| Because Dresden was in the German Democratic Republic (East Germany) it was always difficult to visit before reunification. Since the wall came down the German government has poured billions of Dmarks (now Euros) into the restoration of places like Dresden (and especially Berlin). Consequently there is more than a little debate about spending a huge amount of money on the restoration of the Frauenkirch when many of the suburbs have sub-standard sewerage and lighting. Dresden came to prominence relatively late in Saxon history -- not until 1485 did the electors make this city their principal residence. Dresden's most glorious period, both in art collecting and in architectural innovation, occurred from 1697 to 1763, when two electors of Saxony also served as kings of Poland, controlling one of Europe's largest empires. The last monarch abdicated in 1918, and Saxony joined the modern German nation. Although the city suffered heavily from the bombardment of February 13, 1945, the art treasures, having been safely concealed, survive to establish the importance of Dresden as a cultural center. |
| Dresden http://www.dresden.de/index.html?node=11242 The historical centre of Dresden is located on the left bank of the Elbe, at the peak of a graceful river bend. Protected for centuries by mighty fortifications, the Saxon capital developed splendour and activity. Even today the buildings from the Renaissance, baroque and 19th century determine the Elbe front and the face of our city. Viewed from the opposite bank or from one of the Elbe bridges Dresden presents itself at first glance as a cultural city of European rank. In spite of vast destruction during the Second World War, the Old City part of Dresden has preserved or regained fascinating ensembles. The most famous symbol of reconstruction in the city centre is the Dresden Frauenkirche Church, the magnificent baroque dome, which already today dominates the city centre. Many important cultural institutions are situated along the Old City-side of the Elbe banks: from the Old Masters Picture Gallery to the "Green Vault", the treasure chamber of the Saxon electors and kings. The Old City is likewise the centre of city life, for in the Saxon State Parliament the destiny of Saxony is determined and in the town hall that of the city. Around the Altmarkt square and Prager Strasse shopping centres, restaurants, culture and work are to be found. Zwinger Built 1710-28 by the architect Pöppelmann in cooperation with the sculptor Permoser. Originally designed as an orangery and a setting for court festivities, it was later used for exhibitions. Most perfect example of Late Baroque architecture in Germany. Construction of the Semper Gallery 1847-55.In the Zwinger: Old Masters Picture Gallery, Armoury (Rüstkammer), Porcelain Collection, Mathematisch-Physikalischer Salon, Zoological Museum. Frauenkirche Church Instead of a medieval St. Mary's church, Germany's most important Protestant church was erected here, following the designs of George Bähr, between 1726 and 1743. Its characteristic dome, called the "stone bell" owing to its shape, collapsed of February 15, 1945 under the rain of bombs. An anti-war monument during the GDR period, it is now being rebuilt as a symbol of conciliation, largely with donations from German and international foundations. The official consecreation is planned for October 2005. The Neumarkt quarter around the church is also to regain its status as the historical heart of the city. The majority of the Baroque townhouses - in combination with modern buildings - are to be completed in time for the city`s 800-year jubilee in 2006. Almost on the outskirts of Dresden is the town of Meissen. Http://www.meiland.de/meissen/e_gesch.htm Actually, the term 'on the outskirts' is relative. Coming from the Northern Territory, where one regularly travels 500km to play football on the weekend, the distance between Dresden and Meissen is small, but for Europeans it's probably a whole weekend away. Anyway, even in Australia we've heard about the porcelain figures produced in Meissen and we were keen to have a look. The overweening impresion I got was that Meissen was one of the first companies to recognise the value of a 'brand' name and to constantly restrict the number of pieces it manufactured to ensure the increase in price and value of it's wares. Since the 18th century, the modelers and pattern makers engaged in making porcelain had to be familiar with very special moulding techniques originally derived from old handicrafts such as that of the potter, which they then had to adapt, modify, and change to suit the new materials. This always had to include the decision of how a figurine, a group of figures, or a vessel should be structured so that, in the end, it could be made from a negative mould and fired at high temperatures without deformation. As time progressed, the manual, artistic, and technical manufacturing process of porcelains was mastered more comprehensively with ever increasing virtuosity. Shaping of the objects became ever more complex and finely differentiated. Eventually, almost anything could be made: Table services, figurines, groups of figures, candlesticks, clock housings, consoles, tables, mirror frames, and other knick-knacks. The show in the Exhibition Hall is arranged chronologically, allowing Meissen porcelains to be readily contextualised in terms of changing styles in the fine and decorative arts from the 18th century onwards. The objects presented are defining points within the almost three centuries in which Meissen porcelain has been evolving. The necessary act of selection always takes account of key design trends in porcelain creation at Meissen, providing an informative insight into the richly varied history of forms and decors from 1710 to the present. The Exhibition Hall was built from 1912-15 and opened in 1916. Despite this period being one of war, the structure was generously proportioned and opulently fitted out inside. On the first floor, visitors enter a neo-Classicist banquet hall whence two flights of stairs lead to the storeys above. A banquet table for twelve featuring different services each year is set up in this hall. On the second floor there is an imposing domed space with a ceiling fresco produced by Professor Achtenhagen in 1915. On view in this airy space is an impressive epergne or centrepiece made in 1947. An interesting footnote, mentioned only in passing in the Exhibition hall, is that the Russians looted the factory at the end of the war and took all the stock to Moscow. I can't imagine how much it cost to get all the exhibits back, considering how expensive the pieces are today. |
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