Seifersdorfer Valley

Overview map of the Seifersdorfer valley

The Seifersdorfer Tal is the name for one of the oldest German landscape gardens, designed and laid out by Christina von Brühl at the end of the 18th century , as well as for the valley in which it is located. The valley runs geographically along the Großer Röder from Liegau-Augustusbad (district of Radeberg ) at the Grundmühle to Grünberg (district of Ottendorf-Okrilla ). It is named after the nearby town of Seifersdorf (district of Wachau ). The Seifersdorfer Tal landscape gardenis located between the Grundmühle and the Niedermühle near Seifersdorf and is therefore on the corridors of Seifersdorf (Wachau) , Schönborn (Dresden) , Liegau-Augustusbad and Grünberg (Ottendorf-Okrilla) . The Seifersdorfer Tal is geographically and culturally in close proximity to the city of Dresden , namely on its northern city limits. Christina von Brühl, daughter-in-law of the Saxon Prime Minister Heinrich Graf von Brühl , lived with her family near the valley in Seifersdorf Castle or in the manager's house of Seifersdorf Castle.

Landscape and nature protection

The Seifersdorfer Tal including the Hermsdorfer Park, which adjoins it downstream, was declared a landscape protection area on March 7, 1960 by resolution No. 53 - 37/60 of the Dresden District Council (Saxon LSG No. d15; CDDA code 324532 ; size 288 hectares ).

The core area upstream and downstream of the Marienmühle (crossing Schönborner Weg, Seifersdorfer Straße) with a size of approx. 58.6 hectares has been a nature reserve with the CDDA code 165549 since 1982 .

The entire Seifersdorfer Tal, including the Hermsdorfer Schloss Park, has been part of the European Natura 2000 protected area since 2006 (part of the 770 hectare FFH protected area No. 4848-301 Rödertal above Medingen ) and is therefore subject to strict nature and bird protection regulations.

History and background

The Seifersdorfer Tal landscape park, one of the earliest landscape gardens in Germany, was designed by Christina von Brühl over a period of several decades from 1781. Most of the garden scenes were created by 1791.

Influences

Brühl was inspired by the romantic and sentimental late phase of the English Garden . One of her direct role models was the enlightened garden theorist Christian Cay Lorenz Hirschfeld , whose work Gartentheorie (1779) had appeared shortly before and to whom she set a monument in the garden of Seifersdorf Castle , where she lived . Christina von Brühl's exchange with Goethe , who played a leading role in the Park an der Ilm , probably promoted her work on the conception for the Seifersdorfer Tal as an “educational landscape”.

Concept of nature as conceptualized in the landscape park

The concepts of “nature” and “feeling” as the force that should lead to moral action played a fundamental role in this conception. The landscape garden should not only have an aesthetic and moral effect on its visitors through the experience of nature. They turned away from the concept of the baroque garden , which, with its symmetries, its very extensive and clear lines of sight, and strong trimming of the plants, was ascribed the subjugation of nature. From a bourgeois perspective, this was linked to negative moral assessments of the way of life of the ruling class, the nobles. The English landscape park was just as well designed as the baroque garden - but according to different criteria. His "naturalness" was connoted with civic virtues such as order, diligence, loyalty, honesty, modesty, sincerity of heart, social interaction, piety, etc. Nature - conveyed through the landscape park - trigger feelings that the social abilities of individuals, theirs Virtues, reinforced. In the Seifersdorfer Valley, too, many staffages are dedicated to so-called virtues, showing the "correct" distance from Amor . In the landscape park, nature was worshiped in a quasi pantheistic way as something “divine”, which made the park a religious memorial. In the Seifersdorfer Tal , natural phenomena were aestheticized or recreated and made architecturally and sculpturally and busts and statues of ancient gods, such as B. Pan . A modern picture of nature was installed in the former farm area of the Rödertal with its treeless animal pastures.

The Seifersdorfer Landschaftspark was also a place of remembrance of the dead, even if no one was actually buried there, as was the case, for example, in the Altzella monastery park . Some staffages in the Seifersdorfer Tal are staged in a grave- like manner, such as Lorenzo's grave , the monument to Leopold von Braunschweig and Heinrich von Brühl's sarcophagus ; the latter had died 18 years earlier.

References to the literature of sensitivity

The model for the Seifersdorfer Tal was the literature of sensitivity . At that time the word sensitive was a neologism that Gotthold Ephraim Lessing had proposed as a translation for sentimental and which was subsequently transferred to the entire epoch as the epoch of sensitivity . The entire complex of the Seifersdorfer Valley as well as the individual staffages and park architecture form an extensive and complex reference system that takes up and continues literary, philosophical and horticultural discourses of the time. The iconographic program is heterogeneous. The Seifersdorfer Tal contains a network of quotations from contemporary literary works as well as allegorical references to attitudes and values. The latter were, for example, virtue , calm , impermanence , forgiveness , truth , Gothic friendship and forgetting of worries . There are also references to bestsellers of the time such as Yorick's sensitive journey through France and Italy (1768) by Lawrence Sterne , the verse epic Oberon (1780) by Christoph Martin Wieland, the " three Bardites " (religious-patriotic consecration chants ) Hermann's Battle (1769), Hermann und die Fürsten (1784) and finally Hermanns Tod (1787) by Friedrich Gottlieb Klopstock and the cycle of poems Canzoniere by Francesco Petrarca . Jean-Jacques Rousseau's work Julie or The New Heloise (1761), in which he viewed landscape from a moral-philosophical point of view, indirectly set the style for the landscape gardens of this time . Rousseau is not directly quoted in the Seifersdorfer Tal.

References to specific contemporaries: writers, intellectuals, friends and family

Christina von Brühl not only set ideal symbols for works, artists and thinkers of her time, but was in personal and sometimes friendly contact with the people who were commemorated in the Seifersdorfer Tal through extensive correspondence and visits. The family home, the manager's house of the Seifersdorfer Rittergut as well as the Seifersdorfer Tal were visited between 1771 and 1790 by the bourgeois elite as well as by artists from Dresden, Weimar and Berlin, including Christoph Martin Wieland , Theodor Körner , Jean Paul , Caspar David Friedrich and Elisa von der Recke , Friedrich Schiller , Johann Gottfried Herder and Friedrich Gottlieb Klopstock . The Weimar and Karlsbad circles around Johann Wolfgang von Goethe were particularly close to the von Brühl couple . A large part of the staffage pays tribute to friends, acquaintances and contemporaries from the time the park was built, such as Duchess Anna Amalia , Johann Gottfried Herder, the composer and Dresden court music director Johann Gottlieb Naumann , Leopold von Braunschweig , Johann Wolfgang von Goethe and others. a. The latter, as well as Johann Gottfried Herder and Christoph Martin Wieland, also taught Christina von Brühl's son, Carl von Brühl , while they were there in Seifersdorf . A large part of the staffage is dedicated to family members of the Brühls. They convey the family's self-image, show their relationships with one another and serve the rehabilitation of the father and father-in-law, the former Prime Minister Heinrich Graf von Brühl .

implementation

These ideas were materially implemented with small temples, altars, huts made of wood and straw, resting places, pavilions, grottos and small-format houses built from rubble stones. In many cases, accessories with metaphorical meaning as well as inscriptions, “common instructions”, were added to the arrangements. The latter in particular underline the ideal character and the literature-relatedness of the system. Due to the family's relatively precarious financial situation for aristocrats, many of the accessories were made of perishable materials such as wood, bark, and straw. That is why only part of the park architecture has been preserved.

Temple of Charity

Use of the Seifersdorfer valley

The staffages in their entirety - integrated into the Seifersdorfer Tal natural area - offered not only a landscape to walk through, but also a stage or an action space for musical and theatrical performances. These took place within the framework of festivals organized and financed by the Brühl family and in which employees of the Brühl estate and the population of the surrounding villages took part. The noble family presented themselves as morally upright and exemplary in singing games and provided food and drinks on a large scale under the heading of charity . This was especially the case with the altar of virtue and on the singing or festival meadow . The virtue of benevolence was another important aspect of the nature park's moral function, which was intended to encourage community and charitable activities. It materializes in the Temple of Charity , in which a box was placed calling for "mild gifts for the poor".

reception

The response of contemporaries to this work of landscape architecture varied from overwhelming approval to rejection. Its contemporary evaluation was determined by two discourses. In the male-dominated discourse on garden art, Christina von Brühl had to put up with criticism for her inconsistency in the application of style principles, according to the taste of the time. As a formerly middle-class newly elite and as a woman, she tried to find recognition in the absolutely male-dominated educated elite as well as in aristocratic society. This position polarized the reception of her work and her person among her contemporaries.

After the death of her husband in 1811, Brühl left Seifersdorf Castle and lived in Berlin until her death in 1816. Individual staffages were only erected after this time, according to the friendly caretakers of the valley who their son Carl von Brühl dedicated to his wife Johanna. At that time, Carl von Brühl was living in Berlin and working as director of the royal theater in Berlin , from 1829 as general director of the museums in Berlin - so he was no longer constantly present in Seifersdorf. He died in 1837. In the following 45 years, the Seifersdorfer Valley fell into oblivion.

In 1881, geographer Sophus Ruge was the first author to work on the Seifersdorfer Valley after a long period of time. At the end of the 19th and the beginning of the 20th century, interest in the Seifersdorfer Valley reawakened - several authors committed the valley and wrote of destruction caused by the ravages of time and by human hands. Martin Braess reported in 1915 in the communications of the State Association of Saxon Homeland Security that "some urns had been thrown into the river bed by malicious boys' hands", of "graffiti with which the monuments are soiled ... even the most disgusting kinds of pollution are not missing." again inscriptions have been "refreshed".

The individual staffages of the Seifersdorfer Valley, their discursive references and backgrounds

For reasons of clarity, the area of the Seifersdorfer Valley is divided into four parts. The four parts are bounded by the Röder and the road from Schönborn to Seifersdorf, which cuts the valley at right angles to the Röder at the Marienmühle. This results in a kind of coordinate system with four quadrants: the right Röder side south of the Marienmühle, the right Röder side north of the Marienmühle, the left Röder side south of the Marienmühle, the left Röders side north of the Marienmühle.

Seiferdorfer Tal, to the right of the Röder, south of the Marienmühle

Individual staffages or garden scenes on the right side of the Röder south of the Marienmühle

Altar of virtue and former temple in memory of good people

The temple stood at the entrance of the Seifersdorfer valley, seen from the Grundmühle , between the Röder and the still existing Altar of Virtue. In 1896 only a group of trees was visible.

It consists of a room, the facade of which is set in front of a portico with four columns or half-columns of the Tuscan order. The spaces between the columns are lined and show a window to the right and left as well as the two-winged entrance door in the middle. Mirrors with festoons can be seen above the windows and the door . At the top, the facade ends with a projecting cornice, which is crowned by a small stepped attic . Its middle part bears the inscription Temple in memory of good people with gold-plated letters and on top an antique-looking jewelry vessel from which a kind of ribbon falls.

The inside of the temple was painted with "soft rose color". On the walls there were smoke vessels and medallions with a steel green background, which seem to be hung on illusionistically painted sky-blue ribbons. The medallions are connected with festoons made of white roses. The four large medallions represent piety, faithfulness, constancy and generosity, the small ones contain hieroglyphics and flowers, the former supposed to represent the male and the latter the female. On the wall opposite the door was a portrait of Count Hans Moritz Brühl.

In front of the temple there was a lawn with the altar of virtue in the middle, which still exists today. Italian poplars were planted around the ensemble of temple and altar. The temple was inaugurated on the birthday of Count Hans Moritz Brühl with a scenic ritual with singing and procession, in which the son of the count, a number of farmers and shepherdesses from the area and a druid were included. The druid owned the key to the temple and had to be convinced by Karl von Brühl that there was still an honest person in the world. As this, Karl presented his father Hans Moritz von Brühl and praised his virtues. The druid was convinced and opened the temple, but instructed Karl to "implore the goddess for consent to the election of a priest of this temple" at the altar of virtue. The farmers and shepherds were then entertained.

Temple in memory of good people, in front of it an altar of virtue

Linden tree of calm and armchair of friendship

A contemporary copper engraving of the linden tree of calm bears a leaf-wreathed oval table on which three medallions with the outlines of the profiles of Christina von Brühl, Hans Moritz Graf Brühl and their son Carl Friedrich Moritz Paul von Brühl, also Karl von Brühl, are arranged . The tablet bears the inscription: Even a king would find rest here if he were, like us, full of love. The foot of the linden tree forms a platform, which is also known as two moss beds or moss banks . In front of it is a round stone table. The linden tree of calm still exists today, but no longer in its original form. The tree seems badly damaged and driven out again; the pedestal is still there, the table and medallions no longer. In the immediate vicinity of the linden tree of rest , very close to the Röder, there was an alder whose branches, padded with moss, were apparently so low that you could sit on them. That was the garden scene, Armchair of Friendship .

Linden tree of rest, copper engraving by J. A. Darnstedt, 1792

Former urn with the butterfly

The place of this installation is described by contemporaries as "near the brook". A copper engraving shows a pedestal tapering towards the top with an urn on a base. On the urn there is a picture of a butterfly and the inscription punishment for future destiny . The butterfly appears here as a symbol for death as a transformation. The pedestal contains the inscription: I am, and I praise you, my God! I'm really breaking through the physical shell; I don't need anything else to understand the state of perfect bliss. The whole stands slightly raised and is surrounded by a wreath of low shrubs.

Urn with the butterfly, copper engraving by J. A. Darnstedt, 1792

Ruin of transience

A plaque hung over a lawn bench with the inscription mortal we are, and mortal are all our desires. Sorrow and joy, they go, but we pass by.

Opposite the grass bank was a ruin, “which you can see through a carved opening. A ball attacked by the ravages of time - a sign of the instability of things - lies on top. ”At that time the scenery was surrounded by oaks, spruces and mossy stones lying around. A contemporary copper engraving shows a pedestal on a plinth with a final cornice on which a ball lies. In contrast to the description in the text, it is not the ball but the pedestal that shows signs of severe decay. Here the theme of the artificial ruin is taken up, which corresponded to the zeitgeist and which can be found in every English landscape garden. A few remains of this garden scene can still be found today, including a. the moss bank.

Ruin of transience, copper engraving by J. A. Darnstedt, 1792

Formerly Lorenzo's hut

Lorenzo's hut was on the slope above the valley, at that time as a round section shaded by oaks at a viewpoint. There are three ways to get there: a steep stairway that begins between the Röder Bridge and the Altar of Truth , and two more comfortable ones that lead up the slope to the right of the path between the Altar of Virtue and the Linden Tree of Peace .

The garden scene Lorenzo's hut refers to the bestseller Yorick's sensitive journey through France and Italy (1768) by Lawrence Sterne . It appeared in 1768 and was translated into German in the same year. The book contains a travelogue that tells of the subjective and also physical experiences and emotional reactions of the sensitive traveler in the sense of sensitivity . Lorenzo is a begging monk whose request the traveler Yorick first rejects, but then exchanges the snuffbox with him and later visits his grave.

Hans Moritz von Brühl designed this garden scene for his wife Christina von Brühl. With the construction of Lorenz's hut he had two goals: He wanted to erect a monument to his wife and the literary figure Lorenzo at the same time . Brühl designed the hut as if Lorenzo had chosen Christina von Brühl as his patron saint. For this reason, a portrait of Christina "in a matching costume" hung in the hut, as well as other pictures that allegorize her positive personality traits.

Lorenzo's hut was made of stone and wood. At the time of construction, the interior was painted in an illusionistic manner, as if it were clad with wooden panels. A contemporary copper engraving shows a stone building on a ledge with a door with a rounded arch. The roof is covered with shingles and partly rests as a canopy on rose trellises. The square in front of the building was probably surrounded by wooden balustrades. In the foreground you can see a staircase that still exists today and leads further higher into the area.

Lorenzo's hut, copper engraving by J. A. Darnstedt, 1792

Lorenzo's grave

Lorenzo's grave, copper engraving by J. A. Darnstedt, 1792

Lorenzo's grave stands on the path opposite the Place of Reconciliation and consists of a very large rough granite stone, which is flanked on the right and left by two banks of moss. When it was made, the stone was decorated with a sack, a stick and a box, and the area around it was planted with violets. The whole thing was enclosed like a garden by a wicker fence made of willow branches. The following slogan was engraved above the entrance gate to the garden: The progression to perfection is eternal if the trace of our eye disappears right at the grave.

In the corners of the garden there were arbors with further inscriptions:

Poor brother to whom the heavy burden
this life is hard to bear
Endure courageously! Bring dignity to suffering,
bring bliss in the better world
What is all sorrow, all suffering
That your short life is ruined for you
Against the indescribably great joys
That eternity reserves for you. -
Read and believe: whoever sows with tears
He should reap with joy one day.
Blessed are you as it is written
When you cry righteous tears here.
There is one who knows the longing of the pious,
Every tenac that ran down
And once he dries his tears
After the tolerance period with love.

Former place of forgiveness

Across from Lorenzo's grave was a rose-planted hill with two stone plaques attached. The one pointing to the way bore the inscription Place of Reconciliation , the one facing away from the path had the following inscription: Who is my friend, who wears a human shell who is not my brother?

At the end of the 18th century, visual relationships existed between the site of forgiveness and Lorenzo's grave and Lorenzo's hut .

Today ivy grows on the hill, the stone tablets are no longer visible.

Altar of Truth

Inscription of the Altar of Truth

A contemporary copper engraving shows a brick pedestal that is surrounded by very large, coarse stones and behind which a young conifer grows. On the pedestal is an oval plaque with the following inscription: Truth, divine plant! You drive away the madness of opinions, purify the heart of passions! There are moss banks to the left and right.

At that time the Altar of Truth was visually related to the Hermannsdenkmal and the hermit's prayer chair ; today the valley is covered with tall conifers and deciduous trees and the visual connections no longer exist.

Altar of Truth, 1792
Altar of Truth, 2012
Altar of Truth, moss bank

Former Temple of the Muses (with Wieland's bust), today the Musenwiese

Seifersdorfer Tal, Temple of the Muses, copper engraving by J. A. Darnstedt, 1792

“It is shaded by alders, spruces, oaks and linden trees, which surround it in an unaffected order. You will be surprised in a pleasant way ... "

A contemporary illustration shows an open structure, not a closed space, consisting of a temple portico with four columns in a fantasy column order and a triangular pediment, decorated with rocailles , the inscription Den Musen and crowned by a vase. It was made of wood and covered with bark. The outer narrower spaces between the pillars were filled and had allegorical decorations made of birch trunks, which represented the attributes of the muses. The very wide central space between the columns gave a view of a short path that led to a platform. To the right and left of the path there were five seats "in perspective order", which were provided with the names Apollos and the nine muses Calliope, Clio, Euterpe, Erato, Melpomene, Polyhymnia, Terpsichore, Thalia, Urania . The curved sides of the pedestal were crowned with vases with palm branches. In the upper area of the pedestal there was a niche with the bust of Christoph Martin Wieland , underneath the inscription: Here they dedicate unfading wreaths wound by the Graces to their darling. Among them were images of laurel and the lyre of Apollo as well as Oberon's horn, cup and lily staff.

These allegories refer to Wieland's romantic verse epic Oberon , which appeared in Weimar in 1780. Christoph Martin Wieland (1733–1813) was a translator, editor and one of the most influential writers of the Enlightenment. He was friends with Christina von Brühl. Wieland is counted among the four stars of the classical Weimar poets and is the founder of the tradition of the German educational novel with his work History of the Agathon . The verse epic Oberon was very important at the end of the 18th century and influenced Schiller's Don Karlos , Goethe's Faust II , Mozart's Magic Flute and Carl Maria von Weber's opera Oberon .

At the end of the 18th century, behind the temple of the Muses, there was a bench in a niche with the following inscription:

Your joys, pleasant tempe,
Are full of simplicity, without pomp and shimmer,
Never tarnished with remorse, never with fear,
Always welcome when you come back.

Tempe is a scenic valley in Thessaly.

As early as 1915, the Temple of the Muses could no longer be found.

Source of the oblivion of worries

Directly on the road towards Seifersdorf is the source of the forgetfulness of worries . It is framed with rubble stones in a small grotto-like niche with stepping stones. This included an altar, which no longer exists today, with the inscription Forgetfulness of Worries , on which there was a “drinking vessel of ancient taste”.

Source of the oblivion of worries
Source of the oblivion of worries, close-up view

The Seifersdorfer Tal on the left side of the Röder south of the Marienmühle

Individual staffages and garden scenes on the left side of the Röder south of the Marienmühle

Petrarch's hut , Vaucluse source and Laura's monument

At that time, contemporaries saw parallels between the Seifersdorfer valley and the Vaucluse valley, the former home of Petrarch, and the surrounding landscape.

A contemporary copper engraving shows a hut made of rough stones; the roof is made of reeds. The canopy is supported by two peeled tree trunks. Under the canopy are seats made of moss and lawn benches. There was an inscription Capanna di Petrarca on a stone above the door . On the designed forecourt in front of the hut you can see a small fountain framed with rough field stones. The interior of the hut was "painted like stone" and the ceiling was "made of plaited straw". The furnishings consisted of a "bed" made of woven straw, two corner tables and a few chairs. Opposite the entrance hung “Laura's picture”; on each of the other three walls there was a sonnet that Petrarch wrote after Laura's death.

Today the remains of the hut and the fountain can still be seen.

Francesco Petrarca (1304–1374) was a man of letters and as such a co-founder of humanism. He made strong reference to antiquity in his works. Ever since he climbed Mont Ventoux in 1336, Petrarch understood nature as a positive aesthetic experience and as a space for contemplation. From 1337 to 1349 he lived in Fontaine-de-Vaucluse near Avignon, where he wrote the cycle of poems Canzoniere . There he sings about his love for Laura. This woman actually existed; however, their identity was kept secret by Petrarch. The love remained unfulfilled or platonic, as Laura was already married and probably a member of the nobility. The subject of unfulfilled love, strong emotional expression and the positive experience of nature were the reference points for Petrarca's hut and Laura's monument.

Today you can still see the relatively well-preserved foundations of Petrarch's hut and the quarry stone enclosure of the Vaucluse spring .

Laura's monument , which stands in the immediate vicinity of Petrarch's hut , consists of a stump of columns of the Tuscan order about 2 meters high on a cuboid pedestal. The stump takes up the theme of the artificial ruin, but it is easier and cheaper to manufacture than one. A contemporary copper engraving shows an oval and ornaments made of flower garlands on the stump of the column. The name Laura is carved into the oval , the flower garlands are no longer there today. The adjacent meadow is known as the Laurawiese .

Petrarch's hut and spring in Vaucluse, engraving by J. A. Darnstedt, 1792
Petrarch's hut, state 2012
Petrarch's refuge and source of Vaucluse, state 2012
Laura's monument, 1792
Laura's monument, as it was in 2012, with Laurawiese behind it

Monument to Leopold von Braunschweig

This memorial for the brother of Duchess Anna Amalia who died in an accident consists of “a massive stone sarcophagus crowned by an urn” and is decorated with a relief image by Leopold von Braunschweig-Wolfenbüttel (1752–1785). He drowned in the great Oder flood in Frankfurt in 1785.

Although the real facts about Leopold's death were known at the time, the pastor Jaques Papin consciously spread the legend shortly afterwards that Leopold perished while rescuing people who were trapped in floods. Papin put fictional last words in his mouth: "I am a person like you, and here it depends on saving people." At the end of the 18th century, middle-class intellectuals used this myth to overcome their longing to overcome the class boundaries between the nobility and the To address the bourgeoisie in the strongly hierarchical class society.

The sarcophagus used to rest on pieces of rock, between which water gushed out. The bas-relief of the sarcophagus bears a relief, an eagle flying towards the sun, with the inscription: The eagle visits the earth, but does not line, shakes the dust off the wing and returns to the sun. At the time of its creation, the monument was on a small hill overgrown with flowers and bushes; around the hill there were alders and old willows, next to it was a waterfall. Today he stands on the banks of the Röder just before the Röder weir of the Marienmühle.

Monument to Leopold von Braunschweig, 1792
Monument to Leopold von Braunschweig

Monument to Anna Amalia

This memorial is dedicated to Anna Amalia von Braunschweig-Wolfenbüttel (1739–1807). She was a German patron and composer. From 1758 to 1775 she took over the reign for the duchies of Weimar and Eisenach. In 1763 she hired Johann Karl August Musäus and in 1772 Christoph Martin Wieland as teachers for her sons. After 1775 it held the Witwenhof and organized various forms of courtly art-loving sociability, especially theater and music performances. She brought many bourgeois artists and scientists to her blackboard. So she founded the Liebhabertheater together with Goethe . Anna Amalia pursued the ideal of “sensual” education, wrote, drew and played several instruments. With her culturally rich widow's farm, she was already a legend during her lifetime and was therefore probably a model for Christina von Brühl, who was friends with the poets who frequented Anna Amalia's court.

The monument is a small, about two meters high stone classical tempietto that now protrudes from a collection of very large field stones. At the end of the 18th century, he was standing in the middle of a meadow surrounded by tall trees.

The front view of the Tempietto shows fluted pilasters that end without a capital on a projecting cornice. The Tempietto ends at the top with a small attic. It forms a niche in which the plaster bust of Anna Amalia stands on a high, narrow pedestal. The pedestal contains the inscription: The Graces and Muses were looking for a temple that would never fall apart: they found it in Amalia's spirit.

Monument to Duchess Amalie
Monument to Anna Amalia

obelisk

To the right of the road in the direction of Schönborn stands the obelisk on an artificial hill , which is flanked by four oaks. Three of them have been planted in recent years; one oak still comes from Christina von Brühl's original planting. The obelisk was financed and built in 1784 by the communities of Schönborn, Seifersdorf and Ottendorf. It is dedicated to Count Hans Moritz von Brühl and bears the inscription:

Happy to us of the count we have!
He is a good master and a good man;
We step up to him boldly,
because he has no sting.

It is not clear why the communities erected the obelisk for the count.

Obelisk, 1792
obelisk

Map Seiferdorfer Tal, on the right of the Röder, north of the Marienmühle

Individual staffages and garden scenes on the right side of the Röder north of the Marienmühle

Monument to Ludwig Richter

This monument was set in 1934 and is located at the beginning of the avenue across the field from the Seifersdorfer Tal to Seifersdorf.

Monument to Ludwig Richter

Hermannsiche or Hermannsdenkmal

The Hermannsiche was an oak 4.6 m in diameter in 1915. Before that there was “a kind of barrow made of granite blocks…; on the other side on a stone plate an ore tablet with the inscription: Dedicated to the Liberator of Germany . "

A contemporary copper engraving shows "warlike badges" on the trunk of the oak: sword, shield, lance and mace, including a kind of altar with a niche.

This staffage refers to a poem by Klopstock about the historical Arminius , which wrongly describes Hermann Germanized as the “hero of the fatherland who fought and died for freedom” and as the “savior of the Germans”. Hermann's praise warms “hearts of German feeling”. Since the 16th century, Arminius (Hermann) has been stylized as a national German symbol in German literature. The political background was the German-speaking areas separated by particular powers and the longing of intellectuals at the end of the 18th century for a German nation building .

In the middle to the end of the 18th century, in addition to Klopstock, numerous other writers dealt with the Arminius fabric such as B. Christoph Martin Wieland (1751), Johann Jakob Bodmer (1756), Friedrich Hölderlin (1796) and Johann Wolfgang von Goethe (1801). Countless Arminius operas were also written. Friedrich Gottlieb Klopstock took up the traditions of Tacitus about Arminius and wrote the three Bardites - religious-patriotic consecration chants - Hermann's battle (1769), Hermann and the princes (1784) and finally Hermann's death (1787). The Hermann Monument was created in the spirit of this zeitgeist.

Ironically, lightning struck the Hermann oak in the 1930s , so that today only an imposing stump can be seen.

Hermann's oak, copper engraving by J. A. Darnstedt, 1792
Hermann monument and Hermann oak
Megalithic structure at the foot of the Hermann Oak

Sunset bank

The sunset bench is located above the Röderbrücke near the Sängerwiese on the steep slope directly on a path towards Seifersdorf. There is a relief and an inscription in the rock above the bench.

The friendly caretakers of the valley

Carl von Brühl and his wife Johanna had this classicist-looking monument erected in 1824. They dedicated it to Carl's parents, Christina von Brühl and Hans Moritz von Brühl, "who created this place". It consists of a stone block with a triangular gable end. It contains u. a. this inscription:

They who made this place still walk in this shadow. Every breath of the world brings the pious children and grandchildren who set this memorial stone a spirit greeting.

On the other hand:

The place a good person would go to

Is inaugurated: after a hundred years

Sounds his word and his deed

the grandchildren again

The friendly caretakers of the valley

Sarcophagus, the Saxon Minister Count Brühl dedicated

The monument is dedicated to Christina von Brühl's father-in-law, Heinrich von Brühl , Prime Minister of the Electorate of Saxony under August III, Elector of Saxony and King of Poland. It was built in 1782 on the birthday of Count Moritz von Brühl, Heinrich's son and Christina's husband. The zinc-studded “splendid coffin” made of oak with the inscription Manibus patris (lat., German: “the memory of the father”), which was built on the still existing base, has not survived, nor has the enclosure. The inscriptions on the base read:

Memorabili oblito. Erex. Maur. com. a. Brühl, ao. 1782 d. July 26th (lat., Dt .: "The one whose memory was tainted, and who is worthy of remembrance. Erected by Moritz Count von Brühl on July 26th 1782."
Immortal and yet death's robbery.
Urit enim fulgore suo, qui praegravat artes Infra se positas. Extincus amabitur idem. (lat., dt .: "The shining one burns the people with their arts who stand under him and depresses them, but after his death he will still be venerated.")
Grand par ses dignites, mais plus grand par lui meme (French, German: "Great through his dignity, even greater through himself.")

The memorial was supposed to rehabilitate the former prime minister, who had come under strong criticism for the bankruptcy of Saxony.

Monument to the Prime Minister von Brühl
Monument to the Prime Minister von Brühl
Monument to the Prime Minister von Brühl
Monument to the Prime Minister von Brühl
Monument to the Prime Minister von Brühl

Herder memorial

The Herder monument is a bust of Herder in cast iron on a slim, high base, bearing the following inscription:

Man's life is limited

room

A narrower limits its meaning

His heart the closest. To get around

see,

To assign what you can, innocently

Enjoy what caution grants us,

And gratefully glad to go away:

This is man's life story

Not an idea, it's a feeling.

Originally the bust of Herder stood on the mountain a little above the hut of the shepherdess of the Alps , but has recently been moved to the place where Dodestan's monument previously stood.

Herder memorial, 1792
Herder memorial

Cupid

Originally a temple with a statue of Cupid and an inscription plaque belonged to this garden scene at the end of the valley. In contrast to the cast iron statue and tablet, the temple is no longer preserved. Ideally, Amor should be viewed from the other side of the Röder - from a distance; one should stay away from "the realm of the little dangerous god". If you entered the valley from the north, there was no bridge over which you could get directly to this garden scene.

A figure of Cupid, cast from an ancient iron statue, stood in a small raised temple with four Tuscan columns and a small triangular pediment. Poplars were planted between the pillars, and around the temple roses, jasmine, honeysuckle and other fragrant shrubs. On the gable was the inscription Amori , and below on the base of the temple the following:

An hourglass in every hand I see Cupid!

As? the reckless god! does he measure the time?

Slowly flee from a lover hours distant

The other quickly runs off the present one.

Temple of Cupid
Cupid

Seiferdorfer Tal, left the Röder, north of the Marienmühle

Individual staffages or garden scenes on the left side of the Röder north of the Marienmühle

Gothic friendship monument (vase)

The sandstone vase that originally stood on a grassy hill directly on the banks of the Röder has been preserved from the monument of Gothic friendship . Its current location - also directly on the banks of the Röder - is a little hidden behind a rock face.

Gothic friendship monument
Gothic Friendship Monument, 2012

Monument to the Countess's father

A fieldstone plinth containing an inscription tablet carries a sandstone urn around which a snake bites its tail - a symbol of infinity. A duplicate of the urn is in the Seifersdorf Castle Park. The staffage is placed directly on the bank of the Röder and can be seen from the view from the path on the other bank of the river.

The inscription reads:

I bring you tears and thanks

To the sad victim of the dead,

Bitter running tears,

The last thing love can give you

Tina v. Bruehl

Monument to the Countess's father, 1792
Monument to the Countess's father, 2012

Former hut of Pythagoras and temple of charity

The western, relatively steep slope above the Röder was extensively terraced and partly still is today. The hut of Pythagoras was on the top terrace . Its L-shaped foundation walls are still visible - especially those on the slope side. Martin Braess found a cellar there in 1915 and "arched depressions" in the back wall of the hut of Pythagoras on the slope. The hut originally consisted of two rooms, one large and one small. The large one was painted illusionistically with bark cladding and festoons made of leaves. Medallions of Socrates and Plato and busts of Virgil and Seneca were on two corner cupboards , with matching inscriptions. The hut was furnished with a day bed made of moss, with simple tables and chairs made of wood. Doors and cupboards had “bark” surrounds.

There was an inscription above the door of the hut:

No storm can hurt the lower pipe

only proud oaks are in danger.

Inside above the door: Dedicated to Pythagoras.

“Behind it” - behind the hut of Pythagoras , probably coming from the former location of the Herder monument - “there is an apartment for a family who is entrusted with the supervision of the valley and which serves as guides for those who visit it . ”Also in the neighborhood further down on the slope, Martin Braess located the foundations of another house in 1915, which Seelig referred to in 1898 as the“ Jägerhaus ”- although it is not clear whether he was referring to the“ Forester's House ”named a few lines later.

The terraces on the slope to the east of the foundations of the House of Pythagoras and above the hospitality are still there . In 1898, Seelig sees "fruit fields" at this point, which "were previously assigned to the forester who had his apartment up here, of which we can only partially find the foundation walls today."

In the immediate vicinity of the hut of Pythagoras above on the slope was the Temple of Charity , a wooden rotunda with a thatched roof and lattice door. It contains all sorts of inscriptions relating to Count von Brühl's charity towards the poor.

Hut of Pythagoras
Remains of the hut of Pythagoras
Remains of the hut of Pythagoras, detail of wall niche
Temple of Charity

Bergquelle Schöpf in silence

Inscription of the mountain spring Schöpf silently

The Bergquelle staffage used a periodic channel that still exists today , which flows through a grotto made of large boulders on which a carved stone with a carved inscription is attached. In front of the grotto there is an oval basin in which the water from the channel is collected. In the past, the inscription tablet was framed by marble, crowned with vessels and flanked by two putti and moss banks. On the ledge of the spring there was a cup with the inscription What I am, you were and you will - earth.

The inscription still preserved on the plaque, the "Call of the nymph of the spring", reads:

Draw in silence! - Why? - Well then

do not scoop

Why not? - Only for quiet enjoyment

I pour refreshing drink.

Bergquelle Schöpfens silent, 1792
Bergquelle Schöpfens silent, 2012

The singer of the valley

The singer of the valley, monument to Johann Gottlieb Naumann, copper engraving by J. A. Darnstedt, 1792
The singer of the valley

Monument dedicated to the young Count Carl von Brühl by his parents on his birthday, copper engraving by J. A. Darnstedt, 1792

Former memorial dedicated to young Count Carl von Brühl by his parents on his birthday

The contemporary engraving from 1792 shows a circular substructure - "a terrace of lawn" - with a 7-step staircase that leads to a landing. On this substructure is an apparently overgrown mound of earth from which a tree protrudes in the middle. Leaning against this tree is a tablet of inscriptions, which is "framed by pieces of rock" and arranged over a second tablet in the axis above the stairs. The inscription reads:

Want, oh son, the sea of dangerous life

Glad to sail through and happy to land in the harbor one day:

If the winds feign you, don't let pride conquer you!

If the storm seizes you, don't let it steal your courage!

Male virtue be your oar, the anchor your hope;

Alternately, they bring you ashore through the dangers.

In 1915, Martin Braeß still found the plaque that describes how the Brühls had a memorial erected for their “only beloved son Carl on his birthday in 1791”.

Former hospitality

The foundation walls of the hospitality are still preserved today, they measure about 5 by 7 m. At the time of construction, this house was a kitchen, in which “dishes were prepared”, with which “the poor from the neighboring communities ... were entertained” on the Count's birthday on July 26th. The kitchen had two rooms. A stone table and two stone benches are still present within the foundation walls.

Singer meadow and former temple dedicated to Moritz and the joys of the countryside

The first building in the Seifersdorfer Valley was located on the singing meadow - the temple, dedicated to rural delights . This temple was a pavilion consisting of columns and a roof with four triangular gables. The pillars were raw tree trunks covered with pine cones. Festons made of straw and leaves made of green wax canvas hung between the pillars. Inside the temple hung a bark and pine cone chandelier. The temple was crowned with an owl, the symbol of the ancient Roman goddess Minerva. The temple served as a roof for festivals for farmers and for feeding the poor. Tables and benches stood nearby, as well as the building called Hospitality , which served as the kitchen.

The triangular gables of the temple were labeled according to the use of the temple:

Bring you peaceful fields

of the deeds of his leniency;

Bring you peaceful fields

of the virtue of happiness.

Blessed is he who is in the lap of joy

Often thinks of the abandoned

Who on earthy pastures

Giving a look to the poor.

Oh, are worthy of joy, you happy ones!

Remember, when you are warmly pleased,

That joys always fled from vice,

And that you are weak and mortal.

In 1824, Count Carl and Johanna von Brühl erected a memorial to their parents in memory of the pavilion, which had since fallen into disrepair, under which the rural festivals took place on this meadow.

Temple - dedicated to Moritz and the joys of the countryside, 1792
Monument that Count Carl and Johanna set to Hans Moritz and Christina von Brühl in 1824
Monument to Count Carl and Johanna, back side
Festival meadow or singer meadow

Former hut of the Shepherdess of the Alps and monument to Dorestan

This garden scene also has a literary background, namely the novella La Bergère des Alpes by Jean-François Marmontel (1759). The hut of the shepherdess of the Alps had a foundation made of field stones, which is still preserved today. The actual cabin was a log cabin made of rough logs; the roof is thatched. In the middle of the roof protruded a living beech tree that was integrated into the building. The windows are arched windows and there was a bench in front of the main window. Steps with a railing made of birch trunks lead to the door, which is covered with a canopy. An inscription was engraved above the door: Cabane de la Bergere des Alpes . There was a wicker fence around the house with a wide gate.

The interior walls were painted reddish, and the lower part was covered with a panel of bark. On the wall opposite the door hung a mirror framed with bark, on both sides of which there were moss medallions with attributes of shepherd life. Under the mirror was a limewood table, the legs of which were bordered with moss, bark and straw. Yellow immortelles in the shape of the letter D were attached to this table, an allusion to the name Dorestan . The walls were also painted with flowers; There were engravings in the building, a portrait of the shepherdess Adelaide and a plaque with the following inscription:

O sadness! C'est dans ton école

que la sagesse instruit le mieux

ses disciples.

In the hut there was other vague furniture that looked as if an Alpine shepherdess could have made it herself.

Across the river from the window of the hut was Dorestan's monument - a stone urn on a small turf mound. It does not exist anymore. The urn bears the inscription Dorestan, victime de l'amour . The arrangement was fenced in and planted with roses and jasmine. Moss banks were set up by the water. The little hut of the shepherdess of the Alps , made of spruce and birch trunks, covered with straw and covered with honeysuckle, stood nearby, bushes and other flowers were planted nearby. There was an inscription in it:

Si la vie est un songe

Quel bonheur de rever ici.

Monument to Dorestan, 1792
Hut of the Shepherdess of the Alps, 1792
Garden hut of the Shepherdess of the Alps, 1792
Former hut of the Shepherdess of the Alps, 2012

Former bathroom

The bath was in the bend of the Röder north of the white wooden Röder bridge. A few steps led down to him. A grotto open to the top was built into the bank of the Röder, through which the river water flowed. On one side there was a moss bank with the inscription: Not in the turmoil, no, in the bosom of nature, on the Silberbach in unheard shadow, the lovely joy only visits us and often surprises us on a trail where we had not suspected it. The Brühl family actually used the garden scene for swimming. In 1898, “well-preserved walls” could still be seen at this point.

"Bad" in the Seifersdorfer Tal, as it was in 1792
Röder in the Seiferdorfer Tal, location of the former "bath", status 2012

Oh how beautiful

Oh how beautiful is an inscription in a sandstone that is walled into a field stone wall on the slope of the Rödertal. A second hewn sandstone bears the inscription Für Johanna und Moritz 1820 . This memorial refers to the view from this point of view. The monument "Oh how beautiful" was destroyed by the tornado on Whit Monday 2010 and restored in July 2011.

Pan in the Seifersdorfer Valley

Former statue of the pan

The statue of the pan was the last decoration in the Seifersdorfer Tal towards the Niedermühle. Behind it was only a meadow that was connected to the opposite rocky bank of the Röder with a wooden bridge. Pan is shown as a shoulder piece on a conically tapering pedestal , which in turn is attached to a cylindrical base. In front of it was a small altar. Trees were planted in a circle around it - young at the time of construction.

Salomon Gessner, painting by Anton Graff

Wilhelm Gottlieb Becker, the author of the Seifersdorfer Valley Guide from 1792, describes the scenery on page 150 as follows: “The whole thing is reminiscent of Arcadia; and it is really the intention of the owners through a multitude of scattered huts which are to bear Geßner's names and inscriptions to carry out this idea. Not far from these huts, Geßner, the immortal singer of innocence and virtue, is to receive a memorial. ”Whether the figure of Pan was given the facial features of the painter and poet Salomon Gessner in order to memorialize him is not known today more understandable because the figure no longer exists.

The statue of Pan marked the border of the Brühl family's property and thus closes off the Seifersdorfer Tal landscape park .

Other accessories that are difficult to locate

In 1792 there was also the Chapel of the Good Moritz , the Hut of Solitude and the Hermit's Prayer Chair , which were located between the Altar of Virtue and Lorenzo's grave .

The Marienmühle and other buildings in the Seifersdorfer Valley

bridge
bridge
Marienmühle 1792
Marienmühle
Marienmühle inside

Garden scenes in the garden at the manor house on the Seifersdorf manor

Path from the Seifersdorfer Tal to Seifersdorf Castle

Seifersdorfer Schloss, back to the garden, neo-Gothic conversion by Karl Friedrich Schinkel

Monument to Christian Cay Lorenz Hirschfeld in the garden of Seifersdorf Palace

The Christina von Brühls residence was the manor house on the manor from 1775 - Seifersdorf Castle was not habitable for the rulers at the time and was converted from a former Renaissance castle into a neo-Gothic castle from 1818 to 1826 according to plans by Karl Friedrich Schinkel Connected to the Seifersdorfer Tal via an avenue that leads across a field.

Located in the garden by the manor house in the direction of the church, the staffage program for the Seifersdorfer valley continued and was created at the same time as the Seifersdorfer valley. Becker also describes this garden in 1792 in his book "Das Seifersdorfer Tal".

Hirschfeld's memorial consisted of a "lawn mound" on which an urn made of Meissen porcelain was placed on a base. It was dedicated to Christian Cay Lorenz Hirschfeld , garden theorist of the Enlightenment and role model for Christina von Brühl in the field of landscape architecture. Hirschfeld propagated the landscape garden of a sensitive and romantic character.
To the left of it was a “niche of living green” with a plaque with a French inscription: Des jours heureux voici l'image: Les Dieux sur nous versent-ils leurs faveur. Ils offrent sur notre passage Quelques aspects, riant des repos et des fleurs.
A birdhouse in the shape of a pavilion stood opposite a “niche of living green”, surrounded by “terraces of lawn”, fruit trees, flowers and bushes.
“… A small garden house of a very simple design” with a door, windows, an arcade with bird cages (with laughing pigeons and canaries ), overgrown with wild wine, bears the inscription: between world and loneliness lies true wisdom in the middle. The interior of the house contained light green walls with inscriptions, on the walls "hangings of Jesmin and cornflowers", a fireplace, a cupboard with a "small garden library", opposite the door a mirror, a "bed", tables and chairs.
Young's grotto is a kind of ruin architecture with the inscription dedicated to Young on the outside . Their equipment consists of a "Betaltar from a dry root composed", decorated with a cross, a skull, a mosaic depicting a praying saint, and the book Night Thoughts of Edward Young , the pitched lies on the altar, continues to be a hourglass with Inscription and niches with straw mats.
The bust of Elisa von der Recke , a German-Baltic writer and composer, was planted with roses, jasmine and the like. a. Flowers; next to it was a bank with an inscription.
A “garden” overgrown with jasmine and Turkish elder was provided with the inscription: Feel the sweet movements of nature in your heart, accept what it has graciously assigned you and think of nothing else.
Dedicated to Young's children Philander and Narcissa, it consists of a snake-wrapped urn (duplicate of the Countess's father's monument ) on a base made of a rough field stone with names engraved on it; the whole thing was in the middle of a "grassy hill" on an island overgrown with poplars in a pond in the castle park. The pond is still there today.
To the left of it was the statue of Cupid - a putto with a bow and arrow and an inscription.
Next to it was an arbor covered with honeysuckle, roses and the like. a. and to which an aviary with laughing pigeons was attached.
Nearby there was the bark house with Göthen's bust , where Goethe's bust was in a niche. Next to it were the monuments to Werther and Marie von Beaumarchais.
At the end of the garden there was a hedge with an opening onto an avenue of poplars and chestnuts that still exists today, opening up the visual relationship “to a Gothic ruin”, “which lies on a distant mountain”.
Finally, there was also a "pleasure garden" with fruit trees, flowers and benches, in which additional staffages with busts "Hallers, Jerusalem, Lavaters, Gellerts, Klopstocks, Zollikofers and other men like them" were planned.

The palace garden was rebuilt around 1900 by the Dresden landscape architect Max Bertram "in the mixed style of the time", so that only remnants of the staffage are preserved or are located in the palace gardens around the palace. The palace gardens are designed by Bertram. The tea house that still exists today is also located there. The Goethe monument and the bust for Elisa von der Recke, however, were to be found in the park on the manor and not in the palace gardens.

Part of the monument to Philander and Narcissa in the Seifersdorfer Schlossgarten
Monument fragment in Seifersdorfer Schlossgarten
Monument fragment in Seifersdorfer Schlossgarten
Monument fragment in Seifersdorfer Schlossgarten
Garden house in Seifersdorfer Schlossgarten
Bust of Elisa von der Recke in the Seifersdorfer Schlossgarten
Memorial for Hirschfeld in the Seifersdorfer Schlossgarten
Bark house with Göthen's bust in Seifersdorfer Castle
Young's Grotto in Seifersdorfer Schlossgarten

present

Destruction of the Niedermühle in the Seifersdorfer Valley

Since 1959, thousands of people have been moving to this valley on the mornings of Pentecost Sunday for “Pentecost singing”. It is carried out by the Seifersdorfer Heimatverein. Choirs and orchestras perform there, singing mostly folk songs. Before that, there is a valley service by the Protestant church at the obelisk. The choirs appear on the natural stage behind the Marienmühle. In addition, there is a stone dedicated to the Dresden court conductor Johann Gottlieb Naumann , The Singer of the Valley - Naumann .

In 1990, the Seifersdorfer Thal eV association took on the voluntary maintenance and renovation of the landscape garden. The facility has been the property of the Landesverein Sächsischer Heimatschutz eV since 1997. Numerous park architectures have been restored with public funding since 1999.

A tornado caused severe damage to the valley on Whit Monday 2010; Numerous trees fell victim to the storm and the valley was temporarily cut off from the outside world.

With the castle park and valley, Seifersdorf is a member of the garden culture trail on both sides of the Neisse . This improves the possibilities of care ( park seminars ) and the prospects for funding and tourist development.

literature

Wilhelm Gottlieb Becker : The Seifersdorfer Thal (with illustrations by Darnstedt). Voss and Leo, Leipzig 1792 ( digitized version ).
Sophus Ruge : The Seifersdorfer Thal a hundred years ago and now. In: Gebirgsvereins-Zeitung , 1882.
Martin Braess: The Seifersdorfer Thal. In: First supplement to the Leipziger Zeitung of May 6, 1891, No. 103.
Th. Seelig: Guide through the Seifersdorfer valley . Meinhold, Dresden 1896 ( digitized ).
Martin Braess: The Seifersdorfer Valley with its monuments . In: Mitteilungen des Landesverein Sächsischer Heimatschutz 4 (1915) 10, Dresden 1915, pp. 402-415 ( digitized version ).
Hugo Koch: The Seifersdorfer Valley and the garden to doers. Two examples from Saxony's garden history at the time of sentimentality and romanticism. In: Mitteilungen des Landesverein Sächsischer Heimatschutz , year 1924, vol. XIII, issue 1–2, pp. 4–24.
Walther Buchholz: Guide through the Seifersdorfer valley. Verlag Hermann Rühle, Ottendorf-Okrilla 1930.
Dresdner Heide, Pillnitz, Radeberger Land (= values of our homeland . Volume 27). 1st edition. Akademie Verlag, Berlin 1976, p. 44.
Karl Josef Friedrich : Guide through the famous Seifersdorfer valley. Kupfergraben Verlagsgesellschaft, Berlin 1994, ISBN 978-3-89181-210-5 .
Landesverein Sächsischer Heimatschutz eV and Seifersdorfer Thal eV: The Seifersdorfer Tal . Garden monument maintenance and nature conservation in the landscape garden. Verlag Dober Mügeln, Dresden 2011, ISBN 978-3-9812320-2-8 .

Web links

Commons : Seifersdorfer Tal - Collection of images, videos and audio files

Individual evidence

^ Decision on the Seifersdorfer Tal landscape protection area. Notifications for the state organs in the Dresden district. No. 2 March 1960. Retrieved May 29, 2018 .
^ Overview of the LSG of the State of Saxony. Retrieved May 29, 2018 .
^ European Environment Agency. Seifersdorfer Valley. Retrieved June 12, 2018 .
↑ Natura 2000. Accessed May 29, 2018 .
↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k Martin Braeß: The Seifersdorfer Valley with its monuments . In: Mitteilungen des Landesverein Sächsischer Heimatschutz 4 (1915) 10, Dresden 1915, pp. 402-415
↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u ^v ^w ^x ^y ^z ^aa ^ab ^ac ^ad ^ae ^af ^ag ^ah ^ai ^aj ^ak ^al Wilhelm Gottlieb Becker: Das Seifersdorfer Thal . Voss and Leo, Leipzig 1792 (digitized version)
↑ ^a ^b ^c ^d ^e ^f ^g Christine Schatz: Brühl, Johanne Margarethe Christina (Jeanne Marguerite Christine, called Tina) Countess of. In: Saxon Biography, ed. from the Institute for Saxon History and Folklore eV, arr. by Martina Schattkowsky.
↑ ^a ^b ^c Winfried Müller: Gardens of the Enlightenment. Sociability and nature transcendence. In: Hans Vorländer (ed.): Transcendence and the constitution of orders. Berlin / Boston 2013.
^ ^A ^b Christine Schatz: Brühl, Hans (Hanns) Moritz Christian Maximilian Clemens Graf von. In: Saxon Biography, ed. from the Institute for Saxon History and Folklore eV, arr. by Martina Schattkowsky.
^ ^A ^b ^c August Förster: Brühl, Karl Friedrich Moritz Paul Graf von . In: Allgemeine Deutsche Biographie (ADB). Volume 3, Duncker & Humblot, Leipzig 1876, pp. 417-419.
↑ ^a ^b ^c ^d ^e ^f ^g ^h Th. Seelig: Guide through the Seifersdorfer valley . Meinhold, Dresden 1896
↑ Sophus Ruge: The Seifersdorfer Thal a hundred years ago and now. Mountain Association Newspaper, 1882.
^ Johann Gottfried Gruber: CM Wielands life. Georg Joachim Göschen, Leipzig 1827/28 (PDF reprint in the Arno Schmidt reference library)
^ Paul Geyer, Kerstin Thorwarth (ed.): Petrarca and the development of the modern subject. Göttingen 2008, pp. 71-106 (PDF; 22.3 MB).
↑ Anton Pump: Heroic sacrificial death of Duke Leopold von Braunschweig in 1785 in the Oder - truth or legend? - Press in the field of tension between education and propaganda. Sources and research on Braunschweigische Landesgeschichte, Vol. 44. o. O. (Braunschweig) 2008, pp. 80–86, especially pp. 81, 84 ff .; the evidence of the locations for the documents on p. 212f.
↑ Biography of Anna Amalia in the Internet Lexicon Music and Gender ( Memento from November 28, 2012 in the Internet Archive )
^ Marcus Ventzke: The Duchy of Saxony-Weimar-Eisenach 1775–1783. A model case of enlightened rule? Cologne u. a. 2004.
^ Henning Buck: The literary Arminius - productions of a legendary figure. In: Wolfgang Schlüter (Ed.): Kalkriese - Romans in the Osnabrücker Land: Archaeological research on the Varus battle . Bramsche 1993, pp. 267-281, here p. 273.
↑ Monument to Minister Count Heinrich von Brühl (1700–1763), in: Seifersdorfer Tal
↑ Monument to Countess Tina's father, in: Seifersdorfer Tal
↑ Walther Buchholz: Guide through the Seifersdorfer valley. Verlag Hermann Rühle, Ottendorf-Okrilla 1930.
^ Homepage of the Seifersdorfer Thal eV association.
^ Website of the Saxon Homeland Security, in: Archive.org, accessed on May 29, 2018 ( Memento from April 9, 2015 in the Internet Archive )
↑ Homepage garden culture path on both sides of the Neisse, members and cooperation partners , accessed on June 4, 2018

51.151388888889 13.880277777778Coordinates: 51 ° 9 ′ 5 ″ N , 13 ° 52 ′ 49 ″ E