DOI Page / Citation link:
https://doi.org/10.11588/diglit.16633#0047
28 History of Garden Art
brunn before the gates of Salzburg (Fig. 375). He started it as soon as his rule began, and
finished the whole thing in fifteen months. Although the garden in some parts was
changed into an English park, and in others was enlarged under French influence, it
still preserves in a great many respects the character that Sittich gave it. In the castle
itself grottoes were introduced on the ground floor, not only on the entrance side (1) but
also on the garden side. By the garden below the terraces there is a great grotto con-
struction; here we find the abundance of statues, water-plays, and automata, which we
recognise as like those in Italian gardens, and which are still mostly intact. There is the
FIG. 375. HELLBRUNN, SALZBURG—GENERAL PLAN
rain grotto, the mirror grotto, and another with a dragon coming out of a hole in a
rock, who drinks from a fountain and vanishes again. There are all sorts of birds
singing, and actually the beloved "vault of ruins" is not wanting, with its stones
threatening to fall.
In front of this garden facade extends the large, deeply-sunken star-pond (2), into
which falls a cascade of three tiers, ending above in a semicircular theatre. The ibex,
the Hohenem crest, is to be seen everywhere, and is a sure guide to the estates of Marcus
Sittich. A long narrow canal passes out from this pond on both sides, beset with an
inexhaustible supply of grottoes and little water-plays. Certain regions at the end of the
canal hail from a later day, as for example the mechanical theatre, a costly toy with
marionettes doing all sorts of things. The passion for grottoes is at its highest in this
garden. An engraving by Merian shows a great number of small grotto-houses, which
enliven the garden, sometimes open at the top and sometimes shut.
brunn before the gates of Salzburg (Fig. 375). He started it as soon as his rule began, and
finished the whole thing in fifteen months. Although the garden in some parts was
changed into an English park, and in others was enlarged under French influence, it
still preserves in a great many respects the character that Sittich gave it. In the castle
itself grottoes were introduced on the ground floor, not only on the entrance side (1) but
also on the garden side. By the garden below the terraces there is a great grotto con-
struction; here we find the abundance of statues, water-plays, and automata, which we
recognise as like those in Italian gardens, and which are still mostly intact. There is the
FIG. 375. HELLBRUNN, SALZBURG—GENERAL PLAN
rain grotto, the mirror grotto, and another with a dragon coming out of a hole in a
rock, who drinks from a fountain and vanishes again. There are all sorts of birds
singing, and actually the beloved "vault of ruins" is not wanting, with its stones
threatening to fall.
In front of this garden facade extends the large, deeply-sunken star-pond (2), into
which falls a cascade of three tiers, ending above in a semicircular theatre. The ibex,
the Hohenem crest, is to be seen everywhere, and is a sure guide to the estates of Marcus
Sittich. A long narrow canal passes out from this pond on both sides, beset with an
inexhaustible supply of grottoes and little water-plays. Certain regions at the end of the
canal hail from a later day, as for example the mechanical theatre, a costly toy with
marionettes doing all sorts of things. The passion for grottoes is at its highest in this
garden. An engraving by Merian shows a great number of small grotto-houses, which
enliven the garden, sometimes open at the top and sometimes shut.