Glienicke Palace was the summer palace of Prince Carl of Prussia. It
is located in the southwest of Berlin on the border with Potsdam near
the Glienicker Bridge in the Wannsee district of the Steglitz-Zehlendorf
district. Administered by the Prussian Palaces and Gardens Foundation
Berlin-Brandenburg, the palace in the middle of the Klein Glienicke
landscape park is a central component of a building ensemble of
buildings from the first half of the 19th century that are important in
terms of architecture, art and cultural history protection of UNESCO.
Today's classical form of the former manor house from 1753, with the
claim of an Italian villa, goes back to conversions and extensions
carried out by the architect Karl Friedrich Schinkel in 1825. After
Prince Carl's death in 1883, the building became increasingly neglected.
During the Second World War, it was used by third parties as a military
hospital and after the war for a short time as an officers' mess for the
Red Army. From the 1950s, the castle and the adjoining outbuildings
housed a sports hotel and from 1976 an adult education center. The
palace has been used as a museum since the late 1980s, exhibiting
Schinkel furniture and works of art, most of which belonged to Prince
Carl. In April 2006, the first court gardener museum in Europe opened in
the west wing, showing the history of the Prussian court gardeners.
Purchase of the Glienicke site by Hofrat Mirow
The foundation
stone for Glienicke Castle, which was redesigned by Karl Friedrich
Schinkel in classicist forms, was laid in the mid-18th century by the
Berlin doctor and privy councilor Johann Jakob Mirow (1700-1776). In
1747, the manager of a military hospital set up in the former electoral
hunting lodge in Glienicke acquired a piece of land further north from
the hunting lodge, the heart of today's area, and had a brickworks built
there in 1751 and a manor house in 1753, which is already referred to as
a castle in documents of the time.
After the Hofrat got into
financial difficulties, the property was auctioned off in 1764, and
Major General Wichard von Möllendorff bought it for 6,070 Reichstaler.
In the course of the following decades, the estate changed hands several
times in 1771, 1773 and 1782, until in 1796 the head equerry Carl
Heinrich August Graf von Lindenau, who came from Saxony and had been in
Prussian service since 1786, acquired it for 23,000 Reichstaler.
Beautification of the estate by Count Lindenau
Through
remodeling, which lasted until 1806, Lindenau gave the entire Glienicke
property a new look, as a result of which the manor house also acquired
a different meaning. Lindenau redesigned the site, which had previously
been used and built on from a purely economic point of view, by
landscaping individual sections between agricultural areas. They are
shown as "English Parthia" on a plan from 1805. For the first time,
buildings serving aesthetics and luxury were built, such as an orangery
on the site of today's Stibadium and a tea pavilion to the west, the
so-called "Little Curiosity", both south of the manor house on the
Chaussee Berlin-Potsdam, today's Königstraße. The horticultural and
architectural decoration around the manor house upgraded the building to
a stately country seat. The manor complex, which has now been
transformed into an "ornamental farm", also "ferme ornée", was used by
the owner both economically and for recreation in the country.
After Prussia's defeat by the Napoleonic army at Jena and Auerstedt in
1806, Count Lindenau got into financial difficulties. In addition to the
contribution payments to France, which had to be raised by citizens and
aristocrats alike, and the economic stagnation of Prussia, Lindenau also
suffered financial losses when trying to expand the Büssow estate in the
Neumark, which he had acquired in 1803, into a model farm. After his
dismissal from royal service in 1807, he tried to sell the Glienicke
estate, but this was unsuccessful given the generally difficult
situation in Prussia. An offer to sell Lindenau to Karl August Graf von
Hardenberg failed in October 1810 because the Prussian Chancellor did
not have the financial means to buy the property. However, he lived in
the country house as a tenant in the years 1811 and 1812 for 400
Reichstaler a year until the merchant Rudolph Rosentreter bought it on
November 18, 1812 for 20,000 Reichstaler. Rosentreter, who probably got
rich through his collaboration with the French army, not only had
numerous new plants planted on the site, but also had the country house
renovated, for which he commissioned Karl Friedrich Schinkel. Hardenberg
showed renewed interest in Glienicke while the construction work was
still going on.
A country seat for Prince Hardenberg
Hardenberg had gained a great reputation through his contribution to the
reorganization of Prussia. After defeating Napoleon, Friedrich Wilhelm
III raised him. on June 3, 1814 to the rank of prince. The state
chancellor was now in a position to purchase the Glienicke estate, which
was conveniently located between the residences in Berlin and Potsdam.
The takeover took place on September 22, 1814 at the purchase price of
25,900 Reichstaler.
In addition to conversion work on the inside
and outside of the manor house, Prince Hardenberg had the immediate
surroundings of the country house redesigned from the autumn of 1816.
Peter Joseph Lenné, who was still a garden journeyman at the time, got
the job. From an "English garden area" with fruit terraces between the
Landhaus, Havel and today's Königstraße, he designed a pleasure ground,
a decorative garden, which was considered an "extended apartment" to the
outside in the garden architecture theory of Prince Hermann von
Pückler-Muskau. Lenné carried out further landscape gardening designs
for the entire property in the years that followed.
After the
unexpected death of Prince Hardenberg on November 26, 1822, his son
Christian Count von Hardenberg-Reventlow and his daughter Lucie Countess
von Pückler-Muskau offered Glienicke for sale. Despite numerous
interested parties, the heirs waited another two years until they found
a suitable buyer in Prince Carl of Prussia, who appreciated the work his
father had started and had the financial means to continue the Glienicke
estate. The property finally changed hands for 50,000 Reichstaler. After
contract negotiations on March 23, 1824, ownership was handed over on
May 1 of that year.
With the purchase of the Glienicke estate, Prince Carl was the first
son of the Prussian King Friedrich Wilhelm III to own his own estate. He
was followed by his older brothers Friedrich Wilhelm in 1826 with the
Charlottenhof palace and park, and Wilhelm in 1833 with the Babelsberg
park and in 1835 with the construction of the palace of the same name.
Like Friedrich Wilhelm, Carl also showed great interest in the culture
of antiquity. This "passion for antiques and other antiquities" was
awakened and promoted by Prince Heinrich Count Menu von Minutoli's tutor
in his childhood. The first trip to Italy in 1822 was all the more
impressive for Prince Carl, on which he was enthusiastic about the
harmony between landscape, architecture and antiquity. Returning with
these impressions, he made the decision to make this “Italian dream”
come true in his native Berlin. Carl's artistically talented brother
Friedrich Wilhelm supported the project with sketches for the design of
individual buildings. The architects Karl Friedrich Schinkel and his
student and collaborator Ludwig Persius adopted some of the details of
these proposals for their own designs. In close cooperation with the
garden architect Peter Joseph Lenné, a unique, southern-style
architectural and garden landscape was created, which Prince Carl
decorated with antiques from his rich collection.
With the death
of Prince Carl on January 21, 1883, the heyday of the Glienicke complex
came to an end. In his will he decreed that his son and main heir
Friedrich Karl had to spend at least 30,000 marks a year on the
maintenance of Glienicke's buildings and parks. However, this decree did
not last long, as Prince Friedrich Karl died at the age of 57 on June
15, 1885, surviving his father by only two years. The property now
passed to his only son Friedrich Leopold, who showed little interest in
the Schinkel Castle. After his marriage to Louise Sophie von
Schleswig-Holstein-Sonderburg-Augustenburg, a sister of Empress Auguste
Viktoria, he moved into the Glienicke hunting lodge that belonged to the
estate and lived in it until the end of the monarchy. Due to structural
neglect, Glienicke Palace began to deteriorate, and as a result of the
sale of antique and medieval collector's items, much of what Prince Carl
had collected over decades was scattered around the world as early as
the 1920s.
Increasing neglect and transition to state ownership
After the First World War and the end of the monarchy, Friedrich Leopold
moved to Lugano in 1918, where he took numerous works of art and
furniture with him. The property in Glienicke, including the buildings,
was initially confiscated by the new government. Against the background
of the failed expropriation of princes, however, it was transferred back
to Friedrich Leopold after the ratification of the law on the property
division between the Prussian state and the members of the formerly
ruling Prussian royal family on October 26, 1926. Just two years later,
the prince tried to sell parts of the Glienicke area to a real estate
company. This initially failed due to an injunction dated July 17, 1929
by the Prussian state, which wanted to preserve the site as a park.
According to the agreements in the property division, the state was
defeated in these proceedings. The summer palace, which had meanwhile
become dilapidated, was not affected by repeated sales intentions, but
parts of the inventory that were auctioned off in 1930 or early 1931
together with pieces of furniture from the hunting lodge were.
On
September 13, 1931, Prince Friedrich Leopold died on his estate at
Krojanke in the West Prussian district of Flatow. A second auction of
Glienicke art objects from Lugano took place in November 1931 to pay off
his debts. The only 12-year-old grandson, Prince Friedrich Karl,
inherited the estate. The older sons of Friedrich Leopold, Friedrich
Sigismund (1891-1927) and Friedrich Karl had already died before him and
the third son Friedrich Leopold jun. (1895–1959) excluded from
inheritance. However, he was given the right to live in Glienicke and
presumably the right to ownership of the movable inventory. He lived
with his childhood friend, Friedrich Münchgesang alias Friedrich Baron
Cerrini de Montevarchi, in the cavalier wing of the palace complex until
they moved to the Imlau estate near Werfen in the Salzburg region after
the palace was sold in 1939. As they had already started in Glienicke,
they also sold art objects from there, some of which dated back to
Prince Carl's time.
While Friedrich Leopold senior was still
alive. the Dresdner Bank received a large part of the Glienicke park
area as security after the heavily indebted prince took out large loans.
In a share swap transaction between the bank and the city of Berlin,
this parking area came into the possession of the Reich with an entry in
the land register on April 29, 1935
While Friedrich Leopold senior was still alive. the Dresdner Bank
received a large part of the Glienicke park area as security after
the heavily indebted prince took out large loans. In a share
exchange transaction between the bank and the city of Berlin, this
parking area came into the possession of the Reich capital with an
entry in the land register on April 29, 1935. The heavily neglected
summer palace and the immediate surroundings, including the hunting
lodge with hunting lodge park, initially remained the property of
Friedrich Karls jun. At the end of 1937, negotiations took place
between the two parties regarding the necessary repairs to the
summer palace, but these failed due to differences of opinion about
the scope of the work. The 20-year-old prince initially rejected a
subsequent purchase offer from the city, whereupon he was advised to
either accept the offer or be expropriated. The remaining part of
the park also became the property of the city of Berlin on July 1,
1939. This was now the sole owner of the entire Glienicke area
including all buildings. A claim for damages filed by the Prince in
1986 because of the forced sale by the National Socialists fell on
October 14, 1987 in favor of the State of Berlin, as did the
judgment in the appeal process of April 20, 1989.
At the
beginning of 1940, the architect Dietrich Müller-Stüler, a
great-grandson of Friedrich August Stüler, was commissioned to
create offices for the Berlin city president and mayor, Julius
Lippert. Lippert had been using the Jägerhof, located at the
northern tip of the area, as a country estate since 1935 and had
been interested in the city of Berlin buying the palace ever since,
especially since plans had been in place since 1935 to open
Königstraße, which was only a few meters away – at that time
Reichsstraße No. 1 called - to widen as a magnificent connection
between Potsdam and the capital of the Reich. Whether or to what
extent conversion work took place inside the building can no longer
be verified, since the original files cannot be found and Lippert
was dismissed from office in July 1940. Even during the Second World
War, probably from around 1942, the palace was used as a hospital
building and after the capitulation for a short time as an officers'
mess for the Russian occupation, who also used the upper floor as a
horse stable.
In search of a suitable investor for the
renovation work that was long overdue, the city of Berlin handed
over the dilapidated palace complex to Berliner Sport-Toto GmbH in
1950 for use as a sports hotel. Up until 1966, maintenance and
administration remained the responsibility of the Sport-Totos; after
that she went to the West Berlin administration of the State Palaces
and Gardens. When the Sport-Toto gave up the Sporthotel, the adult
education center took over the rooms for school and overnight stays
from 1976 to 1986. During this time, the administration was the
responsibility of the Senator for Schools and Youth of the City of
Berlin.
Todays use
Since the adult education center moved
out and was handed over to the palace administration on January 1,
1987, the building has been used as a palace museum after renewed
renovation work, in which some rooms with furniture belonging to
Prince Carl can be viewed. Some of them come from various
foundations and from the legacy of Prince Friedrich Leopold Jr. to
his partner Baron Cerrini, who in the 1970s bequeathed pieces of
equipment and documents to the State of Berlin through several
donations and a last will with the stipulation that they be used in
Glienicke. Baron Cerrini died on September 12, 1985. In addition to
being used as a museum, concerts are also held in the garden hall on
weekends.
After German reunification and the merger of the
East and West palace administrations on January 1, 1995, the
building was managed by the Prussian Palaces and Gardens Foundation
Berlin-Brandenburg, which also opened Europe's first court
gardener's museum on April 22, 2006 in some rooms of the palace . In
addition to historical garden plans, measuring instruments, garden
tools and contemporary pieces of furniture from a well-to-do court
gardener family, biographies and historical documents show the
diverse training of Prussian court gardeners. The tobacco pipe, the
certificate of honorary citizenship of the city of Potsdam and a
bowl with the laurel wreath for the 50th anniversary of the service
of the garden director Peter Joseph Lenné are exhibited in a
showcase.
In Glienicke Palace, the Association of Friends of
Prussian Palaces and Gardens e. V. its office. The members are
committed "to the preservation and restoration of the former royal
palaces and gardens, which are managed by the Prussian Palaces and
Gardens Foundation Berlin-Brandenburg."
The manor house
Neither views nor plans have been handed down
of the manor house built in 1753. Since no renovation measures are
known from subsequent owners, a drawing created by Schinkel in 1837
is used for the possible appearance of the Mirow’s house, on which
he held the condition of the building before the renovation in 1825.
The sheet was published in the collection of architectural designs.
Accordingly, the building in the typical style of a manor house from
the middle of the 18th century was two -storey with a high hipped
roof. A slightly protruding middle risalite with a triangular gable
reached to the roof emphasized the central axis on the west side.
The manor house with a L-shaped floor plan and a north-east lined
rectangular farm building formed a group of buildings in the form of
a "U".
Expansion through the construction of economic
buildings
In addition to the embellishment of the estate area,
Count Lindenau made the U-shaped building group close to the north
by the construction of another farm building with a horse stable, so
that a "relaxed quarter" was created. Like the manor house, the
elongated building also received a hipped roof. In the extension of
the new economy building, a small building, which was designated on
later plans as a wagon chest, was added to the east. Changes at the
manor house in Lindenaus are not known. They only took place after
the purchase of the property by the merchant Rudolph Rosentreter,
who commissioned Karl Friedrich Schinkel to the conversions. From an
expert opinion created for Prince Hardenberg, it shows that
Rosentreter “The performance of a Balcon in the house, the
construction of the lower floor, its new facilities, which only
completes […] Furthermore the expansion of the drivers, the amuble
of the lower Floor […] approx. Rtl. 8,000 ”.
Redesign of the
outdoor fronts and interiors
The conversion measures already
started under Rosentreter had Fürst Hardenberg continued through
Schinkel, so that the country house on the south side got a new
look. As on the west side, the southern front also received an
emphasis on the middle part, but much more spacious. Schinkel
provided the ground floor for a semicircular extension, which
corresponded to an apsid -shaped niche, which was easily pulled into
the building on the upper floor, which formed an almost circular
balcony.
There were also structural changes inside. In order
to achieve more room height, the ground floor was laid by around 63
cm lower, as was the underpinning of the foundations. By removing
cross walls, a three -part hall was created on the ground floor of
the south wing, which joined different rooms. As can be seen from a
key plan created in 1817, the green room and a girls' room were
east, the Rothe Room and a bathroom on the west side. In the west
wing, the economic areas such as the kitchen, pantry, laundry room
and a servant room were located. Two stairs in the vestibule on the
north side of the south wing led to the upper floor. In the middle
the blue hall, which crosses across the entire depth of the
building. On the east side, the prince's apartment with living room,
green bedroom, secret cabinet and chamber dental On the west side,
the princess had her rooms with anteroom, green corner room, pink
cabinet and adjacent to the dark green room with a wardrobe, the
blue, small green and the small red room. Due to lack of space,
guests and servants had to be housed in the eastern adjacent economy
building, the later court lady wing, which was also converted for
these purposes. Since floor plan plans are missing, details of the
room layout are not known. In the winter of 1816, the construction
work came to an end, which, however, was to be resumed nine years
later. Again, Karl Friedrich Schinkel received the order for a
complete redesign of the building ensemble.
From the country
house to the classicist castle
After the purchase of the
property, Prince Carl initially lived in the country house without
structural changes. In January 1825, however, renovation plans were
already available, which Ludwig Persius dictated according to
Schinkel's information. Also designed by Persius to redesign the
former economy building in the east, the so -called court lady wing,
followed in March 1825. The renovation work began in the spring of
the following year and came to an end in the summer of 1827.
Conversion by Karl Friedrich Schinkel
Schinkel designed a summer
castle in the style of classicism for Prince Carl, essentially
redesigning the outer facade and the building mass. He changed the
floor plan of the building group by shortening the court lady wing
by a third of its length and connected with the main house, so that
the garden courtyard to the landscape park was open to the landscape
park. Schinkel removed the high hipped roof and covered the now flat
zinc sheet roof with an all -round Attica, which he adorned at the
corners with shells and vases made of sinked zinc cast. The newly
applied plaster received the appearance of a stone cubes by
scratched joints.
Schinkel gave the semi -circular balcony
cultivation that was built only ten years earlier from the time of
the Prince Hardenberg. He designed it rectangular with two pillars
and closed wall tongues on the sides. He replaced the apse -shaped
niche above three high window doors between slightly early, canned
pillars and a wreath cornice that has been completed upwards. With a
sham risalite, the west facade got a similar appearance. Another
balcony, which offered a good view of the Pleasure Ground and could
be entered by the corner room set up by Prince Carl, run around the
southwest corner. In order to loosen up the long horizontal of the
south -side Attica, a tower terrace was put on the roof. The cubic
form adapted to the architecture of the castle building and
emphasized the middle part in a simple way.
The main entrance
remained unchanged, almost hidden from the garden courtyard. On the
door threshold, the guest welcomed brass letters on a white marble
slab with the word Salve. To revitalize the strict facade, Schinkel
set a Pergola made of cast iron, which he led along the farm -side
outer walls, and with this design quoted the Roman Senator and
literary Pliny d. J. had described his villas Tuscum in the Apennin
and Laurentinum south of Ostia on the Mediterranean in letters to
his friends Gallus and Apollonaris. In addition to stabbing
Greek-Roman buildings, Schinkel, in cooperation with Lenné, also
found suggestions for his designs in the villa descriptions of the
Pliny, which not only influenced Glienicke, but later also the
planning of Charlottenhof and the Roman baths in the Park Sanssouci.
Reconstruction drawings of the Tuscum and Laurentinum, which
Schinkel made in 1833 according to the Pliny text, were published in
the architectural album in 1841.
The situation in Glienicke
can be found in Tuscum, the main entrance of which was a small,
hidden door, accessible via a column passage that framed the garden
room. Helmuth Graf von Moltke, who at times lived in the cavalier
building as the adjutant of the Prince Carl, wrote in a letter to
his future wife Marie in 1841: “Wunderhübsch is the farm on which my
windows go. A petite fountain rises on a grazing carpet like Grüner
Sammet, and around a veranda that is densely dressed with passion
flowers and Aristolochien. ”The facades had Prince Carl decorated
with spolia, which under the direction of the sculptor Christian
Daniel Raup Decorative points of view were walled into the outer
walls. The floor received a covering of corrugated cast iron panels
with cross joint division. Schinkel simply designed the pergola
entrance with pillars and crossbars. Persius later converted him
like a temple. A mural painted by Julius Schoppe in 1827, washed and
soaked Pegasus by nymphs, adorned the southwestern court corner over
an open fireplace. The painter of the tomb of the Nasonians from
around 160 AD served as a model on Via Flaminia near Rome. Due to
the neglect of the castle building in later times, wall painting was
destroyed.
Remodeling inside
Prince Carls at the time of
the conversion in the castle interior are only sparse sources. A
basic risk of the upper and basement, which can probably be used
around 1826, provides information about the structural changes
through Schinkel, which can be used to compare with the so-called
key plan of 1817. In comparison, the basic risks show no significant
changes in the interior of the castle. In addition to a few wall
breakthroughs for connecting doors, some rooms got a slightly
changed floor plan because new walls were drawn in or existing ones
were moved. These small conversions were mainly carried out in the
west wing, whose economic areas then served as guest rooms, probably
for court cavaliers. The bathroom was preserved. The kitchen was
moved to the northern part of the court lady wing, which housed
rooms for Secretaire, Adjutant and Cavalier in the south. A
staircase in the middle of the wing led to the rooms to the rooms,
which probably lived in the servants. A billiard was set up in the
eastern area of the three -part garden room. The room bordering on
the hall to the east bears the designation a court lady and the
Zwentz room, which followed north.
On the upper floor, the
blue hall, now called the red hall, was given a little more living
space after the removal of the aposidal niche. The Chamber
Dienerstube (key plan room 16) got a staircase to the attic and the
former bedroom of the Prince Hardenberg (key plan room 14) a small
balcony exit. In addition, the north wall was broken into the hidden
secret cabinet, so that a bed niche now belonging to the bedroom was
created. Prince Carl moved into the former Princess of the Princess
Hardenberg on the west side, whereas his wife Princess Marie im
Exchange inhabited the smaller apartment of the prince.
Changes by Ludwig Persius
As the successor to Karl Friedrich
Schinkel, who died in 1841, Ludwig Persius took over the
construction tasks in Glienicke. In Schinkel's lifetime, smaller
decorations were planned at the castle building at the end of the
1830s, but they did not be carried out. Only the pillars and wall
tongues of the balcony stimulation on the south side were covered
with ornamental plates made of zinc cast. The ornamental design
shows a band of acanthus volts and on a medallion putting with rural
motifs. The Berlin foundry Moritz Geiß carried out the work
according to Persius, as is noted under a catalog image of the zinc
cast company. Despite the reference to the architect, the authorship
for the design is questioned by other sources, which refer to
Schinkel or Christian Daniel Rauch. The redesign of the pergola
input by Persius is certainly documented. The simple access to the
garden courtyard was given a four -sailed Doric portico in the type
of a small propylon, which highlighted the entrance area more
representative. An all -round frieze made of zinc casting between
the architrav and triangular gable shows erotic from Greek mythology
and, after a design of Schinkel, was created in the Geiß foundry. A
character of the Achilles by Christian Daniel Rauch, who was lost
today, crowned the roof. Persius each provided the temple to the
side. The bank cheeks are decorated with a mixed system with
gripping feet, volute crater from zinc casting adorn the high
backrests.
In 1844 Persius increased the court lady wing.
With an all -round attic, he adapted the roof area of the front view
of the main building. In the mezzanine windows, he put lion supports
as an antique building jewelry as the center pillar. They are zinc
cast reproductions of a Roman table carrier-a hinged metal stand on
which a table top could be placed. Other smaller changes in the
castle building, such as individuals of the ground floor windows,
are not exactly dated. They probably took place in connection with
conversions in the interior of the castle. This also affects the
flat niche on the west wing of the castle with a replica of Venus
Italica. The original by Antonio Canova is in the Palazzo Pitti in
Florence. The Glienicke figure can be detected until 1938 and was
later replaced by a new copy.
With the changes made by
Persius on the castle building, the building news ended during
Prince Carls during his lifetime. Information about the time after
1845 is hardly available or incomplete and mostly refer to other
buildings of the Glienicke area. From 1859, Carl's interests
increasingly focused on the renovation of the Glienicke hunting
lodge acquired in the same year, which is adopted southeast of the
Königstrasse.
The increasing neglect of the Glienicke buildings after the death of
Carl for decades only led to larger renovation measures after the Second
World War between 1950 and 1952 in order to use the entire castle
complex as a sports dormitory from funds from the football tooto. The
average of the castle, intended for common rooms, remained largely
unchanged with the Schinkel’s space cracks. However, the remains of the
original equipment details such as window and door frames, parquet
floors and wall plasters were irretrievably removed and only restored to
Schinkel’s style. The destruction of remnants of old building fabric in
the 1950s was a often practiced approach, the reasons of which can be
found in the general reconstruction phase, which very often did not
allow time or interest and opportunities for intensive studies.
From a pragmatic point of view, the renovation and spatial design of the
side wings, in which the bedrooms were housed. The court lady wing was
completely gutted, lower cellar and extended for the installation of a
staircase to the upper floor to the north. The small propylon built by
Persius at the entrance to the garden courtyard came to stand in front
of the court lady wing and has been the main entrance into the interior
of the castle since then. The cast iron pergola was replaced by a wood
that resembles Schinkel's form. Floor mosaics in front of the eastern
entrance door with the ligated mirror monogram "C" under the royal crown
and Johanniter crosses refer to the prince's first names and male
master. Inside, the reception room, from which a hallway continues to
the vestibule, were housed, administrative rooms, a kitchen and building
services. Due to the conversions, the Schinkel’s spatial and building
proportions as well as visual relationships have been lost from the
garden courtyard to the park in their vastness to this day.
As for the renovation in the interior of the castle, Prince Carls are
just as there is sparse sources about its equipment. Information is
limited to photo recordings that the architecture and art historian
Johannes Sievers made in the event of inventory in the late 1930s and in
the 1940s and around 1950. They show the neglected state of the castle
rooms, but also some equipment details.
The new furniture of the
castle after the renovation measures in the 1950s corresponded to the
taste, especially since the original pieces were no longer available.
Already at an inventory in 1942, even during the war, Sievers noted: "No
file, no letter has been preserved, which teaches us about the type of
furnishing the castle and schinkel [...]." However Schinkel designed
corner sofas again in the 1950s. They are drawn as immovable equipment
in the floor plan created in 1826 and stood in the white salon of the
Prince Carl apartment.
After the few equipment details documented by Sievers in photos, the walls of the vestibule, the stairs and the stairs on the upper floor had a white paint. Depending on the size of the surface, they were divided into one or more high -rectangular fields by dark blue and cherry red lines, the ceiling side of which was decorated as a flat triangle with acroteries on the pointed or similar ornament. This wall design, reminiscent of simple Roman painting in its design language, was reconstructed in the 1990s. A plaster medallion with the portrait of Princess Marie has been preserved on the upper floor of the western staircase. The sculptor Christian Daniel Rauch created the relief embedded in the wall with a diameter of 53 cm. The inscription Princess Carl von Preussen V. Ch. Rauch at the outer edge calls Marie and the Berlin sculptor, which has been leading since 1815.
The Schinkel’s design of the entrance area for the two steps lower -lying garden hall on the ground floor is also preserved from the time of the time. The two-wing oak wood door is framed by an Ädikula with a straight fall made of white marble and porphyry pillars with white bases and composite chapter. The entrance area directly opposite is the balcony stem with the three -winged window door, which leads to the Pleasure Nourning. The space of the stem is interrupted towards the hall by two canned Doric marble columns. In the middle of the garden room, the floor designed by Schinkel has been preserved, which the architect gave a pattern of square, triangular and round shaped white and brown -red stone slabs. A formerly colored stone intarsie in midfield shows only the outline of a winged woman with a water jug on a square meter. Other room decorations that could reproduce the equipment in the 19th century are no longer available. The originally three -part garden hall has been expanded by adding the west and eastern room to 123 m². The walls have a white paint today, and the floor is laid out with a rod parquet with the exception of the part of the preserved part.
There are also only a few
indications of the former design of the rooms of the upper floor. The
red hall was only suitable for smaller festivities as a ballroom of the
summer lock with a width of around six meters and a length of around ten
meters. For the big receptions, Prince Carl used the more representative
halls of his Berlin city palace on Wilhelmplatz. Schinkel had intended
as a wall decoration an approx. 30 cm high wooden panel made of mahogany
and above it a wall surface, which was framed by painted framed fields,
which ended the upper wall zone with a surrounding frieze from circles
and rectangles.
The rooms, which was equipped with objects in the
style of classicism at the Schinkelzeit, experienced a change in the
time taste of historicism during the lifetime of Prince Carl in the
second half of the 19th century. A redesign of the red hall, which goes
across the upper floor, emerges from a note of the court marshal of
April 27, 1872: S.K.H. Visited the buildings carried out during the
winter […], on which the highest diesel, took a look at the upper salon,
which was completely restored. A detail of the new equipment shows a
photo recording created around 1950, which shows a fireplace with a
mirror attachment in the style of the Neo-Rococo. In addition, the
publication of the art historian Rudolf Bergau, "Inventory of the
Building and Art Monuments in the Province of Brandenburg" from 1885,
shows that a clock was part of the boule work for the later equipment of
the Red Saal. Boullem furniture, baroque silver vases and Sèvres
porcelain are also noted for decorating the adjacent apartments of the
prince couple.
During the renovation in the 1990s, the hall
received a single -color red wall paint, a white ceiling and cassette
parquet. The chimney front in the Neo-Rococo style on the east wall,
which was lost today, was exchanged for a classicist made of white
marble in 1951. It comes from the Schinkelzeit and was originally
installed in the court lady wing. A 14-armed, fire-colored tire
chandelier with glass containers goes back to a shell design from 1830,
as well as a round mahogany underneath with a cross-country column and
three convex-curved gripping feet. Schinkel designed another rectangular
mahogany on the west wall in 1828 for the Palais on Wilhelmplatz. The
plate with maple intarsia rests on two Baluster-shaped legs, half-made
legs, which are borne by convex-concave-curved feet. The feet decorated
with ornaments made of oil -gilded lead are connected by a turned, gold
-plated crossbar. Due to the ornamental design with palmettes, acanthus
and pine cones at the end of the crossbar, motifs from ancient times are
adopted.
The museum table decoration shows a crater vase made
around 1825 by the Royal Porcelain Manufaktur Berlin (KPM) with a
gold-colored ornamentation and two image motifs in the style of Pompeian
painting. The original equipment of the Glienicke Castle included two
candelabra. The 78 cm high candlesticks made of fire -gowned bronze were
manufactured around 1837 in the Paris Manufaktur of Pierre Philippe
Thomire, which produced similarly looking models for the Versailles
Grand Trianon and Pillnitz Castle in Dresden. The Glienicker Kandelaber
have a triangular, concave curved plinth. Three gripping feet attached
above wear a canneled ball and the dukes that are resting on it,
rejuvenated upwards, which is decorated at the ends with stylized
acanthus leaves. For the candles there are a holder in the middle and
five arms swinging outwards with a decorative acanthus vacation.
Only a few pieces of Glienicke came back from the diverse silver work.
At a long-time lost, in 1827 for the wedding of Prince Carl with Marie
von Sachsen-Weimar-Eisenach, a silver wedding service belonged to a
table attachment exhibited on the north wall of the hall based on the
model of the so-called Warwick vase. The Berlin Hofgoldschmied Johann
George Hossauer created the silver work according to a design of Karl
Friedrich Schinkel, who served as a model for the well -known marble
shell from the 1st century AD, which the archaeologist Gavin Hamilton in
1771 in Tivoli in the ruins of Villa Adriana des Roman Kaiser's Hadrian
found.
In 1828 the silver table attachment was shown at the
Berlin Academy Exhibition when he was already owned by Prince Carl. The
table attachment can still be detected in Glienicke until 1939, but was
made by Prince Friedrich Leopold Jun after the Second World War. sold.
In 2008, twenty parts from the wedding service were recovered by the
SPSG. Schinkel and Hossauer designed the Warwick vase like the original
with motifs from Bacchus mythology. Deviating from this, they sealed the
handle bowl with a lid that is crowned with a pine pin and placed the
container on a cone -shaped base, which was worn by four winged gripping
feet, which they adorned with wine leaves and four fully plastic panther
figures. Large-format portrait paintings and a bust with the image of
around 30-year-old Prince Carl are reminiscent of the former landlord
and some of his family members. The work of the sculptor Julius Simony,
a student Gottfried Schadow, is dated to around 1832 because it was
shown in the same year at the academy exhibition in Berlin. As a
template, Simony served a portrait painted by Franz Krüger around 1831.
Prince Carl shows a painting of Krüger from 1852 as a 51-year-old. In
the uniform of a general of the infantry, he is decorated with the black
eagle order, the Red Eagle Order, the Royal House Order and the Cross of
the Order of St. John. The Johanniterkreuz probably added Krüger
afterwards because Prince Carl was only appointed master master in 1853.
A painting by Julius Schoppe from 1838 shows the 30-year-old Princess
Marie in a romantic garden landscape and a painting by Jan Baptist van
der Hulst, created around 1830, the youngest sister of Prince Carl,
Luise of Prussia, who married Friedrich von Oranien-Nassau in 1825 .
Carl von Steuben portrayed her husband around 1815 at the age of around
18. On Prussian uniform, he bears the Dutch military-Wilhelms Order, the
Iron Cross on the Black Band and the Black Adler Order, which was
awarded to him in 1815 for the services on the side of Prussia in the
fight against the Napoleonic occupation. The biggest painting in the Red
Saal is a riding picture by Antonio Schrader. It shows the Prussian king
and father Prince Carls, Friedrich Wilhelm III, during the wars of
liberation and in a similar pose, as Jacques-Louis David Bonaparte
represented the Alps on the Großer Sankt Bernhard. The city silhouette
of Berlin is visible in the background under dark sky.
The former apartment of Princess Marie borders the red hall to
the east. The green salon and the subsequent green bedroom were their
only private rooms in the Glienicke Castle. Nothing was already
available from the furniture from the Schinkelzeit at the end of the
1930s. A photo from 1938 can only be used in the green salon, which is
now lost with gilded strips and pearl bars decorated. The wall surface
above adorned stencil painting with stylized acantus volts.
During the restoration in the 1990s, the former living room received a
single -colored wall paint in the color of the Schweinfurt green and a
floor lined with cassette parquet. Today's museum equipment with
Schinkel furniture includes a mature crown chandelier with bronze
ornament and glass hanging, which is made in 1830, which is similar to
the candlestick in the red salon. Two black painted upholstery chairs
and a padded armchair in the Sheraton style with a gold-plated deep cut,
gilded lead ornants and yellow cloth covering are remains of a seating
set from 1828, which originally stood in the living room of the Princess
Marie in the Berlin Palais on Wilhelmplatz. Schinkel found the
suggestion for the chair model on his trip to England in 1826 in the
Landsdowne House in the London Berkeley Square (Westminster). Probably
also from the living room of the Berlin Palace, a chaise longue comes in
the style of a Greek clin. The black painted resting bed with pink cloth
covering as well as gilded lead ornamination at the foot end and the
high -thrown headboard in the late 18th century was a popular piece of
furniture for the elegantly furnished "Boudoir of the lady."
Glienicke Castle comes a side table made of Mahogany, which was also
designed according to the English influence, which was designed for card
games. Round and rectangular, large -sized shelves can be folded out on
the only 28.5 × 28.5 cm tall plate, which rests on a 78 cm high hexagon
column. Another small side table shows medallions on a round porcelain
plate made by the KPM with motifs in Berlin buildings and the casino in
the Glienick Park, framed with gold -colored arabesques. A mahogany with
a square plate that can be opened to enlarge the table surface was
originally in the Berlin city palace. In 1919 he came into the DOUSON
Haus, the Dutch exile of Wilhelm II. Porcelain from the possession of
the Prince Carl, made by the KPM, is exhibited in a showander wood
worked out around 1825/30. In addition to plates with a floral decor
from 1820 and 1845, two plates show motifs. They probably arose between
1870 and 1889, because on one of the gold -bumper plates, the Glienicke
hunting lodge is still shown in the French baroque style, i.e. before
the renovation in 1889, the other was painted with the view of the
Glienicke Castle and the lion fountain. On the showcase there is a so
-called speech crater vase with Berlin motifs, which was also produced
at the KPM around 1820. Works of contemporary artists of the 19th
century hang on the walls. These are paintings with Glienicke motifs by
Johannes Joseph Destrée, Eduard Gaertner and Julius Schoppe, a still
life of the later director of the KPM, Gottfried Wilhelm Völcker, and
portraits of Princess Marie von Julius Schoppe and Queen Luise of Johann
Heinrich Schröder.
The former turquoise bedroom of Princess Marie experienced an
unfavorable structural change in 1889. Prince Friedrich Leopold sen. had
the north wall removed with the bed niche drawn in the plan of approx.
1826 and a fireplace on the left, so that the room went through the
entire depth of the building. By upgoing a window on the north side to
the garden courtyard, the elongated room only got daylight through a
window in the south wall. In the 1950s, the room was divided again by
pulling in, but without considering the bed niche. So the room
arrangement was created again as at the time of the Prince Hardenberg.
Today's furniture includes a padded mahogany broken chair and a
mahogany chair with a pipe mesh, the only jewelry of which are slim
baluster-shaped front legs-a characteristic feature of Schinkel's stool
models. The simple, bourgeois furnishings come from the Glienick Castle
and show the sometimes simple furnishing style of the summer lock,
which, in contrast to the city palace, hardly had to serve any
representative purposes. In an equally simple form, a toilet table with
mirrored rear wall of 1820 and a sofa with Mahogany veneer from around
1830 is from the destroyed Berlin city palace. Both pieces of furniture
are attributed to Schinkel. The walls decorate paintings with Italian
landscape representations by Konstantin Cretius, Ferdinand Konrad
Bellermann, Julius Helfft, Heinrich Adam, Carl Ludwig Rundt and Carl
Wilhelm Götzloff as well as a view of Glienicke, seen from Karl Wilhelm
Pohlke from Potsdam.
The former apartment of Prince Carl, starting with the White Salon,
also borders on the red salon to the west. Its Schinkel’s interior
design could be reconstructed most aptly using photos. The copies of the
corner sofas drawn in the floor plan of around 1826, like the original,
got a white -lacquered wood framing, a seat paddling almost reached to
the ground and a padded back with red fabric cover. Horified gold
-colored borders on the front give the impression of two seat cushions
above each other. Two round tables with volute feet replace the square
marble tables with a central column originally designed by Schinkel. On
the wall surfaces made of white stucco marble, the gold -colored strips
are repeated through vertically running lines in the cheeters and in a
all -round frieze in the upper wall zone as well as on the profiled door
walls and the beam set above. Further wall jewelry are plaster busts on
consoles in front of rosette -shaped wall niches. The busts represent
Princess Marie, the garden architect Peter Joseph Lenné and Karl
Friedrich Schinkel. The model was models of the sculptor Christian
Daniel Rauch.
In addition, the armchair with unusually low back
part, snail -shaped volute armrests and baluster -shaped front legs,
were probably part of the original furniture. The four massive shell
armchairs are assigned to the white salon because of their white
coloring and are parts from the auction mass of 1930/31. Until after a
restoration as a loan of the Museum of Art of the State Museums Berlin
in Glienicke, you will be replaced by two arm chairs that Schinkel 1828
had designed for the reception room, the so -called reception room,
which Princess Marie in Berlin's Palais on Wilhelmplatz designed. The
oil-gold-colored beech wood chairs with a gold-colored fabric cover
designed cheek with narrow armrests and attached padding. They rest onto
vibrating volute, which enclose a rosette with a flower ornament. A
similar ornamentation can be found in side seat limits made of metal
cast. The basic form of this armchair goes back to a stool type that was
shown on a frieze in Herculaneum and was published in the archaeological
work Antichità di Ercolano in the 18th century. Further splendid
armchairs in this style, only with Sphingen as armrest, Schinkel also
designed for the reception hall in the Palais on Wilhelmplatz as well as
the teases and the star hall in the Berlin city palace. A lamp shell
made of frosted glass was also manufactured after a Schinkel design
around 1825/1830. The shell is bordered with an ornamental frame made of
gold -plated zinc casting and has eight candlesticks swinging outwards.
The blue corner room subsequent to the west was the library and the
study of the Prince Carl. Originally contained in a blue tone and a
surrounding frieze with a floral pattern could be found on a photo taken
around 1950 for this room. The furniture was probably a simple, four
-door bookcase, the door glazing of which was divided by three sprouts
and had an almost square blend field in the lowest door zones. A dark
brown stencil painting made of lines, leaves and rosettes on the
surrounding wreath cornice can also be found on armchairs from Ahorn.
Due to the identical ornamentation, the pieces of furniture recorded in
photos are assigned to this room together. The whereabouts of the
Schinkel furniture designed around 1828 is unknown.
The only
pieces of furniture from the inventory of the Glienicke Castle according
to a design Schinkel are two upholstered chairs made of mahogany with a
yellow -colored fabric cover. In addition to baluster -shaped front
legs, the chairs below the back cushion reaching up to half adorn a
wooden ornamental ornament of rosettes with cross flowers and acanthus
leaves, which extend almost to the seat. A armchair that shows English
influence is the most elegant seating furniture designed. It comes from
a set that was designed in 1828 for the prince's living and study in the
Palais on Wilhelmplatz. Schinkel used rosewood for the first time, the
Rosewood, which came into fashion during the English rainy period. It
designed the grace -looking chair on rollers with a low -laid seat on
canned front legs, narrow rounded padded armrests, which are supported
by dainty polished brass balsters, and a back part with narrow, wooden
headboard and a cross sprout with rosette ornament. The original
covering made of cherry -red cloth could be discovered and woven under
later renewed covers.
On the south wall, an iron casting replica
of the famous and often copied Warwick vase stands on the south wall on
a mahogany post office with three-tired base. From Charlottenburg Castle
and the inventory Friedrich Wilhelms III. comes a mahogany sofa in
Biedermeier style with yellow-colored fabric cover and an associated
mahogany table. Few books from the previously well -equipped Prince
Carls library and personal objects are exhibited in a small bookcase
that comes from the estate of the art historian Sievers. Of this, an ink
barrel is considered a curiosity that was made from the hoof of the
hunting horse Agathon, who died in 1854, which stood in the prince's
stall from 1828 for over twenty years. The hollowed -out hoof is closed
by a brass lid. A crowning branch fork with the ligated mirror monogram
"C" under the Prussian crown in the middle served to store a spring
holder. An engraving on the front of the hoof is reminiscent of the
hunting horse: Agathon born 8/4.22 † 29/10.54. A picture painted by
Franz Krüger on the north wall of the blue corner room shows the
prince's favorite horse. Other paintings adorn the walls with portraits
by Prince Carl from the artists Nikolaus Lauer and Christian Tangermann
as well as Glienicke views by Adalbert Lompeck and Julius Schoppe.
Constantin Schroeter painted the long -standing employee Mohr Achmed,
who was first mentioned as the servant of Prince Carl in 1828.
Like the library, the former rosa cabinet of the Princess Hardenberg
served the prince Carl as a study. Nothing is known of the original
decoration and furniture, as with the bedroom, which was formerly the
following, already in the west wing and the subsequent servant rooms in
which the Hofgärtner Museum is now housed.
The small room houses
remaining pieces of porcelain, silver tableware, glass vessels and
watercolors from the possession of the Prince Carl in showcases. The
watercolors from the period around 1830 to 1835 come from Franz Krüger
and show detailed carriages and sledges that Prince Carl used on his
travels in Russia or which belonged to his fleet in large numbers. The
KPM took over the watercolor series as a template for dessert plates, of
which only a few can be shown in Glienicke Castle because most of the
porcelain was lost in 1931. So also a series of motif plates designed
between 1825 and 1828 according to its own templates, of which only
three plates with views of the casino, the castle and the castle
courtyard are preserved in Glienicke, as well as two plates from a KPM
series with plant representations to Pierre -Joseph Redouté from 1823 to
1837.
Only a few individual pieces have also been preserved from
the table glasses and glass carafes. Depending on the intended use, they
have cups, shell or funnel-shaped glass, some with gold rim and baluster
shaft, others with a wall of faceted on an eight-sided wall. As the most
striking feature and ornament, a gilded deep cut on all glass parts
either with the simple monogram or the ligated mirror monogram "C" under
the Prussian royal crown to the former owner Prince Carl. The monograms
can also be found on silver work from Johann George Hossauer's workshop,
but also deviating from Schinkel's owner brand with an eagle in the
circle of the chain of the black eagle order under the Prussian royal
crown. Hossauer, who in 1826 by Friedrich Wilhelm III. In his time, one
of the best -known goldsmiths was given the title of the king's
goldsmith in his king's majesty and worked closely with Schinkel. His
silver work was shaped by the style forms of the baroque. In addition to
the Warwick vase, of his diverse work for Prince Carl, there are only
two sugar sprouts, two silver shells, four brandy cups, a handlebars
with a fire hut, a water boiler with Réchaud, a presentation bowl, three
wine coatings and a wine cooler from the time between 1820 and exhibited
in 1864. Also to be seen is a court marshal rod that was used for
ceremonial at receptions and whose silver parts Hossauer designed: a
long silver tip with a steel ball at the lower end of the polished
wooden staff and a silver knob on the opposite side with the rental
Prussian eagle, which carries a crown and in its Catches the cross of
the black eagle order. The religane of the order encloses the pear
-shaped knob.
The elongated hallway on the east side of the west wing, from which
the rooms of the Hofgärtner Museum can be entered today, is equipped
with portrait pictures of Prussian Hofgärtner, to which members of the
families Salzmann, Nietner, Sello, Fintelmann or the Garden artist Peter
Joseph Lenné belongs.
The once colorful design of the hall in the
19th century can in turn be taken by excerpts on photos created in 1937.
Afterwards, the decoration of the west wall in the lower area consisted
of a half -meter -high paper wallpaper, which pretends a marbled wooden
panel divided into fields, and above it a panoramic mape with Italian
landscapes, the individual image motifs of which were divided by arbor
posts. The manufacturer of this hand -printed Wallpaper Les Vues
d’Italie from 1818 was the French factory, which is still operating
today. From the Alsatian Rixheim, the designing artist Pierre-Antoine
Mongin. The opposite side of the window to the garden courtyard received
a cladding with painted or wallpapered wall blocks and the ceiling a
leaf roof. According to Schinkel, Julius Schoppe designed the northern
wall at the end of the hall with a panoramic view of the island of
Capri. The overall picture suggested a arcade with wide views of Italian
landscapes on one side and on the other, from the real windows, the view
in the Italian garden courtyard with its decorations from ancient times.
The design of individual rooms with landscape wallpapers has been
very modern since the beginning of the 19th century. In addition to the
educational properties, the large -scale landscapes aroused the illusion
of being in a foreign country or distant continent. Jean-Jacques
Rousseau describes the sensations of a viewer, who found panoramic
images as a "eye feast" "from the indefinable touch of magic and
supernaturalness, which stimulates the mind and the senses. You forget
the world, you forget yourself, you don't know where you are. "
The farm building with horse stable, built in 1796 under the Count
Lindenau in the north, was extended to the east in 1828 and increased by
a full floor. According to Karl Friedrich Schinkels, Ludwig Persius drew
the plans for the conversion. Adapted to the Italian style of the
castle, a building was created in the kind of simple southern houses
with a flat, accrued hipped roof made of zinc sheet, window openings
with shutters and a flat covered pergola with massive pillars at the
southwestern end, which connects the cavalier wing with the castle. As
at the castle building, Prince Carl had the south side to the garden
courtyard decorated with spolia from ancient times, the decorative
arrangement of which the sculptor Christian Daniel Rauch took over.
In the middle of the south facade, a bronze code of the Ildefonso
group came to the garden courtyard after the original in the Museo del
Prado in Madrid. The interpretation of the two laurel -controlled
youngsters is still controversial. At the time, current interpretations
were after Johann Joachim Winckelmann Orestes and Pylades, after Lessing
sleep and death. Made by the Count's Einsiedel iron foundry in
Lauchhammer, the sculpture group has been cast several times and placed
in various locations, including in the parking part Charlottenhof in the
Sanssouci park. Schinkel and Persius designed the eastern part of the
south facade, which goes beyond the building of the castle, with a stone
bench in a wine arbor. The bank with tiered side cheeks is detectable
until 1937, but is no longer available today. Abundance of figures adorn
the upper floor. In the middle is the Felicitas Publica, whose original
Christian Daniel Rauch created for the Max-Joseph monument in Munich. It
is flanked by statuettes of Iphigenia and Odysseus. Work is from the
workshop of the sculptor Christian Friedrich Tieck. The building corner
adorns a head of the zinc casting.
The naming "Cavalier wing" or "cavalier building" is misleading
because this name suggests a pure residential building. In fact, it was
designed as a residential, economic and stable building from the outset.
The entrance on the eastern narrow side led to the upper floor and into
a servant apartment on the ground floor. This was followed by a horse
stable with 24 boxes and a kitchen and washrooms in the western third.
The upper floor had an inspector's apartment in the east, in the middle
of the servant room, grain storage and economic areas. On the west side
there were rooms for the stable master, chefs and two guest rooms. Two
rooms from which the roof of the Pergola could be used as a terrace
served as accommodation for Prince Carl's personal adjutants, who were
temporarily Graf von Moltke and Prince to Hohenlohe-Ingelfingen. From
1832, the adjutant rooms could be reached directly via a second
staircase that was entered through the pergola architecture. Other small
conversions inside took place in 1872 by the Potsdam master builder
Ernst Petzholtz, who replaced the wooden supporting structure from the
Schinkel time for a cast iron in the horse stable. The floor, probably
still paved by Count Lindenau with yellowish -red bricks
After
the death of Prince Carls, the cavalier wing neglected like all the
buildings in the park. Over the decades, repair work and the various
institutions were used at the same time as the castle building. When
renovated renovation work in 1988/89, the cast iron supporting
construction and the floor, disguised in the 1950s, could be uncovered.
The former horse stable has been used for events since March 2006.
The building from the time of Count Lindenau, known on old blueprints
as a wagon chest, had to be canceled due to the extension of the farm
building or cavalier wing that went east. As a replacement, Ludwig
Persius created information for a new coache according to Schinkel's
information and put them north, right -angled to the western part of the
cavalier building. The single -storey car hall was given a flat sloped
hipped roof made of zinc plate. On the east -side front, four arcade
arches led with wooden gates to the drawing hall, which, after Persius
’design, offered space for twelve carriages. To the north, two rooms
were affiliated to the hall, which served as peatglass and wooden stall.
An oven joined outside. There was a saddle and Schirr chamber on the
south side. From here a passage led to the horse stables in the cavalier
building. Schinkel in the north had the remise courtyard with a wall and
in the east with a grid fence.
A figure of Neptune in the middle
of the grid to the courtyard only came to the line -up on June 23, 1838
and was a birthday present Friedrich Wilhelm III. To his son. It is a
second version of the Neptune figure that the smoke student Ernst
Rietschel created for a fountain in Nordhausen. The water basin in the
form of a shell comes from a plans of Georg Wenzeslaus von Knobelsdorff
from 1751 to 1762, but was already broken back in 1797 in the Sanssouci
park. Another shell had Prince Carl set up below the south -side pergola
of the casino.
According to Schinkel, Persius
created information for a tower building to relax and revive the
building group through a vertical building. A five -storey tower with
narrow, high -rectangular window openings and a Belvedere on the top
floor was built between the coache and the cavalier building in 1832.
The flat tent roof made of zinc plate received an antique crowning on
the edge through anti -fixes. The tower could be entered through an
entrance in the north and one from the washroom in the western part of
the cavalier building. Large conversions still occurred during his
lifetime. Ernst Petzholtz received the order for planning and execution,
who increased the tower by a floor in 1871/1872. The coache was also
increased, which he also extended and lower cellar around an arcade
sheet. The tower kept the narrow window slots and opened again on the
sixth floor with Serlian windows into a Belvedere. Likewise, the now
flat gable roof received antique building jewelry through acroteries in
palmetten ornament. After decades of neglect, the dilapidated coache was
canceled in the 1950s and only the basement was rebuilt. Another one
-storey building was added at right angles, which now forms the farm to
north instead of the wall. The coache has been used gastronomically
since 1986.