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Citrus Mania

Golden Fruit in Princely Gardens

Stiftung Schloss und Park Benrath


Orange juice

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Orange juice, one of, if not the most popular fruit juice in the entire world.

Introduction

Citrus, lime, orange and mandarin can be found in any convenience store – fresh fruit, as juice, canned, or in any other form you can imagine. The various citrus fruits are, in fact, the second most popular fruit on planet earth, with only bananas representing a larger share of global production.

There is also a historical and botanical background to these sweet and sour fruits, which cannot be comprehended in the slightest by just looking at the actually rather small assortment you can find in stores today. Humanity’s fascination with these „golden apples“ can be traced back to ancient Greek myths, and their great variety was celebrated by Kings and Princes during the European baroque era. We will explore how this is all connected, and why the baroque "Citrus Mania" is still fascinating to this day.





Lemons, limes and pomelos

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Lemons, limes and pomelos for sale at a market stall in Paris, France.


Variety

While there are more than five thousand different kinds of citrus fruit, only a remarkably small number of these can be found in convenience stores. This comes down mostly to the fact that uniformity is strongly desired – fruits of roughly the same size, looks and taste are easier to transport, make for a nicer presentation in the store and are thus ultimately easier to sell.



Genealogy of citrus fruits

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This genealogy shows how varied the ancestry of citrus fruit is, based on crossbreeding just a small number of them.

The Kings and Princes of the baroque era, on the other hand, valued citrus fruit because of their great variability. Not only are citrus fruits prone to spontaneous mutations, such as developing a thicker skin, for example, but they are also easy to crossbreed into new variants.

A particular quirk of citrus fruits is that the same pair of fruits can yield different offspring, depending on which pollen (i.e. the „father“) is used to pollinate the opposing flower (i.e. the „mother“) – thus, two parents can yield four different offspring, all with distinct looks and properties! These offspring can then be crossbred again, amongst themselves and even with one of their parents, once again yielding distinct new varieties.





Citrus producing regions

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Map of major citrus producing regions, marked in orange.


Modern Citrus Culture

Today, roughly 120 million tonnes of citrus fruit are produced each year. Most popular among them is the orange, which accounts for slightly less than half of total production. One reason for this is the ubiquity of orange juice, as about 40% of all harvested oranges are turned into juice.



Plantation near Adana

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Citrus plantation near Adana, Turkey.

Ecological implications

Citrus fruits are most commonly grown in large, monocultural plantations. The ecological implications are vast: the citrus plants thirst for water alone can have a destabilizing effect on local ecosystems. To produce enough oranges for one litre of orange juice, plants will require roughly twenty-two litres of water.

The large monocultures are also susceptible to a wide variety of vermin and pests. This, naturally, leads to widespread usage pesticides and fungicides, to secure stable levels of production. It should not be surprising that these can leave behind ecologically damaging residue, especially as a large part of global citrus production is located in poorer and less well-regulated parts of the world.



Societal Implications

The cultivation of citrus fruits such as oranges also has implications for wider society, especially in the countries where the actual cultivation takes place. Prices on the world market for oranges, as an example, follow  a distinct pattern: hectic phases of wide price swings around harvest time, largely influenced by weather events in the largest producer-nations, followed by long phases of little activity and very small profit margins during the rest of the year.

World market prices, in turn, influence the wages of pickers, who work the large, industrialized plantations in, say, Brazil. The pay is soften below what is required to feed an average family, child labour and unofficial (and thus uninsured) work contracts were rampant, until the Brazilian government instituted large-scale inspections around the year 2000. While these improved conditions and largely eradicated child labour on the plantations, there are still large numbers of the aforementioned unofficial workers, and these still receive below-poverty level pay. Ultimately, it seems likely that the families of these workers will still require additional income – most likely from sending their children to work, just not on the orange plantations.

The wide-ranging use of pesticides was already mentioned. This can also have an impact on workers, as the spraying of pesticides continues even during harvests. To a potentially uninsured worker, the health effects of this practice can be absolutely devastating.



01

Ancient and early-modern myths of the Golden Apples



Coverpage of "Hesperides sive de malorum aureorum cultura et usu libri quatuor"

Kupferstecher: Johann Friedrich Greuter
Vorlage von: Pietro da Cortona, Kupferstich, 1646, Erscheinungsort: Rom

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Hercules, the slain dragon Ladon at his feet, is offered a laurel wreath by one of the Hesperides.


Hercules and the Golden Apples

The passion for collecting citruses originates from the ancient myth of the golden apples being stolen by the heroic Hercules: for their wedding, Zeus and Hera, the highest-ranking couple of Olympus, were given a tree bearing golden fruit, which promised eternal life, love and fertility. The tree grew in the grove of the gods and was tended to by three sisters, the Hesperides: Aegle, Arethusa and Hesperthusa. In addition, the dragon Ladon guarded it.

In order to carry out penance for an injustice committed, twelve labours were bestowed on Hercules, stealing the golden fruit being the second to last. For the completion of his arduous, but virtuous deeds, Hercules was presented the prospect of immortality and a seat amongst the gods. Several versions exist about the exact order of events: the most famous variant tells us of Hercules entering Hera’s cove and taking the fruit by force. A second account depicts the Hesperides handing the golden apples over to Hercules voluntarily. 



Hercules and the Hesperides in the gardens of the Medici family

Kupferstich, 1646, Erscheinungsort: Rom

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Engraving of an antique relief, showing Hercules in the Garden of the Hesperides.


Herkules with the Hesperides of Anagni and Benevento

Entwurf: Pirro Ligorio, Kupferstich, 1646, Erscheinungsort: Rom

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An engraving of two reliefs, showing two different versions of the hero's deed.


Grotto-fountain with a statue of Hercules slaying a three-headed monster

Zeichner: Jean-Michel Moreau le Jeune (zugeschrieben), Zeichnung, 2. Hälfte 18. Jahrhundert

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Draft for a grotto-fountain. In the background, Hercules can be seen as he is slaying the dragon Ladon.


The Arrival of the Hesperides in Rome

Vorlage von: Francesco Albani
Kupferstecher: Cornelis Bloemaert, Kupferstich, 1646, Erscheinungsort: Rom

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Arrival of the Hesperides in Rome, symbolized by Romulus and Remus who are being nurtured by a wolf.

Continuing the Myth

The picture of Hercules being offered a laurel wreath that you just saw is taken from Giovanni Baptista Ferraris Hesperides sive de malorum aureorum cultura et usu libri quatuor (Hesperides, or the Cultivation and uses of the Golden Apples). This book is the first published treatise on citrus fruit. While it mostly deals with practical questions on the cultivation of citrus fruit and botanical descriptions, Ferraris was also intent to provide an explanation on how the golden fruits had arrived in his native Italy.

To do this, he continued the ancient myth: Hercules theft had desecrated the divine garden. The Hesperides, Aegle, Arethusa and Hesperthusa were forced to leave the garden, and took a single Citron, Lemon and Bitter-Orange tree with them. Favourable winds then carried them to Italy, where they decided to settle.





Harmonillus is turned into a citron-tree

Kupferstecher: Cornelis Bloemaert
Vorlage von: Andrea Sacchi, Kupferstich, 1646, Erscheinungsort: Rom

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Ferrari was also eager to explain the mutations and crossbreeds of citrus fruit. Since a scientific, or in Ferraris words "philosophical", explanation left many questions unanswered, he once more turned to a self-created myth.

He tells the tale of young Harmonillus, whom the god Apollo invites to Mount Parnassus in order to develop his singing voice. However, the jealous Muses Urania and Thalia scheme against Harmonillus, who is turned into a citron-tree by Apollo. The tree itself bears fruit in the form of human fingers (Citrus medica var. sarcodactylis, also known as "Buddha’s hand").





Tirsinia is turned into a citrus-tree

Vorlage von: Giovanni Francesco Romanelli
Kupferstecher: Cornelis Bloemaert, Kupferstich, 1646, Erscheinungsort: Rom

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Shortly thereafter, Tirsinia, mother of Harmonillus, is worried about her son’s whereabouts. She dispatches a friend to search for him, who discovers his grisly fate. The friend then begs Apollo to at least return a fruit of the citron-tree to Tirsinia. When the fruit is handed to Tirsinia, she decides to accompany her son into the afterlife, and is turned into a lemon-tree, which bears a fruit that is encapsuled in a second fruit (Citrus limon foetifera, also known as navel-fruit, symbolizing the sons return to his mother’s navel).



Leonilla is turned into a pomello-tree

Vorlage von: Domenichino
Kupferstecher: Cornelis Bloemaert, Kupferstich, 1646, Erscheinungsort: Rom

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Ferrari ends his tales with that of Leonilla, the sister of Harmonillus. As she returns from hunting, she sees the lemon-tree bearing her mother’s face. With a despairing cry ("Nothing shall ever separate me from you!"), she is also turned into a tree. This one bears bitter-oranges, as red as Leonillas hair and a rind full cracks and tears, symbolizing the daughter’s despair at the fate of her family (Citrus aurantium ‚callosum').





Anomalies of citrus fruits, made of wax, in a metal box

Künstler: Francesco Garnier Valetti, Botanisches Modell, Mitte 19. Jahrhundert, Entstehungsort: Torino

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A more modern approach to teaching the anomalies of citrus fruit is this collection of wax fruit from Italy, ca. 19th century.


Frontispiece: Arrival of the Hesperides at Nuremberg

Verlag: Johann Andreae Endters seel. Sohn und Erben
Vorlage von: Paul Decker
Kupferstecher: Paul Decker, Kupferstich, 1708, Erscheinungsort: Nürnberg

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In 1708 and 1714, Johann Christoph Volkamer, a merchant and citrus-lover from Nuremberg, published his "Nürnbergische Hesperides" (roughly translated: "Nurembergian Hesperides" or "Hesperides of Nuremberg"), a two-volume treatise on citrus-fruit. This was the first entirely German monograph on citrus-fruit. Just like Ferrari, Volkamer paid homage to the myth of Hercules and the Hesperides.

The cover page shows Noris, personification of Nuremberg, as she is presented with gifts of lemons, citrons and bitter-oranges by the Hesperides. In the foreground, we can see "Vatter Pegnitz" (roughly translated: "Old Pegnitz" or "Father Pegnitz"), a river god representing the river of the same name, which crosses Nuremberg. Far in the background, to the right, we can spot a statue of Hercules, with the slain dragon Ladon at his feet - a clear sign that Volkamer saw Nuremberg as the new home of the Hesperides and their fruit.





Aegle

Verlag: Johann Andreae Endters seel. Sohn und Erben
Kupferstecher: Paul Decker, Kupferstich, 1708, Erscheinungsort: Nürnberg

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Aegle as Patron of citrons.


The division of all citrus-fruit into three groups, citrons, lemons and bitter-orange, was another commonality between Volkamer and Ferrari. Likewise, Volkamer attributed each of the groups to one of the three Hesperides. 

This was an attempt to systematize and organize the vast number of citrus fruit already known. Today, the groupings according to Ferrari and Volkamer are seen as inaccurate at best, and mostly disregarded. However, that Volkamer and Ferrari even made such an attempt is a clear sign of how serious they took their work.



Arethusa

Verlag: Johann Andreae Endters seel. Sohn und Erben
Vorlage von: Paul Decker
Kupferstecher: Ludwig Christoph Glotsch, Kupferstich, 1708, Erscheinungsort: Nürnberg

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Arethusa as patron of lemons.


Hesperthusa

Verlag: Johann Andreae Endters seel. Sohn und Erben
Vorlage von: Paul Decker, 1677 - 1713
Kupferstecher: Paul Decker, 1677 - 1713, Kupferstich, 1708, Erscheinungsort: Nürnberg

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Hesperthusa as patron of bitter-oranges.

02

Citrus-fruit in early-modern literature



Soup tureen with citrus-handle

Hersteller: Porzellanmanufaktur Frankenthal, Terrine, 1778, Herstellungsort: Frankenthal

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The handle of this tureen shows a clear appreciation of lemons.


The practical use of citrus

The practical usage of citrus-fruit played an important part in publications in the early-modern age. As early as 1586, Joachim Camerarius published a German translation of an Italian/Latin book on herbs and plants, originally by Pietro Mattioli. This so called Kreutterbuch (roughly translated: "Herbbook" or "book on herbs") includes several passages on the medicinal use of citrus-fruit. They claim citrons would cure "pestilent fever", "evil airs" as well as "melancholia".

However, the dietary uses were also discussed early and widely. An example of this would be Johann Sigismund Elsholtz Diateticon, published in 1682. Elsholtz recommends the juice of lemons and bitter-oranges to season Meat, fish and pastries. He also includes recipes for jellies, purees and lemonades.



Limon Melarosa (with a landscape and perspective view of the old fortress at Zirndorf near Fürth)

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1708, Erscheinungsort: Nürnberg

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The aforementioned Johann Christoph Volkamer, on the other hand, would put botany at the centre of his treatise. The impassioned collector spent vast amounts of effort (and money) on cultivating different citrus-fruit in his Nuremberg garden, as well as ordering fruit that were unknown to him from Italy. He would then draw them in great detail, often including branches, buds and blossoming flowers. In the finished books, the fruit were combined with landscapes, which often lead to bizarre and surrealistic compositions of gigantic fruit seemingly hovering in the sky.

In addition, Volkamer would pen a descriptive text, which did not limit itself to just botanical facts. About Limon melarosa, he writes:
[...]they have a very special lovely and agreeable smell / quite like rosewood / which mayhap is why the name Mela Rosa was bestowed upon them [...]




Insecta Malorum Aranciarum et Limoniarum

Verlag: Johann Andreae Endters seel. Sohn und Erben
Kupferstecher: Paul Decker (vermutl.), Kupferstich, 1708, Erscheinungsort: Nürnberg

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Another topic of Volkamers was the appropriate care and cultivation of the plants themselves. This included some rudimentary knowledge of bugs and vermin. About the pictured coccids, he writes: 
[...] after this they grow a casing on their back / so that they look like bed-bugs or tiny turtles [...]

To get rid of these pests, he recommends to "wipe them off [the plants] at times with a brush".



Pompelmus

Kupferstich, 1708, Erscheinungsort: Nürnberg

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Cedro a Dittela, with a perspective view of Holzschuher Mansion at Almoshof/Nuremberg

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Kupferstecher: J.C. Steinberger
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1708, Erscheinungsort: Nürnberg

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Cedro grande Lissi Bondolotto, with a landscape showing several horsemen and the villages of Gibitzenhof and Sandreuth near Nuremberg

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1708, Erscheinungsort: Nürnberg

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Cedro col Pigolo (with perspective view of the gardens at Polheim Palace near Wels in Upper Austria)

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1708, Erscheinungsort: Nürnberg

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Bergamotto della grand Sorte (with perspective view of the gardens and courtyard of the Veilhof in Nuremberg)

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1708, Erscheinungsort: Nürnberg

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Pompelmus (with perspective view of the manor house and its gardens at Gibitzenhof near Nuremberg)

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1708, Erscheinungsort: Nürnberg

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Limon ponzino da Calabria (with perspective view of the Palazzo del Venier near Venice)

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Kupferstecher: Joseph de Montalegre
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1714, Erscheinungsort: Frankfurt am Main, Leipzig, Nürnberg

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Bergamotti monstrosi (with perspective view of the Villa Gazola in Verona)

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Kupferstecher: Joseph de Montalegre
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1714, Erscheinungsort: Frankfurt am Main, Leipzig, Nürnberg

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03

Citrus-Culture beyond the Alps - Forms and positions of orangeries



Primroses and perspective view of Volkamers bitter-orange house at Gostenhof/Nuremberg

Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1708, Erscheinungsort: Nürnberg

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As seen here, Volkamer could actually look into his bitter-orange house from his living room.


The "dismantleable" bitter-orange house

We already discovered that citrus-fruit are sensitive when it comes to climate. Growing citrus north of the Alps was complicated by the fact that the plants would often die during the cold winter. Anyone who wished to walk in the footsteps of mighty Hercules, be they a wealthy Prince or a common merchant, would need to protect his golden fruit from the bitter cold.

This led to the establishment of so-called "orangeries", purpose built structures to house citrus during the winter. The most primitive of these was the "dismantleable" variety. The citrus would be planted in the garden grounds, and when winter was about to hit, a wooden structure would be erected around them. In spring, it would be dismantled again. More advanced variations included stone houses, with a removable front wall. Volkamer's garden in Nuremberg featured one of these.



Limon dolce ordin (with perspective view of the western part of Volkamers garden in Gostenhof near Nuremberg)

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1708

, Erscheinungsort: Nürnberg

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Part of Volkamer's garden, featuring a fountain and broderies.


Citrus fruit among commoners

Before we head on to the princely and royal gardens, a few words on the "Citrus Mania" among the common people. While Johann Christoph Volkamers' garden was certainly the most famous among Nuremberg’s gardens, it was not the only garden growing citrus. In the 18th century, about 70% of the many gardens in Nuremberg had at least one citrus-plant growing in them. The passion for citrus, and the respectability that the successful cultivation entailed, was widespread among well to do commoners.



Limon Salerno da Genoua (with perspective view of the sundial in Volkamers garden in Gostenhof near Nuremberg)

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Verlag: Johann Andreae Endters seel. Sohn und Erben, Kupferstich, 1708, Erscheinungsort: Nürnberg

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A curiosity of Volkamer's garden: a sundial, constructed entirely from boxwood-hedges.


Limon Bergamotto con foglia Liscia. Limon Bergamotto con foglia rizza (with perspective view of the bitterorange-house and Columnis Milliarium in Volkamers garden in Gostenhof near Nuremberg)

Zeichner: Johann Christoph Volkamer (Darstellung Zitrus)
Verlag: Johann Andreae Endters seel. Sohn und Erben
Kupferstecher: Benjamin Kenkel, Kupferstich, 1708, Erscheinungsort: Nürnberg

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Perspective view of a garden from the family register of Christian Jacob Preidt jr. (1771-1794) of Nuremberg

Aquarell, Ende 18. Jahrhundert

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BEN.GKM-GR-2007 54 Preidt.jpg
This watercolour is taken from a family registry, showing us how significant gardens were for the citizens of Nuremberg.


The garden of Mister Breiter at Leipzig

Vorlage von: Johann Friedrich Schröter, Lithografie, um 1830 (vermutl.)

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BEN.GKM-GR-2005 1.jpg
About 100 years after Volkamer, a grand garden still plays a role in the common man’s self-perception, as Mister Breiter from Leipzig demonstrates.


Layout and various perspective views of Erlangen Palace

Verleger: Johann Baptist Homann, Kupferstich, um 1720

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BEN.GKM-GR-2008 11.Erlangen.jpg

The Princely Orangery

The Orangery as a specific structure was mainly the domain of Princes and noblemen more generally. The buildings had their own heating, to keep the citrus-plants, now grown in movable tubs, warm during the winter. In summertime, the tubs could be brought out into the garden.

In this example from Erlangen, the Orangery was conceived as part of the princely palace itself. As such, it had to be ready to be used during representative functions such as dances or banquets and also included apartments for visitors. The never completed second building was supposed to house the palace's chapel.





Perspective view of Charlottenburg Palace

Vorlage von: Eosander von Göthe
Kupferstecher: Martin Engelbrecht
Verlag: Matthaeus Merian Erben, Radierung
Kupferstich, 1708, Erscheinungsort: Frankfurt am Main

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BEN.GKM-GR-2013 6.Charlottenburg.jpg
This engraving of Charlottenburg Palace shows two orangeries in the bottom part, of which only the left one was finished.


Perspective view of the orangery at Gaibach Palace

Radierer: I. G. Pintz
Vorlage von: Salomon Kleiner
Verlag: Jeremias Wolff Erben, Radierung, 1728, Erscheinungsort: Augsburg

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BEN.GKM-GR-2001 36b.jpg


The Orangery as part of the enclosure

Using the Orangery building itself as part of the gardens enclosure was very common. At Gaibach Palace, pictured here, the structure was intricately designed to be an eye-catcher, while at the same time shielding the garden from outside view. In combination with hedges, the garden could be enclosed or partitioned into multiple distinct areas.



Perpspective view of the princely gardens at Würzburg (with an orangery-parterre in the foreground and an orangery-building in the background)

Vorlage von: Johann Prokop Mayer
Verleger: Georges-Louis Le Rouge, Radierung, 1784, Erscheinungsort: Paris

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BEN.GKM-GR-2006 7d.jpg


Perpspective view of the orangery at Favorite Palace at Mainz

Stecher: Johann Adam Delsenbach
Vorlage von: Salomon Kleiner
Verlag: Jeremias Wolff Erben, Kupferstich
Radierung, 1726, Erscheinungsort: Augsburg

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BEN.GKM-GR-2001 8k.jpg


Perspective view of Versailles Palace from the side of the orangery

Vorlage von: Pierre Menant,
Kupferstecher: Pierre Menant
Verleger: Gilles de Mortain (vermutl.), Kupferstich, 1716, Erscheinungsort: Paris

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BEN.GKM-GR-2007 42_1.jpg

The Orangery as part of a sloped construction

When necessary due to large differences in height, it was also possible to integrate an orangery into a hillside slope. The most famous example is, of course, the Orangery of Versailles, built just below the Parterre du midi. From the parterre, a visitor can descend the stairs that flank the orangery, accompanied by a breath-taking view of the many citrus-plants arranged below. At the same time, the stairs act as an enclosure, trapping additional heat and thus contributing to a climate favourable to citrus.





Perspective view of an orangery integrated into a slope

Kupferstecher: Johann August Corvinus
Verleger: Jeremias Wolff
Vorlage von: Matthäus Diesel, Kupferstich, 1717/1722, Erscheinungsort: Augsburg

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BEN.GKM-GR-2003 6.jpg


Plan of the gardens at Schwetzing Palace

Drucker: Simon Bühler
Vorlage von: Johann Michael Zeyher, Lithographie, 1840er Jahre (vermutl.), Erscheinungsort: Mannheim

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BEN.B 1976 13a.jpg
Map of Schwetzingen Palace, the orangery is marked with the letter "F".


The Orangery-Quarter

The orangery could also occupy a distinct part, or "quarter", of the gardens. In this case, an entire area would be turned over for the use of cultivating citrus, emphasizing functionality over pure aesthetics. Such a quarter would usually include housing for the gardeners, as well as storage rooms for fertilizer, soil and fuel for heating.

The map on the right shows the gardens of Schwetzingen Palace, which include an orangery built on orders of Elector Charles Theodore of the Palatinate.



Perspective view of the cascade in the princely gardens at Würzburg

Vorlage von: Johann Prokop Mayer
Verleger: Georges-Louis Le Rouge, Radierung, 1784, Erscheinungsort: Paris

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Kurzbeschreibung
Originaltitle (ger.): Ansicht der großem Kaskade des Würzburgischen Gartens gesehen vom Kaisersaale aus.
Originaltitle (fr.): VUE DE LA GRANDE CASCADE des Jardins de Wirzburg prise de la Salle des Empereurs vers le chifre 1. du plan general.
Originaltitle (it.): Prospetto della Cascada
BEN.GKM-GR-2006 7c.jpg
Perspective view of the gardens at Würzburg Palace. The tub-plants underscore the various terraces.


The citrus-plant as part of the baroque garden

The placement of the tub-plants on walls, ramparts and terraces, or alongside fountains and pathways usually followed architectural considerations. The plants were meant to underscore other parts of the gardens structure.

The baroque garden followed strict geometric rules, which were applied to the plants as well. They were not only placed at exact, regular intervals, they were also cut into consistent patterns and heights. The natural growth of the plants was disregarded completely, and from a distance, the plants would look indistinguishable. To enjoy the large variety that was actually present, the visitors had to get very close.



Perspective view of the princely gardens at Würzburg

Vorlage von: Johann Prokop Mayer
Verleger: Georges-Louis Le Rouge, Radierung, 1784, Erscheinungsort: Paris

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BEN.GKM-GR-2006 7b.jpg


Water-parterre and orangery-island in the gardens of Gaibach Palace

Radierer: Johann August Corvinus
Vorlage von: Salomon Kleiner
Verlag: Jeremias Wolff Erben, Radierung, 1728, Erscheinungsort: Augsburg

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BEN.GKM-GR-2001 36a.jpg


The bassin of Saint-Cloud Palace

Verleger: Jean Mariette
Vorlage von: Adam Pérelle
Kupferstecher: Adam Pérelle, Kupferstich, 2. Hälfte 17. Jahrhundert

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BEN.GKM-GR-2012 41d.jpg


Perspective view of Trianon Palace, from the garden-side

Kupferstecher: Adam Pérelle
Vorlage von: Adam Pérelle
Verleger: Nicolas de Poilly d. Ä., Kupferstich, um 1670

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BEN.GKM-GR-2007 12.Trianon.jpg

04



Perpsective view of a semi-circular Theatre-Orangery

Vorlage von: Paul Decker
Kupferstecher: Johannes Böcklin
Verleger: Jeremias Wolff, Kupferstich, 1711, Erscheinungsort: Augsburg

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BEN.B 1970 13_6.jpg
Draft for an orangery, from Paul Decker's "Fürstlicher Baumeister" ("Princely Master-Builder").


Orangeries in architectural treatises

Even though medicine, botany and the cultivation and proper care of citrus-fruit were in the focus of literature at first, the construction and architecture of orangeries as well as gardens in general soon devolved into its own sub-genre of literature. We have already discovered the manifold properties that an orangery might require - proper insulation during winter, being a part of the gardens design, representative functions - which were also covered in many variations by authors and architects of the time.



Design for an Orangery. The frame & Glass removed in Summer, it forms a Chiosk

Vorlage von: Humphrey Repton
Lithograf: J. C. Stadler, Farblithografie, 1808, Erscheinungsort: London

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BEN.GKM-BB-2001 3_1.jpg
This draft by Humphrey Repton has a fun little gimmick: At first, the orangery in winter...


Design for an Orangery. The frame & Glass removed in Summer, it forms a Chiosk

Vorlage von: Humphrey Repton
Lithograf: J. C. Stadler, Farblithografie, 1808, Erscheinungsort: London

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BEN.GKM-BB-2001 3_2.jpg
...but turn over the page, and it has opened up for the summer months.


Fourth proposal for a pleasure garden

Vorlage von: Joseph Furttenbacher
Zeichner: Johann Jakob Campanus der Ältere
Kupferstecher: Matthäus Rembold, Kupferstich, Erscheinungsort: Augsburg

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BEN.GKM-BB-2011 11_1.jpg


Wintergarden

Kupferstich auf Papier, 1825, Erscheinungsort: Paris

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BEN.GKM-BB-2003 2_3.jpg


Flower-stillage with a figure symbolizing spring

Herausgeber: Johann Gottfried Grohmann, Zeichnung, 1805, Erscheinungsort: Leipzig

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BEN.GKM-BB-2019 1.jpg
These sketches for garden-banks and a stillage are taken from a popular magazine on gardening, published in Leipzig, ca. 1805.


Garden with several stillages

Verlag: Winckelmann & Söhne (vermutlich), Lithografie, Mitte 19. Jahrhundert, Erscheinungsort: Berlin (vermutlich)

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BEN.GKM-GR-2015 8b.jpg
Picture-prints featuring exotic plants such as this one were still published in the 19th century.

05

Orangery Culture at Benrath Palace



Perspective view of Benrath Palace

Zeichner: Unbekannt, 1775

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BEN.B 2021 2b.jpg
This layman’s draft shows Benrath Palace shortly after its completion. The word "orangerie" designates the southern terrace, which is out of view.


A long tradition

There is a long and rich history of Orangery Culture at Benrath Palace. As early as the year 1700, the Elector John William of the Palatinate (1658-1716) was cultivating citrus fruit in the gardens of the old palace. 

Elector Charles Theodore (1724-1799), who ordered the construction of the new palace in 1755, continued in the footsteps of John William by converting the northern wing of the old castle into an orangery. Over a hundred plants were kept and cared for. In the warm summer months, the tub-plants were moved to the southern terrace of the palace and the private gardens of the Elector and his wife.



Flowergarden at Benrath Palace

Malerin: Luise Prinzessin Friedrich von Preußen
Provenienz: Luise Prinzessin Friedrich von Preußen, Aquarell, vor 1839

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BEN.B 1989 1h.jpg
This watercolour shows the garden grounds of Benrath Palace, with several tubs from the orangery. It was painted by Princess Louise herself.

Orangery Culture during the 19th century

In the 19th century, the Rhineland, as well as Benrath Palace, became part of Prussia. The Palace was used as a residence for the local military commanders, usually members of the ruling Hohenzollern dynasty. The most prominent examples of this are Prince Frederick of Prussia (1794-1863) and his wife, Princess Wilhelmine Louise of Prussia (1799-1882), who lived in the palace for several years. During this time, the importance of the orangery among courtly functions was still very large. So large, in fact, that more than 3000 citrus and other exotic plants were kept at Benrath Palace.





Lowly and Schubba

Malerin: Gräfin Mathilde von Monts
Provenienz: Luise Prinzessin Friedrich von Preußen, Aquarell, um 1840

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BEN.B 1989 1l.jpg
A similar water colour, by Countess Mathilde von Monts, a court lady of the Princess.


Perspective view of Benrath Palace

Zeichner: Caspar Johann Nepomuk Scheuren, Zeichnung, 1835/1840

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BEN.GKM-GR-2001 26.jpg
Draft of Benrath Palace, seen from the west, by Caspar Johann Nepomuk Scheuren, ca. 1840. Several tub-plants can be spotted.


Page from the herbal-diary of Princess Wilhelmine Louise of Prussia

Verfasserin: Wilhelmine Luise von Preußen
Provenienz: Wilhelmine Luise von Preußen, 1816-1834, diese Seite September 1822, Entstehungsort: Benrath, Düsseldorf

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BEN.GKM-BB-2003 5_41.jpg
Princess Louise also collected plants in an herbal-diary, including multiple citrus-plants, such as this one (bottom-right).


The Royal Palace of Benrath, near Düsseldorf

Verlag: Verlag A. Mencke & Co., Fotografie, um 1890, Erscheinungsort: Wandsbek, Hamburg

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BEN.B 1991 2.jpg
Photograph of Benrath Palace, ca. 1900.


The 20th century and present day

Shortly after the monarchy was abolished in 1918, Benrath Palace passed into municipal ownership. The cultivation of citrus-plants continued nonetheless. Unfortunately, the collection of exotic plants was destroyed during the Second World War. But in the 1980s, a new collection of tub-plants was started, and these plants are to this day placed in many traditional locations around the palace grounds. The "Citrus Mania" is alive and well, having come a long way since the distant past of antique myths and the fanciful ideas of Princes and merchants that once fuelled it.

Eine virtuelle Ausstellung von

Begleitend zur Ausstellung "Zitrusmanie. Goldene Früchte in fürstlichen Gärten" im Museum für Gartenkunst der Stiftung Schloss und Park Benrath.
7. April - 18. September 2022

Team

Digitale Ausstellung:
Bearbeitung: Christian Dickmeiss
Mit Texten von: Eva-Maria Gruben, Gunnar Gad 

Analoge Ausstellung:
Konzeption und Realisierung: Eva-Maria Gruben
Wissenschaftliche Mitarbeit und Ausstellungssekretariat: Silke Tofahrn

Erstellt mit :
DDB Studio
Ein Service von:
DDB Studio

Diese Ausstellung wurde am 06.04.2022 veröffentlicht.



Impressum

Die virtuelle Ausstellung Citrus Mania wird veröffentlicht von:

Stiftung Schloss und Park Benrath
Benrather Schloßallee 100-104
40597 Düsseldorf
gesetzlich vertreten durch den Vorstand der Stiftung Schloss und Park Benrath:
Nicolas Maas, Kaufmännischer Vorstand
Prof. Dr. Stefan Schweizer, Wissenschaftlicher Vorstand

Telefon: 0211 – 8921903
Fax: 0211 - 8929468
E-Mail:  info@schloss-benrath.de

Inhaltlich verantwortlich:
Der Vorstand der Stiftung Schloss und Park Benrath:
Nicolas Maas, Kaufmännischer Vorstand
Prof. Dr. Stefan Schweizer, Wissenschaftlicher Vorstand
Stiftung Schloss und Park Benrath
Benrather Schloßallee 100-106
40597 Düsseldorf

Kurator*innen:

Digitale Ausstellung:
Christian Dickmeiss

Analoge Ausstellung:
Eva-Maria Gruben

 

Rechtliche Hinweise:
Die Deutsche Digitale Bibliothek verlinkt die virtuelle Ausstellung auf ihrer Internetseite https://www.deutsche-digitale-bibliothek.de/content/virtuelle-ausstellungen. Dabei wurde auf die Vertrauenswürdigkeit der Institution, welche die Ausstellung veröffentlich hat sowie die Fehlerfreiheit und Rechtmäßigkeit der virtuellen Ausstellung besonders geachtet. Der auf dieser Internetseite vorhandene Link vermittelt lediglich den Zugang zur virtuellen Ausstellung. Die Deutsche Digitale Bibliothek übernimmt keine Verantwortung für die Inhalte der virtuellen Ausstellung und distanziert sich ausdrücklich von allen Inhalten der virtuellen Ausstellung, die möglicherweise straf- oder haftungsrechtlich relevant sind oder gegen die guten Sitten verstoßen. 

DDBstudio wird angeboten von:  
Stiftung Preußischer Kulturbesitz, gesetzlich vertreten durch ihren Präsidenten,
handelnd für das durch Verwaltungs- und Finanzabkommen zwischen Bund und Ländern errichtete Kompetenznetzwerk

Deutsche Digitale Bibliothek
c/o Stiftung Preußischer Kulturbesitz
Von-der-Heydt-Straße 16-18
10785 Berlin 

Telefon: +49 (0)30 266-41 1432, Fax: +49 (0) 30 266-31 1432,
E-Mail: geschaeftsstelle@deutsche-digitale-bibliothek.de

Umsatzsteueridentifikationsnummer: 
DE 13 66 30 206

Inhaltlich verantwortlich: 
Dr. Julia Spohr
Leiterin der Geschäftsstelle
Finanzen, Recht, Kommunikation, Marketing
Deutsche Digitale Bibliothek
c/o Stiftung Preußischer Kulturbesitz
Von-der-Heydt-Straße 16-18
10785 Berlin

Konzeption:
Nicole Lücking, Deutsche Digitale Bibliothek
Stephan Bartholmei, Deutsche Digitale Bibliothek
Dr. Michael Müller, Culture to Go GbR

Design: 
Andrea Mikuljan, FIZ Karlsruhe - Leibniz Institut für Informationsinfrastruktur GmbH

Technische Umsetzung:
Culture to Go GbR mit Grandgeorg Websolutions

Hosting und Betrieb:  
FIZ Karlsruhe - Leibniz Institut für Informationsinfrastruktur GmbH



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