Wall pavilion

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Wall pavilion with festive lighting

The Wall Pavilion is the most important pavilion in the Dresden Zwinger .

description

Building history

Starting point

Instead of the built wall pavilion, a cascade was originally intended to be built according to a sketch by Augustus the Strong. Instead, a large staircase was built, which should open up all terrace levels. In 1711, however, the arched gallery was built, which directly flanked the stairs. As a result, not all terrace levels could be reached from the stairs. A perspective drawing of the Zwingerhof from 1712 shows these stairs within the apex of the arch. The staircase was comparable to the staircase in the garden of the Albert house in the Au near Munich, with each landing serving to develop a terrace level. A medal design by JG Fritzsche with a representation of the orangery in the Zwingergarten from 1711/12 is evidence of the earlier staircase in the context of the arched galleries that followed since 1711/12. The medal draft presented to the king in July 1712 shows the pavilion instead of the staircase. As recently as 1719, people still knew about the “huge staircase complex”, so that contemporary reports referring to the first floor in the wall pavilion spoke of a “hall above the great staircase”.

  • Starting point: Draft drawing by August the Strong for an orangery from 1709

  • Perspective representation of a design for the extension of the kennel garden. Around 1712. Cut-out staircase in the apex of the arcades. Pen, washed. 58 × 141 cm. Formerly Dresden, State Archives. Lost since 1945.

  • JG Fritzsche: Medal drafts for August the Strong. 1711 and 1712. Left: Depiction of the staircase in front of the construction of the wall pavilion. Right: Wall pavilion in place of the original staircase, Dresden, Münzkabinett, archive.

role models

Buildings in Vienna by Lucas von Hildebrandt were the models (according to Michael Kirsten also the design basis ) for the Wallpavillon . The garden belvedere of Palais Schönborn with its curved, two-storey facade, which, like the Wallpavilion, was installed between two galleries, served as a model. With its curved design, the building shows a closeness to Francesco Borromini . The relationship with the buildings of the Viennese court was an example of both competition and the ideal dependence on the Habsburg dynasty .

According to the art historian Heinrich Gerhard Franz, the relationship to the Bohemian Baroque is stronger . Thus, the pin Břevnov of Christoph Dietzenhofer , the buildings in Kuks and the facade of the Klosterkirche in Osek : "[However] Poeppelmann dissolved each base form by Image and plastic decor."

Preliminary drafts

In 1713 it was planned to integrate the staircase at the top of the orangery in a pavilion. The drafts created after 1710 make it clear that the front side of the planned new palace was copied. A first preliminary design shows a five-axis building. The saloon is emphasized by the transition to the column. The outer axes are treated as risalits, which are bordered at the corners by coupled columns. Then one link of the pair belongs to the following axis. On the upper floor there are columns next to pilasters. Towards the middle, the sequence goes from the pilaster to the pair of coupled columns. This increases the row of supports from 2 to 2 to 3. The gallery balustrade is continued in the window sill. The central axis opens up in two high, superimposed arches. The lower arch is built as an entrance and extends almost to the ground. There are stairs on the sides that lead down from the galleries. The uppermost zone shows oval windows to a hall inside. The oval windows show a shell-like frame. Together with the consoles, they make a wide decorative ribbon. These include the gable of the window crowns below. There is a gable in front of the rounded roof. This is broad and concave in the middle with a blunt end gable.

A second preliminary draft from 1713 shows a five-axis building. All lower openings lead down to the base. This makes the building appear better structured. The number of pillars and pilasters has been reduced. This results in the sequence of 2 to 1.5 to 2.5 on the upper floor. The round arch occurs only in the middle of both floors. The other openings close with horizontal lintels. Surfaces of the wall can be seen above in the second and fourth axes. The gables of the second floor are moved by turning the side parts out of the surface. To separate it from the galleries, a narrower axle with a statue exposed was inserted next to the salon. This is where the transition to the column takes place. There are goddesses on the consoles above. On the middle part of the gable there are two other figures who want to dance. This resulted in increased, better financial statements. A moving figure sculpture is also located at the foot of the top round window. The sculpture depicts pairs of figures sitting and lifting crowns. The lower portal arch is flattened and shows a strong keystone with a head and side festoons. At the end there is a balustrade with vases on the ridge.

A third preliminary draft from 1713/1714 shows a seven-axis building. With this design, the salon was adjusted to the shape of the frame and gives it greater stability. The salon should now also be brought to the corners on the sides of the rounded courtyards. This should give the building a better hold. Pöppelmann had to solve the problem of leading down the gallery corridors via stairs to the middle portal of the salon. By continuing the corridor horizontally to the large opening, Pöppelmann softened the unfavorable impression of the inclined stairs. The solution to continue the arcades appears and is carried out on the lower floor. There was now a dissonance with the narrow upper rectangular window. The pillars remain with this design, but are limited to one in the intermediate axes. The attic in the uppermost zone was designed lower. This transforms the round windows into horizontal ellipses.

  • Wall pavilion, first preliminary draft

  • Wall pavilion, second preliminary draft

  • Wall pavilion, third preliminary draft

Construction, destruction and reconstruction

The building, erected in 1715 , was badly damaged during the Second World War by the bombing raids on February 13 and 14, 1945 . Hans Nadler described it as follows: "[...] The wall pavilion was destroyed except for the wall shafts, which were out of alignment [...]."

In the days immediately after the destruction, a small group led by Hubert Ermisch secured and hid valuable architectural parts that could be preserved and prepared a damage file. The first damage assessment showed that out of 850 individual objects such as figures, vases or individual decorative elements, around 300 had to be restored or rebuilt. In view of the renewed security and restoration effort, which this time exceeded all previous dimensions, Ermisch wrote a memorandum dated June 17, 1945 with the title Is the rescue of the kennel possible? . In it he succeeded in awakening the hope of reconstruction in a phase of almost inconceivable destruction throughout Dresden, referring to the static studies and the subsequent installation of reinforced concrete ceilings from the early days of the Zwingerbauhütte . Otherwise, in his opinion, the Zwinger would have collapsed like a house of cards as an originally unstable structure.

On August 14, 1945, a first consultation on the coordination of the reconstruction took place with the participation of important Dresden officials. The Soviet military administration immediately approved the release of timber on August 18, demonstratively supporting the Dresdeners' intention to rebuild. In two cultural orders of the Soviet military administration, the protection and the reconstruction of cultural buildings were ordered. On this basis, the newly formed Saxon State Administration approved the first budget funds for the reconstruction of the Zwinger in September 1945.

Since many people were committed to the building, reconstruction began in 1945 by the Zwingerbauhütte, which was re-established in the autumn of that year under the direction of the Dresden architect Hubert Georg Ermisch . The first contributors included the sculptor Albert Braun, the architects Max Zimmermann and Arthur Frenzel and a master Jagy for the copper sheet work.

The structural damage caused by the impacts of bombs and incendiary ammunition was not only significant, but also unknown to the kennel in the past. For example, an arched gallery in the southwestern kennel area was deformed by 22 centimeters in depth. They were restored to their original position by lifting with pulley blocks in the summer of 1947. The wall shafts on the upper floor of the wall pavilion showed an almost similar directional deformation. The pulley blocks were also used here and then a reinforced concrete ring anchor was placed at the height of the main ledge.

  • Wall pavilion, destroyed (1945)

  • Wall pavilion, reconstruction (1948)

In 1954 three gables of the wall pavilion were completed.

The wall pavilion was restored between autumn 2014 and December 2017. The focus was on the valuable sandstone works of art. Among other things, twelve herms from the first construction period of the Zwinger could be restored in the arcade arches of the courtyard facade. Permoser's Hercules Saxonicus has also been carefully renewed. A sculpture of Minerva was newly created. The ceiling in the hall of the pavilion has also been restored. The total cost of the renovation amounted to 4.4 million euros, borne by the Free State of Saxony.

Building description

Wall pavilion, executed design
Middle cartouche, left Venus and the depiction of August the Strong as Paris with a Polish royal crown (Heermann), right Minerva and Juno (Heermann), above: Hercules (Permoser)

Structure

The design carried out in 1715 shows that the arcade system was also carried out on the upper floor. The half-columns from the preliminary drafts are now finally given up. The roof is now being broken, removing the dull appearance of the roof from the preliminary drafts. The rectangular buildings of the previous designs were "inorganic and stiff" and, according to Harald Marx, blew up the gallery buildings in an inorganic way. The implemented convex arching building fits organically and harmoniously into the arched gallery, which is concave for the observer. The pavilion also has other organic tendencies: the "motif of the exploded form, of the gable exploded in the opposite sense, returns here in the floor plan and is perceived as deeply organic ". The fusion of architecture and sculpture is stronger than with the Kronentor.

Plastic and ceiling painting

The exterior of the Wallpavilion is populated by numerous sculptures : Hercules Saxonicus (Permoser), Prince Paris with three goddesses (Heermann), Four Winds (Kirchner) and Juno and Jupiter (Thomae). The originals are now partially in the lapidarium. Two iconographic layers can be identified.

The first layer is supposed to represent the irrepressible natural life, embodied by numerous herms on the ground floor of the pavilion. In the ground floor zone, for example, the satyr baths adorn the six pillars of the entrances to the Zwingerhof; from the side to the middle there are first one, then two and finally three figures each. Heermann created the Northern Hermes and the Northern Hermes. The western pair of herms on the ground floor could have come from Egell .

The second layer is supposed to represent the merging of the worlds of Greek mythology and Augustus the Strong's claim to political power. The iconographic center of Permoser's Hercules Saxonicus , who bears the globe on behalf of August the Strong, is above the Saxon-Polish coat of arms. This points to the imperial vicariate of Augustus the Strong in 1711: Pöppelmann explained this intention in the foreword to his copperplate engraving, in which he alluded to the twelve deeds of Hercules. In order to receive the apples of the Hesperides from Atlas , he had to briefly carry the vault of heaven. Hercules could then give the vault back to Atlas. This myth was seen as a parallel to the imperial rule of August the Strong:

"Picture pillar partly as a superintendent ..., partly as a world supporter, as he carries the heavenly sphere on his shoulder, aimed at the imperial governorship of our heroic king at that time, above the great Staircase exhibited. "

The struggle for stability in Poland and the more than vague hope for the imperial crown may also have played a part.

The keystone cartouche of the middle entrance frames the signum A.R. ("Augustus Rex", Latin for "King August"), the keystones of the entrances closest on both sides wear cursive swords , surrounded by eagles spreading their wings. The middle cartouche on the gable structure shows figures of putti and blowing Victoria; The style and structure of the figures are attributed to Kirchner.

On one side of the gable is flanked by the laurel-wreathed Paris in the shape of the youthful August , who instead of an apple is holding the Polish royal crown in his hand; he turns to Venus standing next to him . On the other side are the "spurned" goddesses Minerva and Juno . Paul Heermann created this second central group on the Wallpavillon - The judgment of Paris . Paris symbolizes August the strong in his youth and carries the crown of Poland in his hands. He is flanked by the three goddesses Venus, Juno and Minerva, who give him the crown with their gifts of love, power and wisdom.

The figure groups of the four winds come from Kirchner . These double figures crown the pillars of the baroque building at the four corners of the wall pavilion. Above them is Permoser's Hercules with the globe, next to them is Heermann's Prince Paris with the crown of Poland and the three goddesses Venus, Juno and Minerva, who proclaim the glory of August. The allegories of the four winds consist of the following groups of figures:

  1. Notos , the south wind, with Iris , the messenger of the gods.
  2. Euros , the east wind, with Eos , the mother of the winds (both groups of figures are on the courtyard side).
  3. Zephyr , the west wind, with Chloris , the flower-bringer.
  4. Boreas , the north wind, with the nymph Oreithyia he abducted (on the wall side). They proclaim "the glory of Hercules Saxonikus in all four directions".

Paul Egell worked in particular on the upper floor of the wall pavilion, so he created eight heads above the arched windows as keystones in the gables: a female figure with the Danish Elephant Order; another female figure with the Polish Eagle Order; the figure of the Jewish sage Saul and that of another sage, the Greek Solon. The crowned heads of Saul and Solon can be found on the keystones of the neighboring gables. The central gable of the vestibule on the side of the wall is flanked by figures representing Jupiter and Juno and created by Thomae .

In 1727 Louis de Silvestre was commissioned to create the ceiling fresco The Triumph of the Arts by 1728 for 4,000 thalers in the ballroom of the Wallpavilion. In April of the same year, Silvestre wrote that he had created the design for the painting, but the design was not carried out. In an art-historical dissertation, Harald Marx is devoting himself to the planned ceiling fresco in the wall pavilion. Marx mentions Gustav Otto Müller, who mentions a letter from Silvestre from April 5, 1729. This letter was later published by Roger-Armand Weigert in “his work that has already been quoted several times”.

  • Hercules (Permoser)

  • The middle cartouche with figures of putti and blowing Victoria (Kirchner)

  • Royal insignia (Thomae)

  • Head as keystone in the gable around 1717/18 (Egell)

  • Hermen couple around 1718 (Permoser)

  • Hermen couple (Egell)

  • Hermen (Egell)

literature

  • Handbook of German Art Monuments : Dresden. (Special volume) Deutscher Kunstverlag, Munich / Berlin 2005, ISBN 3-422-03110-3 , p.
  • Harald Marx: On the decorative painting of the 18th century in Saxony. Dissertation University of Halle 1971, p. 123 (Chapter: IV. The decorative monumental paintings in the Dresden Zwinger . Section: 1. The planned ceiling painting for the wall pavilion ).

Web links

Commons : Wallpavillon (Zwinger, Dresden)  - Collection of pictures, videos and audio files

Footnotes

  1. ↑ Harald Marx (Ed.): Matthäus Daniel Pöppelmann. The architect of the Dresden Zwinger . EA Seemann, Leipzig 1990, ISBN 3-363-00414-1 , pp. 158, 161 [Figure 128 JG Fritzsche. Medal design with a representation of the orangery in the Zwingergarten. 1711/12. (On a sheet with 17 draft medals as No. 17). Pen, brush. Diameter 6.1 cm. Dresden, Münzkabinett Archive: Drafts for medals for August the Strong, M 211 m B. 10c.] 162 [Figure 130 Perspective representation of a draft for the extension of the Zwingergarten. Around 1712. Detail: staircase in the apex of the arcades. Pen, washed. 58 x 141 cm. Formerly Dresden, State Archives. Lost since 1945.]
  2. ↑ Harald Marx (Ed.): Matthäus Daniel Pöppelmann. The architect of the Dresden Zwinger . EA Seemann, Leipzig 1990, ISBN 3-363-00414-1 , p. 161 [Figure 129 JG Fritzsche. Medal design with a representation of the orangery in the Zwingergarten. 1711/1712.]
  3. ↑ Harald Marx (Ed.): Matthäus Daniel Pöppelmann. The architect of the Dresden Zwinger . EA Seemann, Leipzig 1990, ISBN 3-363-00414-1 , p. 161.
  4. ↑ Michael Kirsten: The Dresden Zwinger (= DKV art guide No. 576/0). Deutscher Kunstverlag, Munich / Berlin undated, p. 19.
  5. ↑ Michael Kirsten: The Dresden Zwinger (= DKV art guide No. 576/0). Deutscher Kunstverlag, Munich / Berlin undated, p. 20f.
  6. ↑ The further expansion of the Zwingergarten with crown gate and wall pavilion . In: Harald Marx (ed.): Matthäus Daniel Pöppelmann. The architect of the Dresden Zwinger. Leipzig 1990, p. 162f. [Fig. 138 Design for a pavilion. Around 1714.] [Fig. 139 Design for a pavilion in the apex of the galleries. 1713/1714]
  7. ^ Eberhard Hempel: The Zwinger in Dresden. Basics and fate of his artistic creation. German Association for Art History, Berlin 1961, p. 67f. [Figure 44 Pöppelmann: First draft for a kennel salon. Dresden, Saxon. State Library ].
  8. ^ Eberhard Hempel: The Zwinger in Dresden. Basics and fates of his artistic creation , Berlin 1961, p. 68f. [Illustration: Plate 45. Pöppelmann Second draft for a kennel salon. Dresden, Saxon. State Library].
  9. ↑ Michael Kirsten: The Dresden Zwinger. (= DKV art guide No. 576/0). Deutscher Kunstverlag, Munich / Berlin undated, p. 5. [Preliminary draft for the Wallpavillon (around 1713)]
  10. ↑ Eberhard Hempel, The Zwinger in Dresden. Principles and fates of his artistic design , Berlin 1961, p. 69f. [Illustration: Plate 46. Pöppelmann Third draft for a kennel salon. Dresden, Saxon. State Library].
  11. ↑ Harald Marx (Ed.): Matthäus Daniel Pöppelmann. The architect of the Dresden Zwinger. EA Seemann, Leipzig 1990, ISBN 3-363-00414-1 , p. 170 [illustration no. 139. Draft for a pavilion in the apex of the galleries. 1713/1714. Feather, washed in gray, blue roof. 43.3 x 59 cm. Dresden, Saxon State Library, Msc. Dresden. L 4/16]
  12. ↑ Hans Nadler: Data on the reconstruction of the kennel after the destruction in 1945 . In: Harald Marx: Matthäus Daniel Pöppelmann. 1990, p. 175.
  13. ↑ Ermisch: Zwinger. 1953, p. 96
  14. ^ Peter Hilbert: Largest kennel pavilion freshly renovated . In: Saxon newspaper . January 3, 2018 ( online [accessed January 3, 2018]).
  15. ^ Eberhard Hempel: The Zwinger in Dresden. Basics and fate of his artistic creation. Berlin 1961, p. 70.
  16. ↑ a b Harald Marx (Ed.): Matthäus Daniel Pöppelmann. The architect of the Dresden Zwinger. EA Seemann, Leipzig 1990, ISBN 3-363-00414-1 , p. 170.
  17. ↑ Dehio p. 58.
  18. ^ Dehio, p. 57.
  19. ^ A b Fritz Löffler: The Zwinger in Dresden. Chapter: The main works of Permoser's staff. VEB EA Seemann Verlag, Leipzig 1976, p. 45ff.
  20. ↑ a b cf. Fritz Löffler: The Zwinger in Dresden. Chapter: The main works of Permoser's staff. VEB EA Seemann Verlag Leipzig 1976, p. 48.
  21. ↑ Michael Kirsten: The Dresden Zwinger. (DKV art guide No. 576/0). 1st edition. Deutscher Kunstverlag, Munich / Berlin undated, p. 21.
  22. ^ Hagen Bächler and Monika Schlechte: Guide to the Baroque in Dresden, Dortmund 1991, p. 18
  23. ^ A b Fritz Löffler: The Zwinger in Dresden. Chapter: The main works of Permoser's staff. VEB EA Seemann Verlag, Leipzig 1976, p. 47.
  24. ↑ Michael Kirsten: The Dresden Zwinger. (DKV art guide No. 576/0). 1st edition. Deutscher Kunstverlag, Munich / Berlin undated, p. 22.
  25. ^ Fritz Löffler: The Zwinger in Dresden. Chapter: The main works of Permoser's staff. VEB EA Seemann Verlag, Leipzig 1976, p. 46.
  26. ^ Fritz Löffler: The Zwinger in Dresden. Chapter: The program of sculpture and ceiling painting. VEB EA Seemann Verlag, Leipzig 1976, p. 56.
  27. ^ Eberhard Hempel: The Zwinger in Dresden. Basics and fate of his artistic creation. Berlin 1961, p. 88f.
  28. ↑ Saxon State Main Archive Dresden, Loc. 380. Things relating to the art academy, works of art, painting and picture gallery 1699–1743.
  29. ↑ Harald Marx (ed.): The decorative monumental paintings in the Dresden Zwinger . In: ders. (Ed.): On the decorative painting of the 18th century in Saxony. Art history dissertation. Halle / Saale 1971, p. 123.
  30. ^ Gustav Otto Müller: Forgotten and half-forgotten Dresden artists of the last century. Dresden 1895, p. 143f.
  31. ^ Roger-Armand Weigert: Documents inédits sur Louis de Silvestre, suivis du catalog de son oeuvre. In: Archives de l'art francais. 18, 1932, p. 52, work catalog No. 18.
  32. ↑ a b Harald Marx: Matthäus Daniel Pöppelmann. 1990, p. 97.

Coordinates: 51 ° 3 ′ 13.6 ″  N , 13 ° 43 ′ 59 ″  E