DOI Page / Citation link:
https://doi.org/10.11588/diglit.16633#0033
14
History of Garden Art
where the main building is, the towers are wanting. This gives a warlike appearance, so
that to-day it seems only natural that there should be a powder magazine there guarded
by a row of sentinels in front of their sentry-boxes. But as a fact within what looks like
a girdle of fortresses a "Tusculum" had been erected by one of the most peace-loving of
princes. The period of Maximilian's reign brought to the noble-minded ruler many
conflicts and sorrows, which saddened his life and left him unsettled; through all his
troubles there remained the longing for peace, which he found best in his architectural
and gardening interests, as he repeatedly writes to his friend Veit von Dornburg, the
Venetian ambassador.
About the year 1569, when we first hear of the emperor's villa, the works at the
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■^^-■-•■.■■Y*- *- <*-
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- iJOn Punrtiutir iwJH46U7ru*n pon
tyruf cm ptan i*Vr qarttn. tPt firm
^pat3wr5aa( Poi tn txnen
ojktfn isu ixruftn txrnit pivrda-
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:fbiev^honf pfortrn ronStrirt
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a^Mjm tp*r ;rJ>Daturr qanq i^6*it- f
<n# ttoi S&jrvpbocgn. timittitcTftrqe 3
mt ry JxujuV i^jdrru' o«b in Goj&ti J
tip. »^/T<» Wi *rt q ajjtm q rti^Orrt rutr-C P
l5JUemrrt So»Jfkjbton-fjm ^^4> t/f I
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FIG. 362. NEUGEBAUDE, VIENNA—PLAN OF THE GARDENS
"Pheasantry," as it was then called, were in full swing. The name probably came from an
earlier pheasantry in the same place, but years later the dull name of "New Building"
was used instead, which points to the fact that Maximilian's successor, Rudolph II.,
completed the main building. What Maximilian had done himself became, two generations
later, a very unusual sort of place, which rightly appeared to a good Viennese to have no
connection with anything outside; and from the middle of the seventeenth century there
was a common legend that could not be got rid of—that the emperor had converted an old
camp of Sultan Soliman into a country house. When it was finished the New Building
must certainly have presented a far more warlike appearance than it does to-day, for
inside the tower-crowned circle of walls there was a second barrier (Fig. 362). There was
a square exactly the width of the villa, which was enclosed by a wide wall with arcades:
at its four corners it was topped by high two-storied turrets, whose dome-shaped roofs
cased in copper commanded a distant view over the outer walls, while on the arcade
roof itself there was a fine promenade. This square included the upper flower-garden,
History of Garden Art
where the main building is, the towers are wanting. This gives a warlike appearance, so
that to-day it seems only natural that there should be a powder magazine there guarded
by a row of sentinels in front of their sentry-boxes. But as a fact within what looks like
a girdle of fortresses a "Tusculum" had been erected by one of the most peace-loving of
princes. The period of Maximilian's reign brought to the noble-minded ruler many
conflicts and sorrows, which saddened his life and left him unsettled; through all his
troubles there remained the longing for peace, which he found best in his architectural
and gardening interests, as he repeatedly writes to his friend Veit von Dornburg, the
Venetian ambassador.
About the year 1569, when we first hear of the emperor's villa, the works at the
SSSBKBtSSSSSSSSSBSSBBB
■^^-■-•■.■■Y*- *- <*-
.t *.")cr ntitrrr bOuitrn nartm
- iJOn Punrtiutir iwJH46U7ru*n pon
tyruf cm ptan i*Vr qarttn. tPt firm
^pat3wr5aa( Poi tn txnen
ojktfn isu ixruftn txrnit pivrda-
o*inq ? rtixbfnrt Vurffrrt*
tVtK Mp# ober rexq t»tfrrtxJwa
qrefcn Ccpcmn UiHqartem
:fbiev^honf pfortrn ronStrirt
Jnvri in dm afl£ttK.pndoaMiiintrn
a^Mjm tp*r ;rJ>Daturr qanq i^6*it- f
<n# ttoi S&jrvpbocgn. timittitcTftrqe 3
mt ry JxujuV i^jdrru' o«b in Goj&ti J
tip. »^/T<» Wi *rt q ajjtm q rti^Orrt rutr-C P
l5JUemrrt So»Jfkjbton-fjm ^^4> t/f I
fatten i/atA t'titttenrrB fS<*>aiUjuna 0
FIG. 362. NEUGEBAUDE, VIENNA—PLAN OF THE GARDENS
"Pheasantry," as it was then called, were in full swing. The name probably came from an
earlier pheasantry in the same place, but years later the dull name of "New Building"
was used instead, which points to the fact that Maximilian's successor, Rudolph II.,
completed the main building. What Maximilian had done himself became, two generations
later, a very unusual sort of place, which rightly appeared to a good Viennese to have no
connection with anything outside; and from the middle of the seventeenth century there
was a common legend that could not be got rid of—that the emperor had converted an old
camp of Sultan Soliman into a country house. When it was finished the New Building
must certainly have presented a far more warlike appearance than it does to-day, for
inside the tower-crowned circle of walls there was a second barrier (Fig. 362). There was
a square exactly the width of the villa, which was enclosed by a wide wall with arcades:
at its four corners it was topped by high two-storied turrets, whose dome-shaped roofs
cased in copper commanded a distant view over the outer walls, while on the arcade
roof itself there was a fine promenade. This square included the upper flower-garden,