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On 10 August 1744, Frederick ordered the bare hillside to be transformed into terraced vineyards. Three wide terraces were created, with convex centres to maximise the sun light. On the partitions of the supporting walls, the brickwork is pierced by 168 glazed niches. Trellised vines from Portugal, Italy, France, and also from nearby Neuruppin, were planted against the brickwork, while figs grew in the niches. The individual parts of the terrace were further divided by strips of lawn, on which were planted yew trees. Low box hedging surrounded trellised fruit, making a circular ornamental parterre. In the middle of this "wheel", 120 steps (now 132) led downward further dividing the terraces into six.
Below the hill, a Baroque ornamental garden, modelled on the parterre at Versailles, was constructed in 1745. The Great Fountain was built at the centre of this garden in 1748. Frederick never saw the fountain playing because the engineers employed in the construction had little understanding of the hydraulics involved. From 1750, marble statues were placed around the basin of the fountain. This again was a feature copied from Versailles: figures of Venus, Mercury, Apollo, Diana, Juno, Jupiter, Mars and Minerva, as well as allegorical portrayals of the four elements Fire, Water, Air and Earth. Venus and Mercury, the works of the sculptor Jean Baptiste Pigalle, and two groups of hunters, allegories of the elements (wind and water) by Lambert Sigisbert Adam, were presented by Versailles's owner, the French King Louis XV. The remaining figures came from the workshop of François Gaspard Adam, a renowned sculptor in Berlin. By 1764, the French Rondel, as it came to be known, was completed.
Nearby was a kitchen garden, which Frederick William I had laid out sometime prior to 1715. The soldier-king jokingly gave this simple garden the name "My Marly", in reference to the very similar garden at the summer residence of the Louis XIV in Marly-le-Roi.
In his plans for the grounds, Frederick attached great importance on the combination of both an ornamental and a practical garden, thus demonstrating his belief that art and nature should be united.
The Park
Following the terracing of the vineyard and the completion of the palace, the surroundings were included in the structure. A baroque flower garden with pieces of turf, flower beds, hedges and trees was created. In the hedge quarter 3,000 fruit trees were planted. The greenhouses of the numerous nurseries contained oranges, Melons, peaches and bananas. The goddesses Flora and Pomona, who decorate the entrance obelisk at the eastern park exit, were placed there to highlight the connection of a flower, fruit and vegetable garden.
With the expansion of the site after the creation of more buildings, a 2.5 km long straight main avenue was built. It began in the east at the 1748 obelisk and over the years was extended all the way to the New Palace, which marks its end in the west. In 1764 the picture gallery was constructed, followed by the New Chambers in 1774. They flank the palace and open the alley up to rondels with the fountains, surrounded by marble statues. From there paths lead in a star pattern between tall hedges to further parts of the gardens.
In his organisation of the park, Frederick continued what he had begun in Neuruppin and Rheinsberg. During his stay as Crown Prince in Neuruppin, where he was commander of a regiment from 1732 to 1735, he ordered that a flower, fruit and vegetable garden be laid out in the grounds of his abode. He already deviated here from the classical organisation of baroque gardens, which concerned themselves purely with the model represented by Versailles, by combining the beautiful and the useful. He also followed this principle in Rheinsberg. Apart from the transformation of the palace, which Frederick received as a present from his father Frederick William I in 1734, he ordered the establishment of fruit and vegetable garden areas enclosed by hedges. In addition the central avenue and a larger intersecting avenue did not lead directly to the palace, as was usual in French parks of the era, but took off from the south wing and at a right angle to the building.
Frederick invested heavily in the fountain system of Sanssouci Park, as water features were a firm component of baroque gardens. But the Neptune Grotto, finished in 1757 in the eastern part of the park, was used just as little for its intended function as the fountain facilities. Atop the Ruinenberg, roughly six hundred metres away, was a water basin from which no water could arrive into the park and because of the "fountaineers"' lack of expertise the project failed.
It did not succeed until steam power was employed one hundred years later, and thus the purpose of the water reservoir was finally fulfilled. In October 1842 an 81.4 horsepower steam engine built by August Borsig started working and made the water jet of the Great Fountain below the vineyard terraces rise to a height of 38 metres. A pumping station on the Havelbrucht was especially built for this machine. It was commissioned by Frederick William IV and built by Ludwig Persius between 1841 and 1843, "in the manner of a Turkish Mosque with a minaret as a chimney".
Many years earlier, Frederick William III had acquired an area which bordered Sanssouci Park to the south and given it to his son Frederick William IV for Christmas in 1825. There Karl Friedrich Schinkel and Ludwig Persius built Charlottenhof Palace on the site of a former farm house and Peter Joseph Lenné was commissioned with the garden design. With the baroque flower and fruit and vegetable gardens from the Frederician era in mind, the garden architect converted the flat and partly swampy grounds into an open landscape park. Broad meadows created visual avenues between Charlottenhof, the Roman Baths and the New Palace with the Temple of Friendship developed from the time of Frederick the Great. Casually placed groups of bushes and trees and a moat that was broadened into a pond at its southeastern end beautify the large park. Lenné used the materials excavated to create the pond to construct a gentle hilly area landscape where the paths meet in the shape of stars at the high points.
From Wikipedia
http://en.wikipedia.org/wiki/Sanssouci
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