ornament for the area rich in picturesque spots. Already from a distance it greets the boatmen on the blue Havel plain and the hikers on the stone Glienicke bridge, as if to announce to them that behind these silent dark trees the old Hellas with all its joie de vivre and its art treasures is waiting for them. "
Casino
North of the rotunda extends north-south in a north-south direction, the casino designed by Schinkel in 1824 (Italian = little house), his earliest building for Prince Carl. It was created through the renovation of the single-storey billiard house from Mirow, Lindenau and Hardenberg's times. The casino was the annex of the castle with what is probably the most beautiful tea place , the rounded terrace protruding towards the Jungfernsee. With its long pergolas , the casino architecturally defines the bank of the Jungfernsee. It should be reminiscent of country houses on the Gulf of Naples. The associated dummy frigate (see below) should be understood in this context.
In the casino there are two rooms on the ground floor, reconstructed after the war destruction, with the few remaining sculptural pieces from the antique collection. There was a small apartment for guests on the upper floor. High-ranking people lived here, who were not expected to have the actual guest rooms above the stables of the cavalier wing. Occasionally the prince couple also moved into the apartment in order to be able to leave their own rooms in the castle to guests who were particularly close, for example the tsar couple .
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The construction of the casino was a great social success for Prince Carl, as it was admired by everyone. It is passed down through letters that the casino and its furnishings were at times the center of life for Carl. Even in later years, all of the prince's guests were taken to the casino , where they were shown the building and the wonderful location. For Schinkel, too, according to whose plans highly important buildings such as the Berliner Neue Wache and the theater there had already been built, the casino building became another milestone on his way to becoming the most important architect in Prussia. In his “Collection of Architectural Drafts” he characterizes the building as follows: “ Separated from the main castle, there is a small casino on the slope facing the lake. [...] Vine arbors surround the building on both sides and let the stairs of the hill rise under their canopy; the whole thing is also decorated with small bronze statues, bowls, water spouts, fountains, etc. […] From here one climbs up to the upper regions of the graceful gardens, which are equipped with pools and other works and offer the loveliest distant views of the area, which is rich in water. "
On the east side of the casino there is a breakfast area, of which the marble bench and the mural above have been preserved in an architectural frame. The large female herms made of purple-red marble came from the collection of Duca di Braschi. The renewed mural with silhouettes of famous antiquities was probably intended as a learned guessing game. You can see the arms of the praying boy from Sanssouci , who stands in a cast across from the casino . Here was a small antique garden, which has only been handed down in photographs and is adorned with many spoils, but which was probably only laid out in the second half of the 19th century. In 1877, Prince Carl had made a very large purchase of antiques for the last time, which arrived in Glienicke by the crate. Perhaps the Pompeiian garden came into being at that time. Because neither son nor grandson of Prince Carl were interested in antique gardens. And the daughter-in-law Maria Anna , who was interested in this, would probably have created a garden at the hunting lodge she lives in. It is rather conceivable that Prince Carl, who had been a widower since January 1877, wanted to distract himself from the death of his wife with designs in the narrow garden area.
Almost nothing remains of the numerous antique stone works of art that Carl had collected on the back of the bench. The statue of Asclepius was only erected here after 1945. In Prince Carl's time, there was a life-size antique figure here, which at the time was regarded as Aristides . According to Gröschel, this was an identification figure for Prince Carl, because Aristides was an important statesman and military leader of Athens in the fifth century BC and, under the nickname “the righteous”, as the leader of the conservative counterpart to the unscrupulous innovator Themistocles .
The expansive pergolas are the earliest corresponding pillar arcades that were built in the Berlin-Potsdam area. They were to have numerous successors in the decades that followed. Schinkel built the rotunda in the line of sight of the southern pergola, which is no longer visible today after being moved in 1938. Persius built the water tower in the axis of the northern pergola, which is still the focal point today.
The immediate vicinity of the casino was adorned with many architectural details, which were largely due to Schinkel. Only a few of them have survived, for example the eagle column and the lion wall fountain on the north pergola. Much is lost, such as the planters on the end wall and the second-used cast iron fountain bowl from Hardenberg's time in the end section of the pergola. Sievers points out the different character of the furnishings of the two pergolas. The south pergola had a more cheerful mood than the north pergola with the boys' fountain and the many antiques on display (of which only two torsos are preserved in the niches of the casino today).
The lower pergola of the casino was extended to the water gate after the Uferchaussee was built in 1841 and received two graceful arched gates designed by Persius as direct access from the casino garden to the Chaussee. In 1965, the pergola was renewed to the length and shape of 1825, i.e. without a wicket. In 1981 the little wickets were reconstructed, but not the extension to the water gate. A pavilion-like uncovered room directly at the water gate, which has another access to the Chaussee, has been preserved from the extension. The room contains a deep domed niche with an adjusted base in the axis of the pergola. A special sculpture must have stood here, the appearance of which has not been passed down.
Like the castle , the casino also has an unusual development. Initially, the existing entrance door was to be left in the central axis of the east facade. Then the antique bench was planned there and the entrance was moved to the left axis of the north facade. This door led to a small anteroom and two large rooms on the ground floor. The upper floor was accessed via the right axis of the north facade. A single flight of stairs led from an anteroom to the upper floor. There was an anteroom, a kitchen, two rooms and two chambers available to the guests or the prince couple.
Schinkel's design for the painting has been preserved for the south room of the casino . It is one of the most elaborate painting designs that we know from Schinkel for a room - especially a very small one. Also striking is the lavishly draped curtain that looks almost like a Wilhelminian era, but was probably designed in a translucent voile . After the destruction, only remnants of the ceiling painting were found. During the reconstruction, the room was completely painted according to the Schinkel design. This is still documented in photos in the State Monuments Office, but no longer in the room itself, as the wall design, with the exception of the ceiling, was pasted over after the castle administration took over. Because no traces of Schinkel's paintings had been found under the refurbishment of the late 19th century, it was assumed that Schinkel's design, with the exception of the ceiling, of which a corner piece was found before 1942, had not been carried out.
The reconstruction of the adjoining room with stucco marbling is still visible today. Both a draft of Schinkel and photos have been handed down to prove the implementation of this plan. The interior of the casino was apparently remodeled almost a quarter of a century after its completion, because the journal noted on October 17, 1847 that the king and Prince Wasa had visited the " newly established casino " and had a curiosity . Today's flooring from Carl was only acquired later as an antique through the art trade. It came from the Palazzo Corner della Regina in Venice and was acquired in 1849 from the art dealer Francesco Pajaro, who conveyed many works of art to Prince Carl (and also to the Royal Museum).
The location of the room is the most beautiful in Glienicke. Three large French doors open to the arbor and lead the view over the Jungfernsee to the Pfingstberg , behind which the sun sets in summer. The gaze wanders from the Hofmarschallvilla at the bridge, over the New Garden , the Pfingstberg-Belvedere to the Villa Henckel and the Villa Jacobs, known as the " Zuckerburg " . The two interiors on the ground floor were obviously important to Schinkel, as he published them in the “Collection of Architectural Designs”. In summer these rooms, furnished with the preserved antiquities, are accessible to visitors. The rooms on the upper floor were redesigned during the reconstruction from 1963 and are not open to the public.
In the course of time, the casino changed its function from residential to collection building. In 1882 Heinrich Wagener reports: “ The casino is not comfortably furnished ; It is a veritable museum of ancient Hellenic, Roman and ancient Germanic art: sarcophagi, Curulian chairs, nero torsos, heads, lamps, reliefs, columns, capitals, friezes, jewelry, household appliances etc. hide the elegant rooms or surround the house . […] As is well known, the prince is a scientific expert on antiquities, and many of his specimens are probably among the most exquisite and rarest. Not only the really overcrowded casino , but also the arcade hall behind the castle, the walls of which are completely covered with such archaeological finds, testify to the unbelievable collection of the Lord in this area ”. The living rooms on the upper floor were also used for collection purposes. East Asian cabaret and works of the Italian Baroque were housed here. Bergau's inventory from 1885 shows a wealth of art equipment that is difficult to imagine.
The casino , which was badly damaged during and after the Second World War, was brought under a roof in 1963. The reconstruction began under the direction of the state curator Kurt Seeleke , who has been in office since 1960 . During the reconstruction of the palace , which was still carried out under the state curator Hinnerk Scheper , various concessions were made to the new use by gutting and lengthening the court ladies' wing, and the floor plan was also heavily modified, the casino was reconstructed true to the original, with only the staircase-like staircase was replaced by a new construction corresponding to modern building requirements.
At Christmas 1965, the newspaper Der Tagesspiegel reported in detail on almost a full page of the completion of the reconstruction, which at the time was therefore given great importance: "[...] Dr. Seeleke, his preservationists and artisans have restored a building that - to speak with Johannes Sievers - "reveals the height and delicacy of intellectual and artistic culture of the early 19th century like no other in the Berlin area." That sounds demanding to today's observer, but here an excellent piece of Prussian building history was actually preserved with loving care, which sought to be extinguished less through the war than through neglect, disregard and even destructiveness. It is less important that you don't quite know what to do with your precious rooms. The management of the palaces and gardens will take care of them and perhaps leave them to the Museum of Antiquities for exhibitions. That would correspond most closely to Glienicke's "genius loci", which was determined by Prince Karl's passion for collecting antiquities. Prince Karl had decorated his Schinkel Casino both inside and outside with ancient statues, reliefs, torsos and fragments . [...] "
Even if the collections are almost completely lost, the casino is still one of the most important buildings in the Potsdam area. Sievers, who was a real Schinkel expert at the time, came to the conclusion: “ Viewed as a structural task, the casino is certainly not important. But as a noble artistic creation, balanced down to the last detail, whose diverse elements merge into the most beautiful harmony, it belongs not only among the buildings by Glienicke, but within the overall work to the best of what Schinkel left us. "
Original layout of the casino (Schinkel, 1824)
Casino in front of the construction of the Uferchaussee (AWF Schirmer, around 1837)
Südpergola of casinos
North pergola of the casino with a view of the water tower
View through the north pergola to Villa Jacobs
Lower pergola at the casino
Dummy frigate
Directly on the bank of the Jungfernsee, slightly to the north on a peninsula, there was a dummy frigate called the masts as a vertical accent to the horizontally stretched architecture of the casino . It was a wooden architecture with three tall mast trees that were flagged on festive days. The practical use of the building was that of an equipment shed for the sailors of the princely miniature fleet. Since only two parallel rows of posts and the three mast tree foundations are drawn on the site plan for the construction of the water gate, it can be assumed that an existing shipbuilding was jacked up here .
The peninsula was probably not built until the 18th century, in order to have a jetty for transporting bricks and limestone. It was still called the shelf in the 19th century . Even after the brickworks and lime kiln of the Glienicke estate were closed in 1826, the shelf was used as a pier and landscaped. The masts were planted halfway up in the direction of the casino , so that the illusion of a ship anchored was supported. Even after the Uferchaussee was built in 1841, the actual bank zone and thus the filing remained the property of the prince and part of the park.
The masts were a unique atmospheric architecture both within the Potsdam cultural landscape and within Schinkel's work. His publication in his "Collection of Architectural Designs" in 1840 suggests that Schinkel was the authorship of this landscape decoration. There he describes it briefly: “ To the side of the lake is a ship with its masts to liven up the area, and everywhere the lively lake is adorned with the prince's graceful gondolas. “And Hermann Jäger describes in his popular“ Garden art and gardens otherwise and now ”(see below ) in 1888:“ The old form of the warship, which is anchored close to the park for decoration, fits the water-rich environment, although it is only appearance. “The flagging of the masts on festive days is mentioned several times and is shown in the painting by Bleuler ( see above ). But whether sails were also set on the masts , as Schinkel drew for the publication, is doubtful.
In 1877, Inspector Ritter noted in the journal : “ On the night of May 14th, the masts burned down, namely the middle mast, the rear mast, all the rigging and half of the shed completely burned down. 80 pounds of powder stored in cartridges and in the shed there went with the air. How the fire got out cannot be determined; at least it is laid out. “But since the flags of the“ masts and boats ”were still noted, the masts were probably restored after the fire. According to Sievers, the masts were again destroyed by arson in 1880, but then not rebuilt. However, since the palm house on the Pfaueninsel was destroyed by arson that year, there may have been a mix-up here. The shelf , which was also important as the forecourt of the water gate with a view of the lake, was overgrown and is therefore no longer perceived as a headland. The wooden jetty, which was still shown on the Kraatz map, has long since disappeared.
The dummy frigate is unparalleled not only in Potsdam, but also in all of German landscape gardening. Leiste cites the thirteen-year-old Prince Carl's very impressive premiere voyage on the first miniature frigate given to the Prussian king in 1814 by the British court as a possible suggestion.
The miniature fleet was created successively, it was first described in the report on Glienicke in the Leipziger Illustrierte Zeitung in 1846: as a " multitude of small, delicately painted oar or sail boats whose colored flags fluttered merrily in the wind ". Bleuler's gouache vividly reproduces this. Several of the sailing ships have been handed down by name, such as the “Stralsund”, the “Navarin” (a gift from the Tsar) and the “Humphrey”, with which the prince went on excursions. In 1837 a steamboat was even purchased and baptized in the prince's name. In 1840 the small fleet was strengthened by a gig that the king had built in Pillau on the model of an English boat. It was the last gift from Friedrich Wilhelm III. to Carl, who received it on his birthday three weeks after his father's death. It is not yet known where the flotilla was housed in winter and during the Prince's long absence.
Prince Carl was also an avid swimmer. August Kopisch reported in 1854: “ Since the prince loves bathing and sailing, he had a bathing tent and various graceful sailing boats placed as a small fleet in the shelter of the bank next to the casino. “Neither the appearance of the bath tent nor the exact way in which the sailing boats are anchored to the shelf have been handed down.
Dianabeet and antiquities program
In the niche on the north side of the casino there was a statue supplemented as Athena at the time of Prince Carl , which is now in the British Museum in London. The casino was thus characterized as a place of art. The Casino contents belong is the neighboring Diana- or Pliniusbeet that originates from an ancient statue of the goddess of hunting was crowned, which is now replaced by a cast (original in the casino ). The wild animals pursued by the goddess used to be artistically cut into the evergreen planting of the frustoconical bed.
Both goddesses were part of the Glienicke antique program, which was limited to the pleasure ground and which can only be partially understood today. In addition to Diana and Athena at the casino , Mercury and Venus on the west facade of the castle should be mentioned, Neptune at the Remisenhof, and the Felicitas Publica of the Stibadium (which already has a program of the Olympic gods) follows the common representation of Ceres with its cornucopia . Jupiter and Juno are very present not through statues, but through the golden balustrade of the rotunda. The steam engine house, occasionally referred to as the place of Hephaestus , could have had a reference to the god Vulcanus (his wife Venus is a historical zinc cast of Venus from Capua in the viewing arch there), like the gun bay next to it on Mars . On the other hand, there are no references to the theming of Apollo and Vesta , who would have offered themselves to identify the princely couple because of Carl's musicality and Marie's domesticity, given the current state of knowledge of the sources.
The selection of sculptures above the vine arbor and on the propylon also seems puzzling . While the "Felicitas Publica" represents a generally positive aspect of princely activity for the general public, and Athena a reference to art, the selection of Achilles , Iphigenia and Odysseus from Tieck's twelve-figure tea salon cycle is difficult to interpret. Achilles in particular as a kind of house spirit on the Propylon has not yet been interpreted at all.
The Glienicker Pleasureground is less a reflection of Italy's longing than that it should represent an ancient villa complex. It stands in the tradition of the two villas of the younger Pliny , who left his complexes in descriptions for posterity. The location and appearance of these facilities are still unknown today. This is why these villa descriptions have been the imagination for generations of architects and builders since the 18th century. While the Crown Prince had some details of the Pliny descriptions (e.g. the Stibadium) reconstructed architecturally in Charlottenhof, Carl chose a more hidden reference in his property.
Monastery courtyard
The monastery courtyard was erected in 1850 between the casino and the greenhouse as the latest building on the Plaeasureground. It is the only significant building in Glienicke, the creation of which is not documented by draft plans and for which the architectural authorship is an attribution. It is the most unusual building in Glienicker Park in terms of its structure, design and furnishings.
The formal reason for the construction was the accommodation of Carl's extensive collection of medieval treasure art and the Byzantine sculptures, which the prince had mostly acquired through the art trade and which until then had been kept in the so-called arms hall in the city palace. For the construction of the monastery courtyard, historical structural members were purposefully purchased in Venice, which could be used as spoilers.
The arched hall on the Pleasureground had already been built because it was already entered on the Meyer plans in 1845. This component also has a classicistically profiled base and is the only one that is not curved. Like the entire forecourt today, the hall was initially used as a gateway between the pleasure ground and the park. In the arches of this porch to the garden stood six large statues, which we do not know whether they were ancient or medieval sculptures.
The cloister courtyard consists of a forecourt and the cloister-like inner courtyard, which was already closed in Prince Carl's time, to which probably only the prince couple and the inspector had the power of keys. The forecourt refers to Venice through a high column with the lion of St. Mark . In the now empty niches to the side of the large column were decorative columns. Its lower halves (sandstone knot columns) are now in the garden courtyard, the upper parts in cosmatic work are in the lapidary because of the risk of vandalism. Well-known is the so-called monkey capital built into a corner of the wall, which is a capital fragment from the campanile in Pisa ("Leaning Tower"). There was also a capital-like " fountain stone " and a " Byzantine fountain trough " in the forecourt. At the time of Prince Carl, a bell hung in the bell tower, which was a sentimental soundscape in the park. Remarkably, there was no path leading to the north entrance hall from the park (path to the water gate), but a lawn.
The inner, actual monastery courtyard consists of a U-shaped, groin-vaulted corridor and an arched niche between the corridor ends. The arcades of the cloister are supported by Gothic double columns, which also flank the entrance portal. They come from the monastery of S. Andrea della Certosa near Venice . Prince Carl acquired all of the spoils through the art trade and thus created "the first collection of Byzantine works of art in modern Europe."
In the literature, Ferdinand von Arnim is usually given as the architect. As the court architect of Prince Carl in 1850, he was also responsible for the construction work. But there is no historical mention of v. Arnim as the architect of the monastery courtyard. The fact that, despite the importance of the building, there are no references to the planning of the building, no sketches have survived, no construction work is mentioned, and above all that no inauguration is mentioned in the journal or in the correspondence remains puzzling . There are also no invoices whatsoever and no complaints from the inspectors in the annual accounts of the princely court, in which the building, which is certainly expensive with its many decorative elements and ironwork, is likely to be hard to account for. Unless it was financed from another source, for which there are no indications. The monastery courtyard is also the only significant building in Glienicke that was not published at the time.
The earliest known mention of the monastery courtyard is in a letter from Prince Friedrich Karl to his father dated August 12, 1851. The mention is astonishing because it is by no means related to spiritual contemplation or scientific study, but to a very profane, albeit romantic, purpose of the monastery courtyard reports: “ When the weather allows it, mom usually has breakfast in the cloister courtyard, which is really lovely. “At breakfast one probably sat on the benches in the arched niche under the sarcophagus, contemplating the arcades lit by the morning sun, and listened to the fountain in the medieval mouth of the fountain in the middle of the courtyard.
The first pictorial representation on a candlestick vase, which corresponds to its current state, dates from 1854. Johannes Rabe drew the forecourt for an album sheet for Princess Marie in 1858. Presumably his drawing of the inner courtyard is from the same year. The only known historical floor plan of the building is on the Kraatz plan from 1862.
The earliest known description of the complex dates from 1864. The occasion was an excursion by the Society for the History of Potsdam , which was founded in 1862 under the direction of its chairman Louis Schneider , who was Friedrich Wilhelm IV's court reader at the time. The excursion on May 25 literally fell into the water, instead of going on a hike through the park and garden under the guidance of court gardener Gieseler, the group fled from the pouring rain into the monastery courtyard, where Councilor Schneider positioned himself in the niche and the thirty-one participants him listened from the cloister arms. Schneider had found out the dates for his lecture the day before at a private audience from Prince Carl. Schneider's report can be described as a semi-official statement by Carl and the most important source for the construction:
The cloister courtyard was built “ in 1850, according to the princely owner's own statements, to commemorate his often repeated stay in Venice and to set up a selected collection of medieval art treasures in the character of a Byzantine Chiostro [...] The majority of those used here, walled in and The workpieces, sculptures and ornaments on display come from the small island of Certosa near Venice, where in 1844 buildings that were already half in ruins had to be demolished in order to enable the establishment of military establishments; however, finds and purchases made elsewhere are equally dainty added as a characteristic building. In the middle of the cloister courtyard there is a fountain in a Byzantine well stone, and in one side apse there is a selected collection of Byzantine enamels and medieval historical curiosities, which correspond to the shape and character of the whole building; The ringing monastery bell is also not missing. "
Schneider was able to refer to the “ grave monument of [the philosopher] Pietro v. Draw attention to Abano (d'Apone), which comes from the Church of San Antonio in Padua and consists of a marble sarcophagus with a life-size statue on it. The [...] Paduan scholar died in 1316, before the trial led by the Inquisition against him as a magician was decided, 80 years old, and thus escaped the stake. His admirers, especially the students of the university, erected this grave monument for him; religious zealots wanted to burn his body after death and the students were only able to save their teacher's bones from the flames of worldly damnation by opening the tomb and hiding the corpse themselves. The sarcophagus was broken into three pieces, but in its installation here it was put back together so skillfully that it is almost impossible to notice the breaks .
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Furthermore, [Schneider] drew the audience's attention to the Kaiserstuhl, which formerly stood in the Dome in Goslar and was documented by Emperor Heinrich III. (1009–1056) and Heinrich IV. (1056–1106) served as the seat of the Reichstag held in Goslar . [...] Heinrich IV., The mighty emperor after his victory over the Saxons in this chair and the humble penitent Heinrich in the monastery courtyard at Canossa! This contrast is forced upon the observer involuntarily .
A large gold cross from the church treasury of Basel Cathedral, a gift from Emperor Heinrich II to the same and sold as a result of the revolution that separated Baselland from Baselstadt, of as intense as artistic value, - several bishop's staffs from the 10th and 11th centuries, Reliquary boxes, ampoules, paten, monstrances, crucifixes, shrines, a Bible manuscript with initials, as well as many other objects, all in shape, purpose and age according to the character of the whole building, caught the attention of the onlookers and gave cause for instructive comparisons and remarks The wish was expressed to have a rational catalog of this remarkable collection, accessible to every history lover, since even among those present almost no one knew anything about its existence and its rich content . ”Schneider thus emphasized and raised the Byzantine character Philosophersarcophagus, Heinrichskre uz and Kaiserstuhl as the most important objects.
In his two-volume monograph on the monastery courtyard, the archaeologist and art historian Gerd H. Zuchold referred in 1993 to the proximity of the monastery courtyard building to buildings initiated by King Friedrich Wilhelm IV. And, given the very close fraternal relationship, the cloister courtyard cannot be understood without the knowledge of Friedrich Wilhelm IV's building activities.
Since the death of King Friedrich Wilhelm III. In 1840 the Prussian court often complained that Hardenberg - a name that the royal family did not like to mention because of its reform and power politics - had wrested a constitutional promise from the king in 1810. This promise weighed heavily on the reign of Friedrich Wilhelm IV as a heavy legacy and was deliberately delayed. The idea of the divine grace of royal dignity was a basis of Friedrich Wilhelm's political understanding and could not be questioned. Accordingly, the king did not consider the imperial crown offered to him by the Frankfurt National Assembly in 1849 to be an honor and rejected it indignantly.
Friedrich Wilhelm tried to give structural expression to his mysticist ideas about Christianity, of which the unrealized plans of Friedrich August Stülers for the new building of the Berlin Cathedral were the most monumental example. On a smaller scale, however, he was able to implement his ideas: a Christian antithesis was to be set for the pagan Sanssouci (there was no chapel there, the garrison church served as the court church) . In 1845, exactly one hundred years after the laying of the foundation stone in Sanssouci, construction began on the Friedenskirche. As in the case of the Berlin cathedral building, early Christian designs were chosen as an indication of a kind of still unadulterated Christianity. In the autumn of 1848 the king was able to consecrate his Friedenskirche, an important event for him to suppress the revolutionary events at the beginning of the year.
Seen against this background, the construction of the cloister courtyard is also a political statement by Prince Carl and it was certainly not by chance that it took place shortly after the revolution of 1848. It was not the Republic of Venice that was to be honored here, but the Byzantine Empire, as a late antique and medieval order of throne and altar. Looking at how the tsarist family did it, the Russian tsarist dignity as the successor to the imperial dignity of Byzantium, Carl's collection of Byzantine art would also be a hidden document of the veneration of Russia and its political order.
Zuchold declared King Friedrich Wilhelm IV to the originator of the monastery square and for the architectural implementation Friedrich August Stüler -. Since Schinkel's death in 1841 the architect of the king. This may be an attractive idea from an art-historical point of view, but without a single historical reference it remains pure speculation. In addition, the monastery courtyard is not designed in an early Christian style, but in northern Italian-Romanesque styles using partly Gothic spoils, which is very different from the buildings of the king.
We are not adequately informed about the furnishings of the inner courtyard, as Prince Carl did not create a catalog and the sale of the works of art by Prince Friedrich Leopold took place gradually. When Johannes Sievers made an inventory in 1938, the collection was essentially reduced to the current holdings. In addition, the monastery courtyard was very rigorously repaired at the end of the 1950s. Since then there have been no more anchoring holes for works of art thanks to completely new plastering.
The medieval sculptures are embedded in the walls of the cloister. Most of them are paterae and formellae, i.e. round or upright rectangular, mostly Venetian ornamental reliefs. The most precious of these reliefs is now only represented as a cast: the imperial tondo from the late 12th century in the central axis of the south wall is one of the highlights of the museum in the Dumbarton Oaks country house in Washington DC.Its counterpart in the central axis of the north wall is a bust of God the Father from around 1500 in a delightful aedicula pasticcio.
But the arrangement of the works of art in the cloister courtyard differs significantly from the primarily decorative arrangements of the ancient reliefs in the garden courtyard. The art historian Swiechowski stated in 1982: “In Glienicke, instead of a lapidary exhibition, as far as I know, an attempt was made to integrate the facade reliefs brought from Venice for the first time by restoring the alleged original connection with certain architectural elements. During the construction of the Glienicke monastery courtyard, the tendril friezes, the typical victory cross with the blessing Manus Die and the connected, richly decorated archivolt were used in a sensible arrangement. A total work of art was sought and [...] actually achieved . "
The left aisle ends at a large niche in which a special work of art, probably a large sculpture or a decorative column, must have stood, but which is no longer known. This is followed by a small vault with the year MDCCCL embedded in the floor, the determination of which is also no longer known. The right aisle also has a large niche at the end that must have recovered a special plastic. A chapel-like vault connects here. It has a cruciform floor plan and is domed. He had a skylight that was probably secured with an ornate lattice lantern.
In this vault was the precious collection of medieval treasures mentioned by Louis Schneider, the highlight of which was the golden lecture cross of Emperor Heinrich II, which is now in the Museum of Decorative Arts in Berlin. The greatest treasure here was the famous Goslar imperial throne from the 11th century, which Prince Carl had acquired through his tutor Heinrich Menu von Minutoli in the right cross arm under the window . The mosaics of the vaults are not collection items, but partial copies of mosaics in the Friedenskirche.
The less representative presentation of the works of art is striking. For example, the imperial throne may have previously had a much more majestic effect in the armory of the city palace. Given the size of the collection described, its placement in the “chapel” must have made a treasure-chamber-like impression.
Zuchold refers to the relic character that some of the works of art collected by Carl possessed. The Heinrichskreuz was even a real reliquary with particles of the Holy Cross and bone splinters from Emperor Heinrich II. If you follow Olaf B. Rader's remarks on grave and rule, then such relics are often a pledge of maintaining power or striving for power. Unfortunately it is not known what importance Carl to the rulers Heinrich II. , Heinrich III. , Heinrich IV. And Lothar III. attached, to which important collection items can be assigned. Carl was probably aware of the art-historical significance of the Byzantine imperial tondo, but it is not known whether he assigned the relief to a particular ruler.
On the other hand, the symbolic content of the “Kaiserstuhl” was even included in the political context: in 1871 Carl sent the object to his brother Wilhelm on loan to the Berlin Palace. There the new German emperor was able to open the first Reichstag from a throne of medieval Roman-German emperors. This was one of the early examples of the historical confusion with which the Bismarckian Empire was to be established as the successor to the Holy Roman Empire . At the end of his life, however, Carl saw the "Kaiserstuhl" less well kept at the Prussian court and bequeathed it in his will to the city of Goslar, where the throne is today in the preserved cathedral vestibule .
The cloister courtyard is an unusual combination of romantic atmospheric architecture and museum function, to a certain extent a very belated Hermitage with a scientific claim and political statement. Despite its formal similarities to the ensemble of the Potsdam Peace Church, it has remained a unique complex. Although the entire treasure trove and important pieces of Byzantine art have been lost, the collection preserved here is still one of the most extensive of its kind in the world and has now also been made accessible through a scientific catalog.
Orange house and greenhouses
With the construction of the steam engine house in 1838, the prerequisites for a technically modern new construction of the greenhouses were given. Since the greenhouses at the garden salon from Lindenau's times could not meet modern requirements in terms of size or technical equipment, Schinkel planned a new building in their place in 1839 based on a sketch by the Crown Prince, but this was not implemented. This building design was very representative, but architecturally it would have dominated the pleasure ground.
Since Prince Carl wanted to build the stibadium at this point, a site had to be determined for a replacement building. The area to the west of the Remisenhof on the edge of the Pleasureground was chosen , on which there were already three small greenhouses. Persius designed a two-part system consisting of the south-facing greenhouses, which are flanked by small water towers, and the high orangery facing east. With the large arcades of the orangery, Persius was architecturally referring to the arcature of the remise. This relationship was disrupted by the new construction of a residential wing with adapted designs in the 1950s.
The construction was completed by the summer of 1839. While the orangery building was used to accommodate the non-winter-hardy potted plants, fruits such as pineapples, figs, peaches, plums and strawberries were grown in the greenhouses. Large growing beds were created in front of the greenhouses and these were planted according to the park plans for the pleasure ground. The building in the direction of the Pleasureground is architecturally effective thanks to the curved glass roofs of the greenhouses and the gable of the orangery. Towards the park, only the arched facade of the orangery was structurally effective; the other two facades were unadorned and largely planted.
Persius published this building in the "Latest Construction Versions", whereby it becomes clear that he assessed it as a particularly successful technical work. The functionally symmetrically arranged and not very painterly designed subassembly occupies a special position within Persius's building trade.
The building, which had not been used since the end of the 19th century, fell into disrepair. Around 1940 the orangery and one wing of the greenhouse were demolished. In the run-up to the “Schinkel Year” in 1981, the idea of completely reconstructing the building came up, a borderline case of the preservation of monuments, which at the time was legitimized by closing the gap in the chain of buildings surrounding the Pleasureground . The planning of this reconstruction, which was completed in 1981, was in the hands of the later Lower Saxony state monument curator Christiane Segers-Glocke , who at the same time reconstructed details of the rotunda in the spirit of Schinkel.
In summer the orangery hall is used for events. In September 2004, for example, a symposium was held by the Brandenburg State Office for Monument Preservation and State Archaeological Museum (BLDAM) and the Prussian Palaces and Gardens Foundation Berlin-Brandenburg (SPSG) with the participation of the Berlin State Monument Office (LAD), the Brandenburgisches Landeshauptarchiv ”(BLHA) and the“ Socio-educational training center Jagdschloss Glienicke ”(sfbb). On September 4th, the “Glienicker Declaration” was signed on it, which stipulates the permanent professional exchange between the institutions. At the same time, the non-institutional “Glienicke Garden Forum for Garden Art, Garden History and Garden Monument Preservation” was founded. This forum, run by SPSG, BLDAM and the Berlin Monument Preservation, is known in professional circles for its annual events such as day excursions to various locations and lectures in the Glienicker Orangery.
Remisenhof and castle tower
The coach house or stable yard was designed by Schinkel in 1828 as part of the palace renovation. Here the horses were harnessed and the carriages cleaned. The comparatively large coach house held twelve carriages (the stable in the cavalier wing held 24 riding and coach horses) and was necessary to accommodate Prince Carl's collection of carriages. Schinkel designed a four-arched front, the arcature of which quoted the "Agoranomion", southwest of the "Tower of the Winds" in Athens, which was known at the time from engraving publications. At that time the Agoranomion was thought to be ancient Greek, but in fact it comes from the Roman Empire. For Schinkel and his contemporaries, the Agoranomion was the most important arch architecture of the ancient Greeks . Prince Carl and Schinkel therefore chose a particularly challenging model for the actually subordinate construction task of a wagon shed.
In 1832 the castle tower was built in the corner of the Cavalier Wing and Remise, which was actually used as a difficult to climb vantage point. According to tradition, the construction was carried out at the request of the Crown Prince , who, after fulfilling his wishes, referred to the tower as " Good Carl ". Schinkel writes in his publication of the “Collection of Architectural Designs”: “ This view shows how essential the tower is. “On the design drawing, the viewing floor is shown open and crescent-shaped overflow openings were provided at floor level for any rain that might penetrate. These are missing from the publication of the “Collection of Architectural Drafts”, so the comparatively narrow windows may have been glazed from the start. All components of this courtyard were coordinated by Schinkel in harmonious proportions. The northern end of the assembly was formed by a large oven, which complemented the oven on the ground floor of the cavalier wing.
In 1874 Ernst Petzholtz added an arched axis to the Remise to the north and received an upper floor with a simple classicist structure under a gently sloping gable roof. The previously unadorned northern narrow side was designed as a gabled façade. At the same time the tower was raised. Presumably the Belvedere room in the middle of the tall trees no longer offered adequate views. The new upper floor of the tower was created in rich late classicist forms, as an open belvedere made up of four serlianas . The gable of the flat gable roof with acroteria attachments offered additional decoration . The outer ones of the former observation windows of the tower were walled up. There are no notes on the installation of a more comfortable staircase for the now elderly couple of princes.
After the Second World War, the Remise was demilled again, but not shortened to its original length. Instead, instead of the lining wall in the direction of the orangery, a new residential wing was built in an adapted style. Since the tower was not demounted again, almost all historical proportions have been lost in this area.
The Remisenhof is fenced off to the northeast with an iron grille between massive gate pillars. Originally there was a large iron lantern on a high base in the middle of the grille. In its place the Neptune Fountain rises today with a cast iron statue by Ernst Rietschel , which represents the ancient sea and patron god of horses with trident . The statue was a birthday present king of Prince Carl's birthday in 1838. The marble fountain basin is a spoils from the 1797 demolished Rehgartenkolonnade of Sanssouci . A similar shell basin is located on the south stairs of the casino . Right from the start, the coach house or stable yard had a water supply from a pump located in front of the north facade of the cavalier wing.
After the Second World War, some remaining stone collection pieces were put down a little carelessly near the Remisenhof. In addition to a medieval baptismal font, a millstone and a column, there are four sandstone atlases here. They originally came from the baroque Donnerschen Haus in Berlin (today Palais am Festungsgraben ), were installed in the Glienicke hunting lodge in 1862 and became superfluous when it was rebuilt in 1889.
Prince Carl in a carriage in front of the Remise (Franz Krüger, around 1828)
The Neptune fountain with the cavalier wing and tower
Neptune fountain at the Remisenhof, behind it the 1950s wing
Baroque atlases from the Donner house in Berlin
Ionic column and orangery
Millstone and baptismal font at the Remisenhof
garden furniture
In Glienicke, the garden was furnished in the form of chairs, armchairs, tables and benches made of cast iron . Due to their great weight , they will have been permanently set up at the most important tea places during the season . In the case of the castle , such a furnishing is perhaps conceivable for the adjutant terrace. In the earliest photo of the stibadium from around 1854, there are apparently cast-iron tables and chairs in front of the Exedra bench, imitating billet furniture. The shape of the chairs is reminiscent of Louis Quinze furniture and probably belongs to Carl's weakness for the Rococo , which Persius had lamented as early as 1837. According to today's sense of style, they seem out of place in Doric architecture. It can be assumed that several such imitations of billets, which can also be found in Babelsberger Park, were put up in the second half of the 19th century.
When Sievers was doing his studies in Glienicke, he found various garden furniture and assigned some of Schinkel's design work. He also published it in the corresponding volume on Schinkel's furniture. He found an ensemble of bench and armchairs with finely profiled cheeks and backrests as well as a marble seat plate and characterized it as of monumental character , which he probably wanted to express that this furniture is stylistically close to the French Empire. It could not be determined whether this represented a single group of furniture or whether the majority of garden furniture corresponded to this type. Since Sievers could not find any corresponding pieces in other gardens, they may have been made exclusively for Glienicke. Baer dated it to around 1827.
He also found the type of an iron chair with a steel band covering imitating cane, which had acanthus tendrils in the back and between the legs. With this decorated Biedermeier chair made of iron, the legs of the chair were connected to each other with bars so that the chair could not sink into the soft garden soil.
Sievers found another type of garden bench that he knew from other parks, but did not name them. This type of bench had antique decorated side panels and a diamond lattice-shaped backrest as well as a wooden seat. Stylistically, this bench looks less mature and you have to trust Siever's knowledge of Schinkel's furniture to accept Schinkel's authorship. Unfortunately Sievers did not provide any information about the color of the iron furniture, which he was probably not allowed to examine mechanically. So we do not know whether the iron parts were black or - as is currently the case with the benches in the Pleasureground - green.
All cast iron garden furniture is now lost, and there are now other types of garden benches at the few bank locations that still exist today. Where else to imagine garden furniture in the Pleasureground is unknown. The small vantage points, i.e. the lilac arbor, today's so-called Lennéhügel, the small hill square southeast of the casino , the linden arbor and the terraces at the castle and the casino would be conceivable as the installation site . Apart from the Stibadium, no such furniture can be seen in the historical photos. For the park, cast iron furniture is actually only conceivable at the Roman bench. Otherwise the staff will have moved light wooden furniture to the places where the princely gentlemen in the park wished to have their tea .
The park
The intention of the park design in the 19th century was to create an attractive and varied landscape that was completely artificial, but should appear natural. The aim was to create an ideal landscape, as it was initially constructed on canvas by painters, for example Claude Lorrain , since the 17th century and has been implemented in three-dimensional forms in (southern) England since the 18th century. A park should offer landscape as a space for people to experience.
The park design efforts and also the park experience were more extensive in the 19th century than with today's park users, who can often no longer distinguish between nature and landscape park , as they hardly know the natural spaces typical of the area. In his foreword to the new edition of Pückler's “ Allusions ” published in 1933, Edwin Redslob points to the intellectual-historical connections between garden art and lifestyle in Goethe's time. “ When Hermann Pückler helped design parks in Babelsberg, it was not just a question of creating a few paths and bosquets: the English style was to be implemented, also in the way of life: garden design became a worldview. "
The young Sir Charles Glienicke and the even more anglophile Prince Pückler certainly had intellectual overlaps, which may be overlooked in the later strangely distant relationship. From this perspective, Carl's very seriously and skilfully operated park designs are state of the art and show a true artistic personality, who, however, shows its less sympathetic sides in the form of the frivolous bon vivant and ultra-conservative gentleman , with the first showing again similarities with Pückler.
In those days, owning and designing a landscaped park meant more than owning a decorative garden. Redslob, who was a connoisseur of Goethe's time, said in 1933 that Pückler's time was about “ the power to gain worldview from nature, to transfer worldview to nature in a creative way. "
Even if the buildings in Glienicke are very important, they are only of secondary importance for the entire property. The landscape is the basis of the park design, which is only accentuated by buildings. A pictorial representation of the Klein-Glienicke Park would have to present around two thirds of landscape photos and only one third of the buildings; reality shows the opposite relationship. Because the intention of the 19th century was completely misunderstood in the first half of the 20th century. At that time, green was only given the role of decorating the buildings. Accordingly, the buildings were given priority in terms of maintenance. Only the Große Wiesengrund was cultivated as a kind of playing field for the “Volkspark”. Due to the lack of care of the plantings, large parts of the Glienicker Park today look like a forest.
Since the partial repairs at the end of the 20th century, the Glienicker Park has been a horticultural Januskopf . On the one hand, the garden courtyard, pleasure ground, hunting castle garden and parts of the Böttcherberg park have been reconstructed and the main features of the Große Wiesengrund have been preserved without any special care. In addition, work has begun on reconstructing the rock pond and Teufelsbrücke ensemble of the very small-scale Ufer-Höhenweg section. On the other hand, the Jägerhof section, the Carpathian section and the forest valley section are almost completely forested.
But even in the well-tended parts of the park, even the elementary visual axes are missing, for example the view from the castle to the Großer Wiesengrund. The creation of these lines of sight within the existing stock of trees would be a first stage in the gradual recovery of the park experience intended by the designers in the 19th century. However, this is not possible with the care capacities currently available. For example, the line of sight from the Roman Bank to Potsdam, which was partially exposed at the end of the last century, has now grown over again.
Due to the forestation of large areas of the park, the design of the terrain is difficult to perceive, although it is a special characteristic of Glienicke Park. Prince Carl did not leave the diverse topographical shape found, but had it remodeled by elevating, excavating or smoothing it out in prominent places. Road routes were also deepened, raised on embankments and dug into slope edges. This field work seems to have been very extensive, but unfortunately has not been documented.
The later Field Marshal Helmuth von Moltke described the park in front of the large eastward expansion to his bride in a characteristic short description when he was adjutant in Glienicke and accordingly lived in one of the adjutant's rooms on the upper floor of the cavalier wing: “ Glienicke, June 25, 1841 […] I wish I could show you around this lovely park. As far as the eye can see, the lawn is of the freshest green, the hills are crowned with beautiful hardwood, and the river and the lakes weave their blue ribbon through the landscape, in which castles and villas, gardens and vineyards lie scattered. The Glienicker Park is certainly one of the most beautiful in Germany .
It is unbelievable what art has managed to make of this arid ground. A steam engine works from morning to evening, lifting the water from the Havel up to the sand heights and creating lush meadows where only heather would get away without it. A huge cascade rushes over cliffs under a bridge arch that seems to have been half washed away by its impetus and rages suddenly fifty feet down into the Havel, on a terrain where the prudent mother nature would not have thought of letting a bucket of water flow because it was dry Sand would have swallowed it thirstily. Forty-foot-high trees are planted where they would have had to stand forty years to attain this thickness, huge blocks of stone are scattered about which geologists will one day give advice to geologists if they do not receive a notice that they are from Westphalia via Bremen and Hamburg migrated here. The mosses on the stones are from Norway, the sloops on the water from England .
Beautiful fountains rush thirty feet up in the air, and marble pictures stand and look at you under lemon trees in bloom. - The courtyard into which my windows look is very pretty. A delicate fountain rises on a grass carpet like green velvet, and a veranda stretches around it, which is densely clad with passion flowers and aristolochia. "
There is evidence that Prince Carl assisted Peter Josef Lenné in the design until 1844, but according to journal entries, Lenné advised the prince until his death. Presumably Lenné designed the Stammpark in 1824/25, Prince Carl only made changes to it. The gardens were executed and maintained by the court gardener Friedrich Schojan, who was employed by Hardenberg. Both were the people actually responsible for buildings and gardens in Glienicke. While Schojan had established a trusting relationship with Lenné, Ritter was suspicious of Schojan.
How the collaboration between Lenné and Prince Carl worked is not known. Only a letter from Lenné to Prince Pückler dated May 2, 1832 has survived, the statement of which is not entirely clear: “How important it is for the artist to discuss and deny the idea he has captured with his fellow art enthusiast, and better still with a comprehensive art expert I cannot assure your Highness that I will be able to exchange views. Unfortunately I am completely abandoned here [in Glienicke] in this respect . ”It was probably more difficult for Lenné to convince the gardener than for Schinkel to convince the architect Prince Carl artistically. Carl also had no architectural ambitions, but saw himself as an amateur garden designer. Lenné must also have been unfamiliar with designing not for but with a client.
The influence of Prince Pückler cannot be overlooked in the Glienicke complex. At the end of 1824, Carl Pückler had already included the park planning by sending him a draft plan developed with Lenné. But Prince Carl has withdrawn from the Prince's direct influence on the design. It is noteworthy that the prince used the prince's six-year journey (1834–1840) to learn more about Pückler's practical design from his colleague Rehder in Babelsberg. In the Journal this is substantiated by entries: " 1839, October 15. SKH came from there [Paretz] soon after 4 a.m. Sometimes back here on horseback to work with Prince Pückler's Inspector Rehder, who arrived here today. “From 1853 August Giseler worked as court gardener in Glienicke, who previously worked for Pückler in Muskau and for Prince Friedrich .
Among the numerous clients of the parks in Potsdam's cultural landscape, Prince Carl was the only one who worked as a designer himself. Gustav Meyer's remarks in the “Textbook of Beautiful Garden Art” (1860) and Hermann Jäger's lines in “Garden Art and Gardens” (1888) show that his designs were accorded great respect among contemporaries . He describes the park in its final dimensions: “ As a real friend and connoisseur of garden art, Prince Karl designed the plan of his extensive park in Klein-Glienicke himself, as well as the layout, apart from the parts of the garden laid out for Prince Hardenberg by Lenné before he took possession personally managed.
The whole thing makes such a beautiful, truly harmonious impression, is so adapted to the small building complex of the Roman-Italian villa that it is presented as a model park . […] The location of the garden on the lake-like, broad Havel with bays is of great beauty and well used without the water pushing up too much. The old form of the warship, anchored close to the park for decoration, fits in perfectly with the water-rich surroundings, although it is only an appearance [...]. In the wooded parts of the park that were added later, the prince knew how to shape deep rain gorges and ravines and to decorate them with boulders in such a way that the art appears very hidden .
The few buildings besides the villa, namely the machine house for raising the water, are perfectly suited to adorn the park in this respect too. The reservoirs created for irrigation do not have the appearance of small mountain lakes, as G. Meyer says, but as such are designed in accordance with the wild environment. Prince Karl of Prussia was really a landscape gardening genius ”. [...]
After the great eastward expansion in 1841, large parts of the park were likely to have given the intended vegetal form in the 1850s. However, the western park areas designed a quarter of a century ago began to overgrown. Already at the age of the prince, he let the care by cutting back and the lines of sight slowly began to grow. After Prince Carl's death, there was no more creative maintenance and the plantings set by the prince became overgrown.
In the meantime, the insufficient maintenance of the park due to the aging of parts of the tree population has led to such a great need for action that it can no longer be managed in the day-to-day business of the Green Area Office. Due to the "acute risk of branch breakage", the entire eastern park extension area from 1841 and the areas of the main park north of the Roman Bank are currently (2012/16) closed. This means that around half of the Glienicker Park is no longer legally accessible.
In 2014/15 extensive repairs were carried out in the western park areas in the Uferhöhenweg / Westdrive area. In addition to tree work, the existing network of paths was renewed. In her newspaper article “Asphalt in the World Heritage Park”, Anett Kirchner complained about the nature of this work, which is not in line with monument protection. But the asphalting affects the appearance of this part of the park less than the simultaneous construction of the Alder Bridge and the Hubertus Bridge along the Ufer-Höhenweg. The Hubertus Bridge, in particular, as a simple but statically oversized steel girder construction on massive concrete abutments, stands in stark contrast to the design principles of landscape gardening, because it visually cuts off the Hubertus Gorge towards the Uferchaussee, instead of framing the view through the gorge and at the same time blocking a point of view form. The previously existing square timber bridge was irrelevant in terms of design, but did not present any visual impairment.
Transferring the park to the responsibility of the Prussian Palaces and Gardens Foundation Berlin-Brandenburg (SPSG) is desirable and has long been considered. However, it would represent a Danaer gift for those due to the horticultural lack of maintenance that has lasted for over a hundred years , especially since the SPSG can already finance only 0.15 park maintenance per hectare (as of 2004). In 2009, a “Potential Analysis for the Glienicke Landscape Park” co-financed by the SPSG was carried out but not yet published.
In 2016/17, restoration measures were financed by EFFRE funds in the area of the large meadow to the east of the castle , so that the park areas adjacent to the pleasure ground can once again be experienced in the design of the 19th century. Even the castle pond could be reconstructed.
Plantings
In 1824, Prince Carl took over a sensational modern garden, a functional and fully equipped house and an intact farm with a brick factory, but a park that was only the preliminary stage of a landscape garden, an ornamental farm with the arable land of avenues and a few gardens were bordered. Closed plantations only existed in the northern third.
The prince did not make any personnel cuts, but took over both Hardenberg's estate inspector Ritter and the court gardener Schojan, so he seems to have relied on the continuity of a functioning system. However, the farm as well as the brick and lime production were given up as the previous economic basis. Prince Carl therefore seems to have had great confidence in the political order of the Restoration period, which had been laid down nine years earlier at the Congress of Vienna , and which ensured him extensive appanage .
On April 8, 1824, three weeks before the signing of the sales contract, Prince Carl met in Glienicke, his adjutant v. Schöning and Schinkel for breakfast to discuss the upcoming (planning) work. At that time a ravine had already been dug (“ arbor and bridge should be finished ”) and walking paths had been created. On June 7th, Prince Carl presented his property to the royal family for the first time. The year 1824 must have shown a densely packed event. The casino was planned with Schinkel and Persius and a redesign of curiosity was envisaged. The park was planned with Lenné and Schojan and as many trees and shrubs as possible were organized for planting in autumn and spring. About 26,000 woody plants have been identified for this first planting phase, mostly oak, poplar, robinia and lilac. The organization and transportation as well as the planting of such a large number of plants required great logistical efforts.
The artistic planning of the park must also have cost a lot of time and discussions. No documents have been handed over to this. The pleasure ground, which had only been created a few years earlier, was initially not redesigned. On its north side, the removal of the brickworks came first. The main focus of the garden design was the actual park. A plan drawn by Schojan according to Lenné's specifications (which has only survived as a black and white photo) is dated by Seiler to the beginning of 1825. It shows the interlocking meadows that are characteristic of Lenné and the lines of sight calculated precisely for the plantings. A subdivision into individual parts cannot be seen.
In the first few years, there were massive plantings of around 40–50,000 trees on this terrain. Much of it was Heister . Even so, it was difficult to obtain this extensive plant material. Since the stocks of all neighboring tree nurseries and forests were quickly exhausted, the necessary trees were brought from more distant areas, especially from the state forest of Lüdersdorf in the Uckermark . The procurement of the planting material was largely in the hands of Lenné, who never tired of tracking down groups of suitable trees and buying them for Glienicke. In the following years, trees up to 40 years old were planted in exposed areas at great expense.
As far as possible, existing trees were included in the redesign. This can still be clearly seen today near the castle to the west of the West- Drive , where an avenue of linden trees from Lindenau's times lost its straight-baroque character through clearing and pre-planting and optically supported the new planting. At the same time, the areas of the future meadow grounds were prepared for sowing by means of trenches (deep loosening of the soil) .
In the early years, Prince Carl Lenné's active design work was very important. Since Lenné and Glienicke's court gardener Schojan knew each other from Hardenberg's time, they had a certain relationship of trust, so that Lenné could work through Schojan. Lenné was appointed royal garden director in 1824 and promoted to sole garden director in 1828. Actually, he was only responsible for the royal gardens. But as with the construction officer Schinkel, the royal family was of the opinion that the garden designer Lenné should naturally also work for the princely gardens without this additional work being paid. At Carl's invitation, Lenné visited Glienicke regularly but rarely. The summer of 1834 was an exception, when Lenné visited Glienicke almost every week. Important parts of the park must have been designed at that time.
A design involvement of the court gardener, on the other hand, has not been handed down and, given the strict hierarchy at the princely court, is also improbable. The prince ordered what should be done and the court gardener had to do exactly that. Before the prince was absent, the prince determined what work had to be done, and the inspector noted the orders that the court gardener had to obey. The actual felling, earthwork, planting, pruning and maintenance work were carried out by gardeners whose number, training, working and living conditions have not been handed down or researched. Accordingly, it is not known how many workers it took at the time to design and maintain Glienicker Park over the long term. It can be assumed that a group of permanently employed workers was brought in, if necessary, with seasonal workers.
This is how the main park should have received its contours in the early years of Carl's possession. It was now a matter of looking after the plantings. At that time, Prince Carl increasingly turned to building planning. After the engagement to Princess Marie in 1826, it was necessary to convert the castle as quickly as possible so that the now forming princely court received a summer apartment.
The palace was completed in 1828 and the Jägerhof moved into in November. Carl and Marie had become parents at the same time. The prince's court under the direction of the previous adjutant and now court marshal Curt von Schöning had to get used to it. Since Carl and Marie still had a very close relationship during those years, the design of the park should have been in second place.
The excerpt from Lenné's "Situation Plan" from 1831 (see above 2a.) Shows the plantings of the main park seven years after Prince Carl took over the property, but with the Uferchaussee built from 1841 onwards. The plan shows that the design from 1824/25 was implemented almost exactly. When looking at the plantings, the multitude of parking spaces that were connected to one another by visual axes is immediately apparent. The plan shows that the complex was still in a fairly youthful state, whereas the Kraatz plan shows that the parking spaces were narrower in size three decades later after the trees had grown.
A large project was a modern water supply for the park for irrigation and water features. The prerequisite for this was the procurement of an expensive steam engine, for which Carl could not spare the funds thanks to his lifestyle and passion for collecting. On the occasion of a trip to Petersburg, Princess Marie warned her husband “[…] oh dearest, dearest Charles, do me your only love and don't buy yourself new weapons in St. Petersburg; You already have such a quantity and you will certainly get new ones as gifts; also save what you can from servant travel expenses; just think of the Glienicke steam engine and your accumulating debts. “The prince did not obey this warning and even managed to get his father to finally give him the steam engine.
Subsequently, from 1836 the court gardener and steam engine house was built according to Persius' design. In 1837/38 the water pipe network was planned and laid. Since the clay pipes made by the Feilner company on Pfaueninsel in 1824 had already become unusable after ten years, expensive iron pipes were laid in Glienicke that came from the production of Egells , who also supplied the steam engine. On Gustav Meyer's remeasurement plan from 1845, the water pipeline network is listed in detail. Accordingly, two main lines led from the machine house, one to the south to the pleasure ground and the castle pond and one to the north to the rock pond as the main reservoir of the park. From the latter, lines led north to the Great Hunting Umbrella, and south-west to the pond at the Roman Bank. It has not been investigated whether the water pipeline network was expanded after 1845. It is possible that the park extension areas remained without connection to the water pipes.
The water supply network now made water features possible , such as the lion fountain in the Pleasureground . A water reservoir was created in the park near the tent. It was given the shape of a natural pond and richly decorated with boulders. Another reservoir pond was created above the Großer Wiesengrund. The focus of the design of the park in 1837/38 was the part of the Ufer-Höhenweg, where Prince Carl formed three gorges from erosion channels and created a small, two-part pond on the Erlenwiese. With these facilities, however, Prince Carl moved away from Lenné's design principles and began to design the park, which Lenné had designed uniformly, into individual sections.
The change of the throne in Prussia and the fraternal Christmas present to expand the park in 1840 led to extensive re-planning, construction work and planting. So now the focus of the garden design shifted to the eastern park extension, the Jägerhof area and the Uferchaussee. In the eastward expansion area, the extensive deforestation and intermediate plantings will certainly have taken a decade. Due to the loss of the second journal volume (1838–1848), this can no longer be traced in detail today.
We are hardly informed about the plantings in this design phase. The individual parts of the park seem to have been characterized by the predominance of certain tree species. The beech trees in the Ufer-Höhenweg section, in the Carpathians and in the Böttcherbergpark, the oak trees in the Jägerhof section and the linden trees in the Großer Wiesengrund are still eye-catching today . But this has not yet been scientifically investigated. Estimating the wood population on site is also difficult today. Because no actual park maintenance has taken place for about a hundred years. Instead of artistic deforestation, cutting and replanting, only damaged and overaged trees were removed from the undergrowth with new growth. As an example, Seiler cites the hornbeam plantings in Böttcherbergpark, which Prince Carl had planted on the western slope as bush plantings, which grew into trees due to a lack of pruning and which ultimately blocked the lines of sight. Trees from more distant regions were now acquired in a more targeted manner. In 1854, the journal even noted the arrival of woody plants from Baden-Baden , without us knowing why such a long plant journey was considered necessary.
Prince Pückler began his eight traditional visits to Glienicke in 1853. In the same year Schojan retired. Presumably through Pückler's mediation, Giseler from Muskau became a court gardener. With this, Carl increasingly turned to Pückler's design principles. In contrast, the relationship between Prince Carl and Prince Pückler seems to have become quite cool.
Carl worked according to Pückler's principle, not on plans, but only on the spot. The court gardener inspected the facilities there and ordered the clearing or planting. Each quarter in the park was designed by the prince himself. In the Journal , this design is way by very many entries as: " HRH the Prince inspected the park and the new facilities at the hunting lodge garden in the pony cart with knights and Gieseler. "
In the second half of the century, Prince Carl added new parts to the park. In the mid-1850s, the Böttcherbergpark was further developed in terms of horticulture. At about the same time the Carpathians were designed and this was completed with the acquisition of two small forest parcels in 1858/59. From 1859–1862, Prince Carl designed the hunting lodge garden. In 1863–1866 the facilities in the Swiss houses were built. In 1874 the restoration garden was rebuilt and in 1877/78 the Böttcherbergpark underwent a final horticultural transformation. Since the death of his wife in 1877, Carl became increasingly ill and will only have sporadically taken care of the park. A detailed scientific investigation is still pending for these park expansion areas, because Seiler only gave a summary of these areas in his dissertation (1986).
A historically accurate restoration of Glienicker Park is also difficult because Prince Carl designed and designed the site. The only reliable planning basis is provided by Gustav Meyer's two plans from around 1845, which can be supplemented by the more summary information on the Kraatz plan (around 1862) for the subsequently designed park areas. The information to be obtained cartographically can only be implemented by gardeners who have been trained in garden history, as this is more about aesthetic and less about biological work.
The artistic creation of park areas is time-consuming, as the groups of trees that frame and structure are not simply set and then grow up. Rather, the groups of trees go through a metamorphosis during their growth in order to always offer an attractive appearance. Thus, initially more plants are planted than should ultimately exist. In the course of the growth, clearings are made successively. This work is also correspondingly maintenance-intensive.
But even the closed woody areas are not just wild forests . Jörg Wacker describes the maintenance carried out by the SPSG in this regard: “In order for the closed woody stock to remain stable, it has to be constantly rejuvenated through plentering. Freestanding trees or old trees should be kept free of sprouting wild growth as carefully as possible so that they do not endanger the valuable old trees and cause them to die earlier. Likewise, uncontrolled growth can later lead to unnecessary disputes with nature conservation . Groups of trees must be rebuilt at the same time and more densely, with a selection of species typical of the time, e.g. B. from the published lists of the cultivated trees of the state tree nursery set up by Lenné. These should be carefully thinned out in the following years. "
Road network
The road network of the Glienicker Park differentiated between roadways and sidewalks. Most of the road network is designed as a driveway. These driveways are only supplemented by pure sidewalks in particularly hidden, fragmented and difficult-to-access areas. For example in the area of the Devil's Bridge and the Alder Gorge. On particularly steep inclines, there were also paths with steps, the appearance of which is no longer known, as they were reshaped in the course of the path expansion for the “Volkspark”. They have been clearly mapped in the Kraatz plan. Accordingly, there were very few stairways, namely a cross connection in the Carpathians , the connection from the main driveway to the Great Hunting Umbrella and the connections to the lower Alder Bridge.
The park was accessed by a main road, the so-called drive . Most of the sights in the park could be seen from the carriage, at least through visual axes. Starting at what will later be called the central gate, the drive leads past the castle and then turns north, where it turns south with a large curve in front of the Jägerhof and leads back. Since the park has been expanded several times, the original drive has been changed and expanded accordingly. On the park plan from 1862 it led beyond the Berlin-Potsdamer-Chaussee and opened up the Böttcherbergpark there with the possibility of connecting to Babelsberg and the Jagdschlossgarten.
The park still looked very youthful for the first ten years. During this time , the drive passed only a few sights and even fewer buildings. It was not until the end of the 1830s that the design of the ravines , the commissioning of the steam engine for the water features and the buildings of Persius' real park attractions - at least in the western part of the complex - existed. In the north there was a relatively tight curve that led the drive back south. The route here was not particularly ingenious, with slight curves parallel to the road to the Sacrow ferry that flanked the park boundary. After the park was expanded in 1840, the drive was given a very eventful shape, with the existing southern section and largely the western section being taken over. From the central gate, the drive led to the west, past the boulder found on the date of purchase, the castle pond, the farmyard and reached the open side of the garden courtyard in the castle complex. Here the drive turns north and allows a view of the Remisenhof.
The Hofgärtnerhaus and the Große Wiesengrund are included in the following course with visual axes. The drive then leads past the sailor house and climbs steeply, flanked to the south by the Erlenwiese. With the tent site, the viewing height of this park area is reached. It is followed by the pottery bridge with views of the Teufelsschlucht. In the north, a loop is attached that leads directly past the Jägerhof, allowed views of the shooting hut and bullet trap and in the far north offered a distant view of the Pfaueninsel.
The east route of the drive was given a somewhat dramatic route. At first the drive is deepened, then it is led to the southeast as a dam with many views into gorges decorated with boulders . After passing the "Hermitage", the drive dives into wooded areas to be led with a large west curve to the summit edge of the here - for Brandenburg standards - impressive slope. Both the Borkbank and the White Bank must have offered magnificent views back then.
The Berlin-Potsdamer-Chaussee was crossed via the Obertor and driven into the Böttcherbergpark. After another steep driveway, the Alexandrabank (later replaced by the Loggia Alexandra) was reached with a view of the gorge below and then the roundabout . From the Böttcherberg, it was possible and usual to continue to the adjacent Babelsberg Park. If you stayed in Glienicker Park, you drove from the roundabout to the central gate and from there to the castle.
The network of trails has changed in parts since Prince Carl's death. In the vicinity of the castle there are still some unhistorical paths that date from the time when the castle area was separated from the park after the sale in 1934 and both parts needed new path connections. Asphalting took place on sections of the drive in the park . In contrast, some of the sidewalks went under in the vegetation. Sections of the east drive are now hardly passable due to the erosion of the road surface.
The paths had a multi-layer structure, which consisted of coarse material at the bottom and fine material at the top. The road surface was curved throughout in order to quickly divert precipitation. On inclines or slopes, the paths were flanked by narrow and flat rain gutters made of boulder pebbles so that washouts were prevented. These channels cross the path at the fork in the road. In the pleasure ground and in the castle area up to the water gate, the paths have recently been reconstructed in this form. This has not yet started in the park. Up to now, ensuring public safety when walking on the paths has been the predominant criterion for renovation work.
Seats and benches
Since the princes in the park were almost exclusively on horseback or in a carriage, it is unlikely that the park would be fully equipped with benches at that time. It only seems that there was fixed seating at the main viewing points, which had more than one line of sight. So the tent and the large hunting umbrella were seats protected from the rain, as in the Carpathians the Moorlakeschirm, the Carpathian umbrella and perhaps from 1841 also the hermitage. We only know the name of some of the wooden architectures. It is unknown where the Borkenhaus, the Turkish umbrella and the umbrella were at the height and what they looked like.
According to the Kraatz plan (1862), there were five lookout points designated as banks : the Victoria Bank in the Carpathians , the Roman Bank over the large meadow, the Bork Bank and the White Bank over the forest valleys and the Alexandrabank (instead of the later Loggia Alexandra) on the Böttcherberg. Near the latter, the Rodell was one of the main viewing points.
Except for the Roman Bank, we have no idea what these banks will look like . The prince couple usually drove in small groups. In addition to the prince couple, at least one adjutant, a lady-in-waiting and the court marshal and, if necessary, guests traveled with them. Therefore, the benches can hardly have been individual benches. It is not known whether there were individual seats in particularly beautiful views, such as the view of the Pfaueninsel (see below) from Hennicke's watercolor. Only the Jägerhof view of Hintze shows a single wooden bench.
Gates and fences
Because of the risk of game browsing in the new plantings, the park was fenced in from the start. In contrast to the Pleasureground , which was enclosed by bars and ornate wire fences, the park fencing will always have been wooden picket fences. Nothing is known about the appearance of this first enclosure of the park, which Hardenberg may have taken over and added to.
The Stammpark (1824–1841) apparently had no gatehouses. Since the park extended to the banks of the Havel at that time, there were only two gates: the main entrance to the park instead of the later central gate and the entrance gate, perhaps decorated with lion figures by Schinkel, instead of today's Greifentore. The appearance of both gate grids is unknown.
A uniform park enclosure in terms of design can only be assumed for the period after the expansion in 1841. On March 16, Persius presented Prince Carl with a drawing for an “ Estaquet ” [with which] “ a part of the new park area should initially be enclosed in the highway. “The court marshal noted that the lower stakes were so close that no unauthorized person could put his feet on the crossbar. When Sievers was doing his studies in Glienicke, he was still able to document fragmented sections between Moorlake and Berlin-Potsdamer-Chaussee before they were removed in 1941.
They correspond to a draft for an Estaquet that has survived in the Cerrini estate , which is neither signed nor dated, but the type of drawing can be dated to the middle of the 19th century. In contrast to the Court Marshal's note, however, it has no “ lower stakes ”. On a photo of the upper gate from 1934, small slats can be seen inside the estaquets there , which were attached to the crossbar between the actual slats and thus prevented climbing on the crossbar.
Sievers was able to document the picket fence at the sailor house of the estaquets that bordered the commercial properties of the park buildings within the park. This is designed much more delicately and has a second battens in the lower section. By analogy, one can assume that the other parking lots were surrounded by such a fence.
As far as can be seen, the posts were made of squared timber, the shaft of which was turned into a rod, so that a foot and a head were created. The simple decorative shape of the fence fields resulted from the fence slats becoming shorter towards the middle of the field, so that a wave-like upper end of the fences was created. This wave effect was more pronounced at the Estaquet at the Sailor's House. Here it was again present in the lower area of the fields through a second slat level.
The simpler estaquet ran from the Jägertor around the park north of the Chaussee to the farmyard. It is conceivable that the wooden fence was interrupted by an invisible fence in the area of important visual axes . The rest of the park boundary was secured by metal fences, buildings and the moat along the Uferchaussee. The Böttcherbergpark was also framed by an estaquet . The south side had apparently been removed after the Swiss houses were built. At that time, the Parkstrasse (today Louis-Nathan-Allee), which was laid out to develop the Swiss houses, received two gates, which were connected to the Böttcherberg enclosure. The Bäke Canal served as the new southern border of the property. The Jagdschlossgarten had a wire shed fence on Berlin-Potsdamer-Chaussee and von-Türk-Straße, i.e. between the bridge and the Kurfürstentor, from the Kurfürstentor to the Glienicker Lage a brick wall adorned with terracottas was built, the other borders were on the banks of the Havel. The fencing of the restoration site has not yet been explored.
When the park was expanded in 1841 and the Uferchaussee was built at the same time, four gates were created. In the south-west the water gate, in the north-west the Jägertor, in the north-east a gate that has not been handed down by name (whose successor was the Wildpark Gate) and in the south-east the Obertor. The old main driveway to the park was now named Mitteltor. With the gate of the direct right of way, there were a total of six gates to the park area north of the Chaussee.
The Böttcherberg, which was expanded to its final size in 1841, received access gates opposite the Obertor and Mitteltor and its main gate, the Griebnitztor, in the south towards Babelsberg. Gatekeepers' houses have only survived for the northeast gate and the Griebnitz gate, both are recorded on Meyer plans from around 1845. In 1849 the gate of the direct access to the castle was given a gatehouse.
After the park was expanded in 1851, the Obertor and the newly created wildlife park were given gatehouses. According to the floor plan published, the porter's houses only contained a living room, which was distinguished by an oriel in all porter's houses, a bedroom and a kitchen, so they offered living space to a small family and accordingly had no other function. The successive construction of gatehouses indicates the increasing use of the park by numerous people without the use of keys. At the Jagdschlossgarten only the Kurfürstentor had a kind of gatehouse for the right of way. However, this octagonal domed pavilion was not habitable, but could only be used temporarily as a gatehouse.
The actual gates consisted of solid masonry plinths, pillars or walls with two gate leaves made of wrought-iron metal grilles of simple shape that showed little variation. Only the wings on the water and wildlife park gates have survived. The bars of the Obertor and the Jägertor are documented photographically. The main gate is known from a lithograph and the Griebnitztor from the publication.
The ornamental lattices of the bridges, electoral and deer gates, which were designed later, are also passed down through the publications; The still preserved lattice gate of the hunting lodge in place of the deer gate was only built during the renovation for Prince Friedrich Leopold in the late 19th century.
In its final dimensions, the Glienicker Park had the following entrances: the park north of the Chaussee had three gates with gatehouses (castle gate, upper gate, game park gate) and five further gates (middle gate, hunter gate, water gate and three little wickets in the lower casino pergola). The Böttcherbergpark with the Schweizerhaus part had a gate with a gatehouse (Griebnitztor) and four other gates (middle gate, upper gate, park gate and gate near the Griebnitztor). The hunting lodge garden had three architecturally framed gates (Kurfürstentor, Brückentor, Hirschtor) and a little gate opposite the palace gate. With 18 entrances, Glienicker Park was networked in the path system like - apart from Sanssouci - no other park in Potsdam.
Part of the large meadow
This section comprises the largest area of the Glienicker Park that is not accessible by paths. The fact that pathlessness became a design principle is evident from the fact that initially there was an important cross-connection from the east drive to the sailor's house in the north of the meadow and was moved in around 1840. This part of the park extends between the castle and the former eastern park boundary, between the farmyard and the sailor house or the Roman bank. This section is also the most spacious of the entire park and should therefore suggest a very extensive expansion of the property as a prelude.
Lenné has planted clumps , groups of trees, as typical features of the English Landscape Park . A few solitary trees were also composed in the seemingly natural park space. A browsing line in the treetops formed by the cattle running freely here (flock of sheep and dairy cows) was not noticeable due to the slope of the meadow. Like the park plans and the watercolor v. Arnims show that for aesthetic reasons shrubberies , i.e. groups of bushes, were planted here that required special protection because of the cattle.
As a special feature, every visitor to the park was initially confronted with a very large granite boulder, which Carl had brought here and had the purchase date May 1, 1824. When this giant stone was erected and where it came from is not yet known. Lippert had the date of purchase 1934 chiseled under Carl's inscription, which was removed after 1945. Due to the grazing cattle, promenades of the prince couple within the meadow are unlikely. Rather, the meadow ground served a variety of views from the paths that frame it. Therefore, the original East is expected to drive even after installation of the new East drives one of the main bypass roads in 1841 continue to be stayed, so to speak, as a supplementary means Drive .
The main entrance gate to the park was located at the southeast corner of the meadow, and thus originally also at the outermost corner of the park property. Strangely, we don't know anything about its appearance. After the park was expanded to the east in 1841, the so-called Upper Gate was built at the new southeast corner, and the old main gate was renamed the Middle Gate. On the Kraatz map from 1862, the middle gate is still drawn in and also noted in writing and at that time still opened up the drive from the Chaussee.
No porter's house is shown on the parking plans here, so the gate must have been a simple, perhaps just wooden architecture, which, however, may have stood out from the other entrances on the Chaussee, because a special design is to be assumed as the main park entrance. Sievers no longer found it in his research. It may have been removed under Prince Friedrich Leopold, who, according to current knowledge, hardly used the park. The residents of the “Old Castle” used the Greifentor to access their apartment.
During the expansion of Reichsstrasse 1, the Chaussee depression between Nikolskoer Weg and the farmyard was compensated for by excavation at the Obertor and by filling in the Hirtental and the Wiesengrund. As a result, the central gate was no longer at the level of the meadow floor and a staircase had to be built. In 1935, a monumental limestone staircase was built to access the “Volkspark”, which was replaced after 1945 by a more modest structure.
Roman bench in the park
The Roman Bank, at the time of Prince Carl mostly provided with the addition “ in the park ” to distinguish it from the Stibadium , was one of those typical exedra benches with which the Potsdam parks were equipped at the time of Friedrich Wilhelm IV . A special feature here, however, is the very remote location, which only has a parallel in the bank on the ruins mountain . The Glienicker Bank was probably built by Persius around 1840, perhaps only after the park was expanded in 1841. With the semicircular sandstone rear wall, it follows the model that was common at the time, the bank of Mammia on the grave road of Pompeii. The Roman Bank was the most elaborate tea place in the park. One can only guess at this today, because the architecture is just a torso that has largely grown in. The partially exposed view of Potsdam around 1985 has almost grown over again. The stair landing pavement mosaics are overgrown again.
As far as there are still impressions on the back wall, the bench cheeks must have consisted of ornate marble or stone blocks. When Johannes Sievers photographed the park's buildings in 1937, these components had already been supplemented in a simple construction. It is very likely that the bench cheeks originally had the curved shape with paws, which are still preserved today on the Casino Bank, the Ruinsberg Bank, the Bank at Charlottenhof Palace and the Exedra benches in Sanssouci. At the time of the Sievers research, the Roman bank lacked both the plinth between the small steps and the flooring of the terrace. Because of the very shallow groove on the curbs, the latter is likely to have been colored asphalt like on the Stibadium. However, the four-colored, geometric, small-stone mosaic paving of the intermediate landings of the stairs leading east to the lower-lying drive have been preserved .
The Roman Bank was entered on Gustav Meyer's parking plans with a semicircular forecourt. In front of this was a reservoir pond that had fallen dry today. A historical stone atonement cross was set up here as a sentimental set piece. We don't know what the bench looked like in detail, but the view from the bench has been passed down to us through a watercolor by Ferdinand von Arnim . In this watercolor you can see the small pond and the great view of the silhouette of Potsdam from Babelsberg Palace to the Garrison Church and the differentiated park planting of the meadow with groups of trees and bushes.
The Roman Bank may have had weather protection. Since there are no traces of this on the stone wall that has been preserved, it can only have been a textile tent roof on metal posts. In his “Hints on Garden Art”, Prince Pückler published a comparative example from Muskauer Park, which conveys a possible appearance of the Glienicker Bank. If such a tent roof existed, the now lost base between the steps would have been the anchor point of the main mast. The small masts would have been set up separately around the stone bench.
Castle pond
In the south, the meadow is determined by the castle pond. A large, natural-looking water surface due to the irregular shape and islands offers a diverse eye-catcher from the meadow as well as from the driveway and the garden courtyard of the castle. The pond was entirely artificial and must have been dug between 1838 and 1845. However, it was only two thirds of its final size. Seiler refers to the similarity with the "Black Sea" in Babelsberger Park and thus to the influence of Prince Pückler. Unfortunately no pictorial representations of the pond are known.
The pond was fed by a water pipe that led directly from the gardener's house and machine house to its north bank. There an artificial spring was created under a boulder formation. The castle pond was also otherwise equipped with boulders. Connected to the castle pond was a much smaller pond to the north as the overflow, but this was no longer recorded on the park plan from 1862, as the drainage then took place via the hunting castle garden. In 1853 the pond was extended to the south and thus brought closer to the drive . The castle pond was best seen from here and from the garden courtyard of the castle.
The castle pond fell dry with the neglect of park maintenance. A restoration of this pond under the new name Schlosssee had been planned for a long time. The necessary financial resources were not available for the foreseeable future, especially since a test flooding with the involvement of the fire brigade around 1990 showed that the seal on the pond floor had largely been lost. " EFFRE, a European funding program u. a. for the tourist infrastructure brought the money for the renovation of paths and adjacent peripheral areas in the park [...]. And thanks to the clever idea of the ecological supervisor of these construction measures, the Schlosssee also got on the renovation list. From a technical point of view, the lake is a pond with an artificial water supply and a sealed bottom, as the soil is pure sand .
The location, size and shape of the lake [in 2016 and 2017] could be reconstructed through archaeological excavations, the mapping of existing bank lines in the meadow hollow, the measurement of boulders accompanying the bank, the superimposition of historical maps and surveying evaluations . The sealing [of the sole] was done with a clay mixture. The water feed is taken over by a deep well and the water flows from the "source", a group of erratic boulders, into the lake. […] The island with two oaks was preserved. The bank was only planted sparingly in a few places, as the lake was the only open body of water in the Glienicker Park in a meadow. With the construction-time depth of only approx. 50 cm, it served the pure optics, as a landscape mirror for the sky, trees and rocks. In order to meet species protection concerns, it is now up to 1.50 m deep. "
Farm yard
Between the Pleasureground and the park are the direct access to the palace and the farm yard on Berlin-Potsdamer Chaussee. The farmyard consists of the cattle shed with a tower and a look-through arch, the simple sheepfold and the chimney-topped confectionery (the princely bakery was in the village of Klein-Glienicke). Sheepfold and pastry shop were probably built as renovations around 1840, because they bear Persius' signature, but are already shown in the park plan around 1817.
A Persius design from around 1843 has been handed down for the cow and farm horse stable with tower, but the construction is not yet included in the Meyer plans around 1845. This building was later given an architecturally somewhat too complex tower top, which is similar to that of the castle (1874), but was partly built in exposed brick. After 1938 the construction of the stables was changed by adding apartments and lost its pergolas.
It has not yet been clarified whether the view arch from the drive had a point of view. Such a focus is not provided for on the Persius draft. On the Kraatz plan from 1862, however, the no longer existing structure north of the pastry shop is shown in the axis of the arch. No views or data are known about this structure and its demolition, which was probably carried out when the porter's house was enlarged (around 1955).
The shape of the sheepfold created by Persius has been handed down. It has a Bukranion console on the south facade facing the Chaussee, which stylistically refers to the time of the neo-baroque hunting lodge renovation and whose function we do not know. The pastry shop has also been preserved in the form designed by Persius. On the park plans, a building is drawn to the north of it, the location of which only roughly corresponded to a component planned by Persius. The appearance of this component is not known. It was probably not destroyed until after the Second World War, when the neighboring gatehouse was extended to the east.
Building the farmyard in such a prominent place is to be understood as a quotation from England, where the farmyards were included in the landscaping, but there were the economic basis of the lands, while in Glienicke they only supplied the princely table.
General view of the farmyard from the south
Southeast pastry shop
The sheepfold from the south
Sheepfold, neo-baroque console, around 1860
Cowshed from the right of way (from the west)
The forecourt of the farm yard at the gatehouse
Sievers assigns Schinkel's draft to a Glienicke servants' house. Although this building was never built, it represents one of the most romantic country house designs of his work. The small assembly is extremely lively structured, in the sense of a larger Italianizing fabbrica . If this picturesque architecture was actually designed for Glienicke, it will probably be located near the Jungfernsee due to the shore depicted in the foreground. Perhaps in advance of Persius' plans for the court gardener and machine house, which then became a much more rationally designed building. It has not yet been investigated where the employees of the Glienicker Hof actually lived, who were later housed in the Swiss houses and the workers' house. In the castle we only have news of rooms for the servants.
Right of way gate
The gate of the direct right of way, which was used when driving to and from Potsdam, initially seems to have been designed quite simply. Only one design by Schinkel is known with two crouching lion figures on the side plinths, the execution of which is unsecured. This direct right of way was initially not very attractive, without the porter's house and on the back wall of the greenhouse. Schinkel's new greenhouse would have continued this backyard character. Perhaps that is why Prince Carl decided on a new location for the greenhouses. The new construction of the Stibadium in 1840, which was then carried out along the driveway, did not impair the visual appearance of this access route due to its small parts.
The Court Marshal noted in the journal on June 26, 1838 : “ The stone lions that had stood here in Glienicke's garden from ancient times were given their new posts on the pedestals at the entrance to the Chaussee. “If the date that can no longer be verified is correct, the lions only held their place for four years. A binding name for this gate does not seem to have existed. Names like “ main gate ”, “ priority gate ” and “ castle gate ” change (as on the Kraatz map). Since the last redesign, the two names " Greifentor " and " Johannitertor " have become common.
In 1842 deer figures lying on existing gate pillars were erected according to Rauch's design. This gave the gate, like the water gate built at the same time, a hunting note. In a painting by W. Reuter around 1845 (see below) there are deer figures on the pillars and two flat bowls on the corners of the wall cheeks, as they can still be found on the south staircase of the casino .
Strangely enough, there are no references to a porter's house on the views or the map by Gustav Meyers (1845). According to Louis Schneider, the gatehouse, which is still preserved today, was not built by Ferdinand von Arnim until 1849. It is kept in pleasing classical forms with a bay window decorated with caryatids as a special eye-catcher from the driveway. Its pergola in front of it to the south was removed during the repairs in 1941. Since its volume was too small for today's requirements for official housing, the porter's house was extended to the east, probably at the time of the castle repairs (1950–1952).
In 1853, Prince Carl was appointed Lord Master of the Brandenburg Balley of the re-established Order of St. John , which had a personal relationship for him, as his city palace was the St. Johns Palace in the 18th century. In 1854, Carl, as an important political confidante of the king, was appointed field witness master with the rank of field marshal . These two new honors were inserted as a motif in the new grilles of the main gate by means of St. John's crosses and crunching grenades .
That of v. The neo-baroque lattice gate with intertwined C letters designed by Arnim is actually not stylistically appropriate to the other buildings in the Pleasure Grounds, but is now enjoying some popularity because of the pleasing shapes and the partial gilding, as the frequent use as a photo motif shows. Contributing to this are the two hyperborean griffins designed by August Kiss , which were also erected in 1861 and which today lack both a crown and a tail loop. With the griffins , servants and attributes of Apollo, Glienicke should be characterized as a northern paradise.
Design for a gate with crouched lions (Schinkel, around 1830)
Road and right of way gate with deer (Borchel to Oeder, around 1850)
Chaussee with Stibadium and gate, behind the Grundwaldsche coffee house, later restoration (W. Reuter, around 1850)
Design for the main gatehouse (Ferdinand v. Arnim, 1852)
Johannitertor (general view 2017)
Griffin figure from the main gate
Uferchaussee and water gate
As early as 1825, the prince toyed with the idea of expanding the park to the east over the road to the Sacrow ferry that ran along the park boundary. In order not to have to tolerate a public road in the middle of the park after an extension, he came up with the idea of relocating this road to the bank of the Jungfernsee. This Uferchaussee was built parallel to the park expansion in 1840/41. The planning was started as early as 1840, because according to the journal entry of November 19, 1840, " a conference with Mr. Lenné and the Oberweg master builder Horn on matters of the road along the Havel as ordered by His Majesty " took place.
The Chaussee was built a good distance away from the previous shoreline by building a dam. This created a wide moat in front of the park boundary, which is little considered today, as the current water level is about one meter below the former. The road was paved in 1841–1843, with only the first 226 m from the bridge to the water gate being paved; the rest of the road was given a tamped ceiling made of gravel and clay. For the section between Krughorn and Moorlake, the bank was part of the park extension and was intended as a place on the road from the start, so no embankment had to be poured here.
With the establishment of the Uferchaussee, a new gate was deemed necessary, which connected the drive to the Uferchaussee via a dead end road in the area of the former brickworks, so you did not have to drive around the property from the castle when driving to the Pfaueninsel . There was already a park entrance here, through which materials transported by water were transported from the peninsula-like "shelf" to the brick and lime kiln.
Persius designed this so-called water gate, which led directly to the peninsula with the frigate dummy, in a very simple way with quarter-circle swinging wing walls with gate pillars, round arched wickets and gate grids. Two standing deer figures made of zinc art cast served as jewelry, which, according to the order book of the Geiß company, were delivered on June 11, 1842. Shortly afterwards, the dog heads for the metopes of the pillar entablature zone were delivered, which are no longer available today. The standing deer figures were replaced by today's lying deer in 1868.
In the south, the water gate connects to the lower pergola of the casino , into which two small arched portals have now been added by Persius. Between the lower pergola of the casino and the southern wing wall of the water gate, a small pavilion-like gate building with a niche in the north, which at least today has no cover. Inside is a pedestal that must once have carried a particularly prominent sculpture. This sculpture, which must have been the point of view both from the lower pergola and from the Uferchaussee, has not been handed down through descriptions. In the north, a brick wall was drawn from the water gate to in front of the machine house, which forms two small round towers to enhance the architecture of the water tower.
Site plan of the Hofgärtnerhaus, "Holzhof", water gate and "Ablage" (Persius, 1841)
Persius gate in the lower pergola to the Uferchaussee
Gate to the pleasure ground at the water gate
Wall below the Hofgärtnerhaus on the Uferchaussee
The Uferchaussee bridge below the Devil's Gorge
Silted-up moat along the Uferchaussee
Ufer-Höhenweg section
The park area located on the Jungfernsee and related to it had a natural appeal due to the steep bank, which was cut in three places by erosion channels. In the horticultural design, emphasis was placed on framing distant views of the developing Potsdam cultural landscape. Even before signing the purchase agreement Prince Carl was the first park design, the average erosion groove for the spring 1824 Canyon can undermine and a bridge along with " Altan can build", whose appearance we know nothing. 14 years later the Devil's Bridge was built here. Today's forest-like impression of the area did not yet exist; rather extensive woody areas were planted. Shaping ravines and waterfalls is alien to Lenné's work. Pückler, on the other hand, explains such systems in the "Notes on landscape gardening". Prince Carl was probably inspired by these.
Carl also called in the landscape painter August Wilhelm Ferdinand Schirmer . This was recommended by Schinkel to Prince Pückler to illustrate the "hints". Schirmer proved to be extremely successful in this and mastered the difficulty of depicting Pückler's unfinished systems in their intended final state. In addition, during his time as a master painter at KPM, Schirmer had created some vedutas in Glienicke in 1824. Presumably for this reason, Prince Carl seemed to be particularly suited to assisting Prince Carl with the park design. Schirmer's presence is assured for 1837 and 1838, so in these years this part of the park was, as it were, painted into nature.
Some color lithographs by August Haun based on Schirmer's models are known, such as the garden courtyard, the casino , the court gardener's house and the view of the Glienicker Ufer from the Jungfernsee. The templates - presumably oil paintings or gouaches - are almost all lost. A small-format oil painting has been preserved in the copper engraving cabinet of the State Museums only for the casino's lithography . Prince Carl is the only person who can actually commission the templates. It is not known where the latter kept the templates or hung them up.
The routing in this area is closely meshed. The drive runs to the east , from which the sailor's house, the alder meadow and the tent can be seen. To the west, parallel to the drive , runs the Ufer-Höhenweg, which leads to the actual park attractions. To the west of it ran a path at the foot of the slope, which, however, merged with the Ufer-Höhenweg before the Teufelsschlucht.
The architectural prelude to the Ufer-Höhenweg section is marked by the Hofgärtner- und Maschinenhaus, which, with its water tower, is a landmark in the park and in the northern Potsdam cultural landscape. The footpath west of the drive led through the pergola at the Hofgärtnerhaus and then under the Schwibbogen. Today this is not possible due to the - not historical - metal fence.
In popular publications, the architectural historian Klaus Konrad Weber has explained the “ invigorating idea ” of Glienicke Park as a route from the north (Jägerhof and outbuildings in “Gothic” designs) over the Alps (Devil's Bridge and the surrounding area) to Italy ( Pleasureground with ancient buildings). As a suggestion, he cites examples from literature and art from Goethe's “ Wilhelm Meister ” to Overbeck's painting “ Italia und Germania ” and - without naming this - moved the park design in the vicinity of Hector Berlioz 's symphonic program music “Harold en Italie”, which premiered in 1834 ". Seiler has repeatedly emphasized that this design explanation was too trivial for him to be aware of Prince Carl and the other garden designers of Glienicke as a special idea. Rather, the tension between ancient and Gothic buildings can be found in almost all European landscape gardens. In addition, the North - Alps - South program would only affect the western section of the park.
Court gardener and machine house
The court gardener and machine house was built by Ludwig Persius from 1836–1838 for the first large steam engine plant in Potsdam for operating water features after the Pfaueninsel. The building is Persius' first independent structure and at the same time one of his main works. For structural reasons, the new water tower was founded separately and structurally connected to the court gardener's house, which was built as a conversion of the brick master’s house, via a flying buttress. Schinkel had already used such constructions in various new church towers, for example in Müncheberg . At the foot of the tower is the machine house, the steam engine of which pumped Havel water both into the tower reservoir and into the park. The steam engine came from the Egells company. It would be an important technical document today, but it was stolen after World War II.
It is the earliest water tower in the Berlin-Potsdam area. Towers for drinking water supply did not exist at that time and previous water feature systems such as in Sanssouci or on the Pfaueninsel had got by with open reservoirs on hills. The reservoir was located in the Glienicker water tower under the roof in a floor marked with small rows of arched windows and small crescent-shaped overflow openings below. The floor below with the high arched windows contains a vaulted tea and belvedere room with four pillars that supported the reservoir. The windows could be opened by removing the wooden shutters and offered a grandiose all-round view, there is also a balcony towards Jungfernsee.
The building group, which is also very picturesque due to the side building, offers delightful views, for example through the pergola, in the axis of which there was a small fountain. Or through the large arch, under which a zinc cast of Venus de Capua is set up, the only ancient sculpture outside the Pleasure Grounds . The iron fence is modern, in Prince Carl's time there was only a wooden picket fence around the actual court gardener's house based on Persius's design. At that time, the path did not lead around the building, but through the pergola and the Schwibbogen.
The water reservoir in the tower no longer exists, but the court gardener's house still contains official apartments. The court gardeners Friedrich Schojan and from 1853 August Gieseler lived here and took care of the maintenance of the property. The lapidarium has been located in the basement of the tower and in the steam engine house since the 1960s . This is where the stones from Glienicke's decorative architecture and items of equipment that have not (yet) been re-erected, but have been secured.
At the foot of the building complex there is a depression that is used today for the park economy and was used as a wooden yard at the time of Prince Carl . This was the tone of the brickworks that were abandoned in 1824 and supplied numerous bricks for the construction of important buildings, such as the Tegel Palace built by Schinkel for Wilhelm von Humboldt or the tower of the Luisenkirche in Charlottenburg designed by Schinkel . The peninsula with Prince Carl's dummy frigate served until 1824 as a landing stage for the shipping of the bricks and the delivery of the Rüdersdorfer stones for the lime distillery. But even after that, building materials and plants transported by water were landed here.
Section through the court gardener and machine house (Persius, around 1838)
Floor plan of the court gardener and machine house (Persius, around 1838)
A look-through arch between the water tower and the court gardener's house
Water tower with the shutters removed from the belvedere room
Pergola with almost overgrown view of the Jungfernsee
Hofgärtnerhaus, capital, annexed from the Berlin Palace
Gun bay
In addition to his antiquarian inclinations, Prince Carl displayed a certain playfulness throughout his life. In addition to enjoying the miniature fleet, this also included firing guns . This is documented both in the journal about Glienicke , where the gun salute is noted on every celebration and family birthday, as well as in historical descriptions, in which, for example, it says in 1846: “ We pass a small battery that has only the peaceful purpose here to send the cannon salute across the blue Havel mirror, or to return it when steamships greet the prince from there. "
In 1828 the prince received a three-pound cannon for a salute from the king on his birthday. It is not known whether this was the first gun that the Prince set up in Glienicke. Since it was a handy gun, it could also be used outside the gun bay. On the Meyer plans from 1845, three guns, oriented towards the Havel, are drawn on a largely planted hilltop north of the Hofgärtnerhaus. According to another report, the pipes were aimed at the fort-like water tower. Also on the Kraatz map from 1862 only three guns are mapped on the gun area.
The gun area played a key role on festive days. The birthday boy did not have to be present at the celebrations; a celebration was then given in his honor. In 1839, for example, Carl wrote to his father, who was in Teplitz for a cure , how his birthday party had been celebrated on August 3rd: “In the evening at ½ 10 o'clock in the evening, at the request of my children, I let a fireworks display, for which Major Dietrich from Spandau gave me a helpful hand . At Adalbert's suggestion, Prince August also allowed him to use the rockets, flares, etc. that had already been made for autumn, so that the whole thing got more ensemble. The end was my idea and it worked perfectly. That is, opposite the casino, where the fire works on the water looked delicious, I had your signature FW III on the land. Thirty feet high, and when it started to burn in the brilliant fire, a trumpeter choir on this side of the river sang 'Heil Dir im Siegerkranz' along with the very numerous crowd and as a bass, obligatory cannon shots in time. The whole thing was directed by [Adjutant] Job Witzleben, who thought it was impracticable and was only convinced of the opposite by a rehearsal, which I held in full tutti at noon. 101 cannon shots formed the worthy end, interrupted by the incessant shout of hurray from the many thousands on land and sea. I had also undertaken to illuminate the casino, the rotunda by the water and the main facade of my house along with the basin and lions, to which the fountain jumped like a heron bush, a completely new way. My whole garden was open to the beau monde and all acquaintances who made use of it en masse "
Prince Carl seems to have created a small collection of historical guns late. On October 23, 1868, the Journal noted: “ Today the large Danish gun which Se. Your Majesty the King poured von Spandau here. 118 pounds. “Most recently, there were nine historic pipes that adorned the gun area. It is possible that five of the pipes were spoils of war from the Franco-German War in 1871. Heinrich Wagener's description of 1882 also speaks for this: “ Let us now leave the immediate vicinity of the castle to take a hike through the wide park. First, a number of dismantled cannons draw our attention. Some of these, dating from the earliest days of gun manufacture, are forged iron guns, which have only historical value as representatives of a time long past. In contrast, the mighty bronze cannons, one of which is in the rich ornamentation of the Renaissance, speak of the victorious battles at Düppel in 1864 , in Bohemia in 1866 and in France in 1870 . Kaiser Wilhelm gave these guns to his brother, the General Feldzeugmeister and chief of the artillery. There is a Danish sentry box nearby. “With the historical guns, the prince also referred to his profession as a military man, yes, with the weapons that were captured , so to speak, he presented himself as a general that he never was.
The guns have been handed down from a photo by Wolfgang Sievers from 1934, on which they are lying on the lawn, so they were no longer erected. In 1935 the pipes that were still in place were moved to the newly built bastion near the Jägerhof. After the Second World War, they were allegedly transferred to the French Republic and the Kingdom of Denmark at the instigation of the American occupation forces. According to Harry Nehls, however, the cannons were buried in the bastion after 1945, where they are still supposed to be. However, Nehls does not give a source for this.
Erlenwiese and Alder Gorge
The design of the Ufer-Hühlenweg section contrasted with the Pleasureground . Gustav Meyer praised Prince Carl's Glienicker plants in 1860 in his “Textbook of beautiful garden art” and apparently particularly addresses the area of the Alder and Devil's Gorge as a contrast to the Pleasureground : “ The Pleasureground, kept in dignified calm and free of all gimmicks, is from small size, but so entertaining and so perfectly adapted to the castle and the surroundings, and so perfect in its details that it could hardly be surpassed in this regard. The same is the case with the park, in which several artificially created, highly picturesque earth formations in the form of rocky rain canyons, mountain lakes, and streams make the observer admire the mastery of their founder. "
Prince Carl had the southernmost of the three erosion channels in the steep bank designed extensively. In the east, along the drive, ran the depression of the Erlenwiese, which was mainly visible from the campsite. Carl decorated it with two small ponds and boulders. The small watercourse flowed to the south and then to the west into the rock-lined ravine, in which two small waterfalls visibly formed a visual and acoustic park animation from the Ufer-Höhenweg.
For the alder bridge leading over the gorge, Seiler assigned a surviving design by Persius to a billet bridge. Other such designs by Persius have been preserved. Obviously, the architectures made from billets were supposed to create an impression that was particularly close to nature. But it is also possible that they were designs for the Jägerhof area (sd).
The Alder Gorge was a particularly fragmented and planted complex. At the top, below the tent, was the alder meadow with a two-part pond adorned with boulders. It fed an artificial torrent that first flowed south and then turned west. Here was the actual gorge with two small waterfalls formed by boulders, over which the alder bridge spanned. Below the waterfalls, in the direction of Uferchaussee, there was a plain traversed by the meandering runoff brook, which, according to the Meyer park plan from 1845, was very differently planted. There were two small islands in the stream near the mouth of the water ditch along the Uferchaussee. There was also an island in the Chausseegraben, which flowed into the Jungfernsee under a Chausseebrücke (not preserved above ground). Two stairways led to this area from the Ufer-Höhenweg, which bridged the stream by means of a footbridge on stone formations.
Tree pulpit
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The nature-related architecture also included the tree pulpit, which is no longer in existence and is now marked by two benches. This wooden reconstruction of a very old pine tree is shown in all park plans from 1825 onwards and its precise shape is known from a painting by Julius Schoppe.
At an unknown point in time, Carl renamed this vantage point the “ Kaiserpinie ” in honor of his brother-in-law Tsar Nikolai I , who had become Tsar after the death of Alexei I on December 1, 1825. The pulpit thus became an important place of homage for Carl's most powerful relatives and thus the only clearly political monument in the park. It is still mapped on the Kraatz map from 1862 under the name " Kaiser- (Nik.) Pine ". It is not known when the pulpit disappeared.
In view of the Babelsberg Park , in which almost all the monuments have a political background, it is remarkable that the Glienicker Park has no patriotic motivated locations. At most, the historic cannon barrels acquired from 1868 on the Geschützplatz can be described as a political monument. With the monument cult that began after 1871, at least the naming of a vantage point as Kaiser Wilhelm Bank or the erection of a bust of the brother would have been expected. But there are no indications for this. It is currently not known by what or by whom the Victoria Bank, established between 1851 and 1862 in the Carpathians , was named.
(Oriental) tent
The tent, to which two connecting paths led from the Ufer-Höhenweg, was at a height on the drive . It was an octagonal structure made of fabric around a central wooden support. The model can be found in the master work by John Buonarotti Papworth, "Designs for Rural Residences", published in London in 1818.
Seiler suspects that the tent was made for the Charlottenburg Palace Gardens on behalf of the king, but was not erected there. Instead, King Prince Carl made the decorative architecture as an inauguration gift. Because in Glienicke the tent can be traced back to May 1824. Accordingly, it would be the earliest ornament that the prince would have added to the park. Even then, Prince Carl was designing beyond his park boundaries. In 1824 he wanted a line of sight from the tent to the Marble Palace, for which he had trees felled through Lenné's responsibility as gardening director in the area of Schwanenallee.
A pause drawing of the representation there attributed to Schinkel has been preserved. It has been assigned to Charlottenhof, but no such tent has ever been planned there. In contrast, Lenné's plans for the park at the Palais des Prinzen Albrecht on Berlin's Wilhelmstrasse show three tent projects and testify to the interest in such tent seats at the time.
As an ornamental architecture made largely of fabric, the tent had a short lifespan and will have been renewed regularly. On the lithographed park plan from 1862 the tent is entered under the name " Parasol ". There is a modern replica from 1985, but due to the risk of vandalism, it cannot be permanently installed at the original location, but rather found its main purpose as music protection at concerts in the castle area.
Devil's Bridge and Rock Pond
Of the many " Devil's Bridges " in Central Europe, the one over the Reuss near Andermatt was the most famous. As a single-arched stone construction, it led over a very narrow rocky gorge that formed one of the four Alpine passes. Here Napoleonic and Russian troops faced each other in 1799 and fought each other in a battle in which the bridge was badly damaged, was initially impassable and was only poorly supplemented later. It was not until the long period of 1820–1830 that a new stone bridge was built to the side of it, the construction of which Carl Blechen documented in a famous oil painting. Prince Carl took up a motif that was relevant at the time. Nevertheless, Seiler rightly pointed out that an artificial ruin bridge in the landscape garden was actually modern for the last time at the end of the 18th century.
Regardless of this, in 1837, Carl had Persius build a bridge in ruins that is unique in Potsdam's cultural landscape. The middle and deepest erosion channel was chosen as the location, which had already been excavated to form the gorge in 1824 . The gorge that exists here was made into a rocky cliff by piling up boulder blocks so that a waterfall can be experienced as a special attraction. In Prince Carl's time, the weir of the reservoir pond was opened by gardeners when high-ranking park visitors approached, so that impressive, if not terrifying, masses of water fell over the rocks for a short time.
August Kopisch explained the Devil's Gorge and its structural development in 1852: “ They tried to bring out the alpine nature, to create artificial stones from all kinds of materials, but finally came back and preferred a substructure with bricks and Rüdersdorfer stones and Roman cement, whereupon larger and smaller erratic blocks piled and layered until the desired effect was achieved really admirably. The waterfalls, especially when the larger lake is opened in the northern rift, are truly imposing due to their mightiness and natural truth, which is further increased by the approving plantings and the bold romantic bridges. "
On the lake side, the Devil's Bridge had jewelry in the form of a presumably historical statue, which is no longer known and is only preserved in the painting by Lompeck. The console and canopy are still present on the bridge or the pillar.
Above the Devil's Bridge, the drive leads over the watercourse with the Pottery Bridge, which was probably designed by Persius. From here you could see the "Devil's Gorge" and, to the east, the Felsenbach with its historic stone cross that feeds the waterfall. Here a narrow path branches off to the east, which leads to the reservoir pond of the waterfall, the rock pond. The pond was deliberately heavily planted to give it a hidden, somewhat mysterious character. It has an inlet designed as a rock stream, the artificial spring of which is accentuated by a large boulder on the path that leads past it.
A little to the side are the grave slabs of two horse graves. The prince's favorite horses as daily companions were not left to the skinner. The prince's favorite dogs were also buried in the park. The graves were not concentrated, but placed in different places in the park, where they formed sentimental staffage.
The Devil's Bridge was repaired to a certain extent in 1935 by removing the wooden components and replacing them with a brick structure. Since the late 1980s, the waterfall has been fed with run-through water in a modest but pragmatic way. In 2001–2007 the now so-called rock pond, the weir and the rock cliffs were fundamentally restored in terms of monument conservation. Restoring the original condition of the Teufelsbrücke turned out to be difficult even in the planning phase, since ruin bridges are not provided for in the German building code. After long preliminary planning, the garden monument preservation department was able to commission the dismantling of the bridge repair from 1935, which was completed in 2006.
In 2009 the newly restored Teufelsbrücke became a real ruin after heavy rains. The water washed under the foundation of the central pillar that broke out of the bridge. Amazingly, the bridge held up despite its very large span and was saved by the THW using a support structure. The Teufelsbrücke was supposed to be rebuilt in 2013/14, but this has not yet been done, as the foundations of the existing components also proved to be unsustainable. Currently (2017) the building administration and the state monuments office are negotiating ways to preserve the existing building during reconstruction or a completely new building.
Below the tent, the Ufer-Höhenweg had a lookout point. Before reaching the Devil's Bridge, a hidden stairway branched off, which led to a pulpit-like lookout point. From here you had a side, particularly striking view of the bridge and waterfall. Behind the Devil's Bridge a stairway branched off to the east to the Great Hunting Umbrella. In the further course, the Ufer-Höhenweg with the Hubertusbrücke crossed the gorge of the same name and ended near the Jägerhof in the connecting path from the Jägertor to the Drive .
Design for the Devil's Bridge on the waterside (Persius, around 1838)
Boulder above the artificial spring at the rock pond
Stacking of rocks at the outflow of the rock pond
Ruin of the artificial ruin, 2013
Horse graves
Terracotta parapet of the Pottery Bridge
Sailor house
An ascending path branches off from the drive to the northeast. Near this junction is the sailor's house, which, as it were, covers the path with a pergola. The house is located in the area of the Großer Wiesengrund, but architecturally it is not related to this, but to the drive to which it turns its main viewing side.
The sailor's house emerged from the single-storey wine master's house Dr. Mirows, whose vineyards were in the upper area of today's Großer Wiesengrund. Persius rebuilt the house in 1840 in the form of a small fabbrica for the sailors of the small princely fleet. This fleet was one of the prince's favorite toys. On the one hand, it served to visually enliven the Jungfernsee, and on the other hand, the water pleasure of the prince couple. A corresponding number of sailors had to be accommodated. The ground floor has two rooms, a black kitchen and four chambers. What was then on the newly listed upper floor, which is decorated with the Palladio motif , has not survived. Perhaps there were functional rooms on the ground floor and the upper floor, illuminated by the Palladian motif and five small arched windows each, served as a bedroom.
The house has a small tower, the top of which was designed in the form of a narwhal tooth and the dolphin on the top of the gable was also a maritime detail. There is a small pergola at the side of the house, a stable building was connected with two false pergolas. During the restoration after 1945, the stables and false pergolas were destroyed. On a photo from 1938 you can still see the ornate picket fence with which the small commercial property was enclosed. Presumably the other outbuildings of the park (gardener's house, farm yard and porter's houses) were also fenced off by such an estuary .
Sailor's house, floor plan and details (Persius, around 1840)
Draft for the sailor house, (Persius, around 1840)
Sailor's house (photo 1938, alienated representation)
Estaquet at the sailor's house, redrawing of the photo from 1938
Sailor's house, south facade
Pergola added over the drive in 1843
Jägerhof game
The Jägerhof part was created from 1841 on from the northernmost area of the Uferhöhenweg part and the adjacent northern area of the park extension, which had already been partially used by the Jägerhof and was certainly horticultural to some extent.
This northern part of the park should obviously be architecturally different from the rest of the park. In view of the numerous wooden architectures, in 1986 Seiler tried to characterize this type of park design with the term “hunter romance”. The “Large Hunting Umbrella”, which was designed as a hexagonal, semi-closed viewing hut made of billet wood, certainly belonged to this style level. From here you had a great view over the Jungfernsee to the Pfingstberg. The hunting umbrella is one of the few wooden architectures of Glienicke that has survived figuratively. Another is the shooting hut (see below), which was designed in an even more hunter-like manner. The Jägerhof is - although a solid building - with its thatched roofs and billet portico, a rural, picturesque park scenery, which, however, had an important function. In this respect, it is astonishing that no wooden fences, but iron invisible fences and ornate wrought iron bars were put in place at the Jägerhof .
Today this area is disturbed by the bastion that Julius Lippert had built here in 1935 and which the large hunting umbrella fell victim to. Lippert had some historic artillery set up here, which Carl had arranged on the cannon area near the Hofgärtnerhaus. Although it disrupts the historic park design, the bastion is now part of the park's heritage as a document of its history.
Prince Carl formed the Hubertus Gorge from the lower third erosion channel near the Jägerhof. It also had rock decorations but probably no artificial watercourse. About the Hubertusbrücke located here in the course of the Ufer-Höhenweg it says in 1846: “ A bridge made of tree trunks with a picturesque effect, on the middle of which stands a so-called shrine. “You could possibly assign a billet bridge design here, which with its wooden central supports is only conceivable for waterless ravines.
A little further north there was a bench near the shore with a view of the Pfaueninsel. This vantage point was decorated with a historic stone cross that has only survived in a very fragmented manner. Nearby was the “Moorlakebank”, which according to the Kraatz plan (referred to as “ Moorlaake umbrella ” in the legend under no. 42 ) was built across the path and, strangely enough, not as a wooden structure (black signature) but as a stone structure was mapped, so it was probably a brick arbor.
Jägerhof
While in Great Britain the par force hunt survived all fashions unbroken, in Prussia it had disappeared with the soldier king. Prince Carl operated a resuscitation, for which he bought a pack of " spotted bloodhounds " and put together piqueurs . Both were to be housed in a building in the north of Glienicke. There was the workers' family house from Hardenberg's time, from which Carl had taken over the lower and middle “hunting justice” .
Within a general England fashion, this hunting lodge should be designed in abstract styles of the English Gothic. These types of construction are likely to have been very present to Schinkel at the time due to his trip to England in 1826. The planning for the Jägerhof only went through a short but intensive phase of design. At the beginning there was a small-format design sketch that already shows all the essential architectural elements of the construction. The sketch could be assigned to both the Crown Prince and Prince Carl. It may explain why Schinkel did not publish the building as his own work.
There were a total of four planning phases, which differ less in the external appearance than in the layout. As the comparison between Plan I and IV shows, the family house from Hardenberg's time should first be preserved in its size. It seems to have shown, however, that the need for space could not be met. So the building was lengthened on both narrow sides and the half-timbered walls were massively renewed or sheathed.
The first draft was dated December 13, 1827, the last version of the plan was dated April 10, 1828. For the first draft - a diagram of Schinkel from the south-east - the architect wrote to the client: “ All the shapes Your Royal Highness wanted are as I hope attached in the system and Mr. Persius will easily be able to design the construction drawing afterwards. “So Schinkel designed the entire system in the form of a diagram and Persius had to take care of the detailed planning and construction.
The small complex consisted of a house for the piqueurs and an angularly connected component for the pack of dogs. In the residential building there were by no means only living spaces for the piqueurs. Rather, there was a room for dog food, rooms for bitches and sick dogs to be separated and a horse stable for six animals. The character of the Jägerhof was a commercial building, which apparently had no representative interior fittings. Persius carried out the construction in the summer and on November 19, 1828, the court marshal noted in the journal about Glienicke the arrival of the “ Pikörs ” and the pack of dogs. The Jägerhof should have been properly equipped with this. Via the gate to the stable, Prince Carl had, as a corruption of the motto of the British coat of arms, " Hony soit qui mal y panse " [French. panse = rumen, translated "the paunch"] let write.
To the west of the dog kennel, a laundry room was built later, which was already listed on the Kraatz plan, and at the end of the 19th century another horse stable was built north of the residential building. In the late 19th century, the Jägerhof was covered with slate, which made the gables, which were calculated on the strength of the thatched roof, disproportionate.
In 1934, town planner Benno Kühn built the Jägerhof into a hunting lodge for Julius Lippert. At that time, the Nachschinkel buildings were demolished and a wing corresponding to the dog pen was added to the north. In this way, the interior could also be approximated to Lippert's need for representation. In 1981 the two original parts of the Jägerhof got their thatched roof and the wooden portico again. The paths have not yet been restored in this area, which is why one is kept at a distance today, so to speak.
First draft for the residential building of the Jägerhof (Ludwig Persius, 1827/28)
Fourth draft for the Jägerhof residential building (Ludwig Persius, 1827/28)
Floor plan and elevation of the dog pen (Ludwig Persius, 1827/28)
View from the large hunting umbrella to the Jägerhof
Lattice gate at the Jägerhof
The rear of the Jägerhof with the portico from 1935
Shooting hut and bullet trap
In the meadow to the east of the Jägerhof, Persius built a wooden shooting hut in a somewhat primitive style around an oak in 1840. He published the romantic looking utility building in a very painterly drawing, apparently the small building was important to him. The pavilion looks quite theatrical to us today with the surrounding deer heads, the target frieze and the crown at the connection between the roof and the tree trunk. Whether it was carried out with these details remains uncertain, otherwise no historical view is known.
The original drawing of Persius' shooting range is dated January 1, 1840, so it seems to be due to a special occasion. The location of the shooting hut was already in the park extension area, which Prince Carl did not receive from the king until Christmas 1840. In this respect, the history of planning is a mystery. The drawing was published in the Architectural Sketchbook with the explanation: “Shooting hut, which was built in the forest [!] By Glienicke near the Jägerhof, and for which a beautiful oak, around which the little hut was built, marked the place. The whole thing is constructed from raw tree trunks and beautiful deer antlers and targets have been used for several decorations . "
From the shooting hut, two firing paths led to the east and south-east, as recorded in the Kraatz plan in 1862. The shorter track probably ended on a wooden wall, the longer on a solid brick bullet trap. Sievers still found the latter in his studies, which with its pointed arched portals had probably been built in the form of an artificial Gothic ruin. The time of construction and the architect of the small building are unknown. Only one photo of the already very reduced building from 1950 has been preserved in the State Monuments Office. Today the building has completely disappeared due to ongoing vandalism.
According to Sievers' description and the photo, it consisted of two walls at right angles to each other, which were connected by a round angled tower. This had two pointed arch portals with heavy, perhaps iron, lattice doors. Some cannon balls were built into the inner walls. Sievers found a walled-in historical memorial plaque in one of the walls, presumably there were other spolia in Prince Carl's time. In 1935, the shooting hut, which had already been greatly reduced, was dismantled and rebuilt nearby as a rain shelter and demolished after the Second World War.
Hunter gate
Persius continued the (new) Gothic style in Glienicke in some of the buildings he built around 1840. The Jägertor, which became necessary with the creation of the Uferchaussee around 1841, was designed accordingly in Gothic style with inserted spoilers. An exact date of construction is not known. The small structure was initially intended to have plastered ashlar facades, but it was designed as a brickwork structure. The gate passage, which today lacks the simple gate grids corresponding to the other gates, is formed by flat Tudor arches. The covering cross rib vault has similar styles.
There are two portals to the side, but they did not lead to any path, but were blocked by sculptures. In the design of the eastern doorway, a presumably historical wolf figure was drawn in, the exact shape of which has not been passed down.Perhaps a copy of one of the Molossian dogs (3rd century BC in the Florentine Uffizi and British Museum) was to be erected, such as this one at the same time found its place in front of the Berlin veterinary school . A Brandenburg coat of arms stone, which is dated 1618, was walled in above this portal. A late Gothic portal frame was walled in opposite. The moat ended at the Jägertor as a park boundary and a picket fence led to the boundary towards Moorlake.
Behind the Jägertor, visitors to the park come to the Krughorn , which is hardly noticeable today because it was largely dredged in 1935 for the benefit of shipping. In the 19th century, the Krughorn was a veritable headland from which the ferry to Sacrow ran, which made it very popular and well known in the Potsdam area. The Krughorn was one of the main vantage points in Potsdam's cultural landscape. As recently as 1927, those in favor of preservation had been able to prevail against the elimination of the “Sacrower Enge”, worried that “ the beautiful landscape would suffer as a result of the straightening. "
At the time of Prince Carl, one had a particularly beautiful view of the Potsdam cultural landscape from here, as one can only experience from a boat today. This view extended to the north to the Pfaueninsel with the main facade of the castle there and the Schweizerhaus. On the Glienicke side, the church of St. Peter and Paul on Nikolskoe , the sub-forestry Moorlake and the Jägertor framed the view.
On the Sacrower side, the Heilandskirche offered the most emphatic eye-catcher. But the tavern "Zum Doktor Faust", which was demolished in 1961 when the border barriers were installed and which Persius had built from the old ferry leaseholder in 1844, offered the closest and most defining architecture on the Krughorn. The two-storey three-part building was a flourishing inn due to the ferry traffic in Prince Carl's time. The Sacrow ferry also led to a very high volume of traffic on the Glienicker Uferchaussee, which is only available on Sundays these days. To the south of the Krughorn, the view was framed by the Villa Jacobs, the Pfingstberg-Belvedere, the dairy farm in the New Garden, the Villa Schöningen and the Glienicke Bridge. Today, of the rest of the Krughorn, only the Pfaueninsel buildings, the Heilandskirche and the Pfingstberg can be seen.
The entire extent of the Krughorn and all of the banks of the Havel River adjacent to the Uferchaussee belonged to the Glienicker Guts district, in the broadest sense of the word, to the park. The prince fought for this in 1876. This property right was left to him, but he now also had to take responsibility for uninvited floating debris. So the head forester asked the prince " kindly " to pay the burial costs of 15 marks advanced by the forest treasury for the " corpse of an unknown man washed up on July 17th [1876] not far from the steamship landing stage near the Moorlake ".
In this context, Schinkel's draft belongs to which Glienicke can only be attributed to a limited extent, but which belongs to Prince Carl. Schinkel published a pleasure house on the banks of the Havel near Potsdam in his “ Collection of Architectural Designs ” as early as 1826, without specifying a precise location. It was intended for the four royal sons, i.e. next to Prince Carl the Crown Prince, Prince Wilhelm and Albrecht, who was then seventeen. The construction never got to the further execution planning. Instead, the four brothers bought Sooneck Castle in the Middle Rhine Valley in 1834 , which they had rebuilt as a hunting lodge and used as common property.
In the “Collection of Architectural Drafts” Schinkel explains the design as follows: “ A pleasure house, which was supposed to fill a bare spot in the area in a picturesque way on a square on one of Potsdam's lakes; at the same time it was intended to unite the four participants in the building in the evening in the salon by the table, and to facilitate walks on the water from there. Surrounded by vine arbors and a small garden area all around, the enjoyment of the pleasant area that is overlooked from these arbors should be promoted in all kinds. Each of the four owners has their own reading room next to the salon, which can be accessed through the niches on the side of the room. The candelabra placed in front of these niches with a strong light flame for the evening illumination illuminate the salon and the four cabinets at the same time when their doors are opened. The stairs lead to the platform to look over the area from an even higher point of view. The small openings under the cornice are made for the draft under the metal roof, so that the heat which such a roof generates when the sun burns on it is kept from the rooms. The gardener's apartment, who is also a supervisor, is furnished in the substructure of the building. A small poultry yard, in which foreign poultry is kept, set up along one front of the building, should give the facility a little more interest. "
Part of the Carpathians
The north-eastern part of the park between Nikolskoer Weg and the way to Moorlake was acquired in 1851 and expanded by two small areas in 1857/58. It was forest areas that slope steeply from Nikolskoer Weg towards Moorlake, and they are furrowed by three parallel erosion channels. A fourth erosion channel ran in a north-westerly direction.
The development turned out to be correspondingly difficult, since the paths should not only be traveled on foot but also safely by carriage and therefore a certain gradient could not be exceeded. The paths were laid out in a serpentine manner, which appears in the park plans as closely parallel routes. The name probably meant a particularly remote, barren mountain world, but no historical notes are known. Significantly, Switzerland was not discussed here, following on from the Moorlake forester's house, which was built in 1841, but on the Böttcherberg with the Swiss houses there. Presumably, the area was too remote in terms of traffic to be able to accommodate summer visitors in buildings on northern slopes. It wasn't until 1875 that the sub-forestry was rededicated as an inn.
Today, the planting consists almost exclusively of tall beech trees, which were probably not present when the forest parcels were purchased, but were first planted by Carl. There were clearings here too, for example below the Victoria bench. Apart from the turbulent topography, the adventure value of this part has been completely lost, today it is a beech forest.
Small architectures
The appearance of this part of the park has not been passed down from views from Prince Carl's time. The forest character undoubtedly predominated, but was certainly accentuated with plantings, clearings and wooden architecture, of which we only know the name. The “ Karpathenthal ” and the “ Karpathen-Schirm ” are recorded in the legend of the Kraatz plan, but strangely enough not on the map itself. This means that it is currently not possible to localize them. Only a stone arch bridge has survived, which leads the road over an erosion channel and is a modest eye-catcher from Nikolskoer Weg.
The Victoriabank, which was built between 1851 and 1862, has come down to us from the Kraatz plan as a further vantage point. No historical representation of the view from this bank is known, but the view must be charming over the Moorlake sub-forestry and the Havel, the Meedehorn to the heights at Kladow . Heinrich Wagener describes this in 1882: " One of the most beautiful vantage points in the Mark, perhaps in Northern Germany at all, is the view from and through from the" White Bank "and the" Victoria Bank "." The latter was only added a few years ago the deforestation of a mountain slope, when you only discovered the wonderfully unobstructed view over the water surfaces at the Pfaueninsel to Cladow and Spandau and the Grunewald. "
The function of the " Monte Lucchesini ", which is listed in the Kraatz plan as one of the park attractions, is unknown . It is a hilltop directly north of the wildlife park, which was the highest point in the park. To the west of this hill is an erosion channel that descends steeply to the northwest as far as the drive and whose spacious clearing Prince Carl subsequently entered or scratched in his hand copy of the Kraatz plan. Perhaps this was the " Carpathian Valley ". Thus, the “ Monte Lucchesini ” or the path that leads directly to the west must have been a special vantage point.
Wildlife park gate
Another gate with a gatehouse belongs to this park extension, which was probably built by v. Arnim was erected. As a yellow exposed brick building, it is, like the Obertor, a modest but ornate architecture, which, however, has a tower that was lower in the published design than it is today. In the design, the tower floor was not accessible, but the upper floor of the tower, which was then designed with large, somewhat disproportionate arched windows, was possibly an important vantage point.
The house with a basement contained only a living room with a bay window and a kitchen on the main floor and a bedroom above. In addition to the tower, the architectural charm is provided by the entrance loggia, the bay window and a covered bench. This makes the house very typical of the Potsdam architecture of that time, which managed to convey the impression of a villa to the outside, where actually only a small residential building existed. That v. Arnim did not publish the house with the completed upper floor of the tower, points out that it goes back not to his, but to Prince Carl's architectural ideas.
The gate was named as a wildlife park gate and also has the actual gate. This is set back far from the Nikolskoer Weg by swinging tongue walls. One of the few parking spaces has been preserved north of the wildlife park gate. It belongs to the aforementioned, long and formerly horticultural designed erosion channel, which leads from Monte Lucchesini to the northwest.
Deer bays, game park and menagerie
The journal tells us that Prince Carl initially created deer bays and later owned a wildlife park that was relocated several times. The deer bays have not yet been localized , especially since the question of a drinking trough arises with them, for which only the “shepherd's pond” comes into question in the park extension.
Since gates were commonly named after what was outside of them (see Brandenburger Tor Berlin, Berliner Tor Potsdam), it must be assumed that the princely wildlife park was relocated to the area of the Finkenberg adjoining the park in the middle of the 19th century . There is also the question of a potion. The design of these topographically attractive areas, which Lenné had already planned for the expansion of the Glienicke plants in 1831 in his major expansion plan, has not yet been researched. On the Kraatz map from 1862, outside the park boundary, “ Wildgehäge Sr. Königl. Your Highness ". Today's Nikolskoer Weg was not a public road at that time, but a princely road connection controlled by the Obertor, which was open to the residents of the village of Klein Glienicke for Sunday worship services on Nikolskoe .
As early as November 28, 1833, the journal noted on the telegraph (Station III of the Berlin-Koblenz optical telegraph line on the Schäferberg ) that the new paths had been laid, but the plantings had not yet taken place. This shows that the forest around the Schäferberg between Glienicker Park and the Pfaueninselchaussee, which was laid out in 1838, was artistically designed. However, this has not yet been investigated. In any case, there must have been a forester's house far outside of today's park in the “ prinzlichen game park ” on today's Pfaueninselchaussee, because the journal notes that the prince gave this “ hunter's house [the name] Wildmeisterei zu Klein Glienicke ”, built in 1857 . The keeping of game was very important to Carl, as various entries in the journal show, which of course also document the hunting activities in Glienicke and the surrounding area. In this regard, Seiler refers to Carl's passion for collecting.
There are also references to buildings for ornamental animals in the vicinity of the castle , but they probably did not form a proper menagerie. The Journal reported in 1863 the death of a pair of flamingos. A delightful canary bird house based on a design by Arnims has been published, for which it is not known whether it was actually built. However, since it was published on a second sheet with a floor plan and construction details, it stands to reason that the location of Glienicker Park was not just a sample draft.
Part of the eastern park extension
At Christmas 1840, Prince Carl received a large forest area from the king to the east of his previous park as a gift, or, to be more precise, for " factual possession ", i.e. left for permanent use, which almost doubled the park area. This area was already covered by trees, but, according to the few surviving photo documents, made a rather barren impression. Here, clearings, pre-planting and inter-planting were used, of which little can be seen today. The area has not yet been explored in detail in terms of its garden design.
This parking area is - in terms of design - in a deplorable condition. Maintenance measures have been limited to felling overaged trees since the 1930s. But historically accurate replanting or the uncovering of overgrown parking spaces did not take place. There is no longer any differentiation between tree planting and bush planting. The road network is very damaged and side roads are partly lost in vegetation. Very disturbing is the game reserve, which means the drive in parts flanked by chain-link fence. This fence was also positioned on the Ost drive with a remarkably lacking aesthetic feel. In view of the size of the neighboring Düppeler Forest, it is difficult to see why a game reserve should be part of the world cultural heritage.
According to the Kraatz plan, this part of the park must have been designed to be very eventful. Here, however, the attraction was not so much buildings as artfully decorated topographical features. Compared to the formerly very small-scale part of the Ufer-Höhenweg, which was based on the Jungfernsee, the eastern park extension was designed to be more spacious. The recovery of this part of the park should be given more attention in the coming decades, because with the continuous loss of the trees planted by Prince Carl, this area loses the last charms of a park design.
Some watercolors by Julius Hennicke have come down to us from this part of the park, which show an astonishing wealth of views with still very little developed plants. Thus, the pictures appear bare, especially since they show no frame and no middle ground. In 1843 the king criticized Persius that there were too many inspections in Carl's new facilities; today there is not a single one left.
The main vantage points of this park extension were the Borkbank (also Birkenbank) and the White Bank, both of which are located on the large western curve of the eastern drive on the edge of the slope. These places are still easy to find today, but their prospect value is lost. From both places, however, a historical watercolor of the view by Julius Hennicke has been handed down. Hermann Jäger wrote about this in 1882: " One of the most beautiful vantage points in the Mark, perhaps in Northern Germany at all, is the view from the" white bench "from the distance and through. " From here one looked at the Eichwiese and had a distant view to the south over the Griebnitzsee to the Nuthetal plain. From the nearby Borkbank you could see, among other things, the Adjutantental and Mariental and had a distant view of Potsdam. There was also a vantage point east of the pond for a view of the Hirtental, but this certainly did not allow a distant view due to the low location.
Valleys
A characteristic of the topography of the park extension area are four valleys. The southernmost one contained a natural pond and was named "Riecks Fenn" after the previous owner. The other three valleys remained dry, but underwent a transformation in that their bottom was leveled like a lake. Visually, however, the four valleys are unlikely to have differed, as the shepherd's pond is a stagnant body of water that is completely covered by duckweed in summer . Prince Carl probably took the inspiration for this design, which does not appear in Lenné's work, from Pückler's “Hints on Landscape Gardening”. These valleys were named as "Eichwiese", "Mariental", "Adjutantental" and that with a pond as "Valley of the Lonely Shepherd" or "Hirtental".
The expansion areas were developed very evenly by paths. The constant interlocking of meadows as a characteristic of Lenné's design can hardly be found here. Seiler states that there was a consistent and not particularly ingenious route along the edges of the slopes, which meant that the distant views were easy to reach. As far as you can see, when designing the park extension areas, Prince Carl attached great importance to a special design of the paths. The paths were partly laid in erosion hollows and then turned into ravines by means of earthworks. For example, the path from the shepherd's pond to the Obertor gatehouse. Here, the edges of the path are now framed by ugly plinth walls made of cubic granite paving stones. It is currently not known how these roadsides were supported in Prince Carl's time.
Other sections of the route were led over hilltops or along the edges of slopes and received small selective terraces. In the interplay, this leads to a more dramatic than comfortable route, which is hardly noticeable today due to the dense vegetation. This design method is alien to Lenné's garden art and characterizes Carl's design principles.
A peculiar characteristic of the Glienicke park design by Prince Carl is the decoration made from boulders. Although there are hundreds of them in the park, they are little noticed today, as many of them have grown into the wood. They are mapped out as red spots in the lithographed Kraatz plan. Prince Carl added further boulders to his hand copy of the plan. So, to a certain extent, he was aware of them as individuals. If they came from the area, they were examined by the prince before they were bought. In the journal there are corresponding entries such as “ On June 13, 1831, the prince rode to Gütergotz with the inspector Ritter to inspect a granite block that Ritter had found and excavated. “Accordingly, the boulders were by no means unloaded at the edge of the road in the park , but rather fitted precisely to the topography. In many cases they formed the precisely composed point of view of a visual axis in the middle of a group of trees. A well-formed and cleverly positioned rock must have given Prince Carl a high level of aesthetic pleasure. This as yet unexplored design method can not be found in any other Potsdam park.
After the Second World War, part of this park area was permanently inaccessible to walkers due to the creation of an extensive game reserve. The Mariental and the Eichwiese can therefore only be guessed at from a distance. Only the trees are left of the plantings due to game browsing, which makes the area east of the Roman Bank appear particularly bare. Since the buildings located here were wooden constructions, they were no longer available before the Second World War.
Northeast gatehouse / hermitage
After the park was expanded, two new park gates were created, one at the junction of Nikolskoer Weg from Berlin-Potsdamer Chaussee (so-called Obertor) and one in the northeast by the forest, the name of which is no longer passed down. The latter led through the forest to the newly built forester's house Moorlake and to Nikolskoe. The Peter and Paul Church on Nikolskoe, completed in 1838, was used by the princes to attend services on Sundays. In the course of this newly created road a stone bridge was built, which has been in the "Carpathian" part of the park since the park was expanded in 1859. In 2016 this bridge was restored.
The small porter's house at this gate has been preserved under the name " Hermitage ". Apparently, in relation to Nikolskoe, it received the appearance of a log house. The time of construction and the architect of this house, which is now very reduced in structural details, have not been passed down, but it is likely that it was built by Persius around 1842.
It is not known what function the small building had as a " hermitage " from 1851 . Possibly it served as a weatherproof viewing pavilion like the large hunting umbrella, Moorlakeschirm and Carpathian umbrella, which the disproportionately large portal could indicate. To the west - towards the Drive - the hermitage had a canopy, a reference to a lookout point. To the south, an erosion channel, kept free by trees, extends from the hermitage to a meadow. Since there was no path along here, a visual axis can be assumed.
Unterforsterei / Wirtshaus Moorlake
In 1841 Ludwig Persius built the princely sub- forestry Moorlake in the form of a Swiss house, or Bavarian house, on the idyllic Havel bay. As in many buildings in the Potsdam park landscape, there was a tea room on the upper floor, which was reserved for the princely family. To this end, the journal reported that on July 14, 1841, the princely gentlemen for the first time consumed " tea in the new forester's house on the way to Pfaueninsel ".
The building was designed very simply in the details and has similarities with the larger Bavarian house in the Potsdam Wildlife Park, which Ludwig Ferdinand Hesse built in 1847 on behalf of the king. The sub-forestry Moorlake was also only published after Persius' death in the Architectural Sketchbook 1852, Book 1. There it is stated that “ in the background of a bay a hunter's house [...] was built according to plans by Persius in the manner of Swiss houses in a block formation ”.
In terms of traffic, the sub-forestry department was gradually connected. The Uferchaussee, which was supposed to connect the Glienicker Bridge with the Sacrow ferry and the Pfaueninsel, was built in 1841 from the bridge to Moorlake and only continued to the Pfaueninsel from autumn 1842 to spring 1843.
Allegedly, the building was used as a restaurant as early as 1875. After Prince Carl's death, the sub-forestry was in royal possession. In 1896 it was leased and the tenant then had a hall built to the north. The property, now known as the “Wirtshaus Moorlake”, quickly developed into a popular excursion restaurant. The tea room on the upper floor was reserved for the royal family until the fall of the Hohenzollern monarchy. Here, too, of course, the traffic of the Sacrow ferry had an impact, from which the sub-forestry department could be reached in a few minutes. In a way, the Moorlake tavern was the gastronomic counterpart to the “Dr. Faust ”in Sacrow.
Today's Gasthaus Moorlake, with its preserved outbuildings, is a particularly high-quality document of the developing Berlin city tourism in the Potsdam area.
Obertor gatehouse
It was not until 1849, at the same time as the porter's house at the Johannitertor, that a new porter's house based on a design by Ferdinand v. Was built on the Obertor as the south-eastern corner of the Glienicke complex. Arnim erected. It is a simple yellow brick building in the form of a small country house with red brick structure. The entrance to the drive was west of the porter's house.
The building, which does not have a basement, is architecturally pleasing, like the Wildpark gatekeeper's house, but more compact and rational. The main decorations are the small corner loggia at the entrance and the bay window on the half-octagon floor plan. Otherwise, only the apparent pergola with built-in bench, the round fields in are as Gliederungselemente jamb and the three-arched window in the gable and the Peaks to First and Traufpunkten to name. The interior only contained a living room with the panoramic bay window and a bedroom above it. The published floor plan does not show a kitchen, but a small stable building is attached to the north. At the end of the 19th century the house was extended to the north.
In the 1930s the road was dug up and moved a little to the south. In addition, the confluence of the Nikolskoer Weg was relocated to the east and dug into the area there. The Glienicker Park was enlarged a bit, but the Obertor was deprived of its function and the actual gate was consequently removed. Similar to the game park gate, it consisted of brick walls with pillars crowned by iron tenons and simple iron grating gate wings.
Since the road works in the 1930s, the gatehouse, which was formerly located directly on the Chaussee, has grown into the park. In the past, the ornate house with its charming details was the eye-catching architectural cornerstone of the park, to a certain extent the counterpart of the much better quality rotunda on the Glienicke Bridge. This task should be given to the small building again by means of artistic lighting of the wild, tall wooded stands and the gate pillars should also be restored as an architectural moment of improvement. In addition, it would be desirable if the Glienicker Park had a recognizable, direct access here again, because this part of the park is currently the most remote and overgrown part of the park, which also hardly contains any historical paths.
Böttcherbergpark
The Böttcherberg south of Berlin-Potsdamer Chaussee has belonged to the Glienicker Gut since 1804 and was expanded in 1832 and 1841 by marginal strips to its present size. The hill, 66 meters above sea level, is topographically particularly richly structured by clay mining and erosion. A particularly spacious gorge extends from the hilltop to the southwest in the direction of the hunting lodge. In the horticultural design, which essentially took place only after 1841, Prince Carl accentuated a mountainous character with boulders and artificial rock formations made of limestone, bricks and concrete.
As a topographically almost free-standing massif , it offered itself to offer visual axes in all directions from various points. This was the peculiarity of the Böttcherberg Park compared to the other parts of the Glienicker Park. Both the magnificent building of the hunting lodge and the sober wooden structure of Station III of the Berlin-Koblenz Optical Telegraph on the Schäferberg were certainly focal points.
For a long time, this park area was intended as a location for a prince's palace , which was intended to complement the comparatively modest rooms in the palace . Already on Lenné's "situation plan" from 1831 a fort-like building was entered near the current roundabout. Various designs for castle-like locks have survived from the 1840s that were never realized. Instead, Prince Carl and his brothers acquired Sooneck Castle on the Rhine. The additional space required for Glienicke was covered much later by the construction of a hunting lodge and restoration (see below)
The Böttcherbergpark was separately fenced and had three entrances: each opposite the middle and the upper gate, and in the south in the direction of the Babelsberg park, which was laid out in 1833, the Griebnitztor with its picturesque gatehouse. This connected the Böttcherbergpark to the drive north of the Chaussee when driving around the park . The two gates on the Chaussee were removed when the Chaussee was expanded in 1939. Sievers describes it as a double-winged iron grating between wall pillars, the cover plate of which was crowned by a pin-like iron spike.
After the Swiss houses were built, the old southern park boundary was lifted and the Bäke Canal acted as the new boundary. The Parkstrasse (today Louis-Nathan-Allee), which was laid out to develop the Swiss houses, received simple lattice gates at both ends. The paths in the south of the Böttcherbergpark were connected to Parkstrasse.
The Böttcherbergpark also has design elements from Lennés as well as from Pückler's garden art. Typical for Lenné is the roundabout near the Chaussee. The roundabout was one of the two main vantage points of the Böttcherberg with a fan view , which is also offered from Sacrow Castle. From the roundabout - a circular square surrounded by trees - you had great views to the north of the park and over the Jungfernsee to the distant Weißen See and Krampnitzsee. The second main vantage point of the Böttcherberg was the Alexandrabank, in the place of which the Loggia Alexandra was later built. From here you could see the Griebnitzsee, east past Babelsberg into the Nuthetal and south-west towards the Jagdschloss and Potsdam .
In the garden design of the lower-lying southern areas of the Böttcherbergpark, the adjacent Swiss houses were certainly included with visual axes in the parking spaces. However, only rudimentary information is available on this, as the details of the plantings on the Kraatz plan were recorded before the Swiss houses were built.
Every year on October 18, the Battle of the Nations near Leipzig was commemorated on the Böttcherberg, for example the journal entry in 1868 reads : “[...] a bonfire was lit on the Böttcherberg at 7½ o'clock as every year. “It is not known where the fireplace was, but it will have been a raised place like the Alexandrabank or the roundabout so that the glow of the fire could be seen from afar.
The completely forested gardens of the Böttcherberg have been gradually restored under the leadership of the Berlin Garden Monument Conservation since the mid-1980s. As a result, the basic structure of Prince Carl's design is recognizable again today, in which clearings alternate with closed groups of trees. Nevertheless, large areas of the area are still more forest-like than originally intended. The shape of the roundabout is only recognizable to the knowledgeable and its distant views have not yet been cleared. Hennicke's watercolor tells of the view that was once offered from here to the water tower of the court gardener's and machine house.
Prince Carl paid particular attention to the design of the driveway from the Mitteltor to the Griebnitztor, as this was the direct connection to the Babelsberger Park. Probably in relation to the fact that Babelsberg was even more mountainous than Glienicke, Carl designed artificial rock formations on this driveway. This was done with Rüdersdorfer limestone and with concrete overmolding of brick walls. In doing so, Carl was able to fall back on the experiences Kopisch described during the construction of the waterfall at the Teufelsbrücke (see below). In the middle of the route, these formations simulated a path cut that was supposed to evoke an alpine character. This theatrical design is unique in Potsdam and is not found in either Lenné's or Pückler's art.
Sometimes the repair work leads to designs that appear absurd. Since the overgrowth was cleared from the artificial rocks, they have tempted park visitors to climb. Since this posed the risk of accidents and damaged the rocks , they were fenced in, making them look as if they were locked in an enclosure . (Photo see below under Loggia Alexandra)
Griebnitz gate
The gatehouse at the southern entrance was built by Persius in 1844 and stylistically corresponded to the buildings of the Potsdam Wildlife Park that were built at the same time. According to the posthumous publication in the “ Architectural Sketchbook ” in 1852, the Griebnitztor gatehouse was a particularly picturesque complex, which with its round bay window, loggia, pergola and bell tower at the actual gate represented the abbreviation of a Potsdam villa. Eggeling questioned Persius' authorship, especially since the latter did not publish the remarkable building during his lifetime.
The building was monumentalized by a basement-like basement floor, which is why there was a staircase in the loggia to the main floor. The upper floor, which is barely windowed, can only have contained bedrooms. As with the other porter's houses, the living room had a panoramic bay window. As a special feature, a pergola called a " veranda " connected to the living room to the west , from which a flight of stairs led into the garden.
According to the description, Sievers found the house in the form published in 1852 during his studies, but not shown it as a photo. Strangely, the Griebnitztor was not located on the property of the Böttcherbergpark, but on a property belonging to Carl and adjoining it south. Therefore it will have been destroyed by 1961 at the latest when the GDR border barriers were built. So far not a single historical photograph of the picturesque building has become known.
In the long term, it would be important that instead of the porter's house, a building in the cubature of the historic building is built and a gate is also built so that an architectural landmark again exists on the southern border of Glienicker Park opposite Babelsberger Park.
Jägerhaus (Unterforsterei Klein-Glienicke)
At the same time as the Moorlake sub-forestry, the Klein-Glienicke sub-forestry was built in 1840 according to Persius' design. The house belonged to Carl's diverse real estate holdings, but in its neo-Gothic style it was probably related to the Babelsberg buildings. It is relatively original.
The house was positioned in the axis of the southern runway of the Barockallee so as not to obstruct the view from the hunting lodge of the Griebnitzsee. It was published together with the gatehouse on one sheet in the “ Architectural Sketchbook ” in 1852, also after Persius' death. It is listed and named on the Kraatz plan, but not mentioned in the journal . Sievers did not include it in his Glienicker considerations, even though it was only a few meters away from the gatehouse. Perhaps he (who did not know the Kraatz Plan) was not aware that he belonged to Glienicke.
Nothing has been handed down about a function other than forest management, but according to the floor plan published in 1852, the house had a comparatively extensive and very differentiated spatial program. One room is even designated as a " pantry ". The " living room " - as in the porter's houses with a panoramic bay window - was remarkably not oriented towards the Griebnitzsee, but towards the hunting lodge. It has not been researched whether here - as in the Moorlake sub-forestry - the main room was open to the royal lords.
Loggia Alexandra
Various designs for a prince's castle have been preserved for the Böttcherberg, which was also entered in Lenné's expansion plan from 1831, but was never implemented. Instead, the Loggia Alexandra was built on the Böttcherberg instead of the Alexandrabank in 1869/70 by Petzholtz and Alexander Gilli in memory of their sister Charlotte (Tsarina Alexandra Feodorowna) who died in 1860 .
Ferdinand von Arnim had already delivered a first draft . The monumental and almost mausoleum-like design was not carried out due to Arnim's death in 1866. Instead, the court sculptor Gilli designed a more pleasing Renaissance architecture. According to the journal entry , Prince Carl determined the construction site with Gilli on October 6, 1868. As the first use, the first time drinking tea " in the newly built loggia " on July 14, 1870 is noted in the journal .
The semicircular inner wall of the three-arched pavilion was magnificently painted according to Gillis's design, adorned with a bust of the tsarina and crowned by a viewing terrace. In the design, antique spoilers are placed along the walls of the loggia. However, it is not known whether there were ever any antiquities here. According to the Journal, a marble bust of the tsarina was placed in the loggia on May 29, 1873.
Malve von Rothkirch suggested the actually very similar loggia of the Villa Borsig in Moabit, built by Heinrich Strack from 1868 to 1870, as a possible architectural model for the Loggia Alexandra , but no direct relationships between the buildings could be determined. Only the fact that Strack led the expansion of Babelsberg Castle could indicate a relationship.
The loggia is, so to speak, an architectural Janus head . While the front side is lavishly decorated in neo-renaissance forms, the opposite side, with its strong structural plasticity with complete lack of decoration and the use of light gray bricks, forms a castle-like accent to the path leading from the upper gate around the building. Presumably this should create a surprise element. Possibly there was a visual connection from the loggia to the Karlsturm, built in 1870 and eleven kilometers away on the " Karlsberg " now named after him above the Baumgarten Bridge near Geltow.
In 1978 the Loggia Alexandra was badly damaged by constant vandalism. A repair was not carried out because a move to the park north of Berlin-Potsdamer Chaussee had been considered since the 1930s. During his studies, Sievers found the pavilion in a desolate condition and looted. The bust of the tsarina had also disappeared by then. After a thorough repair in the 1980s with the addition of the paintings by Manfred Blessmann, the loggia had to be completely barred for protection. In a further restoration, the wall paintings were brought back to their original color and in 2001 they were glazed.
Draft for the Loggia Alexandra (Ferdinand von Arnim, before 1866)
Alexander Gilli: Draft for the Loggia Alexandra
Portal framing in the Loggia Alexandra
Oblique view of the facade of the Loggia Alexandra
Overgrown artificial rocks at the foot of the gorge under the loggia
The same rocks fenced in (2015)
Swiss house part and workers' house
With the illness of Friedrich Wilhelm IV. And the assumption of government by Prince Wilhelm in 1858, Babelsberg gained political importance. After Wilhelm was crowned King of Prussia in 1861, Babelsberg Park was expanded and the palace was expanded by Heinrich Strack . The Babelsberg Park became correspondingly interesting for the prince's court in Glienicke, which it served as an extension of its own park. That is why in those years the zone between the two parks - that is, the area of the village of Klein-Glienicke - had to be designed to be attractive. With this in mind, Carl made many property purchases around the Böttcherberg.
To the north of the Bäke Canal, on the old Dorfstrasse (Wilhelm-Leuschner-Strasse), the only land that was not owned by Prince Carl was the rectory, the cemetery and the orphanage built by Carl (see below). This is mapped on the Kraatz map as an uncolored area within the parking areas. South of the Bäke Canal, along the baroque landscape avenue, the land remained in private ownership. The houses located there gradually changed into a country house quarter in the course of the developing tourism. Bürgershof was also established there as the most important and supra-regionally important excursion restaurant.
On the newly acquired land south and west of the Böttcherbergpark, Prince Carl had eight Swiss-style houses built by Ferdinand von Arnim from 1863–1867 . Although these very picturesque buildings also served as accessories for the park landscape, they were supposed to have an economic function as they were intended as rental properties. As renting turned out to be difficult, the Swiss houses were ultimately mostly inhabited by court employees.
The Swiss fashion originated in the 18th century, which used exotic styles such as oriental, Tahitian and Gothic in gardening . Jean-Jacques Rousseau's epistle novel Julie ou la nouvelle Héloïse , published in 1761, had a resounding success all over Europe and established the cliché of Switzerland as an original landscape with uneducated inhabitants who had natural morality, an education in the heart and, surprisingly, also an ancient philological education. In the German-speaking world, this cliché was continued in 1816 by Heinrich Clauren with his novel Mimili . In this novel, the Julie theme was trivialized as a love story between a Prussian soldier and a girl from the Bernese Oberland and was received enthusiastically by the audience anyway - or perhaps because of it. Hermann Adam von Kamp continued this success story in 1830 with Adelaide, the girl from the Alps .
Switzerland now became a real fashion, which was particularly reflected in the renaming of mountainous landscapes in Europe as Switzerland . In the course of Switzerland becoming a nation in 1848, scientific publications on Swiss agricultural art emerged, which architects took up with interest. Prince Carl is also likely to have gained inspiration for his Glienicker building projects through such publications. In 1861, however, he may have studied such houses in the original during his stay in Switzerland.
The Glienicker Schweizerhäuser were solid buildings with natural stone clad bases, the upper floors of which were clad in wood. External stairs led to the upper floors, and in the larger houses there were also internal stairs. Architecturally, these buildings were complex and expensive. After the completion of the first house, castle inspector Bachmann complained in one of the traditional letters to the castellan Ritter on December 14, 1863: “ The remaining sums, including for the finished Swiss house, are very cute and vary between 7 and 8 mille Thaler, while I [... ] heard that the Schweizerhaus (or any Schweizerhaus) would not cost 9000 Reichsthaler but only 900 Reichsthaler! - How easy it is to guess only one zero! "
But Prince Carl was not deterred by financial bottlenecks at that time. As early as October 23, the Journal noted that he “decided today with Mr. Arnim the Swiss houses construction sites to be built for the new building in the spring. "
The interior of the houses was divided into apartments, usually two apartments per floor with a living room, chambers and kitchen. These apartments were apparently furnished, because a newspaper advertisement for renting said: “ In the newly built, romantically situated Swiss houses in Klein Glienicke near Potsdam, there are still some elegantly furnished apartments to rent. More details from the Inspector Ritter there. "
As far as the surviving maps can be seen, the Böttcherbergpark was not separated from the Schweizerhauspartie. Rather, the Bäke Canal served as the new park boundary in the south, and the park road necessary to develop the Swiss houses had to be blocked at both ends by a gate. In the land registry, the Swiss houses were not added to the park, so that they were not part of the manor district, which was incorporated into Berlin in 1920. Therefore, the Berlin Wall ran in this area from 1961 , for which four Swiss houses were demolished.
The northernmost house near Königstrasse at the cemetery, which appears to be stylistically similar, is not a Swiss house, but a workers' house for the Glienicker complex with eight apartments. It was created in 1873/74 based on a design by Ernst Petzholtz and is typologically interesting because its floor plan shows the typical minimized room-chamber-chamber apartment floor plans of early tenement construction.
Prince Carl had also acquired the property north of the workers' house and had it landscaped. It is recorded on the park map shown by Hermann Jäger as an integral part of the Böttcherberg park. But like the other properties bordering the old border of the Böttcherberg, it was never administratively added to the park. After Prince Carl's death, this property was rededicated to expand the cemetery.
Prince Carl's miniature village ensemble represents an extraordinary assembly within the Swiss architecture fashion that was widespread at the time. The special thing about the Glienicke Swiss houses is that not only picturesque details were adopted from Swiss houses. At the time, it was common to decorate modern construction projects, such as train stations, hotels and excursion restaurants in the Swiss house style, which was completely inappropriate for them. Prince Carl, however, had houses built that are astonishingly faithful to the Swiss type of chalet . The buildings that still exist are therefore among the particularly high-quality architecture of Glienicke Park.
Ernst Petzholtz , whose brother was pastor of the parish of Pfaueninsel, Nikolskoe and Klein-Glienicke, provided a chapel design in the Swiss style to round off the village ensemble, but unfortunately this was not realized. Prince Carl had no share in the neo-Gothic chapel in Klein-Glienicke , which was later built by Persius' son Reinhold . His church was St. Peter and Paul on Nikolskoe , to which he had a reference mentioned again and again in the journal through his birthday, Peter and Paul Day . He had a crypt built for his family under St. Peter and Paul. He left the construction of the toy-like Glienicker Chapel (based on a design by Reinhold Persius ) to his brother Wilhelm and his wife Augusta. The rather small plot of land for this was donated by Prince Carl, who also owned all of the adjoining plots except for the rectory.
Despite the loss of a few Swiss houses as a result of the construction of the Berlin Wall , the ensemble is still recognizable as such. A modern settlement of the area of the Swiss houses would be a great damage for the Potsdam cultural landscape, because then a structural barrier would be pushed between the parks of Glienicke and Babelsberg. Unfortunately, such mind games have even been designed to be implemented within the renowned "Schinkel Competition".
So far, the preservation of monuments has been able to prevent such efforts in the expansion areas of the World Heritage and adjacent areas. Recently, instead of the demolished Swiss houses, new buildings were built with modern building materials in the cubature of the historic houses. In comparison with the buildings that have been preserved, it is striking how strongly the Swiss style is determined by the wooden trim.
Schweizerhaus 1 (published by Arnim)
Schweizerhaus 2 (published by Arnim)
Schweizerhaus 3 (published by Arnim)
Schweizerhaus 4 (published by Arnim)
Schweizerhaus 5 (published by Arnim)
Schweizerhaus 6 (published by Arnim)
Schweizerhaus 7 (published by Arnim)
Schweizerhaus on Parkstrasse (picture postcard, around 1900)
Schweizerhaus next to the chapel
Draft for the workers house (E. Petzholtz, 1873)
Workers house
Vicarage next to the workers' house
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restoration
To the south of Berlin-Potsdamer Chaussee , Prince Carl carried out a final structural enhancement to the park in 1874. Across from the farmyard, Carl had already acquired the 7,500 m² property of the " Grunwald'schen Caféhaus " in 1843 in order to prevent a noisy pub. In 1873/74 he had Ernst Petzholtz build the restoration to the east of the old café and then demolish the old building. This two-storey late classicist palace was a kind of restaurant with guest rooms, which the prince occasionally used for his guests and for festivities. We only know the design of the property from the park plan shown by Hermann Jäger in 1888 (see above). Accordingly, at the time of Prince Carl's death, the property stretched almost completely between v. Türkstrasse and Schlossstrasse (Wilhelm-Leuschner-Strasse) had been expanded. On the last-mentioned street, however, was the narrow village cemetery, which was hidden from Berlin-Potsdamer Chaussee by a narrow strip of plants in the park.
The restoration represented a special type of the castle hotel, which was built many times after 1871 . In Glienicke it was a palace-like building that had not lost its classic proportions through a multitude of guest rooms. Rather, it seemed - in contrast to the neo-baroque hunting lodge - with its late classicist facades as a natural addition to the Schinkel buildings. The building, which no longer exists, has not yet been scientifically examined. Neither construction plans nor historical photos from the time before 1945 are known.
The extent to which the sometimes handed down name as “court marshal's villa” can be historically verified is still unclear. After the First World War, the house was occupied by Prince Friedrich Leopold's daughter Viktoria Margarete, married Princess Reuss-Gera (Younger Line). She had separated from her husband and they divorced in 1922. She died here in 1923 and was buried in the Prinzenfriedhof. After the sale by Prince Friedrich Leopold, there was a well-known excursion restaurant in the restaurant, where crayfish were served as a specialty.
With the purchase of the property for the later restoration in 1843 - apart from a narrow cemetery strip - both sides of the street between Glienicke Bridge and Nikolskoer Weg belonged to the Prince. However, like the Swiss houses, the property was not included in the administration of the princely property and was therefore later incorporated into Neubabelsberg, and with it came to Potsdam in 1938. Thus, from 1945 onwards, the house was directly on the border between Potsdam and the American sector of Berlin and was included in the construction of the Berlin Wall in 1961 . This led to a bizarre structural situation, as the building used by the border troops pushed its free-standing view bay out of the wall facing the road. In 1974 it was demolished when the state border was being expanded.
Jagdschlossgarten
The Jagdschlossgarten was the latest park extension that Prince Carl undertook in Glienicke. It was a self-contained park garden, which optically complemented the older facilities. In the parking area between the restoration and Glienicker Bridge, Berlin-Potsdamer Chaussee had no avenue planting, so that the Chaussee did not form an optical barrier between the Pleasureground and the Jagdschlossgarten. The facility was officially laid out for Prince Carl's son Friedrich Karl . The latter, however, lived in the Dreilinden hunting lodge and was not interested in the design of the Glienicke hunting lodge. Therefore, the reconstruction of the hunting lodge and the landscaping of the hunting lodge gardens can be described as the sole work of Prince Carl.
The property of the baroque hunting lodge was an elongated rectangle and was used by the orphanage of Wilhelm von Türk. Even before he bought this property, Carl bought the adjacent parcels, had the king donate the alluvium (alluvial land) to him and in 1859 combined everything into a new area on which he had the hunting lodge garden completely rebuilt.
With the death of Friedrich Wilhelm IV and the coronation of his brother Wilhelm in 1861, Carl was able to enjoy the profits of the Fidei-Commis-estates Flatow and Krojanke in West Prussia , but was now politically sidelined . For the first time he had ample financial resources for his passions. Since the king had been unable to rule since 1858, his death was foreseeable. One can therefore speculate that Prince Carl had already taken into account the West Prussian income from goods when planning the hunting lodges.
The orphanage set up in the hunting lodge by Wilhelm von Türk in 1832 was a well-known institution. Von Türk was highly regarded as the “ Potsdam Pestalozzi ”. On the other hand, word games were popular with his name, for example his large commercial property on the Griebnitzsee - later the nucleus of the villa colony of Neubabelsberg - was called " Turkey ". In a sense, Prince Carl was able to carry out a brief tour from the Carpathians to Turkey . Von Türk died in 1846, the orphanage continued to be run by a foundation.
To the v. To persuade the Türk'sche Foundation as the operator of the orphanage to sell the hunting lodge, Carl had to arrange for a replacement building. The large properties of Eulenburg and Schulz were located south of his former Grunwald café, which he acquired in 1843. Prince Carl acquired these, put them together and let v. From 1857, Arnim expanded Eulenburg's house in a cost-effective half-timbered construction to create a picturesque building group along Dorfstrasse.
The large plot of land, which was supposed to be used for the cultivation of the pupils, stretched along the von-Türkstraße, which should be the development from the Schinkel-Schloss to the future new hunting lodge. In order not to have the cabbage beds of the orphanage in view when driving in the future, Carl separated a wide strip of land that was planted like a park. This strip of land was an integral part of the park, but was not administratively added to the park, so that in 1961 it became a restricted border area. The later structurally advanced facility of the orphanage was in the GDR for Feierabendheim been vice uses and now includes attractive apartments.
Due to the construction of the Berlin Wall , the Jagdschlossgarten could no longer be reached via its historic gates. Therefore, instead of a historic gate, a new gate was built on Königstrasse and a new (fire brigade) access road to the hunting lodge was built from there. Since the restoration was carried out by the preservation of the garden monuments until 1987, this unhistorical traffic route had to be included in the design, but was only intended to be a temporary solution for the time of the Wall . Like all permanent temporary arrangements , this access route has an almost unlimited lifespan, especially since the hulking walling of the Kurfürstentor (from the time of Prince Friedrich Leopold) is preserved as a historical asset by the monument preservation authorities and the road traffic connection between Königstraße and Mövenstraße (formerly v.-Türk-Straße) was not restored or stopped.
Hunting lodge and outbuildings
The hunting lodge was rebuilt from 1859 to 1862 according to plans by Ferdinand von Arnim . The hunting lodge itself was expanded to almost double the area. The northern side wing was developed as a cavalier's building, the southern one as a stable and coach house. The latter received a high passage, which acted as a view of the Babelsberg steam engine house. The kitchen house was added as a new building between the castle and the stable, a sign of the now greatly increased culinary demands of the time. The buildings were connected to one another in the courtyard area with iron treble layers .
All buildings were designed in the comparatively magnificent neo-baroque style. In Potsdam this style forms are is isolated. It is thought that Carl by neo-baroque buildings in and around St. Petersburg took inspiration, which at that time referring back to the time I Tsar Peter arose. Prince Carl was referring to the time of the Great Elector , who had the originally very modest hunting lodge built in Glienicke and who, through the Peace of Oliva, was to a certain extent the founder of the later Kingdom of Prussia .
According to the interior publications and the few photos from the rooms, the hunting lodge must have been a real palace. He represented the actual Wilhelminian era , a time which, with its loud joy in decoration, was almost the opposite of the Schinkel era with its learned modesty. In 1885 Rudolf Bergau described the interior of the hunting lodge (which was to be completely rebuilt shortly afterwards) in a surprisingly succinct manner: “ The hunting lodge, built by de Chieze after 1678 ; the decoration of the interior was probably carried out by Dieussart . […] In the large hall and the rooms, six stucco ceilings from the original building have been preserved, but without their painting. The rest of the interior decorations and fittings are mostly modern. In two anterooms there is paneling from the XVII. Century from Basel, attached; other wood carvings from the 17th century on the buffet. Other things to mention are: a mirror frame and a large chest carved in wood; Deer antler from 1618; colored glazed renaissance furnace. "
In retrospect, it must be seen as a fortunate circumstance that the Schinkel Castle was spared such decoration. Only modern, if stylistically unsuitable vases and bowls were placed on the parapets and balustrades. In view of the Schinkel architecture, Bergau could only condescend to the words: "Made on the outside as a plastered building without any special architectural decoration ."
With the renovation and rebuilding of the hunting lodge, Prince Carl exhausted his financial possibilities. If we know of constant exhortations from Princess Marie in the letters to her husband between 1828 and the middle of the century that he shouldn't invest so much in the Glienick facilities, then a much clearer language is spoken in the correspondence between the household managers Bachmann and Ritter after the hunting lodge was built : “ It now turns out that we have spent almost 200,000 Reichsthaler on the new building of the hunting lodge, and now comes the addendum ... - But then - a year break - if we don't want to perish! - "
The buildings of the Glienicker Park south of the Chaussee are stylistically more diverse than in the rest of the park. With them, Prince Carl moved away from the uniform style of the classic landscape garden of the first half of the 19th century. This can be described positively as a particularly vivid example of gardening and building development in the second half of the century. Bernhard, on the other hand, judged quite harshly in 1987: “ The building and park concept becomes piecemeal when a renaissance loggia rises above a ravine, at the foot of which there are alpine wooden houses with a view of a neo-baroque castle. The classic ideal gives way to playful variety. "
Deer gate and courtyard side of the hunting lodge (von Arnim)
Garden side of the hunting lodge (v. Arnim)
View through the stable to the Babelsberg steam engine house (Photo Hermann Günther, 1874)
Kitchen to the right of the stable (Photo Hermann Günther, 1874)
Bridge Gate (Petzholtz, 1872)
Elector's Gate (von Arnim, around 1865)
Elector's Gate and Court of Honor
The main gate of the Glienicke hunting lodge was not the gate to the Barockallee at the courtyard, but the Kurfürstentor on what was then von-Türk-Straße. Today's modern garden access on Berlin-Potsdamer-Chaussee did not exist. Rather, one drove from the Johannitertor to the Kurfürstentor and thus came to the access to the hunting lodge, which accordingly was not entered from the courtyard, so like the Schinkel Palace had an unusual access.
The Kurfürstentor is today disfigured by the walling up of Prince Friedrich Leopold and graffiti and also partially grown in. At that time it looked monumental and representative with the archway flanked by columns, the bust of the Great Elector, the neo-baroque lattice gate wings and the domed octagonal pavilion at the side and should have been clearly recognizable as the main entrance to the park in the bend in the street.
The main courtyard could be reached either from the driveway through a portal in the north treillage or through the gate on the Barockallee towards the village. This is where the deer figures were set up, which until then had been at the entrance gate of the Schinkel Castle. The main courtyard was a kind of flower garden due to the sloping treetop, the huge geometric carpet bed, a cake bed between the side wings and the front garden-like planting areas in front of all buildings. But the classic subdivisions of English landscape gardening can no longer be made out within the Jagdschlossgarten.
garden
The hunting lodge garden was fenced in along the street. In the area of the hunting lodge, during the renovation by von Arnim, an exposed brick wall with ornamental cotto was built, which has largely been preserved. A wire shed fence ran from the Kurfürstentor to the Glienicker Bridge, corresponding to the fence on the opposite pleasure ground . Today it has been replaced by a modern fence.
The actual park-like garden was accessed by a drive that ran from the (not preserved) bridge gate at Glienicke Bridge to the hunting lodge driveway. According to v. Krosigk, this driveway divides the Jagdschlossgarten into a part that is oriented towards the Jagdschloss and a part that is the optical extension of the Glienicker Pleasure Ground north of the Chaussee. Here is the castle pond, which was fed by the water features of the Pleasureground .
The bridge gate mentioned was built far back from Berlin-Potsdamer Chaussee, so that it could not come into conflict with the rotunda in terms of structure and style. At the top it was adorned with a large St. John's Cross. Bergau writes about the building: “ The park portal at Glienicke Bridge, a flat arch stretched between articulated pillars richly sculpted in late Renaissance forms, was built using a portal from Breslau. “Which spoilers were used here has not yet been investigated. The date of the demolition is also not known, i.e. whether Prince Friedrich Leopold had the portal removed in 1911 or whether it only disappeared in the course of the expansion of the Reichsstrasse in the 1930s.
The main viewing point of the hunting lodge garden was in the middle of the complex and had its main view of the pleasure ground and the lion fountain. In contrast to the main park, the Jagdschlossgarten has direct access to the Havel am Tiefen See and Glienicker Lake. Here a bastion-like viewing point was built into the water, from which one has a wonderful view of Babelsberg and Potsdam. A bay drawn into the garden turned this bastion into an island-like complex, of which nothing can be seen today. The Havel is integrated into the Jagdschlossgarten with many lines of sight. However, between the bastion and the hunting lodge, the woody stock (which had grown wildly tall before the restoration) has not yet been cleared and forms an unhistorical, forest-like viewing barrier. The path leading from the bastion with a bridge over the watercourse is also a modern addition to the garden. According to the Kraatz plan, there was only a short branch to the watercourse.
Remarkably, the hunting lodge was completely redesigned to a neo-baroque building, but no neo-baroque garden was created. Rather, small formal allusions to baroque garden art were made. For example, on the garden side of the hunting lodge, where volute-shaped bed formations were created around the fountain at the foot of the outside staircase. Thus, the Jagdschlossgarten with its fine terrain model is a successful combination of classic English landscape gardening and the revival of the baroque gardens.
Appreciation
Among the numerous formally similar landscape gardens of the 19th century, the Klein-Glienicke Park stands out due to the high quality of both the buildings and the garden art, even if the eastern park areas have not yet been restored artistically. The park also impresses with its diverse landscape and design. After Sanssouci, the Glienicker Park is the most stylistically diverse among the Potsdam parks. In addition, thanks to the intensive design by Prince Carl, it is a particularly personal facility.
Literature (chronological)
- Heinrich Wagener: Klein-Glieneke, Castle and Park, Sr. Royal Highness, Prince Karl of Prussia . In: Der Bär , illustrated Berliner Wochenschrift, 8th year, 1882, no. 44, pp. 567–571 and no. 45, pp. 578–580
- Rudolf Bergau: Inventory of architectural and art monuments in the province of Brandenburg on behalf of the Brandenburg Provincial Parliament with the assistance of A. v. Eye, W. Koehne, A. Koerner, P. Lehfeldt, R. Schillmann, W. v. Schulenburg-, F. Warnecke, E. Wernicke u. A. edited by R. Bergau . Voss, Berlin 1885, pp. 378–385
- Andreas [?] Rumpf: Hiking trip to Glienicke . In: Mitteilungen des Verein für die Geschichte Berlins , 34 (1917), pp. 59–62
- Johannes Sievers: Buildings for Prince Karl . Deutscher Kunstverlag, Berlin 1942 (Karl Friedrich Schinkel - Lifetime Achievement)
- Klaus Konrad Weber: The "invigorating idea" of the Glienicker Park . In: Yearbook for Brandenburg State History Volume 15/1964 , hu-berlin.de (PDF)
- Friedrich Wilhelm Goethert: Catalog of the antique collections of Prince Carl of Prussia in the castle of Klein-Glienicke near Potsdam . Philipp von Zabern, Mainz 1972
- Michael Seiler, Martin Sperlich: Glienicke Castle and Park (Zehlendorfer Chronik 1/77). Berlin 1977, ext. Edition 1987
- Michael Seiler: New investigations into the original design and restoration of Klein-Glienicke's Pleasure Grounds . In: Detlef Heikamp (Ed.), Schlösser, Gärten, Berlin. Festschrift for Martin Sperlich on his 60th birthday in 1979. Ernst Wasmuth, Tübingen 1980, pp. 107–130
- Herbert Sukopp, Dieter Barndt, Hans-Peter Blume et al .: Ecological opinion on the garden conservation recovery actions on the Böttcherberg in Glienicke Park, Part I . Institute for Ecology at the Technical University of Berlin, 1981
- Mallow Countess Rothkirch: Prince Carl of Prussia, connoisseur and protector of the beautiful , Osnabrück: Biblio, 1981. Second, modified edition. Wagener, Melle 2006
- Klaus von Krosigk: Garden Monument Maintenance - The Landscape Garden of Klein-Glienicke (SenStadtUm), 1984
- Klaus von Krosigk, Heinz Wiegand: Glienicke (Berlin sights 6). Haude and Spener, Berlin 1984, ext. Edition 1992
- Michael Seiler: Plan of the park of Klein-Glienicke, around 1862, with reprint of the map from the holdings of the District Office Zehlendorf , Berlin Archive, supplementary edition, Volume III, BE 01043, Berlin, around 1985
- Michael Seiler: The history of the development of the landscape garden Klein-Glienicke 1796-1883 . Dissertation Hamburg 1986
- Administration of the State Palaces and Gardens Berlin (Ed.): Glienicke Palace - residents artist park landscape , exhibition catalog, Berlin 1987
- Gabriele Schultheiss-Block (Ed.): The whole Eyland must become a paradise. Hunting lodge Glienicke , exhibition catalog, Haus am Waldsee, Berlin 1987
- Harry Nehls: Italy in the Mark - On the history of the Glienicker Antikensammlung (writings of the Association for the History of Berlin, issue 63). Westkreuz, Berlin / Bonn 1987
- Gerd H. Zuchold: The monastery courtyard of Prince Carl in the park of Klein-Glienicke (The buildings and art monuments of Berlin, supplement 20/21), 2 volumes. Mann Brothers, Berlin 1993
- Josef Batzhuber, Klaus von Krosigk: 25 years of garden monument maintenance in Klein-Glienicke. A rediscovered Garden of Eden , Berlin, 2003.
- Foundation Prussian Palaces and Gardens Berlin-Brandenburg (Ed.): Prussian green, court gardeners in Brandenburg-Prussia , exhibition catalog. Henschel, Berlin 2004
- Johanna Kaupp, Gabriele Heise: Park maintenance work Landscape Park Klein-Glienicke . Unpublished report on behalf of the Berlin State Monuments Office, 2006
- Potential analysis for the Glienicke landscape park . Unpublished report, co-financed by SPSG, SPSG annual report 2009 published online, p. 4.
- J. Hübener: Dynamics and constancy of meadows in historical landscape gardens using the example of Glienicker Park . Diploma thesis, TU Berlin, 2010
Web links
- Entry in the Berlin State Monument List
- Glienicke Castle. spsg.de; Retrieved August 26, 2012
- Peter Josef Lenné. Lenné year 2016 - 200 years of Park Glienicke
Individual evidence
- ↑ Berlin Handbook: Das Lexikon der Bundeshauptstadt , Berlin: FAB, 1993, p. 653. This only seems to affect the park north of the Chaussee, so that in the 21st century Böttcherbergpark and Jagdschlossgarten have to be added, before 1920 Schweizerhauspartie and restoration (see below) can be added.
- ↑ The construction data almost all based on Georg Dehio, Handbuch der Deutschen Kunstdenkmäler, Munich, Berlin: Deutscher Kunstverlag, 1994. The further details in Johannes Sievers, Buildings for Prince Karl of Prussia (Karl Friedrich Schinkel's life's work), Berlin: Deutscher Kunstverlag, 1942 .
- ^ In Rudolf Bergau, inventory of architectural and art monuments in the province of Brandenburg on behalf of the Brandenburg Provincial Parliament , Berlin: Voss, 1885, p. 378, the successes of ownership are described in detail: " Glienicke, Klein- (1375 Glinick, 1478 Glineke, 1624 Glienike), village, 3 km northeast of Potsdam, on the Havel; belonging to the Potsdam Domain Office. In 1375 G. had owned the Mukem "since time immemorial" - later G. came to the Schonow family; after their extinction it was the Hans v. Schlaberndorf zu Leh [e] n given; his descendants took over all the possessions there, so that in 1651 there was neither a farmer nor Kossäth there. Later, after 1678, it was bought by the Elector Friedrich Wilhelm, who built a hunting lodge with a garden there. Under King Friedrich Wilhelm I, the castle was turned into a military hospital, in 1758 a wallpaper factory and in 1827 that of v. Türk-donated orphan educational institution housed in the same. To the terrain of the electoral hunting lodge [p. 379] also included the northern tip of the Stolper Werder, where there was a tree garden and vineyard, which fell into disrepair after the death of King Friedrich I. In 1738 part of it was sold to a manufacturer; In 1747 the hospital doctor Dr. Mirow bought the tree garden and vineyard and built a stately home there. After the Seven Years' War he sold this property to General v. Möllendorf. After this it was owned by Lieutenant Schlott and in 1788 by Lieutenant v. Hein. [From] 1789 the Berlin-Potsdamer Chaussee was laid by G. In 1796, the chief stableman, Count Lindenau, acquired the former Mirow property, and constantly enlarged and embellished it. There he built a billiards house with a bowling alley (the current casino), an orangery and "Curiosity", including a horse stable. In 1804 he bought the Böttcherberg. During the war he moved to his possessions in Neumark and rented Glienicke to the baron, later State Chancellor Prince Hardenberg, who, however, had to give way to the following owner, Kaufmann Rosentreter. Hardenberg liked his stay in G. so much that in 1814 he bought G.'s palace and park. A period of constant embellishment followed. [...] ".
- ↑ Gabriele Schultheiss-Block (ed.), The whole Eyland must become a paradise. Jagdschloss Glienicke , exhibition catalog, Berlin 1987.
- ↑ Michael Seiler, The development history of the landscape garden Klein-Glienicke 1796-1883, dissertation Hamburg 1986, p. 22ff.
- ↑ Seiler, Dissertation 1986, p. 44.
- ^ Heinrich Wagener: Klein-Glieneke, Schloß und Park Sr. Royal Highness, Prince Karl of Prussia , in: Der Bär, illustrated Berliner Wochenschrift, 8th year, 1882, No. 44, p. 570
- ↑ Seiler, Dissertation 1986, p. 85.
- ↑ Michael Seiler, Martin Sperlich, Schloß und Park Glienicke (Zehlendorfer Chronik 6/87), Berlin 1987, p. 24.
- ↑ Andreas Meinecke and Susanne Fontaine, Schinkel's master students - building work under Karl Friedrich Schinkel , in: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (ed.), Ludwig persius architect of the king - architecture under friedrich wilhelm IV., Regensburg: Schnell und Steiner, 2003, pp. 97-101.
- ↑ Seiler, Dissertation 1986, pp. 62–79, pp. 124–161.
- ↑ Foundation Prussian Palaces and Gardens Berlin-Brandenburg (Ed.) Preußisch green - Court gardeners in Berlin-Brandenburg , exhibition catalog 2004, p. 311.
- ↑ Seiler, Dissertation 1986, p. 111.
- ↑ Wagener, small Glieneke, 1882, p 567
- ^ Bergau, inventory of architectural and art monuments 1885, p. IX / X.
- ↑ Seiler, Dissertation 1986, p. 56.
- ↑ This peculiar structure seems to have been designed according to the most modern defense architecture of the time. It has not yet been scientifically studied.
- ↑ Andreas [?] Rumpf's report of an excursion by the Association for the History of Berlin on August 16, 1917 indicates that almost no one was allowed to visit the park: The association “was given the extremely rare opportunity to discover the art treasures, Architectural works and horticultural facilities can be viewed in the former park of Prince Carl of Prussia [...] . "(Communications from the Association for the History of Berlin, 34, 1917, p. 59)
- ↑ Jürgen Julier, Glienicke in the 20th century , in: Schloß Glienicke residents artist park landscape, exhibition catalog 1987, p. 185ff.
- ↑ In his own wistful tone, the journalist Ludwig Sternaux describes the situation at the time: " With a thousand charms, the park and palace, surrounded by the deep sleep, enticed you to linger, to unravel the miracle, a legend that swarmed darkly, to brighten up, to fathom - but the wall and locked gates always denied entry, and in unsatisfied longing one went on with resignation, towards Potsdam, back to Wannsee. The wall crumbled, the gate and grating rusted. The castle fell into disrepair, the wells dried up. The park grew wild, the golden lions on the pillars looked out of dead eyes in amazement at the great death all around. The legend went about black swans that were supposed to glide over quiet ponds, about white peacocks, stag and deer. No one has ever seen her. The words of Prince Friedrich Leopold, the heir to all of this without knowing it, keep the park closed. […] Time has allowed everything to rot, the many views, the 'Ahaz' are blurred. “Ludwig Sternaux, Potsdam - A Book of Memory, Berlin: Edwin Runge, 1924, p. 184.
- ^ Auction house Leonor Joseph, Berlin, auction catalog 18. – 21. February 1931, auction of HRH Prince Friedrich Leopold of Prussia, Glienicke Palace . After the prince's death, another major auction took place in Berlin: Hermann Ball auction house, auction catalog 27./28. November 1931, The Prince Friedrich Leopold von Preussen Collection (Both catalogs are digitized and available online under “HEIDI” of the Heidelberg University Library).
- ↑ Exhibition catalog Schloss Glienicke 1987, cat. 367.
- ↑ Julier, Glienicke in the 20th century , in: Exhibition catalog Schloß Glienicke 1987, p. 185. Hereafter also the following data.
- ↑ Heimatverein Zehlendorf e. V. (Ed.) Gerd-H. Zuchold, The family cemetery in the park of Glienicke Palace the history of the Karl line of the Hohenzollern house, Berlin, 2008 (Zehlendorfer Chronik; 18)
- ↑ Klaus v. Krosigk, Heinz Wiegand, Glienicke , (Berlin Attractions 6), Berlin 1992, p. 62.
- ^ Michael Seiler, Martin Sperlich, Schloß and Park Glienicke (Zehlendorfer Chronik 1/77), Berlin 1987; v. Krosigk, Wiegand, Glienicke 1992.
- ↑ v. Krosigk, Wiegand, Glienicke, 1992, p. 66ff.
- ^ Exhibition catalog Das gantze Eyland ... 1987, p. 106.
- ↑ Jürgen Julier: In memory of Friedrich Baron Cerrini de Montevorchi , in: Schloß Glienicke - residents artist park landscape, exhibition catalog 1987, p. 7.
- ^ Exhibition catalog The whole Eyland ... 1987
- ^ Sievers, Buildings for Prince Karl, 1942, p. 4
- ^ Sievers, Buildings for Prince Karl, 1942, p. 4
- ^ Margret Schütte: Prince Friedrich Carl Alexander von Prussia [biographical sketch] , in: exhibition catalog Schloß Glienicke 1987. pp. 191–210.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 4.
- ↑ Seiler, Dissertation 1986, p. 227f.
- ^ Letter from Crown Princess Viktoria to her mother, quoted from Ludovica Scarpa, Gemeinwohl und local power , Munich / New Providence / London / Paris, 1995, p. 115.
- ↑ However, in 1862 Carl traveled to the World Exhibition in London without Marie. Significantly, neither park tours nor excursions are recorded.
- ↑ Sievers, Buildings for Prince Karl, 1942, pp. 4-6.
- ↑ Illustration of the round table based on a painting by General von Garnier, in: Exhibition catalog Schloß Glienicke 1987, cat. 250.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 17
- ^ Helmut Börsch-Supan: Prince Carl von Prussia, the painters and the sculptors , in: Exhibition catalog Schloß Glienicke 1987, p. 212.
- ↑ Margret Schütte, Prince Friedrich Carl Alexander ... , in exhibition catalog Schloß Glienicke 1987, p. 201.
- ↑ Malve Countess Rothkirch, Prince Carl of Prussia, connoisseur and protector of the beautiful, Osnabrück 1981. The title of the book refers to a sentence in Pückler's dedication to Prince Carl in the “Allusions” of 1834: “But your Highness is also a protector and connoisseurs of the beautiful, where it is to be found, and in recent times have also paid active attention to the subject of this book - garden art in the higher sense. "
- ↑ The "Journal about Glienicke" comprised at least five volumes, each covering about a decade: I 1824–1837, II 1838–1848, III 1849–1862, IV 1863–1870, V 1871–1878. It is unknown whether a sixth volume was started and continued until the prince's death. Perhaps after the death of the princess (1877), the prince considered another volume to be superfluous. Volume II was still evaluated by Sievers, but has been lost today. Sievers was not familiar with Volume III-V, which is why he was unable to provide precise building dates for the building history after 1848. Seiler has systematically evaluated the journals in relation to the history of gardening and building and published them in his dissertation 1986 from p. 235. Margret Schütte and Andreas Bernhard systematically evaluated the journals for the 1987 exhibition, also with regard to social references. At SPSG, this is available in a conventional file.
- ↑ Seiler, Dissertation 1986, p. 235 ff.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 21
- ↑ Rellstab reported in 1852 in his guide “Berlin and its surroundings” on page 373: “ A walk through Glienicke is not open to everyone, like most other royal gardens. We cannot enter without further ado, but require the permission of either the prince's court marshal or of the person who is present as the first guardian. ".
- ^ Wagener, Klein-Glienecke, 1882, p. 567
- ↑ For example, in a letter to Marie dated January 26, 1827: “ A wonderful snow invited me […] to go to the Déjeuner in Glienicke, where I had already given myself a rendezvous with some architects and gardeners . “, Sievers, Buildings for Prince Karl, 1942, p. 16
- ↑ cit. according to Seiler, dissertation, 1986, p. 238.
- ^ Samuel Heinrich Spiker, Berlin and its surroundings, Berlin, 1833 (Reprint Leipzig 1979); Anonymous, walk through Potsdam's surroundings, Potsdam: Stuhr, 1839 (reprint Potsdam 1988); Anonymous, Klein-Glienicke, Palace of Prince Carl of Prussia near Potsdam. In: Leipziger Illustrierte Zeitung, Volume 6, No. 154, 1846; Ludwig Rellstab, Berlin and its immediate surroundings in picturesque original views: historically-topographically described. by Ludwig Rellstab. Signed by Ludwig Rohbock, steel engravings by Johann Gabriel Friedrich Poppel, Darmstadt: Lange, 1852 (reprint Berlin: Schacht, 1979); August Kopisch, The royal palaces and gardens of Potsdam: From the time of their foundation to the year 1852, Berlin: Ernst & Korn, 1854; Carl Ludwig Haeberlin, Sanssouci, Potsdam and the surrounding area: with special consideration for the reign ... Friedrich Wilhelm VI. King of Prussia, Berlin: Riegel, 1855; Robert Springer, Berlin, the German imperial city together with Potsdam and Charlottenburg, Darmstadt: Friedrich Berger, 1878, reprint Berlin: Haude & Spener, 1977, p. 244f; Heinrich Wagener, Klein-Glienicke, Castle and Park of Sr. Royal Highness, Prince Karl of Prussia, in: Der Bär 8, 1882, pp. 567-571 and 578-580.
- ↑ Wagener, small Glieneke, 1882, p 567ff
- ↑ The latest construction of His Royal Highness the Prince Karl of Prussia in the palace park at Glienicke near Potsdam. Potsdam: Riegel, 1843. (also H. 9 of the Architectural Album)
- ↑ Bergau, inventory of architectural and art monuments 1885: “In the hall of the inner garden square [meaning the pergola] is a collection of Roman sculptures and architectural details of Roman and Renaissance buildings. Below: Eight identical Corinthian capitals with flat pillars made of marble. / Large, Corinthian pilaster capital. / Two small pilaster capitals with richly sculpted architrave made of white marble. / Two granite columns with composite capitals made of white marble. / Two composite capitals with articulated pillars made of white marble Two columns of red-yellow marble, with rich Corinthian capitals made of white marble, on pedestals with inlaid colored marble. / Large, Corinthian capital of a flat wall pillar with rich foliage made of gray marble / Large wall pillar capital with dolphins, shells etc. made of white marble ./ Three wall pillar capitals from Rosso antico./ Two small semicircular leaf capitals from Rosso antico./ Several fragments of fluted pilasters made of white, green and black marble. / Several fragments of fluted columns, some with winding flutes. / Several fragments of columns, pilasters and Cornices etc., from Porphyry / Small s, square Renaissance capital made of white marble./ Two small pilasters with ornamented panels made of white marble./ [p. 382] Richly carved piece of cornice made of gray marble./ Relief frieze with rich tendril ornament./ Two large fruit pendants made of white marble./ Archivolt with oak leaf thread. / Table base with lion head. / Relief with laurel branch and bird./ Many smaller architectural and ornamental parts./ Torso a figure with richly pleated robe; Marble / two similarly of half-clothed female figures; Marble./ The same with a pleated garment; Porphyry./ Statue of Neptune./ Statue of Fortuna./ Marble statuette of a boy with a lizard, the latter made of bronze./ Bust of a young man./ Many heads and masks made of marble./ Two flying cupids hold a medallion with a portrait; Skin relief. / Fragment of a marble vase with a dancer. / Two youths running away on horses and warriors on foot; Skin relief / Odysseus fighting with suitors; Skin relief / Cupids under vines. Collecting grapes and fruits; Skin relief./ Fragment of a large porphyry shell./ Many fragments of reliefs with fantastic sea animals, scenes of hunting, harvesting and fighting, cupids and the like. / Parts of sarcophagi; Lion heads etc. / Small relief pieces from the Roman baths in Trier and from Carthago / Terracottas from Paestum / Several fragments of ancient frescoes. "
- ↑ quoted from Sievers, 1942, pp. 65f.
- ↑ Sievers, Bauten für den Prinzen Karl, 1942, p. 51 describes this veranda as a waiting room for servants during festive events.
- ↑ cit. after Sievers, Buildings for Prince Karl, 1942, p. 51
- ↑ Sepp-Gustav Gröschel, Glienicke und die Antike , in exhibition catalog Schloss Glienicke, 1987, p. 253f.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 49.
- ↑ Martin Sperlich, Not Schloß, but Villa , in: Exhibition catalog Schloß Glienicke 1987, pp. 27–31.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 14
- ^ Friedrich Wilhelm Goethert, catalog of the collections of antiquities of Prince Carl of Prussia in the castle of Klein-Glienicke near Potsdam , Mainz 1972.
- ↑ According to Sievers, they were children's figures from Rauch's monument to Francke in Halle, which was completed in 1829, but only has two children's figures. Rauch's allegories of the three cardinal virtues, developed from these two figures and which Friedrich Wilhelm IV had set up on the green grid in Sanssouci, still exist . In accordance with the otherwise stringent antiquities program, the - albeit quite hidden - set-up of cute children's figures at the reception point in Glienicke Park seems unlikely. Unless they were a gift from Friedrich Wilhelm. Sievers, Buildings for Prince Karl, 1942, p. 49.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 49
- ^ Harry Nehls, Italien in der Mark - On the history of the Glienicker Antikensammlung, Berlin / Bonn 1987, p. 65.
- ^ Helmut Börsch-Supan: The art in Brandenburg-Prussia. Their history from the Renaissance to the Biedermeier period is shown in the art collection of the Berlin palaces . Berlin: Gebr. Mann, 1980, pp. 275-277.
- ^ Michael Seiler, Martin Sperlich, Schloß and Park Glienicke (Zehlendorfer Chronik 1/77), Berlin 1987; Klaus von Krosigk, Heinz Wiegand, Glienicke (Berlin Attractions 6), Berlin 1992.
- ↑ Represented in detail with the catalog of the edging stones: Michael Seiler: New investigations into the original design and restoration of the pleasure ground by Klein-Glienicke . In: Detlef Heikamp (Ed.): Schlösser, Gärten, Berlin. Festschrift for Martin Sperlich on his 60th birthday in 1979, Tübingen: Ernst Wasmuth, 1980, pp. 121–128.
- ↑ Seiler, Dissertation 1986, p. 113.
- ↑ Jürgen Julier: Park building based on Schinkel's design , in: Exhibition catalog Schloß Glienicke 1987, p. 41.
- ^ Julier, park building based on Schinkel's designs , in: Exhibition catalog Schloß Glienicke 1987, p. 42.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 127.
- ^ Helmut Börsch-Supan, Prince Carl von Prussia, the painters and the sculptors , in: Exhibition catalog Schloss Glienicke 1987, p. 488f.
- ↑ v. Krosigk, Glienicke, 1992, p. 42.
- ↑ Julier, Glienicke in the 20th century , in: Exhibition catalog Schloss Glienicke 1987, p. 188.
- ↑ spsg.de
- ^ Clemens Alexander Wimmer: Pavement mosaics in Berlin (West) . Berlin, Technical University, diploma thesis, 1982.
- ^ Tilo Eggeling: Ludwig Persius as an architect in Glienicke , in: Exhibition catalog Schloß Glienicke 1987, p. 63.
- ^ Susanne Fontaine: Stibadium in Glienicke . In: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (ed.), Ludwig persius architect of the king - architecture under friedrich wilhelm IV., Regensburg: Schnell and Steiner, 2003, p. 189f.
- ↑ The semicircular terrace of the actual Exedra is now covered with colored small stone mosaic paving.
- ^ Sievers, 1942, p. 130.
- ↑ Julier: Parkgebäude ... , in: Exhibition catalog Schloß Glienicke 1987, p. 36.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 76.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 78.
- ↑ Bergau, Inventory of Bau- und Kunst-Denkmäler 1885, p. 382: “ On the eastern outer wall, several [right] antique relief fragments of sarcophagi. On the walls of the vestibule there are many Roman inscription tablets and fragments of ancient frescoes; Several fragments of ancient mosaics in the floor. [S. 383] In the tea room: wall paintings based on Pompeian models; Mosaic floor from the Palazzo Corner della Regina in Venice. Marble sculptures: head of Venus, copy after antiquity; laurel wreathed woman's head; female torso, copy; Statue of Pandora; Cupid asleep on a lion's skin; modern statuette of a girl undressing. Bowl from Giallo antico: also from Rosso antico; Antique bronze table with three feet, the latter in the shape of cupids holding shells and ending in lion claws (Fig. in Gropius, Archive for Ornamental Art; models for manufacturers and craftsmen). Round marble mosaic tabletop. "
- ↑ Julier, Glienicke in the 20th century , in: Exhibition catalog Schloss Glienicke 1987, p. 189.
- ↑ berlin.de
- ↑ Michael Seiler: Origin of the landscape garden Klein-Glienicke , in: Exhibition catalog Schloß Glienicke 1987, p. 141.
- ^ Anonymos: Stroll through Potsdam's surroundings . 1839, p. 67.
- ^ Bergau, Inventory of Architectural and Art Monuments, 1885, p. 383.
- ↑ Seiler, Dissertation, 1986, p. 205.
- ↑ Julier: Parkgebäude ... , in: Exhibition catalog Schloß Glienicke 1987, p. 36.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 118
- ^ Sievers, Buildings for Prince Karl, 1942, p. 114.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 120.
- ^ Bergau, Inventory of Building and Art Monuments 1885, p. 385.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 120
- ^ Sievers, Buildings for Prince Karl, 1942, p. 121.
- ↑ Sepp-Gustav-Gröschel, Glienicke und die Antike , in: exhibition catalog Schloß Glienicke 1987, p. 248ff does not make any connections between Prince Carl and the ancient boys' choir leader.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 112
- ^ Sievers, Buildings for Prince Karl, 1942, p. 121
- ^ Sievers, Buildings for Prince Karl, 1942, p. 121
- ↑ Wagener, small Glieneke, 1882, p 578
- ^ Christiane Segers-Glocke: To restore the great curiosity in the castle park of Klein-Glienicke . In: Detlef Heikamp (Ed.): Schlösser, Gärten, Berlin . Festschrift for Martin Sperlich on his 60th birthday in 1979, Tübingen: Ernst Wasmuth, 1980, pp. 131–144.
- ↑ Wagener, small Glieneke, 1882, p 578
- ↑ Julier, park building based on Schinkel's designs , in: Exhibition catalog Schloß Glienicke 1987, pp. 33–38.
- ↑ Margret Schütte, Prince… Carl von Preußen , in: Exhibition catalog Schloss Glienicke 1987, p. 196
- ^ Sievers, Buildings for Prince Karl, 1942, p. 97
- ^ Sievers, Buildings for Prince Karl, 1942, p. 90.
- ↑ Sievers assumes that there was a little antique garden here from the beginning, but the park plans do not give any indication of this. Sievers, Buildings for Prince Karl, 1942, p. 90 and p. 96.
- ↑ Bergau, Inventory of Bau- und Kunst-Denkmäler 1885, p. 384: “ Outside the casino: On the back wall: two marble herms di Porta Santa from the Museo del Duca di Braschi in Rome. Ancient marble statue of Aristotle. Column rubble from Forum des Nerva u. a .; two torsos, many busts, marble vases, two Dionysos baths; Sarcophagus; Sinuous column from Giallo di Siena, on a rich Renaissance marble base. On the south side: torso of the colossal statue of a Roman emperor. Roman marble armchair, richly carved; Marble well kettles; Marble column, wound with leaf ornament; several antique marble heads. On the north side: large porphyry statue of Athena; Colossal head of Hercules with lion skin; Head of nero; Head of another Roman emperor a. a. On the southern terrace wall under a small canopy: relief image of the Madonna in marble. "
- ↑ Gröschel, Glienicke und die Antike , in: Exhibition catalog Schloß Glienicke 1987, p. 264.
- ^ Julier, Park building based on Schinkel's designs , in: Exhibition catalog Schloß Glienicke 1987, p. 35.
- ^ Sievers, Buildings for Prince Karl, 1942, pp. 91f.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 88.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 94.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 94.
- ^ Wagener, Klein-Glienicke, 1882, p. 578.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 96.
- ↑ Bergau, Inventory of Bau- und Kunst-Denkmäler 1885, p. 383: “ On the ground floor three salons with many art objects from old and more recent times. In the northern salon: antique bronze utensils, some with a beautiful patina, stands for lamps and traffic lights, lamps made of bronze and clay, vases made of copper, smaller bronze devices and vessels, smaller bronze figures, several bronze busts, including a female portrait bust with drapery made of marble di Polcevera. Statuette of a seated Minerva from Verde antico, head, arms and feet made of white marble, in the right a bronze Nike, in the left holding a lance, on the head a bronze helmet. Several [right] antique clay vessels, marble bowls, tripod and lamp from Giallo antico. Rich, Florentine mosaic frieze with a relief head made of marble. In the middle room: marble relief from a Roman sarcophagus, fruit pendants held by angels. Bas-relief, with the Dioscuri, ancient Roman. Five ancient busts made of porphyry, including Caesar with a laurel wreath made of gilded bronze; Jupiter's head from the Villa Altichiero near Padua. Fourteen antique porphyry vases and bowls; Porphyry tripod; two ancient Roman marble statues: Diana and the tragic muse. Several smaller antique marble heads. Pedestal, three boys holding a plate, carved from walnut wood . In the southern room: furniture and works of art, mostly from the Renaissance period. Working in wood: three richly carved door frames. Two large, carved armchairs with appliqué embroidery on red velvet; Sofa and armchair with rich wood carving and velvet cover; four carved armchairs with backs; carved choir stalls with marquetry. Small, richly carved chest. Two large bellows, carved in wood. Small jewelery box made of ebony with inlays of precious stones and ivory. Two richly carved consoles. Bronze work: bust of Pope Innocent X., original, modeled from life; Dante's bust. Two knockers from the Palazzo Mocenigo in Venice; two pairs of large candelabra, richly constructed; a ram. Work in marble: bust of Frascatori, doctor in Verona; Bust of the philosopher Joachim Cammerarius; Bust of Cardinal Pietro Bembo; Bust of an unknown elderly man. Two statuettes of the apostles based on Peter Vischer's originals on the Sebaldus grave in Nuremberg. Medici coat of arms made of baked clay. [S. 384] Upstairs: In the living room there is a large collection of Japanese equipment and jewelry. In addition, two oval marble skin reliefs, Mary with the child by Alessandro Algardi and a Descent from the Cross, work of the XVII. Century ".
- ↑ Julier: Glienicke in the 20th century , in: Exhibition catalog Schloss Glienicke, 1987, p. 187f.
- ^ Der Tagesspiegel, issue of December 26, 1965.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 97.
- ↑ Seiler, Dissertation, 1986, p. 194.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 97.
- ↑ quoted from Seiler, Dissertation, 1986, p. 260.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 143.
- ↑ Susanne Leiste, Glienicke in Views of the 19th Century , in: Exhibition catalog Schloss Gienicke 1987, p. 162.
- ↑ Seiler, Dissertation, 1986, p. 261.
- ↑ Kopisch, August: The Royal Palaces and Gardens of Potsdam, Berlin 1854, p. 192.
- ↑ On the antiquities program and the reception of antiquities: Gröschel, Glienicke und die Antike , in: exhibition catalog Schloß Glienicke 1987, pp. 243–267.
- ^ Anonymos, Walk through Potsdam's surroundings, 1839, p. 68.
- ↑ Schinkel, who was not yet able to know the location of the propylon , depicted the figure of Achilles instead of Iphigenia on his drawing created in 1837 for the “Collection of Architectural Drafts” for the “Collection of Architectural Drafts”. Iphigenia may not be included in the antique program until later was recorded when Achilles had found a more prominent position on the propylon . Sievers, Buildings for Prince Karl, 1942, p. 61.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 161.
- ↑ Bergau, Inventory of Bau- und Kunst-Denkmäler 1885, p. 383: “ The cloister courtyard in a closed vestibule, several Byzantine columns and architectural fragments; a winged lion on a high pillar; Well stone, sculpted like a capital, from Rosso antico; round, Byzantine fountain trough. A mosaic picture above the entrance to the monastery courtyard. "
- ↑ Gerd H. Zuchold, Byzantium in Berlin. The cloister courtyard in the Schloßpark Glienicke (Berliner Forum 6/84), Berlin 1984, p. 54.
- ^ Andreas Bernhard, The building activities of architects v. Arnim and Petzholtz , in: Exhibition catalog Schloß Glienicke 1987, p. 84.
- ↑ quoted from Rothkirch, Prinz Carl, 2006, p. 146.
- ↑ Louis Schneider: Report on the 22nd Assembly of the Association for the History of Potsdam I, 1864, p. 80 ff. Quoted from Zuchold, der Klosterhof, 1992, Volume I, pp. 79–81.
- ↑ Zuchold, Gerd, H .: The cloister courtyard in the park of Glienicke Palace in Berlin, (The buildings and art monuments of Berlin, supplement 20/21), Berlin: Brüder Mann, 1993, volume I.
- ↑ Of course, consideration for Austria as the presidential power of the German Confederation also played a role in the rejection of the imperial crown.
- ↑ cf. Zuchold, Der Klosterhof, 1993, Volume I, p. 51ff.
- ↑ Zuchold, Der Klosterhof, Volume I, p. 29.
- ↑ Gary Vikan: Catalog of the Sculpture in the Dumbarton Oaks Collection from the Ptolemaic Period to the Renaissance . Dumbarton Oaks 1995, ISBN 978-0-88402-212-1 (= Dumbarton Oaks Collection Series 6), p. 107.
- ↑ Bergau, Inventory of Bau- und Kunst-Denkmäler 1885, p. 383: “ In the three halls of the courtyard, many Byzantine reliefs and statues of saints; Byzantine pillars. partly delicately twisted and laid out with mosaic. Two stained glass; two bronze bulbs; Gothic tapestry depicting the crucifixion and four saints. "
- ↑ Zygmunt Swiechowski, Alberto Rizzi, Richard Hamann-MacLean, "Patere e Formal" - Romanesque reliefs of Venetian facades , Wiesbaden 1982, p 18; quoted from Zuchold, Der Klosterhof 1993, p. 51.
- ↑ Harry Nehls, Prince Carl of Prussia and his "very special interest in patriotic antiquities" on the 200th birthday of "Sir Charles Glienicke" In: Mitteilungen des Verein für die Geschichte Berlins 97 (2001), pp. 226-231
- ↑ Bergau, Inventory of Architectural and Art Monuments 1885, p. 383: “In the chapel of the monastery courtyard there is an exquisite collection of mainly ecclesiastical antiquities, which go back to the first millennium. Eleven crucifixes from the 11th - 15th centuries Century. The bronze body is attached to a cross made of wood or metal. The metal parts are gold-plated or covered with champlevé enamel, and some are also set with precious stones. The halo is indicated in the enamel of some, it is missing in some or has been replaced by a crown. A crucifix, whose figure is clad in a long robe, is particularly beautiful; the latter enamelled blue and set with turquoises and rubies; on the head a three-pointed crown. Several lecture crosses, mostly in metal, enamelled or set with precious stones. The one that Emperor Heinrich II gave to Basel Minster in 1010 is particularly beautiful. (Fig. In Obernetter, Kunst- und Kunstgewerbe- [p. 385] exhibition in Munich 1876, booklet 14.) It is made of gold and silver with filigree work and set with 122 precious stones, cameos and gems; in the arms, under large rock crystals, relics. The reverse, added later, bears the symbols of the four evangelists and the image of Christ with the crown of thorns. Gothic lecture cross, made of gilded copper sheet, with chased work; in the middle Christ seated with his right hand raised, his left leaning on the Gospel. The four evangelists on the beam ends. On the reverse Christ on the cross with Mary, Magdalena and John; above a monk. Two abbot's staff and a bishop's staff from the XII. Century, richly ornamented, partly enamelled; the latter with openwork ornament. A large number of Byzantine emails from the X.-XIII. Century on various objects, z. B. on a triptych , which is also richly set with precious stones and cameos; on many reliquary containers, two book covers, wafer boxes, Romanesque candlesticks, censer; small travel altars and the like. Many ecclesiastical implements made of bronze, copper and silver: monstrances; Aquamanile in the shape of a lion; Chandelier foot in the shape of a dragon; Embroidery and smaller tapestries; Parts of vestments and processional flags; Bible manuscript with initials; cut stones; Carvings in bone and ivory, including a particularly interesting relief carved in ivory (see yearbooks of the Verein der Antertumsfreunde in Rheinland, XI, p. 123), carved fireplace and medal; Seal stamps in bone and marble and the like. Smaller stained glass. "
- ↑ Zuchold, Der Klosterhof, 1993, Volume I, p. 54.
- ^ Grave and rule - cult of the dead from Alexander the Great to Lenin, Munich: CH Beck, 2003.
- ↑ Börsch-Supan, The Art in Brandenburg-Prussia, 1980, pp. 290f.
- ↑ Gerd H. Zuchold, Der Klosterhof, Berlin 1993, Volume II.
- ↑ This draft is dealt with in detail in: Sievers, Buildings for the Prince Karl, 1942, p. 126ff.
- ↑ Margrit-Christine Schulze, Orangery and Greenhouses in Glienicke Park, in: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (ed.), Ludwig persius architect of the king - architecture under friedrich wilhelm IV., Regensburg: Schnell und Steiner, 2003, p 208-210.
- ^ Thilo Eggeling, Ludwig Persius as an architect in Glienicke , in: Exhibition catalog Schloß Glienicke 1987, p. 64.
- ↑ Landesdenkmalamt Berlin and Brandenburgisches Landesamt für Denkmalpflege und Archäologisches Landesmuseum (ed.): Gartenkunst und Gartendenkmalpflege (Monument Preservation in Berlin and Brandenburg. Workbooks 2/2004), Petersberg: Michael Imhof, 2004, cover sheet.
- ↑ bldam-brandenburg.de
- ↑ Goerschel, Glienicke and antiquity , in: exhibition catalog Glienicke 1987, p 250f
- ^ Catalog Schloss Glienicke, 1987, p. 16.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 62.
- ↑ Bernhard, Die building activity… , in: Exhibition catalog Schloß Glienicke 1987, p. 99f.
- ↑ Jürgen Julier, Siegfried Schmidt, The tower of the Schinkel castle in Glienicke, a monument preservation problem, in: Museumsjournal 3 (1989) pp. 68–72
- ^ Sievers, Buildings for Prince Karl, 1942, p. 62
- ↑ Exhibition catalog Das gantze Eylandt ..., 1987, p. 101.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 35
- ^ Johannes Sievers, Die Möbel (Karl Friedrich Schinkel's life's work), Berlin: Deutscher Kunstverlag 1950, p. 24f.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 48.
- ↑ Winfried Baer, On the question of the furnishing of Schloss Glienicke , in: exhibition catalog Schloss Glienicke 1987, p. 222.
- ↑ Hermann von Pückler-Muskau, Hints on Landscape Gardening , new edition with a foreword by Edwin Redslob, Berlin: Deutscher Kunstverlag 1933, p. VI.
- ↑ Pückler-Muskau, Allusions about landscape gardening , new edition 1933, p. VIII.
- ↑ Quoted from: Helmuth von Moltke's letters to his bride and wife , Deutsche Verlags-Anstalt, Stuttgart-Berlin 1919, pp. 12/13.
- ↑ quoted from Schütte, Prinz… Carl , in: exhibition catalog Schloß Glienicke, 1987, p. 201.
- ↑ Michael Seiler, The history of the development of the landscape garden Klein-Glienicke , in: Exhibition catalog Schloß Glienicke 1987, p. 149.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 73
- ^ Hermann Jäger, Garden art and gardens otherwise and now . Berlin 1888, pp. 390ff.
- ↑ Anett Kirchner: The dilapidated world cultural heritage, in: Der Tagesspiegel, Berlin March 6, 2014.
- ↑ Der Tagesspiegel from December 1, 2014.
- ↑ Hans-Joachim Dreger: Garden Monument Preservation in Brandenburg ... in: Landesdenkmalamt Berlin and Brandenburgisches Landesamt für Denkmalpflege und Archäologisches Landesmuseum (ed.): Garden Art and Garden Monument Preservation (Monument Preservation in Berlin and Brandenburg. Workbooks 2/2004), Petersberg: Michael Imhof, 2004, P. 23.
- ↑ The SPSG's 2009 annual report published online, p. 4. In 2005, the 150th Schinkel Competition was about the “Landscape Park between Teltow Canal and Böttcherberg”. Regrettably, he had settlement as a target in the urban development areas.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 21
- ^ Sievers, Buildings for Prince Karl, 1942, p. 21
- ↑ Sperlich / Seiler, Zehlendorfer Chronik 1987, p. 30.
- ↑ Seiler, Dissertation, 1986, p. 142.
- ↑ Sievers reckons with 50,000, Seiler, Dissertation, 1986, p. 138 with 40,000 trees.
- ↑ Seiler, Dissertation, 1986, p. 128.
- ^ Sievers, 1942, p. 72.
- ↑ Seiler, Dissertation, 1986, p. 242f.
- ↑ The "Worker's House" from 1874 (see below, Schweizerhaus-Partie) should have been designed with eight residential units for the gardeners. Where they lived or lived half a century before is not even speculative at the moment.
- ↑ Rothkirch, Prinz Carl, 2006, p. 96. Letter of January 5, 1837.
- ↑ Seiler, Dissertation, 1986, p. 202.
- ↑ Seiler, Dissertation, 1986, p. 323.
- ↑ quoted from Seiler, Dissertation, 1986, p. 239.
- ↑ Seiler, Dissertation, 1986, p. 230.
- ↑ Jörg Wacker: The handling of the listed horticultural facilities of the SPSG in: Landesdenkmalamt Berlin and Brandenburgisches Landesamt für Denkmalpflege und Archäologisches Landesmuseum (ed.): Garden art and garden monument preservation (monument preservation in Berlin and Brandenburg. Workbooks 2/2004), Petersberg: Michael Imhof , 2004, p. 26.
- ↑ Seiler, Dissertation, 1986, p. 170.
- ↑ Hans-Joachim Dreger: Garden Monument Preservation in Brandenburg ... in: Landesdenkmalamt Berlin and Brandenburgisches Landesamt für Denkmalpflege und Archäologisches Landesmuseum (ed.): Garden Art and Garden Monument Preservation (Monument Preservation in Berlin and Brandenburg. Workbooks 2/2004), Petersberg: Michael Imhof, 2004, P. 25. This is the structure explained by Gustav Meyer in 1860.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 74.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 141.
- ↑ Seiler, Dissertation, 1986, Fig. 30.
- ↑ Sperlich / Seiler, Zehlendorfer Chronik 1987, p. 13.
- ^ Exhibition catalog Schloß Glienicke 1987, cat. 292
- ↑ Seiler, History of Development ... , in: Exhibition catalog Schloß Glienicke 1987, p. 141.
- ↑ Uwe Schmohl from the garden monument preservation: Monument of the month 2017 on www.berlin.de
- ^ Eggeling, Ludwig Persius… in Glienicke , in: exhibition catalog Schloß Glienicke 1987, pp. 72–74; Bernhard, Die building activity… , in: Exhibition catalog Schloss Glienicke 1987, pp. 81–83.
- ↑ Susanne Fontaine, Wirtschaftshof in Glienicke, in: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (ed.), Ludwig Persius architect of the king - building art under Friedrich Wilhelm IV., Regensburg: Schnell und Steiner, 2003, p. 213f.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 145.
- ^ Exhibition catalog Schloss Glienicke 1987, p. 388.
- ^ Sievers, Buildings for Prince Karl, 1942, pp. 136/137, the volume of the journal is lost.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 144
- ↑ in detail on design and planting in Seiler, Dissertation 1986, pp. 189–195.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 140.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 137.
- ^ Eggeling, Persius… in Glienicke , in: Exhibition catalog Schloß Glienicke 1987, pp. 71–73.
- ^ August Wilhelm Ferdinand Schirmer (1802–1866). A Berlin landscape painter from the circle of Karl Friedrich Schinkel , Berlin: Prussian Palaces and Gardens Foundation, exhibition catalog 1996, cat.-no. 2.3, oil on canvas 27.7 × 42.3 cm.
- ^ The 'invigorating idea' of Glienicker Park, in: Landesgeschichtliche Vereinigung der Mark Brandenburg (Ed.), Yearbook for Brandenburg State History 15, 1964, pp. 50–59; Architects and Engineers Association of Berlin (ed.) Berlin and its buildings, Vol. 11, Gardening, Berlin / Munich: Ernst and Son, 1972, p. 211; District Office Zehlendorf (Ed.) Brief Building History of Zehlendorf, Berlin 1972, p. 14.
- ↑ u. a. in Kat.Schloß Glienicke, 1987, p. 154.
- ↑ Börsch-Supan, The Art in Brandenburg-Prussia, 1980, pp. 289f.
- ^ Eggeling, Persius… in Glienicke , in: Exhibition catalog Schloß Glienicke 1987, pp. 66–71.
- ↑ Seiler, Dissertation, 1986, p. 157.
- ↑ Sabine Bohle-Heintzenberg, The steam power in the park landscape, in: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (ed.), Ludwig persius architect of the king - building art under friedrich wilhelm IV., Regensburg: Schnell und Steiner, 2003, p. 75. Susanne Fontaine, Glienicke machine and gardener house, in: ludwig persius architect des king, p. 219f.
- ^ Anonymus, Klein-Glienicke, Castle of Prince Carl von Prussia near Potsdam, in: Leipziger Illustrierte Zeitung, Volume 6, No. 154, 1846, p. 383. Quoted in Nehls, Italien in der Mark, 1987, p. 17f.
- ↑ Seiler, Dissertation, 1986, p. 170.
- ^ Anonymos, Walk through Potsdam's surroundings, 1839, p. 69.
- ↑ quoted from Schütte in the exhibition catalog Schloss Glienicke 1987, p. 201.
- ↑ Seiler, Dissertation, 1986, p. 240.
- ^ Nehls, Italien in der Mark, 1987, p. 86.
- ↑ Wagener, small Glieneke, 1882, p 578
- ^ Exhibition catalog Schloß Glienicke, 1987, cat. No. 287, pp. 415f. There Bernhard stated without proof that after 1871, instead of today's bastion above the Jägerhof, French guns were installed. The Sievers photo does not provide any clue to the location; in 1934 the pipes may have been between the casino and the Hofgärtnerhaus.
- ↑ Nehls, Harry: Italien in der Mark, 1987, p. 44 (note 183): “ The cannons were not, as Sievers states, delivered to the French, but are still in Glienicker Park, buried under that of the National Socialists built a “bombastic terrace”. An “exhumation” is not planned at the moment, presumably because the cannons would then be directed to the “east”. However, the preservation of monuments should be faced with questionable political resentment here, because apart from their trophy-like character, they were ultimately no longer used as weapons of attack here in Glienicker Park in their new role. Traditional gun salutes, even in our democratic age, no one has yet wanted to abolish. "
- ↑ Gustav Meyer: Textbook of beautiful garden art: with special consideration for the practical implementation of gardens and parks , Berlin, 1860 (1873), column 80
- ↑ Seiler, history of origin ... , in: exhibition catalog Schloß Glienicke 1987, p. 148f.
- ↑ Seiler, Dissertation 1986, p. 123.
- ↑ Seiler, Dissertation, 1986, p. 123.
- ↑ Exhibition catalog Schloss Glienicke, Berlin 1987, cat.-no. 278.
- ↑ Harry Nehls: On the provenance and location of the festival tent in the garden courtyard of the Schloss zu Klein-Glienicke. In: Mitteilungen des Verein für die Geschichte Berlins, 82 (1986), pp. 433–437
- ↑ Seiler, Dissertation 1986, p. 229; Seiler, history of origin ... , in: exhibition catalog 1987, p. 149; Eggeling, Persius ... in Glienicke , in: Exhibition catalog Schloss Glienicke 1987, p. 78.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 150
- ↑ Margrit-Christine Schulze, Teufelsbrücke and Töpferbrücke in Glienicke Park, in: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (ed.), Ludwig persius architect of the king - architecture under friedrich wilhelm IV., Regensburg: Schnell und Steiner, 2003, p 197.
- ↑ quoted from Sievers, Buildings for Prince Karl, 1942, p. 72.
- ↑ stadtentwicklung.berlin.de
- ↑ On the website of the construction company carrying out the work, the reconstruction that was carried out is strangely given as a reference .
- ↑ Susanne Fontaine, Sailor's House in Glienicke Park, in: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (ed.), Ludwig Persius, architect of the king - architecture under Friedrich Wilhelm IV., Regensburg: Schnell und Steiner, 2003, p. 172.
- ↑ Eggeling, Persius… in Glienicke , in: exhibition catalog Schloss Glienicke 1987, p. 73f, as catalog number 136 there is the photo from his estate, which is not shown in Sievers and which still shows the entire complex.
- ↑ " At the northern end of my park in Glienicke, to the right of the path leading to the Sacrower Spitze [...] there is a border to the Kgl. Forest belonging […] piece of forest land, which is already partially used for the purposes of the Jägerhof located almost immediately in front of it. “Annex to a letter from Lenné dated February 27, 1839, quoted from Seiler, Dissertation, 1986, p. 183.
- ↑ Seiler, Dissertation, 1986, p. 229.
- ↑ Margrit-Christine Schulze, Großer Jagdschirm im Park Glienicke, in: Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg (Ed.), Ludwig Persius architect of the king - architecture under Friedrich Wilhelm IV., Regensburg: Schnell und Steiner, 2003, p. 191.
- ↑ Leipziger Illustrirte Zeitung, No. 154, 1846, p. 384, quoted from Seiler, Dissertation, 1986, p. 229.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 109.
- ^ Sievers, 1942, p. 103.
- ^ Sievers, Buildings for Prince Carl, 1942, p. 104
- ↑ Margrit-Christine Schulze, Schießhütte im Park Glienicke, in: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (ed.), Ludwig persius architect of the king - architecture under friedrich wilhelm IV., Regensburg: Schnell und Steiner, 2003, p. 191f .
- ↑ quoted from Sievers, Buildings for Prince Karl, 1942, p. 153.
- ^ Exhibition catalog Schloß Glienicke 1987, cat. 147, p. 374.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 153.
- ^ Eggeling, Persius ... in Glienicke , in: Exhibition catalog Schloß Glienicke 1987, p. 76f.
- ↑ ludwig Persius, catalog 2003, p. 186.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 143.
- ^ Eggeling, Persius ... in Glienicke , in: Exhibition catalog Schloß Glienicke 1987, p. 76f.
- ^ Reichstag minutes 295th meeting, March 24, 1927: “ One more brief word about a budget item that the budget committee proposed to delete. It is about 120,000 marks to regulate the Sacrower Narrow. As I have been informed by interested parties, the interested parties deeply regret the cancellation of these 120,000 marks. The reason for the deletion was that the beautiful landscape would suffer as a result of the straightening. The interested parties, employers as well as employees in inland navigation, are of the opinion that these funds should be stopped again if one does not want accidents after accidents with increased shipping, if one does not want water sports to make victims too . ".
- ↑ Seiler, Dissertation, 1986, p. 195.
- ↑ Schinkel: Collection of architectural drafts, Berlin edition 1858, text volume, explanation of plate 60.
- ↑ Seiler, History of Development ... , in: Exhibition catalog Schloss Glienicke 1987, p. 137.
- ↑ Seiler, Dissertation 1986, p.
- ↑ Wagener, small Glieneke, 1882, p 580
- ↑ Bernhard, Die building activity ... , in: Exhibition catalog Schloss Glienicke, p. 87.
- ↑ The house in its existing form was first shown on a memorial sheet in 1877. But there is no evidence that it ever had a different tower closure. Catalog Schloss Glienicke, 1987, p. 163.
- ↑ Bernhard, Die building activity… , in: exhibition catalog Schloß Glienicke 1987, p. 87, there also Sievers photo from around 1934 with remains of the picket fence.
- ↑ Seiler, Dissertation 1986, p. 232f.
- ↑ Bernhard, Die building activity ... , in: Exhibition catalog Schloß Glienicke 1987, p. 88.
- ↑ Seiler, Dissertation, 1986, p. 172.
- ↑ Architectural Sketchbook, 1852, Book III, Sheets I and II.
- ↑ Seiler, Dissertation, 1986, p. 186.
- ↑ Seiler, Dissertation 1986, p. 232.
- ↑ Seiler, Dissertation 1986, p. 230.
- ↑ Seiler, Dissertation 1986, p. 231.
- ↑ Wagener, small Glieneke, 1882, p 580
- ↑ Seiler, Dissertation, 1986, p. 306.
- ↑ Seiler, Dissertation 1986, p. 229.
- ↑ Seiler, Dissertation 1986, p. 230f.
- ↑ Seiler, Dissertation 1986, p. 228.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 73.
- ↑ Wilfried M. Heidemann, St. Peter and Paul auf Nikolsloe 1838–1988, Berlin 1988.
- ↑ So far only one historical photo from around 1932 from the Cerrini estate is known, shown in the exhibition catalog Schloß Glienicke 1987, p. 373.
- ↑ Allgemeine Bauzeitung, Volume X, 1845, p. 283, Egle on the new building of the Sacrow Church of the Savior. Eggeling, Persius… in Glienicke , in exhibition catalog Schloß Glienicke, 1987, p. 78 erroneously states a publication in the architectural sketchbook.
- ↑ SPSG (ed.), Ludwig Persius - Architekturführer, Potsdam 2003, p. 97.
- ^ Exhibition catalog Schloß Glienicke 1987, p. 372.
- ↑ Siever's assumption that the house was built around 1842 at the same time as the park gate keeper's house, is based on Louis Schneider's incorrect dating of the park gate, which could only have been built after the park was expanded in 1852. In addition, Persius would have been responsible for the design in 1842.
- ^ Bernhard, The building activity ... in: Exhibition catalog Schloß Glienicke 1987, p. 87; Sievers, Bauten für den Prinzen Karl, 1942, p. 142 shows the complex with the actual gate and picket fence. On this photo from 1934, the road has not yet been excavated and the facility is accordingly still directly on the road.
- ↑ Seiler, History of Development ... , in: Exhibition catalog Schloss Glienicke, Berlin 1987, p. 137.
- ↑ Catalog Schloss Glienicke, 1987, p. 394.
- ^ Sievers, Buildings for Prince Karl, 1942, p. 144.
- ↑ v. Krosigk, Wiegand, Glienicke 1992, p. 56.
- ↑ quoted from Seiler, Dissertation, 1986, p. 240.
- ^ Eggeling, Persius in Glienicke, in: exhibition catalog Schloß Glienicke 1987, p. 78f; Sievers, Bauten für den Prinzen Karl, 1942, p. 143f describes the house as an existing building, but strangely enough did not have a photo taken.
- ↑ That the house was also executed in the published design is proven by a commemorative sheet from 1877 (silver wedding anniversary of the prince couple and death of the princess). There all four gatehouses are shown in the traditional design. Glienicke catalog 1987, p. 475.
- ↑ cf. Seiler's parcel-specific park development map in the Schloss Glienicke catalog, 1987, p. 137.
- ↑ Margrit-Christine Schulze, Haus am Böttcherberg, in: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (ed.), Ludwig persius architect of the king - architecture under friedrich wilhelm IV., Regensburg: Schnell und Steiner, 2003, p. 187. Schulze assumes that the simple house, once inhabited by Bernhard Kellermann, is still essentially the gatekeeper's house, which is unlikely because, according to the maps that have been handed down, the distance between the gatekeeper's house and (West Berlin) Böttcherbergpark was too narrow for the border barriers. It takes up Eggeling's doubts about Persius' authorship. Eggeling, Persius… in Glienicke , in: Exhibition catalog Schloss Glienicke, 1987, p. 78f.
- ↑ Eckhard and Herzeleide Henning, Loggia Alexandra - memorial for Charlotte of Prussia, Empress of Russia, in: Jahrbuch Preußischer Kulturbesitz 1974/75, pp. 105–124.
- ^ Exhibition catalog Schloß Glienicke 1987, p. 108.
- ^ Bernhard: The building activity ... , in: Exhibition catalog Schloß Glienicke 1987 , pp. 95–98.
- ↑ Seiler, Dissertation, 1986, p. 253.
- ↑ Malve Countess Rothkirch: Prince Carl von Preußen, Melle 2006, Fig. 200.
- ↑ Seiler, Dissertation, 1986, p. 253.
- ↑ Seiler, Dissertation, 1986, p. 250. According to the journal entries given there, one house was built in 1863, three houses in 1864, three houses in 1865 and one in 1866.
- ↑ Johanna Spyri achieved the greatest success in using this cliché with her two Heidi novels in 1879/81, with which she even shaped the cliché worldwide. But this could no longer be reflected in the Glienicke park design.
- ↑ Bernhard, Die building activity ... , in: Exhibition catalog Schloß Glienicke, 1987, p. 94.
- ↑ Seiler, Dissertation, 1986, p. 250.
- ↑ Bernhard, The building activity ... in: Exhibition catalog Schloß Glienicke 1987, p. 94.
- ↑ Bernhard, Die building activity ... , in: Exhibition catalog Schloß Glienicke 1987, p. 95.
- ↑ Bernhard, Die building activity… , in: Exhibition catalog Schloß Glienicke 1987, pp. 93–95.
- ↑ In the early 1990s, the then Potsdam Office for the Preservation of Monuments commissioned a report on the Swiss houses, the results of which, however, have not yet been published.
- ↑ Catalog Schloss Glienicke, 1987, p. 94. According to Andreas Kitschke, the building design, which has not yet been published, has been preserved in the SPSG's collection of plans.
- ↑ Those responsible for the specifications for the 150th Schinkel Competition in 2005 at the Berlin Architects and Engineers Association obviously believed they could conjure up the genius loci by choosing the location across from the buildings of the namesake. In doing so, however, they demonstrated a high level of incompetence with regard to the garden artwork, since of course the designs wanted to be particularly dominant and wanted to sweep the dust of history off the area. The designs awarded by the jury are quite original and worth studying, but absolutely incompatible with the world heritage, especially since they only allow the garden artwork to play the role of architect parsley. http://www.aiv-berlin.de/uploads/Schinkelwettbewerb/Dokumentation_SW_2005.pdf ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ krkul.de
- ↑ Bernhard, Die building activity… , in: Exhibition catalog Schloß Glienicke 1987, p. 101f.
- ↑ Ilse Nicholas, From Potsdamer Platz to Glienicker Bridge (Berlinische Reminiszenzen, Volume 13), Berlin: Haude and Spener, 1979, p. 134.
- ↑ Photos in exhibition catalog Schloss Glienicke, 1987, cat. No. 242a and b. The photo comes from the collection of long-time castellan Alfred Gobert in Glienicke; its author could no longer be identified as early as 1987. It can be found on the Internet: http://www.hinter-der-mauer.de/rundblick/1961-1990/haeuserabrisse/die-weisse-villa/ .
- ↑ Exhibition catalog Das gantze Eyland…, Berlin 1987; Bernhard, The building activity ... in: Exhibition catalog Schloß Glienicke 1987, pp. 88–93.
- ↑ Bernhard: The building activity ... , in: Exhibition catalog Schloß Glienicke 1987, p. 88.
- ↑ Bernhard, Die building activity ... , in: exhibition catalog Schloss Glienicke, 1987, p. 92f.
- ^ Bergau, Inventory of Building and Art Monuments 1885, p. 380.
- ^ Bergau, Inventory of Building and Art Monuments 1885, p. 380.
- ^ Letter from Bachmann to Ritter, SPSG, Cerrini estate, exhibition catalog Schloß Glienicke, 1987, p. 93.
- ↑ Bernhard, Die building activity ..., in: Catalog Schloss Glienicke, 1987, p. 105.
- ↑ Klaus von Krosigk and Heinz Wiegand, Glienicke, 1992, p. 59.
- ^ Bergau, Inventory of Building and Art Monuments 1885, p. 380.
Coordinates: 52 ° 25 ′ 0 ″ N , 13 ° 6 ′ 0 ″ E