Rosenstein Castle
| Rosenstein Castle | |
|---|---|
| Surname | Rosenstein Castle |
| place | Stuttgart-Bad Cannstatt , Rosensteinpark |
| Building | Country castle |
| Building history | Construction period: 1824–1829 Destruction in the war: 1944 Reconstruction: 1950–1960 General renovation and reconstruction: 1990–1992 |
| Architectural style | Classicism ( Palladianism ) |
| Client | King Wilhelm I of Württemberg |
| architect | Giovanni Salucci |
| sculptor | Johann Wilhelm Braun , Friedrich Distelbarth , Albert Güldenstein , Ludwig Mack , Theodor Wagner , Conrad Weitbrecht |
| painter | Johann Friedrich Dieterich , Joseph Anton von Gegenbaur , Gottlob Johann Gutekunst |
| use | State Museum for Natural History Stuttgart |
| Height above sea level | 245 meters |
| Dimensions | Width × depth: 75 × 47 meters Base area: 3525 square meters Height:? meter |
| Coordinates | 48.80052 ° N , 9.206 ° O |
Rosenstein Castle is a country castle in Stuttgart, which was built under King Wilhelm I from 1824 to 1829 by his court architect Giovanni Salucci in a classical style. The castle is located in the immediate vicinity of the Wilhelma zoological-botanical garden on the eastern edge of an English landscape garden , the Rosenstein Park in the Bad Cannstatt district .
The castle, which was planned as a summer residence, was never permanently occupied. In the years 1877–1918 the castle housed the king's important collection of paintings and sculptures, from 1921 the World War II library and from 1933 also a war museum. After being severely damaged by the war in 1944, the castle was rebuilt in the 1950s. Only the four-season frieze by Conrad Weitbrecht could be saved from the rich artistic interior .
Since 1954, as the Museum Schloss Rosenstein , the castle has been the seat of the biological collection of the State Museum for Natural History Stuttgart . The palaeontological and geological collection is housed in the museum at the Löwentor, which opened in 1985, on the western edge of the Rosenstein Park. 1990–1992 the castle was completely renovated and adapted to the requirements of a modern exhibition.
location
Note: Code numbers in brackets, e.g. B. (12), refer to the map of the Rosenstein Park.
Rosenstein Park
Rosenstein Castle (1) is located at the eastern end of Rosenstein Park in Stuttgart, which belongs to the Neckarvorstadt district in the Bad Cannstatt district. The Rosensteinpark has roughly the shape of a transverse rectangle. With the lower long side at Ehmannstraße it borders on the Stuttgart North district (Am Rosensteinpark district) and on the eastern narrow side it merges into the Lower Schlossgarten , which meets the Neckar knee here on Neckartalstraße and through Cannstatter Straße, which runs through the Schwanenplatztunnel runs, is separated from the Berg district in the Stuttgart Ost district . In the north, the park borders on the zoological-botanical garden of Wilhelma and in the west on Nordbahnhofstrasse.
The park “is largely surrounded by commercial and residential areas as well as significant transport facilities (railways, highways); only in the southeast it borders directly on the Lower Castle Garden, in the northeast on the zoological-botanical garden »Wilhelma«. "
At the junction of Nordbahnhofstraße and Pragstraße is the Löwentor (20), the western entrance to Rosensteinpark, from where you can reach the museum at the Löwentor (22) and the Großer Rundweg (dashed line), which takes you to Rosenstein Castle.
Green u
Rosenstein Palace is located on a "hinge" of the Green U . The Green U is a closed park of eight kilometers in length, which at the New Castle , begins northeast through the Upper, Middle and Lower Castle Garden runs, bends at Rosenstein Palace to the east in the Rosenstein Park and across the Leibfried's garden and the Wartberg up to the Killesberg Park .
Kahlenstein
"Opposite Bad Cannstatt, where the Nesenbachtal joins the Neckar valley, the old Neckar terrace forms a protrusion, at the height of which, about 30 meters above the Neckar, King Wilhelm I of Württemberg had his Rosenstein castle built in 1822." The Nesenbach , the ran parallel to Cannstatter Straße in its lower course along the Untere Schlossgarten, is now dotted and therefore invisible, including its mouth south of the Neckar knee. With "projection of the Neckarterrasse" is meant the former Kahlenstein, which has been called Rosenstein since 1824, a hill that is about 245 meters above sea level and thus 30 meters above the Neckar.
view
The Kahlenstein was a much-visited lookout point (see Kahlenstein ). The exposed location of Rosenstein Castle on the former Kahlenstein originally offered an all-round panorama of the area and, in particular, a broad view of the Neckar Valley. The line of sight to the burial chapel 150 meters higher on the Rotenberg , where his second wife Queen Katharina, who died young, is buried, was particularly important for the client, King Wilhelm . Wilhelm's son, the crown prince and later King Karl I, was also important when building his country house, Villa Berg , with a direct view of his father's castle 25 meters below. Today, many lines of sight are obscured by buildings and vegetation (including the view of the burial chapel and Villa Berg), on the other hand, there are new views of modern buildings:
- “The original location of the Rosenstein Park in the middle of a landscape characterized by agricultural use and in particular by fruit and wine growing with distant views of undeveloped mountain slopes and hills as well as narrow settlements changed to a location in the middle of the city of Stuttgart, which with its residential and commercial areas, traffic facilities and technical infrastructure pressures the Rosensteinpark directly. "
- "As a result of these far-reaching changes, most of the park's distant views have undergone qualitative changes: In addition to the development of hillside locations and the construction of technical towers (television and telecommunications systems) on prominent elevations in the wider area, the structural development in the immediate vicinity of the Rosenstein Park in particular led to in some cases considerable impairment of the original visual relationships between the park and the landscape. "
View from the east facade of Stuttgart-Berg . G = burial chapel, B = Berger Church . - Left picture: View earlier (before 1860), lithograph by Franz Schnorr. Right picture: View from a similar angle today (2014) at the rose garden at the beginning of Salucci-Allee.
View through the porticoes of the rear facade. G = Rotenberg with burial chapel. - Left picture: View earlier (before 1860), painting by Giovanni Salucci. Right picture: View from a similar angle today (2014) between two pillars of the main portico.
Access
The Rosenstein Castle can u. a. can be reached on the following routes (routes 1–3 are also suitable for wheelchair users):
- From the Löwentor tram stop at Löwentor (20) you can get to the main entrance of Rosenstein Castle via one of the two branches of the large circular route (dashed), along the museum at Löwentor (22) or Wilhelma. From the Rosensteinpark tram stop, you can also get to the castle directly via the Wilhelma branch of the Great Loop.
- Starting from the New Palace , one reaches the beginning of the plane tree avenue (10) with the horse-tamers in the Lower Palace Garden via the Upper and Middle Palace Gardens. At the end of the avenue you get to the two guard houses (5) and then via Kastanienallee or Salucci-Allee (9) to the main entrance of the castle.
- From the Wilhelma tram stop, opposite the former Bellevue gate at the Wilhelma multi-storey car park (13), a path leads up to Rosenstein Castle.
- From the Mineralbäder tram stop, a path leads between Inselsee (6) and Eissee (7) to the plane tree avenue. From there you get to the main entrance on the right.
- Note: Until 2016, there was an attractive path from the other bank of the Neckar. From the city beach at Schönestraße you got over a covered wooden bridge over the Neckar , then over a concrete bridge (Wilhelmasteg) over the B14 and from there on the left to the castle. Both bridges were demolished as part of the Stuttgart 21 project.
Lion gate.
Entrance of the plane tree avenue with Ludwig von Hofer's horse tamers .
Guard house, in the background: main facade of the castle.
Surname
Rosenstein Castle, which was intended to be “partly the summer residence of the royal family and partly for societies”, was originally called Landhaus Rosenstein. It was not until the 20th century that Rosenstein Castle was given its current name.
The client, King Wilhelm, was reluctant to call his rural residences a castle so as not to smell waste in his puritanical country. His pleasure palace in Wilhelma (built in 1846), today's Moorish country house , was named after his will first the Moorish Bath and finally Villa Wilhelma or Wilhelma for short. Wilhelm's son Karl I kept this language rule and modestly called his country palace in Stuttgart-Berg Villa Berg (built in 1845–1853).
The hill on which Rosenstein Castle was built was originally called Kahlenstein . King Wilhelm proclaimed by decree in 1824: "I want to have added the name Rosenstein to the castle to be built on the Kahlenstein", a name that should remind of the favorite flower of his wife Queen Katharina , who died young in 1819 . This name was also transferred to the hill and the Rosenstein Park.
building
Note: For the sake of simplicity, the two side facades are referred to as the east and west facades; in fact, they are in the southeast and northwest respectively.
Rosenstein Castle rises 245 meters above sea level on the eastern foothills of the Rosenstein Hill in Rosenstein Park . The rectangular building complex is rotated about 45 ° from the north-south direction to the east, so that its rear facade is oriented towards the Neckar and the main facade towards the city. The main and rear façades are each 75 meters wide, the side façades 47 meters each, resulting in a floor area (without terraces) of 3525 square meters.
Layout
The building consists of three wings. The two 31-meter-wide outer wings consist of three 14-meter-wide wings , which form a U and opening to a square courtyard (now Walsaal or elephant hall) which also abuts the 14 meters wide central wing. There used to be fountains in the middle of the courtyards.
The outer wings are one-story, the one-and-a-half-story central wing consists of a normal-height floor and a half-floor above it. A circumferential attic fries hides the saddle roof , at the transition between the main porticos and the front or rear wings walmartig is formed. The inner courtyards were originally uncovered, but are now covered by flat roofs with side skylights, which are held at the four corners by steel tree supports.
A five-axis main portico is set in front of the main and rear façades with six Ionic colossal columns that support a straight entablature with a triangular gable decorated in relief (see large gable reliefs ). Two slightly swinging access ramps lead up to the side openings of the front main portico. They end at the terrace covered by the portico. The main porticos are flanked by a single-axis facade field, which is enclosed by two Ionic colossal pilasters .
Close to the corners of the building, the main and rear façades are each faced with two three-axis secondary porticos, each with four Tuscan columns and straight entablature with triangular gables decorated in relief (see small gable reliefs ). They are flanked by arched niches with statues of muses. Also close to the corners of the building, two three-axis loggias with four supports each, two Tuscan columns and two corner pilasters have been drawn into the two side facades .
Masonry
The outer walls of the castle were made of stone quadern from local Schilfsandstein built, the partitions and the Half-floor brick. The exterior wall surfaces of the ground floor are plastered white, except for the door and window frames, pilasters and cornices . The masonry of the base consists of cuboids with a smooth face without edge impact and with thin mortar joints.
base
The building stands on a 1.40-meter-high base with no basement, which protrudes over the structure in a width of 2.60 meters as a terrace, which gives access to the portico and loggias via outside stairs . The otherwise continuous terrace between the main and secondary portals is interrupted by the side access ramps. Since there was no basement, the “ground floor in the individual rooms was vaulted with brick. On these vaults lay the false floor and on top of it the parquet. The cavities below were hermetically sealed. In addition, the outside terrace was also located above such self-contained cavities. ”The lack of air circulation under the ground floor rooms was an ideal breeding ground for the dreaded dry rot , which required extensive renovation in 1839 (see history, subsequent period ).
Horizontal structure
The uniform horizontal structure of the castle facades is achieved by the following structural elements:
- the unplastered base strip
- the sill cornice
- the roofing of the windows
- the cornice , cranked with the side portics , separates the ground floor and the attic
- the surrounding parapet frieze
- and the cornice .
Vertical structure
The main and rear facade occur in the middle and at the sides by risalits before, as columns porticoes are formed. In the vertical direction, the facades are structured by the pillars of the porticos and by pilasters that emphasize the flanking wall fields of the porticos and loggias .
The continuous windowing of the ground floor is only interrupted by doors or arched niches for statues of the muses. The central wing can be entered through three or three French windows each under the main porticos, under the secondary porticos and in the loggias one window each leads to the corresponding side wings. The doors are flanked on the outside by a side window. The mezzanine has seven windows each on the main and rear façades, which break through the otherwise surrounding parapet frieze.
axes
| Number of modules | Part of the building |
|---|---|
| 5 | Main porticos |
| 5 + 2 = 7 | Middle wing |
| 3 | Side porticos and loggias |
| 3 + 2 = 5 | Side porticos with flanking statues of muses |
| 3 + 2 = 5 | Loggias with flanking side windows |
| 6th | Wall area between the main and secondary portals |
| 7th | Wall area between the loggias |
The main and rear façades are divided by 29 axes, 7 of which are attributable to the main porticos, 5 each to the secondary porticos and 6 each to the wall surfaces between the porticos (5: 6: 7: 6: 5). The side facades are structured by 17 axes, 5 of which are allocated to the loggias and 7 to the wall surface between the loggias (5: 7: 5). Each building axis is occupied by a door, a window or a still picture niche on the facade.
When designing the castle, Salucci used the pillars of the porticos as the basic dimension ( module ). H. the distance between two columns from column center to column center. The building is 29 modules wide and 17 modules deep. The modules correspond to the respective building axes and are distributed according to the scheme 5: 6: 7: 6: 5 for the central façade and the 5: 7: 5 scheme for the side façades. Theoretically, the module widths calculated from the width and depth of the building should match; in fact, depending on the underlying dimensions, values between 2.56 and 2.76 meters result. The table gives an overview of the division of the facades according to modules.
The side lengths of the floor plan are proportioned according to the golden ratio, as are parts of the main facades.
Spaces
Floor plans
Floor plan of the first floor until 1944.
Room numbers: 2–10: rooms of the king, 11–15: rooms of the queen, 17–25: rooms of the princesses, 26–30: guest rooms, 31–32: inner courtyards.
Ground floor plan since 1993.
Floor plan
The ground floor of the palace had 74 rooms and the mezzanine (also a mezzanine or entresol) had seven rooms. In the ground floor plan of the first floor (until 1944) only rooms 1–31 are numbered, the two inner courtyards are numbered 32 and 33.
The three-door main entrance led into the vestibule and through this into the ballroom. On its upper narrow side, this met the transverse, somewhat wider dining room, which on the rear facade offered a view of the Neckar and had another three-door entrance. The long sides of the ballroom met the two inner courtyards. The 22 rooms, not numbered in the plan, were designed as servants' and ancillary rooms and were adjacent to the three other sides of the inner courtyards. Apart from these rooms and the ballroom, all other rooms had a window front on the façade.
Floor plan of the mezzanine.
The Queen's Red Room (= No. 14).
The Queen's yellow room (= No. 15).
The east wing was intended for the king and queen. The king's nine apartments began to the right of the main entrance and ran through a corner room around the east facade. The Queen's five rooms began with this corner room and extended to the dining room. The rear and the sides tract of the west wing (without the front corner room) should the four princesses live. The five rooms in the front wing of the west wing were intended for guests. Each of the four residential groups had one of the four large corner rooms, each with two exits to the surrounding terrace. The rooms of a residential group were connected by enfilades (the doors of the rooms were in a line). After all, the mezzanine, which with its seven rooms extended between the two main entrances over the vestibule, ballroom and dining room, was intended for Crown Prince Karl .
Artistic equipment
“In the center the» Great Gallery «with a barrel vault developed as a three-aisled Ionic columned hall and a dome with a lantern - splendidly stuccoed and adorned with beautiful, rich fresco paintings. All the surrounding rooms of the royal family were splendidly - albeit moderately - furnished. The floors predominantly made of oak parquet, often with inlays. The doors are also made of oak, as are the " lambris, " as the chronicler writes. Mirrors, marble, damask, mousseline were chosen as materials. And almost all of the rooms were finely painted by a number of artists. Bacchus and Ariadne, Pluto and Proserpina, Juno and Jupiter, yes, Venus, also Dionysus, surrounded by Cupid and Psyche, Sylen, Thetis, Hymen and Cerberus, accompanied by satyrs, fauns, nymphs, were in good company. Cupids, Muses and Shepherds. So the dream castle was still inhabited, even if not by its builder. "
Many artists, from Wuerttemberg and Italy, were involved in the artistic design of the 74 rooms of Rosenstein Castle. The ballroom was decorated most splendidly, with the surrounding four-season frieze by Conrad Weitbrecht and the ceiling frescoes by Joseph Anton von Gegenbaur and Gottlob Johann Gutekunst , which illustrated the myth of Cupid and Psyche in the dome and the two barrel vaults. The dining room was also decorated with magnificent ceiling frescoes from the myth of Dionysus by Johann Friedrich Dieterich . With the exception of the four-seasons frieze, all artistic furnishings were lost in 1944 due to the destruction of the war. In 1993 a skylight object by François Morellet was added as a contemporary work of art .
The following list only deals with the most outstanding works of interior decoration, especially since apart from illustrations of the main rooms, only a few illustrations have survived. A detailed description of the interior can be found at # Grüneisen 1830 , pages 294–308, and #Seyffer 1831 , pages 33–50.
| image | year | description | Artist |
|---|---|---|---|
|
|
1826-1828 | → Main article: Four seasons frieze Four seasons frieze Flat relief frieze made of plaster with 38 genre scenes from rural life in the course of the seasons. Location: pillared hall (former ballroom). |
Conrad Weitbrecht |
| 1826-1828 |
Scenes from the Dionysus myth Ceiling frescoes with scenes from the Dionysus myth. Location: former dining room, destroyed in 1944. |
Johann Friedrich Dieterich | |
|
|
1826-1829 |
Cupid and Psyche Dome fresco and four spandrel frescoes with scenes from the myth of Cupid and Psyche . Location: Column hall (former ballroom), destroyed in 1944. |
Joseph Anton von Gegenbaur |
|
|
from 1826 |
Cupid and Psyche Four frescoes each in rectangular fields of the two barrel vaults with scenes from the myth of Cupid and Psyche . Location: Column hall (former ballroom), destroyed in 1944. |
Thank God Johann Gutekunst |
|
|
1993 |
Les Rayons courbes / Tranche de soleil Three curved white fluorescent tubes surround the round pane of glass, through which the outside light falls into the dome. Location: dome of the portico. |
François Morellet |
Façade plastic
The facade sculpture of Schloss Rosenstein is tied to the two main portics , the four secondary portics and the loggias :
- Large gable reliefs . The main portics have two large gable reliefs: the Artemis Selene relief above the main portico of the main facade and the Helios relief above the main portico of the rear facade.
- Various sculptures . The main portico at the main entrance is flanked by two lion sculptures and two magnificent candelabra. The entrances to the two side ramps leading to the main entrance are each lined with two somewhat simpler candelabra.
- Small gable reliefs . The four side porticos bear small gable reliefs with the heads of Greek gods and two flanking chimeras .
- Muses . The side porticos are each flanked by two statues of muses at the height of the windows.
Between the cornice and the underlying, with the porticos cranked string course is an attic -Stockwerk provided with a continuous Fries is blinded, which is interrupted only at the Hauptportiken by a respective siebenachsige row of windows.
- Garland friezes . The parapet frieze bears rectangular reliefs with a garland frieze above the four loggias.
- Medallions . The secondary porticos and loggias are flanked in pairs by round medallions with figures of geniuses, which are attached to the attic frieze.
Main portico of the rear facade
(with sculptures 9–11).
Main portico of the main facade
(with sculpture 22).
Left side portico of the main facade
(with sculptures 1–2, 35–37).
Right loggia on the east facade
(with sculptures 13–15).
Location map
Legend
Numbers 1–37 in bold refer to the facade sculpture.
The numbers in italics 1. – 33. denote the room numbers that are not explained here.
|
Muses 1 Klio 2 Terpsichore 3 Polyhymnia 4 Thalia 5 Euterpe 6 Kalliope 7 Erato 8 Urania |
Large gable reliefs 9 Artemis-Selene relief 22 Helios relief Small gable reliefs 20 Head of Neptune 24 Head of Flora 33 Head of Apollo 36 Head of Diana Various sculptures 10a Two lions 10b Two deer 11 Large candelabra 12 Small candelabra 14, 17, 27, 30 garland friezes |
Medallions 13 Sleeping boy 15 Boy with two torches 16 Boy fishing 18 Girl with jug 19 Boy on dolphin 21 Boy on dolphin 23 Boy with cornucopia and grape 25 Boy with flower basket 26 Girl with flower wreath around his head 28 Boy cutting ears 29 Boy with mask 31 Boy playing the flute 32 Boy with bow and arrow 34 Boy with lyre 35 Boy with hunting dog 37 Boy with hunting trophies |
Muses
The side porticos are each flanked by two muse statues in round arch niches. Of the nine muses only eight were realized (for reasons of symmetry); Melpomene , the muse of tragic poetry , is missing . Six statues were designed by Theodor Wagner , two by Johann Wilhelm Braun .
number 1
No. 2
No. 3
No. 4
No. 5
No. 6
No. 7
No. 8
| No. | year | description | Artist |
|---|---|---|---|
| 1 | circa 1842 |
Klio , muse of history. Inscription: Clio. Attribute: writing board with stylus. |
Theodor Wagner |
| 2 | 1839 |
Terpsichore , muse of dance. Inscription: none. Signed (on the lyre): W. Braun, 1839. Attribute: Lyra . |
Johann Wilhelm Braun |
| 3 | circa 1842 |
Polyhymnia , muse of solemn song. Inscription: Polyhymnia. Attribute: stole and finger on the mouth. |
Theodor Wagner |
| 4th | circa 1842 |
Thalia , muse of comedy. Inscription: Thalia. Attribute: flute (missing). |
Theodor Wagner |
| 5 | circa 1842 |
Euterpe , muse of poetry. Inscription: Euterpe. Attribute: flute (missing). |
Theodor Wagner |
| 6th | circa 1842 |
Calliope , muse of epic poetry. Inscription: Calliope. Attribute: scroll. |
Theodor Wagner |
| 7th | circa 1842 |
Erato , muse of love poetry. Inscription: Erato. Attribute: kithara . |
Theodor Wagner |
| 8th | 1839 |
Urania , muse of astronomy. Inscription: none. Attribute: globe. |
Johann Wilhelm Braun |
Large gable reliefs
The two large gable reliefs are attached over the main porticos of the central façade.
No. 9
No. 22
,_Helios-Relief.jpg)
| No. | year | description | Artist |
|---|---|---|---|
| 9 | circa 1832 | → Main article: Artemis-Selene-Relief Artemis-Selene-Relief Allegory of the nightfall with the moon goddess Artemis / Selene . |
Design: Johann Friedrich Dieterich Execution: Friedrich Distelbarth |
| 22nd | circa 1831 | → Main article: Helios relief Helios relief Allegory of the sunrise with the sun god Helios . |
Design: Johann Friedrich Dieterich Execution: Ludwig Mack |
Small gable reliefs
The four small gable reliefs are attached over the side porticos. They were designed by Theodor Wagner .
No. 20
No. 24
No. 33
No. 36
| No. | year | description |
|---|---|---|
| 20th | 1830 | Head of Neptune Flanked by two chimeras with a horse's head, wings and fish body. |
| 24 | 1830 | Flora head Flanked by two chimeras with a lion's head, wings and fish body. |
| 33 | 1830 | Head of Apollo Flanked by two chimeras with a horse's head, wings and fish body. |
| 36 | 1830 | Head of Diana Flanked by two chimeras with deer head, wings and fish body. |
Various sculptures
No. 10a
No. 10b, rear facade 1898 without deer.
No. 11
No. 12
Photo of the rear facade: Duke Philipp von Württemberg .
No. 14, 17, 27, 30
The parapet frieze has a garland frieze over each of the four loggias. The main entrance is made up of large, magnificent candelabra, the ramps are lined with smaller, simpler candelabra. To the left and right of the main entrance, two sandstone lions have been placed in place of the original bronzed zinc sculptures by Albert Güldenstein . The other heraldic animal of Württemberg, the deer, originally flanked the central entrance of the rear facade, but the figures were no longer in place by 1898 at the latest (see photo of the rear facade from 1898).
| No. | year | description | Artist |
|---|---|---|---|
| 10a | 1960 |
→ Main article: Two lions with a ball Two lions with a ball Two opposing sandstone lions (one of the two Wurttemberg heraldic animals, see also 10b) holding a ball with a front paw. The lions replace the original lions by Albert Güldenstein , which have been missing since the Second World War. Location: left and right of the stairs to the main entrance. |
Hermann Brellochs |
| 10b | 1851/1852 |
→ Main article: Two deer Two deer lying down (one of the two Württemberg heraldic animals, see also 10a) in cast zinc. Former location: left and right of the stairs to the central entrance of the rear facade. The figures were no longer in place by 1898 at the latest. |
Albert Güldenstein |
| 11 | 1853/1854 |
→ Main article: Candelabra, Rosenstein Castle Large candelabra Two identical, splendid cast iron candelabra , base with three chimeras (winged lions with rams horns), round, richly ornamented column shaft with three herons. Location: left and right of the main entrance. |
Albert Güldenstein |
| 12 | 1853/1854 |
→ Main article: Candelabra, Rosenstein Castle Small candelabra Four identical candelabra made of cast iron, base with three chimeras (winged lions hermen with ram horns, dragon crest and lion paws), round, almost unadorned column shaft. Location: left and right at the driveway of the two ramps to the main entrance, originally the middle entrance of the rear facade, the side porticos and the loggias were also flanked by small candelabra. |
Albert Güldenstein |
| 14 17 27 30 |
1830 |
Four garland friezes Four identical relief friezes with five-arched fruit garland and rich ribbon decoration. Location: on the parapet frieze above the loggias. |
Theodor Wagner ? |
Medallions
The side porticos and the loggias are flanked in pairs by a total of 16 round medallions with figures of geniuses (diameter: 3 feet = 86 cm), which are attached to the parapet frieze between the cornice and the cornice below. On the side porticos they are above the statues of the Muses, on the loggias they are the garland friezes. The medallions have a diameter of 84 cm. The medallions were designed by Theodor Wagner . The year it was made (before 1831) is not known.
The medallions on the side porticos are thematically based on the Greek god, whose head is depicted in the gable relief:
- The sea god Neptune (20) is flanked by two boys riding towards each other on dolphins (19, 21).
- The vegetation goddess Flora (24) is assigned a boy with a cornucopia and bunch of grapes (23) and a boy braiding a wreath of flowers (25).
- Apollon (33) was u. a. God of music and archers. This is reflected in two boys kneeling opposite each other with a bow and arrow (32) or a lyre (34).
- Diana (36), the goddess of hunting, is surrounded by two boys kneeling or sitting opposite each other with a hunting dog (35) and venison (37).
Note: There are no images for medallions nos. 16, 18 and 19.
No. 13: Sleeping boy
No. 15: Boy with two torches
No. 21: Boy on dolphin with trident
No. 23: Boy with cornucopia and grapes
No. 25: Boy weaving a wreath of flowers
No. 26: Girl with wreaths of flowers around her head
No. 28: Boy cutting ears
No. 29: Boy with a mask
No. 31: Boy playing the flute
No. 32: Boy with a bow and arrow
No. 34: Boy with a lyre
No. 35: Boy with a hunting dog
No. 37: Boy with venison
Garden sculpture
In this section only the plastic in the immediate vicinity of the castle is considered.
On the occasion of the 1977 Federal Garden Show in Stuttgart, four copies of Roman and Greek Venus sculptures (2–5) were set up in the rose garden to the southeast of Rosenstein Castle. In 1982 a copy of Dannecker's group of nymphs (1), which was originally also to be completed for the garden show, was installed behind the basin in front of the main facade.
Location map
Legend
| 1 Water and meadow nymph 2 Capitoline Venus 3 Venus of Phidias 4 Venus of Milo 5 Oriental slave 6 Four cast concrete vases |
Sculptures
number 1
No. 2
No. 3
No. 4
No. 5, 1851
No. 5, 2006 (center)
No. 6
| No. | year | description | Artist |
|---|---|---|---|
| 1 | 1982 | → Main article: Water nymph and meadow nymph Water nymph and meadow nymph Marble copy of the group of nymphs by Johann Heinrich Dannecker based on the sandstone design by Friedrich Distelbarth from the years 1810–1815. |
Doris Schmauder (1929–1998) |
| 2 | 1854 |
Capitoline Venus Copy of the Roman copy of a Venusfigurethat was found in Rome in the 17th century and is itself a copy of Aphrodite of Knidos by Praxiteles 4th century BC. Inscription on the plinth : Eduard Mayer cop. Romae 1854. |
Eduard Mayer |
| 3 | 1844 |
Venus von Phidias copy after Original Museum London. Inscription on the plinth : Venus of Phidias. |
Ludwig von Hofer ? |
| 4th | 1851-1854 |
Venus von Milo Copy of a Venus figure based on the Greek original Aphrodite von Melos from 200 BC. Inscription on the plinth : Venus de Milos. |
Ludwig von Hofer |
| 5 | 1851-1852 |
Oriental slave exhibited for sale on the market Until at least 2006 on the edge of the pool in the middle of the rose garden, no longer available in 2010 at the latest. The illustration shows drawing by Johan Ritter von Bravo. |
Antonio Rosetti (1819–1876) |
| 6th | ? |
Four cast concrete vases Four identical cast concrete vases with a fruit garland on the vase belly on a cube pedestal . Arranged around the pool. |
? |
The treasure trove of sculptures from Rosenstein Castle, which was found again in the New Castle in the 2000s, is now on display in the State Gallery .
history
Kahlenstein
The Kahlenstein was a much-visited lookout point. Even Duke Carl Eugen had to create the "bare slope" a viewing area "especially on Sundays and Feyertagen the people of Stuttgart and the nearby places to Belustigungs-site served".
Under King Friedrich in 1812/1813 the plane tree avenue, which began in the middle palace garden, was continued up to the Kahlenberg, where it ended with a round square (see “Map of the area around Cannstadt”). The viewpoint on the round square was also visited by famous people of contemporary history. Friedrich Schiller, for example, stopped here on a walk with his Stuttgart publisher Johann Friedrich Cotta in 1794 . They talked about the publication of a literary magazine, which then appeared for the first time the next year under the title Die Horen . In 1815, King Friedrich von Württemberg took his imperial guests of state, the Russian Tsar Alexander I and the Austrian Emperor Franz I , to the Kahlenstein to show them the view of the Neckar Valley.
Bellevue country house
In 1806, King Friedrich built the royal Landhaus Bellevue at the foot of the Kahlenstein on the left bank of the Neckar (on the site of today's Wilhelma car park), which he gave to the Crown Princess, who later became Queen Katharina , as a summer residence when she married the later King Wilhelm in 1816. With the intention of building a castle on the Kahlenstein, Friedrich rounded off his property on the Kahlenstein in 1812/1813 by purchasing additional properties. Although plans for the future palace had already been drawn up in 1815, Friedrich abandoned the project again.
Preparations
Soon after Friedrich's death in 1816, his successor King Wilhelm took up the plan again to build a castle on the Kahlenstein. At that time the area of the middle and lower palace gardens, through which the Nesenbach flowed, was a "mostly swampy meadow valley". In 1817/1818 Wilhelm had this part of the palace garden prepared and driveways set up so that the connection between the residential palace, the New Palace and the future Landhaus Rosenstein was ensured. To further round off the site, Wilhelm bought an area of around 110 hectares with over 500 plots and 20 buildings from private owners in the area of the later Rosenstein Park from 1817.
planning
In an initial planning phase in 1817 and 1818, Giovanni Salucci , the Württemberg court architect since 1817, designed the plans for the new palace based on the wishes and ideas of Queen Katharina . These first plans were initially intended to clarify the ideas and possibilities and finally resulted in a written construction program in late 1818.
When the thirty-year-old queen died unexpectedly on January 9, 1819, the king had to do the planning himself. He could no longer count on financial subsidies from the court of the tsars, and he wished to rebuild his castle as sparingly as possible. Salucci had already submitted six drafts by 1819 and made five more based on the king's ideas. In addition, in the spring of 1819, Wilhelm commissioned a number of other architects to design his palace: from the French Pierre Fontaine , the Italian Carlo Rossi , who lives in St. Petersburg , the English John Papworth (1775–1847) and the Stuttgart resident who lives in Rome Johann Michael Knapp , who succeeded Salucci as court architect in 1840. All drafts submitted at the end of 1820 were rejected by the king. Papworth also submitted a plan for the park, which was also not accepted, but later served the court gardener Johann Wilhelm Bosch (1782–1861) as a suggestion for his planning of the Rosensteinpark.
The king's building program, which has been repeatedly changed, was in its final version from 1819 (or later):
- “A country house, comfortable, pleasing and elegant in its external appearance, which is why it should be free-standing on all sides; at the same time it should be an ornament for the surroundings of the capital. It should only have one floor. The rooms should not be too high or too big. The whole thing should be as appealing as it is pleasing, generous and magnificent. The costs should not exceed 500,000 to 600,000 florins . "
Building history
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Castle and Park
In the late summer of 1823, King Wilhelm approved the eleventh draft submitted by Salucci and set the start of construction for the spring of 1824. In the spring of 1824 he also approved Salucci's cost estimate, not without pointing out that extreme thrift should be taken as a guideline. The construction pit had already been dug in 1822, the foundations were laid in spring 1824, and the foundation stone was ceremoniously laid on May 31. At the end of 1825 the building was under roof, so that interior work could begin in 1826 and furnishing in 1828. The castle was ready for occupancy in the summer of 1829, but was only inaugurated on May 28, 1830 in a ceremony with a thousand invited guests.
Parallel to the construction work on the palace and long after its completion, the Rosensteinpark was laid out from 1824 to 1840 according to the plans of the Oberhof gardener Johann Wilhelm Bosch , a huge enterprise that cost a lot of time and money, especially due to the extensive site regulations. In 1865, King Charles I had a further pleasure ground, the so-called Karlsgarten, today's rose garden (2) , in addition to the lawn area (4) previously known as the Pleasureground (4) in front of the main facade of the palace in the southeast of the palace. Also in 1865, King Karl ordered the "creation of a forest in the valley cut between the Rosenstein Park and Wilhelma", the mostly so-called conifer forest (14), which is now part of the Wilhelma .
Outbuildings
In 1826/1827 the office building (farm building) was built about 200 meters south of the castle according to Salucci's plans, which was destroyed in the Second World War. This building had become necessary because no corresponding devices were planned in the castle itself. In 1829 the two guard houses at the end of the Rosenstein tunnel, the Pleasureground (4), were built, in 1834 the two porter's houses at the Löwentor (20), which were connected to each other in 1858 by a gate by Johann Michael Knapp .
In the years 1833 to 1837 King Wilhelm had a dairy built in the western part of the park according to Salucci's plans on the site of today's Wilhelma depot (25), which dealt with cattle breeding as a kind of state research institute. The building consisted of two U-shaped wings that enclosed a large inner courtyard. In 1855, a chicken house pavilion was built north of the dairy farm according to the plan by Wilhelma architect Ludwig von Zanth . During the Second World War, the south wing of the dairy and the pavilion were destroyed, and the damaged north wing was rebuilt as a depot for Wilhelma.
Follow-up time
In 1839 it was discovered that almost all rooms on the ground floor were infected with dry rot, a mistake in the building planning that led to the dismissal of the court architect Salucci. The dry rot had been able to settle in because the cavities under the rooms without a cellar were hermetically sealed. The two-year renovation cost 55,000 guilders, a tenth of the original construction costs.
During the construction of the Württemberg Central Railway , the Rosenstein Tunnel , the first railway tunnel in Württemberg, was built under the central axis of the castle from 1844 to 1846 and was supposed to connect Stuttgart with Cannstatt. In 1916 the first Rosenstein tunnel was replaced by a new tunnel further east.
Although the park “was originally supposed to do without ornaments and small architectural sculptures”, the area around the castle was not later kept entirely free of plastic jewelry. In 1856 eight Venus sculptures were erected on the north and east sides of the palace, including the Capitoline Venus and the Venus of Phidias , which are now in the rose garden again. Four more statues by Ludwig von Hofer were to be placed on the west side from 1858.
After the destruction of the Second World War in 1944, the castle was rebuilt in 1955/1956 and converted into a museum for natural history, see use . Between 1990 and 1992 the building was completely renovated and further adapted to meet the requirements of a modern exhibition facility.
use
The "Landhaus" Rosenstein was not intended to replace the New Palace as a residential palace, but rather serve the royal family as a summer residence and to organize festivities. However, the palace was never occupied by the royal family. The cause is believed to be the alienation between King Wilhelm and his wife Pauline and his relationship with the actress Amalie von Stubenrauch . In any case, the royal couple spent their summer vacations separately, the queen with the children in Schloss Friedrichshafen or Schloss Kirchheim / Teck , while Wilhelm traveled to other destinations.
"So Rosenstein Castle only came to life temporarily, namely when a party was invited":
- On May 28, 1830, a brilliant inauguration party was celebrated at the castle with almost 1000 guests.
- In September 1834 Wilhelm gave a reception in honor of the 12th meeting of German naturalists and doctors in Stuttgart.
- In June 1839 the wedding ceremony of Princess Sophie and Hereditary Prince William of Orange was celebrated at the castle .
- From August 17 to 19, 1889, the Persian Shah and his 60-strong companion stayed at Rosenstein Castle as a guest.
The “castle without residents” would have almost been inhabited once. When cholera was rampant in Europe at the beginning of the 1830s , King Wilhelm had Rosenstein Castle set up as a refuge for women and children. However, Stuttgart was spared the cholera and the castle was still uninhabited. Finally, shortly before his death, King Wilhelm moved his sick bed to Rosenstein Castle and died there on June 25, 1864.
In 1877, Charles I had a painting and sculpture gallery set up in Rosenstein Castle with almost 200 paintings and around 50 sculptures, which was open to public viewing for a fee. “In 1921 the World War II library of the Ludwigsburg industrialist Richard Franck (1871-1931), which had previously been stored in Berlin, found a new home. In 1933, a war museum was set up in the left wing of the palace. The bombing raids in September 1944 caused severe damage to Rosenstein Castle. The parts of the World War II library that had not been outsourced were destroyed. The remainder that was brought to safety is now integrated into the library for contemporary history of the Württemberg State Library in Stuttgart. "
After the war damage, the castle was rebuilt in the 1950s, with the exterior being restored true to the historical model, while the interior room layout had to be significantly changed in order to meet the requirements of the exhibition. In 1954, the State Museum of Natural History Stuttgart was opened in the castle , but for spatial reasons it could only hold the zoological holdings of the former Royal Natural History Cabinet. General renovation and reconstruction from 1990 to 1992 adapted the castle to the requirements of a modern museum. The paleontological part of the natural history cabinet was finally housed in the newly built museum at the Löwentor at the western end of the Rosenstein Park in 1985 .
Participating artists
The artists listed alphabetically according to the family name are only a selection from the large number of artists who were involved in the artistic furnishing of Rosenstein Castle or the creators of the garden sculptures that were subsequently installed at Rosenstein Castle. A large number of other artists can be found in #Seyffer 1831 , pages 33–50, and #Peschel 2010 .
Status column:
- A = exit (no longer available)
- E = replacement for lost artwork
- N = new work of art (from 20th century)
- S = subsequently new location at Rosenstein Castle
| status | Artist | Works of art |
|---|---|---|
| Johann Wilhelm Braun | Two muses | |
| E. | Hermann Brellochs | Two sandstone lions |
| N | Johann Heinrich Dannecker | Marble copy of a group of nymphs by Doris Schmauder (1929–1998) |
| A. | Johann Friedrich Dieterich | Five ceiling frescoes in the dining room |
| Friedrich Distelbarth | Artemis Selene relief above the main entrance | |
| A. | Joseph Anton von Gegenbaur | Fresco in the dome and four frescoes in the dome wraps of the ballroom, four frescoes in the queen's library room |
| A. | Albert Güldenstein | Two deer , two lions in bronze cast zinc |
| Albert Güldenstein | Two large candelabra | |
| Albert Güldenstein | Four small candelabra on the ramps | |
| A. | Albert Güldenstein | Eight small candelabra each on the side portics and on the loggias |
| A. | Thank God Johann Gutekunst | Frescoes of the barrel vault in the ballroom |
| S. | Ludwig von Hofer | Venus de Phidias and Venus de Milo in the rose garden |
| Johann Michael Knapp | Archway of the Lion Gate | |
| Ludwig Mack | Helios relief on the rear facade | |
| Eduard Mayer | Capitoline Venus in the rose garden | |
| François Morellet | Dome light in the portico. | |
| Wilhelm Pelargus | Cast of the candelabra and lions by Albert Güldenstein | |
| A. | Johann Georg Sauter (1782-1856) | Ceiling painting in the yellow and red rooms, painting in the salons of the two princesses |
| N | Doris Schmauder (1929–1998) | Marble copy of the group of nymphs by Johann Heinrich Dannecker |
| Theodor Wagner | Six muses , small gable reliefs , four four garland friezes , 16 medallions | |
| Conrad Weitbrecht | Stucco frieze "The Four Seasons" in the ballroom |
literature
A detailed list of references can be found in #Warth 1993 , pages 17-19.
Newer literature
This section contains literature published after 1900.
Basic literature : #Fecker 1992 , #Gerhardt 1936 , #Herzog 1990.1 , #John 2000 , # Lüke 1977 , # Närger 1995 , #Speidel 1936 , #Warth 1993 .
- Julius Baum ; Paul Schmohl (editor); Georg Staehelin (editor): Württemberg princely seats . Introduction by Julius Baum. Stuttgart 1913, pages XIII, XIV, figures 29–32.
- Herbert Fecker: Stuttgart, the palaces and their gardens. The development of palaces and gardens from the count's residence to the international horticultural exhibition. Stuttgart 1992, Rosenstein Castle: Pages 82–89, 150–154, Rosensteinpark: 90–93, 170–173.
- Oskar Gerhardt: Stuttgart's gem. The history of the castle garden, Rosenstein and Wilhelma; an entertaining chat based on extensive official source material. Stuttgart [approx. 1936], pp. 51-75.
- Jürgen Hagel: Stuttgart Archive , 8 deliveries, [Braunschweig] 1989–1996, sheets 02.081, 03–049, 03.062, 04.080, 04.087, 05.050.
- Rainer Herzog: Rosenstein Park Stuttgart. Park maintenance company Stuttgart 1990.
- Rainer Herzog: Wilhelma Stuttgart. Documentation of the historical and design development of the Wilhelma gardens. Stuttgart 1990.
- State Building Authority I, Stuttgart (editor): Rosenstein Castle, Stuttgart. A project by the State Building Administration. Stuttgart 1993.
- The Rosenstein Park. An English landscape in Württemberg. In: Timo John: The royal gardens of the 19th century in Stuttgart. Worms 2000, pages 48-66.
- Hermann Lenz ; Günter Beysiegel (editor): Stuttgart: from 12 years of life in Stuttgart. Stuttgart: Belser, 1983, pages 460-464.
- Friedmar Lüke : From Kahlenstein to Rosenstein. Giovanni Salucci built the castle over the Neckar valley for King Wilhelm I. In: Contributions to regional studies. Regular supplement to the State Gazette for Baden-Württemberg 1977, No. 4, pages 12–15.
- Klaus Merten: Landhaus Bellevue . In: NN: Baden and Württemberg in the Age of Napoleon, Volume 1,2: Catalog . Stuttgart 1987, pages 564-565.
- Gernot Närger: Landhaus Rosenstein. In: Carla Fandrey (editor): Giovanni Salucci 1769–1845, court architect of King Wilhelm I of Württemberg 1817–1839. Exhibition on the 150th anniversary of the death of the architect Giovanni Salucci from May 16 to July 1, 1995. Stuttgart 1995, pages 45–61, catalog Landhaus Rosenstein : 135–147.
- Patricia Peschel: The sculptures from Rosenstein Castle. From the collection of King Wilhelm I of Württemberg. Stuttgart 2010.
- Hans Schleuning (editor), Norbert Bongartz (collaboration): Stuttgart-Handbuch, Stuttgart 1985, pages 345-347.
- Ulrich Schmid: Rosenstein Castle. Guide to the exhibition. Stuttgart 2007, especially pages 88–93.
- Ernst Schüz : Old Museum - new in Rosenstein Castle. From the State Museum for Natural History in Stuttgart. [no location] 1961. - Special print from: Museumskunde 1961/1, pages 44–50.
- Wilhelm Speidel : Giovanni Salucci. The first court architect of King Wilhelm I of Württemberg. His life and work up to his retirement from court service in 1828. A contribution to the history of classicism in Swabia. Stuttgart 1936, pages 72-100, 118-120, Figure 47-74.
- Manfred Warth (text); Rotraud Harling (photos): Rosenstein Castle and Park. The reliefs and sculptures at Rosenstein Castle and in Rosenstein Park in Stuttgart. By Rotraud Harling and Manfred Warth, Stuttgart. With 8 color pictures and 63 black-and-white illustrations. Stuttgart 1993.
- Michael Wenger: "A masterpiece of architecture with a real antique taste ...". Giovanni Salucci on the 150th anniversary of his death. Exhibition commemorates the builder. In: Schlösser Baden-Württemberg 1995, issue 2, pages 2-7.
Older literature
This section contains literature that appeared before 1900.
Basic literature: # Büchele 1858 , # Grüneisen 1830 , #Schorn 1825 , #Seyffer 1831 .
- Max Bach: Stuttgarter Kunst 1794-1860, based on simultaneous reports, letters and memories. Stuttgart 1900, pages 112-119.
- The royal. Würtemberg'sche Landhaus Rosenstein near Stuttgart. In: Allgemeine Bauzeitung, Österreichische Vierteljahrschrift für den public Baudienst 1838, pages 109–113, 119–122, 128–133, sheet CXCVI-CXCVIII, [2] . - Almost literal partial print from #Seyffer 1831 (except page 109 and illustrations on page 133 and sheet CXCVI-CXCVIII).
- Rosenstein . In: Karl Büchele: Stuttgart and its surroundings for locals and foreigners , Stuttgart 1858, pages 247–283.
- Joseph von Egle : The Royal Rosenstein Country House. In: Stuttgart, guide through the city and its buildings. Commemorative publication for the sixth general assembly of the Association of German Architects and Engineers , Stuttgart [1884], pages 53–56.
- Barbara Erbsen-Haim: The Rosenstein Park - a cultural monument, but also a “green lung” in the middle of the city. Southwest Germany's most important English landscape garden in Stuttgart. In: Schlösser Baden-Württemberg 1993, issue 1/2, pages 2-5.
- Johann Evangelist Fürst: The royal park Rosenstein near Stuttgart. In: Allgemeine Deutsche Garten-Zeitung 15.1837, pages 9-13, [3] .
- Karl Grüneisen : About the works of art of the royal country house Rosenstein near Stuttgart. In: Morgenblatt für educated estates, Kunst-Blatt 11.1830, pages 289–308, [4] .
- Rosenstein . In: Christian Friedrich von Leins : The court camps and country seats of the Württemberg regent house. Festschrift to celebrate the 25th anniversary of his majesty the reign of King Karl von Württemberg. Stuttgart [approx. 1889], pp. 73-76.
- NN: The buildings under the government of Sr. Majesty of King Wilhelm von Württemberg. October 30, 1857, the 41st anniversary of His Majesty's accession to the throne. Separate print from the Staats-Anzeiger für Württemberg. Stuttgart 1857, pages 5-9.
- Wilhelm Neubert: Horticultural points in Swabia. In: German magazine for gardening and flower science 5.1852, pages 27–33.
- Giuseppe Ponsi: Memorie della vita e delle opere di Giovanni Salucci Fiorentino / Memories, life and work of Giovanni Salucci Fiorentino. Florence 1850.
- Giovanni Salucci: Programma del palazzo de delizie sul Rosenstein / Plan for the pleasure palace on the Rosenstein. In: Giuseppe Ponsi; Bruno Zoratto (editor): Giovanni Salucci in the descriptions of a friend / Giovanni Salucci nelle descrizioni di un amico. Stuttgart 1998, pages 60-64 (German), pages 68-80 (Italian). - Includes a facsimile reprint of #Ponsi 1850 . - A better translation of the text can be found in #Speidel 1936 , pages 79–80.
- Ludwig Schorn : The new royal country house on the Rosenstein near Stuttgart. In: Morgenblatt für educated estates, art sheet 6.1825, pages 353–354, [5] .
- Ernst Eberhard Friedrich von Seyffer : The royal country house Rosenstein . In: Württemberg year books for patriotic history, geography, statistics and topography , 1830, pages 307-360.
- Ernst Eberhard Friedrich von Seyffer : Description of the royal country house Rosenstein. Stuttgart 1831, [6] . - Reprint from #Seyffer 1830 .
Garden sculpture
- # Büchele 1858 , pages 277-280.
- Patricia Peschel: The Stuttgart court sculptor Johann Ludwig von Hofer (1801–1887). Stuttgart 2009, pages 225-226.
- #Peschel 2010 , pages 75-76, 81, 228.
Auxiliary literature
- Julius Bazlen (editor): Stuttgart and the surrounding area. With a five-color city map and 16 art supplements. Stuttgart [1905], page 64.
- Johann Friedrich Krüger : Complete manual of the coins, measures and weights of all countries in the world. Quedlinburg 1830, page 103, [7] .
- Andreas Stolzenburg: Gegenbaur, Joseph Anton von . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 51, Saur, Munich a. a. 2006, ISBN 3-598-22791-4 , p. 17.
- Dankmar Trier: Good art, thank God . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 66, de Gruyter, Berlin 2010, ISBN 978-3-598-23033-2 , p. 178.
- August Wintterlin : Dieterich, Johann Friedrich . In: Allgemeine Deutsche Biographie (ADB). Volume 22, Duncker & Humblot, Leipzig 1885, pp. 610-616.
Web links
- Rosenstein Palace and Park on the website of the State Museum for Natural History Stuttgart.
- Topographic map, hybrid map and aerial photos on a scale of 1: 500, city map Stuttgart , search term: Neckartalstraße 11.
- Sabine Rathgeb: Rosenstein Castle / Rosensteinpark , published on April 19, 2018 in: Stadtarchiv Stuttgart: Stadtlexikon Stuttgart.
Footnotes
- ^ Sculptors who created the facade sculpture for Rosenstein Castle, for others see Participating Artists .
- ↑ #Herzog 1990.1 , page 9.
- ↑ #Herzog 1990.1 , page 9.
- ↑ #Warth 1993 , page 2.
- ^ #John 2000 , pp. 55-56, 60, 62.
- ↑ #Herzog 1990.1 , page 52. - Table of visual relationships : Pages 53–58, map of visual relationships : Map 6.
- ↑ #Schorn 1825 , page 353. - Nonetheless, the palace was sometimes referred to as a pleasure palace in contemporary literature ( # Grüneisen 1830 , page 289, # Fürst 1837 , page 13, #Neubert 1852 , page 29).
- ↑ Christian Friedrich von Leins spoke of Landhaus Rosenstein in 1889 ( #Leins 1889 , page 73), while a city guide from 1905 speaks of Rosenstein Castle ( #Bazlen 1905 ).
- ↑ #Gerhardt 1936 , page 57, #John 2000 , page 52, #Seyffer 1831 , page 7.
- ↑ In Rosenstein Castle, the clearest difference between the Doric order and the Tuscan order is that the triglyphs are missing in the entablature ( #Schorn 1825 , page 354).
- ↑ #Seyffer 1831 , page 28.
- ↑ #Seyffer 1831 , page 28: width = 9 feet = 2.574 meters, height = 5 feet = 1.43 meters. - 1 foot = 28.6 cm according to # Krüger 1830 .
- ↑ # Närger 1995 , page 52.
- ↑ Width of the main porticos + two flanking façade fields, delimited by colossal pilasters , each with 1 module.
- ↑ Width of the side porticos + two flanking museum niches of 1 module each.
- ↑ Width of the loggias + two flanking windows of 1 module each.
- ↑ Each of the six window axes corresponds to a module.
- ↑ Without the side windows of the loggias. Each of the seven window axes corresponds to a module.
- ↑ #Speidel 1936 , page 80, figure 66.
- ↑ From the measured dimensions 75 × 47 meters with Google Maps and on the city map of Stuttgart (see web links ), the value for the module width is 2.59 or 2.76 meters, according to the dimensions given in the literature 260 × 160 Foot results in 2.56 or 2.69 meters.
- ↑ # Baum 1913 , page XIV.
- ↑ In module numbers: 29 = 18:11, 18 = 11: 7.
- ↑ Four princesses: see here .
- ↑ Large gallery = pillared hall (former ballroom).
- ↑ Helga Bernhard and Udo Pütz in #Hochbauamt 1993 , pages 9-10.
- ↑ #Wintterlin 1885 .
- ↑ # Grüneisen 1830 , pages 297–299, #Seyffer 1831 , pages 41–43. - Figure: #Fecker 1992 , page 88.
- ↑ #Stolzenburg 2006 .
- ↑ # Grüneisen 1830 , pp. 301–303, 305–307, #Seyffer 1831 , pp. 48–50.
- ↑ #Trier 2010 .
- ↑ # Grüneisen 1830 , pp. 301–303, 305–307. - Figure: #Fecker 1992 , page 87.
- ↑ #Hochbauamt 1993 , page 8, 22-23.
- ↑ According to the plan of K [öniglichen] Villa Rosenstein in #Seyffer 1830 .
- ↑ The numbering was taken from #Warth 1993 , pages 10–11.
- ↑ # Grüneisen 1830 , pp. 290–291.
- ↑ Originally, the central entrance of the rear facade, the side porticos and the loggias were also flanked by smaller candelabra.
- ↑ # Grüneisen 1830 , page 291. - 1 foot = 28.6 cm according to # Krüger 1830 .
- ↑ # Grüneisen 1830 , page 291.
- ↑ #Warth 1993 , page 15th
- ↑ According to an OpenStreetMap map.
- ↑ #Peschel 2010 , page 81.
- ^ Landesmedienzentrum Baden-Württemberg, picture number LMZ990314: [1] . - Some authors give the Venus of Arles instead of the Venus of Phidias ( #John 2000 , page 62, #Warth 1993 , page 15 and footnote 4), which is in the Upper Castle Garden ( #Peschel 2009 , page 228). It is possible that the Venus of Arles was originally set up in the rose garden and was later replaced by the Venus of Phidias, which is attributed to Ludwig Hofer by John and Warth, but not by Peschel.
- ↑ #Peschel 2009 , pp. 225–226.
- ↑ #Peschel 2010 , pp. 75–76.
- ↑ #Seyffer 1831 , page 22.
- ↑ #Seyffer 1831 , pages 22-23.
- ↑ # Lüke 1977 , page 12.
- ↑ #Fecker 1992 , page 82nd
- ↑ #Seyffer 1831 , page 23.
- ↑ #Fecker 1992 , page 82, #Gerhardt 1936 , page 56th
- ↑ # Närger 1995 , page 45.
- ↑ # Närger 1995 , pp. 52-55.
- ↑ #Accelerating 1985 , page 347, #Warth 1993 , page 14.
- ↑ #Ponsi 1998 , page 60, undated and without reference to the source.
- ↑ #Fecker 1992 , page 85-86, 89, #Seyffer 1831 , page 25th
- ↑ #Herzog 1990.1 , pp. 18-20.
- ↑ #Speidel 1936 , pages 83-84, #Herzog 1990.1 , page 20.
- ↑ #Herzog 1990.1 , pp. 95-96. - Images of the dairy: see here .
- ↑ # Närger 1995 , page 52, #Gerhardt 1936 , page 65.
- ↑ #John 2000 , page 62, #Herzog 1990.1 , page 84.
- ↑ # Büchele 1858 , pp. 277–280.
- ↑ # Building Office 1993 , page 28.
- ↑ # Närger 1995 , page 45.
- ↑ #Warth 1993 , p. 9
- ↑ # Lüke 1977 , page 14.
- ↑ #Gerhardt 1936 , pages 63-67, # Lüke 1977 , page 14.
- ↑ #Gerhardt 1936 , page 66, #Peschel 2010 , page 7, #Warth 1993 , page 5.
- ↑ #Warth 1993 , p. 5
- ↑ # Building Office 1993 , page 12, 15.
- ↑ #Peschel 2010 , page 21, #Seyffer 1831 , page 41, #Wenger 1995 , page 4.
- ↑ #Seyffer 1831 , pages 40, 45.
- ↑ #Peschel 2010 , pages 19, 20, #Seyffer 1831 , page 45.
- ↑ #Seyffer 1831 , page 40, 43.
Coordinates: 48 ° 48 ′ 1.9 ″ N , 9 ° 12 ′ 21.6 ″ E