Usuario:Virum Mundi/Taller/++/Palacio Ludwigslust

De Wikipedia, la enciclopedia libre
Palacio Ludwigslust
273px
Localización
País fffffff
Localidad ffffffff
Información general
Uso fffffffff
Características
Tipo ffffffffffff
Otros datos
WIKI ENG
RETO 36

El palacio (de) Ludwigslust (en alemán: Schloss Ludwigslust) es un castillo y residencia palaciega (Schloss) de la ciudad de Ludwigslust, Mecklemburgo-Pomerania Occidental, en el norte de Alemania.

Originalmente una hacienda de caza, el palacio fue restaurado en tiempos de Carlos Leopoldo de Mecklemburgo-Schwerin como un lujoso refugio de la capital ducal, Schwerin, y más tarde (entre 1765 y 1837) sirvió como la sede gubernamental del ducado de Mecklemburgo-Schwerin. El lugar fue conocido como el «júbilo» de Cristián Luis II (Christian Ludwig II), de ahí el nombre del palacio y de la propia ciudad (Ludwigslust; lit. ‘El anhelo/capricho de Ludwig’).

Historia y arquitectura[editar]

En 1765, Federico II, duque de Mecklemburgo-Schwerin, convirtió Ludwigslust en capital del ducado, en lugar de Schwerin. En los años siguientes, el pequeño municipio fue creciendo, y en 1768 se colocó detrás del antiguo pabellón de caza la primera piedra para una futura gran residencia, que convertiría al municipio en una Residenzstadt.[1]​ Entre 1772 y 1776, el pabellón fue reedificado al estilo barroco tardío basado en planos de Johann Joachim Busch, quien proyectó un edificio en forma de E, con un corps de logis algo elevado sobre tres tramos, que parece penetrar las alas del edificio de frente hacia atrás.

Trad:[editar]

el orden corintio más rico del bloque central contrasta con el jónico de las alas. En el lado urbano, el bloque central hace algunos compromisos con el nuevo estilo neoclásico en los planos planos de la fachada, que simplemente ocupa un flanco de la plaza centrada en él, sin abrazar el espacio en un patio de honor (ilustración, abajo izquierda) y en el severo pórtico dórico. La estructura es de ladrillo, revestida con piedra arenisca local; Cuarenta figuras alegóricas de tamaño natural, también en arenisca, de Rudolf Kaplunger, alternadas con jarrones, coronan el desván bajo sobre la cornisa.

DE:trad[editar]

El edificio del castillo tiene tres pisos completos y un entrepiso, una cornisa saliente conduce a la zona del techo, el techo real se oculta detrás de un ático final decorado con figuras. El piso más bajo con su simple rusticación sirve como base del edificio, los dos pisos intermedios con la sala ducal y las salas de estado están divididos por pilastras circundantes en un colosal orden jónico. La sección central con los grandes salones está enfatizada por pilastras corintias con bandas además de su altura, que se eleva sobre el alero. La fachada de la ciudad en forma de bloque, de unos 70 metros de ancho, se divide en diecisiete ejes. Los dos ejes exteriores sobresalen de la masa del edificio como proyecciones y su ancho también marca la posición de las alas laterales largas de siete ejes detrás de ellos. El ala central, coronada por un pesado ático, sobresale en tres ejes del corps de logis y se acentúa en el lado del patio por un pórtico de columnas toscanas. El piano nobile del primer piso se destaca en el exterior por las coronas de las ventanas que consisten en hastiales triangulares y segmentados; el escultor de piedra Martin Sartorius creó la decoración escultórica de las fachadas.[34]

EN[editar]

Residenz[editar]

the richer Corinthian order of the central block contrasts with the Ionic of the wings. On the urban side, the central block makes some compromises with the new neoclassical style in the flat planes of the façade, which simply occupies one flank of the square centered on it, without embracing the space in a cour d'honneur (illustration, below left) and in the severe Doric portico. The structure is brick, clad in the local sandstone; forty over-lifesize allegorical figures, also in sandstone, by Rudolf Kaplunger, alternating with vases, crown the low attic above the cornice.[2]

Ludwigslust: the entrance front facing the Platz

The interiors of Ludwigslust are more fully neoclassical. The grand reception rooms are on the piano nobile, or Festetage ("Reception floor"), above a low ground floor that contained guestrooms. The Goldener Saal ("Gilded Hall") in the central block rises through two storeys, with a colossal order of Corinthian columns and massive decorations carried out in stucco and the innovative moldable and modelable paper-maché called Ludwigsluster Carton; it is used today for summertime concerts. One flanking range was semi-public, with a sequence of antechamber, salon and audience chamber, and a gallery. The opposite range was semi-private, with the Duke's drawing-room and bedchamber (hung with framed miniatures), a cabinet and a gallery with a porcelain chimneypiece.

The schloss was the center-point of a range of grand buildings sited in deference to it, including the Hofkirche that served as the court chapel. A central avenue through the town was laid out, centered on the schloss; on the garden side, the axis was carried through as the Hofdamenallee ("Court ladies' allée"), a central ride through the enclosing woodland, still reaching the slightly elevated wooded horizon today.

The garden front from the axial Hofdamenallee, a memorial and grave field for 200 inmates of Wöbbelin concentration camp

The palace's surrounding Schlosspark of 120 ha. was laid out with formal canals, fountains and a frankly artificial cascade, tamed of all the wildness that a later, Romantic generation would venerate; it was built according to sketches by the French architect Jean-Laurent Le Geay, who had laid out the formal garden at Schwerin in 1749–55, but was quickly overtaken at Ludwigslust by his assistant, Johann Joachim Busch, who began the work in 1763.[3]​ The trees laid out in the pattern and at the scale of Bernini's colonnades in Piazza San Pietro have disappeared, but there are the neoclassical stone bridge designed by Busch about 1780, with a cascade that falls across a lip so perfectly regular that it has the name Der Waltze (the "Roll"), a grotto built as a ruin, a Gothic chapel, two mausoleums[4]​ and a monument to a favourite horse.[5]

Cascade

In 1837, Grand Duke Paul Friedrich returned Schwerin to its capital status. As a summer residence, Schloss Ludwigslust was preserved from further alterations. In the mid-nineteenth century, much of the park was re-landscaped in the more naturalistic English landscape garden manner, under the direction of a garden designer with an extensive clientele among the German aristocracy, Peter Joseph Lenné.[6]​ Water near the schloss was recast in more naturalistic manner and the surrounding woodland edges were varied, with clumps of trees as outliers, but the main axia Hofdamenallee centered on the palace, still stretches dead straight through the woods, and the narrow Great Canal, laid out at an angle to one side, still extends a kilometer and a half.

Former Hofkirche of 1803-09[7]

The deposed Mecklenburg-Schwerin family continued to use Ludwigslust until 1945. Today, it houses the Staatliches Museum Schwerin/Ludwigslust/Güstrow (the "State Museum of Schwerin/Ludwigslust/Güstrow"), with a collection of paintings by Jean-Baptiste Oudry and busts by Jean Antoine Houdon[8]​ that represent the tastes of the Mecklenburg dukes.

In 1844, William Makepeace Thackeray set a high-living episode of his amoral eighteenth-century hero Barry Lyndon at Ludwigslust, where Barry, pursuing a countess, is accompanied by a black page named Zamor who is dressed in Turkish attire, and his pavilion is "fitted up in the Eastern manner, very splendid.[9]

  1. «Staatlichen Museum Schwerin website». Archivado desde el original el 11 de abril de 2007. Consultado el 16 de octubre de 2007.  Parámetro desconocido |url-status= ignorado (ayuda)
  2. Capitals and swags and other decorative sculpture of the exterior were provided by Martin Satorius. (Staatlichen Museum Schwerin website (enlace roto disponible en este archivo).).
  3. Gilbert Erouard, L'architecture au pinceau: Un Piranésien français dans l'Europe des lumières
  4. One is that of the Duchess Luise (died 1808), by court architect J.G. Barca.. The other by Joseph Ramée (Paul V. Turner, Joseph Ramée: International Architect of the Revolutionary Era 1996) is that of Elena Pavlovna, Grand Duchess of Russia, who became the consort of Hereditary Prince Friedrich Ludwig of Mecklenburg-Schwerin (1778–1819), but died suddenly and prematurely at Ludwigslust in 1803, having given birth there to an heir, Paul Frederick, Grand Duke of Mecklenburg-Schwerin, who moved the court back to Schwerin upon his accession in 1837.
  5. Gordon McLachlan, The Rough Guide to Germany 2004:718.
  6. GardenGuide:Schloss Ludwigslust (enlace roto disponible en este archivo).; Ludwigslust Palace Garden, official brochure
  7. Its architect was Johann Christoph Heinrich von Seydewitz.
  8. On a trip to Paris in the winter of 1782, Duke Friedrich Franz and his duchess commissioned portrait busts from Houdon; doubtless they also purchased the fifteen Houdon busts in terracotta-colored plaster now at Ludwigslust. (Anne L. Poulet, Jean-Antoine Houdon: Sculptor of the Enlightenment [National Gallery of Art exhibition] 2003:45f)
  9. The history of European infatuation with pseudo-Turkish themes can be pursued at the article Turquerie.