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Soucis deutsch

soucis deutsch

Übersetzung für 'souci' im kostenlosen Französisch-Deutsch Wörterbuch und viele weitere Deutsch-Übersetzungen. Übersetzung im Kontext von „soucis“ in Französisch-Deutsch von Reverso Context: pas de soucis, d'autres soucis, quelques soucis, beaucoup de soucis, assez. Übersetzungen für soucis im Französisch» Deutsch-Wörterbuch von PONS Online:souci, soucis financiers, soucis pécuniers, des soucis d'argent, se faire du .

Unlike the Trianons, Sanssouci was designed to be a whole unto itself. Sanssouci is small, with the principal block or corps de logis being a narrow single-storey enfilade of just ten rooms, including a service passage and staff rooms behind them.

This would have given the palace not only a more commanding presence, but also would have prevented the problems of dampness to which it has always been prone.

He insisted on a building on the ground level, of which the pedestal was the hill: His recurring theme and requirement was for a house with close connections between its style and free nature.

It stands on the site of a former greenhouse , where Frederick raised tropical fruit. The Picture Gallery is the oldest extant museum built for a ruler in Germany.

Like the palace itself, it is a long, low building, dominated by a central domed bow of three bays. Following the death of Frederick a new era began, a visible sign of which was the change in architectural styles.

He ordered the construction of a new palace in the new more fashionable style, and stayed at Sanssouci only occasionally.

Frederick William von Erdmannsdorff received the commission for the refurbishment. As a result of his influence, Sanssouci became the first of the palaces in Potsdam and Berlin to be remodelled with a neo-classical interior.

It was no coincidence that Frederick selected the Rococo style of architecture for Sanssouci. The light, almost whimsical style then in vogue exactly suited the light-hearted uses for which he required this retreat.

The Rococo style of art emerged in France in the early 18th century as a continuation of the Baroque style, but in contrast with the heavier themes and darker colours of the Baroque, the Rococo was characterized by an opulence, grace, playfulness, and lightness.

Rococo motifs focused on the carefree aristocratic life and on light-hearted romance, rather than on heroic battles and religious figures. The palace was completed much as Frederick had envisaged in his preliminary sketches see illustration above.

The palace has a single-storey principal block with two flanking side wings. The building occupies almost the entire upper terrace.

The secondary side wings on the garden front are screened by two symmetrical rows of trees each terminating in free-standing trellised gazebos , richly decorated with gilded ornaments.

The garden front of the palace is decorated by carved figures of Atlas and Caryatids ; grouped in pairs between the windows, these appear to support the balustrade above.

Executed in sandstone , these figures of both sexes represent Bacchants , the companions of the wine god Bacchus , and originate from the workshop of the sculptor Friedrich Christian Glume.

As on the south side, a balustrade with sandstone vases decorates the roof of the main corps de logis. Flanking the corps de logis are two secondary wings, providing the large service accommodation and domestic offices necessary to serve an 18th-century monarch, even when in retreat from the world.

Frederick regularly occupied the palace each summer throughout his lifetime, but after his death in it remained mostly unoccupied and neglected until the midth century.

The room in which Frederick had died was intended to be restored to its original state, but this plan was never executed because of a lack of authentic documents and plans.

However, the armchair in which Frederick had died was returned to the palace in Frederick William IV , a draftsman interested in both architecture and landscape gardening, transformed the palace from the retreat of his reclusive great uncle into a fully functioning and fashionable country house.

The small service wings were enlarged between and This was necessary because, while Frederick philosophised and played music at Sanssouci, he liked to live modestly without splendour.

As he aged, his modesty developed into miserliness. This was ascribed to his wish that Sanssouci should only last his lifetime. The additions included a mezzanine floor to both wings.

The kitchen was moved into the east wing. The rooms were decorated with intricate boiseries , panelling and tapestries. This new accommodation for ladies was vital: While the secondary wings have upper floors, the corps de logis occupied by the King occupies the full height of the structure.

Comfort was also a priority in the layout of the rooms. The palace expresses contemporary French architectural theory in its apartement double ideals of courtly comfort, comprising two rows of rooms, one behind the other.

Doors connect the apartments with each other. They are arranged as an " enfilade ", so that the entire indoor length of the palace can be assessed at a glance.

Frederick sketched his requirements for decoration and layout, and these sketches were interpreted by artists such as Johann August Nahl , the Hoppenhaupt brothers, the Spindler brothers and Johann Melchior Kambly , who all not only created works of art, but decorated the rooms in the Rococo style.

While Frederick cared little about etiquette and fashion, he also wanted to be surrounded by beautiful objects and works of art.

He arranged his private apartments according to his personal taste and needs, often ignoring the current trends and fashions.

These "self-compositions" in Rococo art led to the term " Frederician Rococo ". The principal entrance area, consisting of two halls, the "Entrance Hall" and the "Marble Hall", is at the centre, thus providing common rooms for the assembly of guests and the court, while the principal rooms flanking the Marble Hall become progressively more intimate and private, in the tradition of the Baroque concept of state rooms.

Thus, the Marble Hall was the principal reception room beneath the central dome. The palace is generally entered through the Entrance Hall , where the restrained form of the classical external colonnade was continued into the interior.

The walls of the rectangular room were subdivided by ten pairs of Corinthian columns made of white stucco marble with gilded capitals. Three overdoor reliefs with themes from the myth of Bacchus reflected the vineyard theme created outside.

Georg Franz Ebenhech was responsible for gilded stucco works. The strict classical elegance was relieved by a painted ceiling executed by the Swedish painter Johann Harper , depicting the goddess Flora with her acolytes, throwing flowers down from the sky.

The white-and-gold oval Marmorsaal "Marble Hall" , as the principal reception room, was the setting for celebrations in the palace, its dome crowned by a cupola.

White Carrara marble was used for the paired columns, above which stucco putti dangle their feet from the cornice. The dome is white with gilded ornament, and the floor is of Italian marble intarsia inlaid in compartments radiating from a central trelliswork oval.

The adjoining room served as both an audience room and the Dining Room. However, here, as in the majority of the rooms, the carved putti , flowers and books on the overdoor reliefs were the work of Glume, and the ceiling paintings emphasise the rococo spirit of the palace.

This exuberant form of ornamentation of rococo, Rocaille , was used in abundance on the walls and ceiling in the music room. Much of the work was by the sculptor and decorator Johann Michael Hoppenhaupt the elder.

Here, the clean and plain lines of classicism now rule. The circular library deviated from the spatial structure of French palace architecture.

The room is almost hidden, accessed through a narrow passageway from the bedroom, underlining its private character. Cedarwood was used to panel the walls and for the alcoved bookcases.

The harmonious shades of brown augmented with rich gold-coloured Rocaille ornaments were intended to create a peaceful mood. The bookcases contained approximately 2, volumes of Greek and Roman writings and historiographies and also a collection of French literature of the 17th and 18th centuries with a heavy emphasis on the works of Voltaire.

The books were bound in brown or red goat leather and richly gilded. The north facing gallery overlooked the forecourt.

Here, again, Frederick deviated from French room design, which would have placed service rooms in this location.

Recessed into the inner wall of this long room were niches containing marble sculptures of Greco-Roman deities.

Five windows alternating with pier glasses on the outer wall reflect the paintings by Nicolas Lancret , Jean-Baptiste Pater and Antoine Watteau hung between the niches opposite.

To the west were the guest rooms in which were lodged those friends of the King considered intimate enough to be invited to this most private of his palaces.

The Rothenburg room is named after the Count of Rothenburg, who inhabited his circular room until his death in This room balances the palace architecturally with the library.

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