Järlepa Manor (Jerlep) was founded after 1688. The present building was erected in 1804 in a classicist style. It was devastated during the uprising in 1905 but later restored. During the Soviet occupation of Estonia, the manor house was used as the office of a collective farm. The most famous resident of the manor was dramatist August von Kotzebue who acquired the estate in 1804. During his time, a small theatre was put up at the estate and Kotzebue's plays were often performed.



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Pargi 4, Järlepa, Estonia
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Founded: 1804
Category: Palaces, manors and town halls in Estonia
Historical period: Part of the Russian Empire (Estonia)


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User Reviews

Raimond Siin (16 months ago)
Nii ja naa
Eliise Sermann (2 years ago)
Meelis Kaasik (2 years ago)
Märt Juhani (2 years ago)
Ilus paik.
Anatoly Ko (7 years ago)
Pargi 4, Järlepa küla, Juuru, Raplamaa 59.136742, 24.930253‎ 59° 8' 12.27", 24° 55' 48.91" В 1799 году мызу Ярлепа приобрёл Отто Вильгельм фон Крузенштерн (известный мореплаватель, дядя Адама Йохана фон Крузенштерна), которого считают праотцом семейства ветви Ярлепа. В руках Крузенштернов мыза находилась до 1928 года (с небольшими перерывами). В 1804 году популярный и плодовитый писатель Август фон Котцебу, женился на дочери О. В. Крузенштерна, Вильгельмине Фредерике, и переехал жить вместе со своей женой в Ярлепа. Именно в это время был достроен господский дом, где А. Фон Коцебу начал ставить свои театральные постановки. Ко дню их свадьбы была написана первая пьеса. После этого, театральные постановки стали регулярными. Усадьба Ярлепа была домом для Коцебу всего три года. В этот период Ярлепа привлекала внимание даже на политической арене. В одной из немецких газет, которая вышла в 1805 году, он раскрыл тайную деятельность губернатора и его приблеженных. В статье он анализировал деятельность губернатора и беспокойство крестьян в эстонской губернии. Эта статья вызвала большой переполох и недовольство. Власти губернии начали следить за творчеством Коцебу, так как они начали сомневаться в том, что все постановки, которые проходят в Ярелепа, были просмотрены цензорами. Переполох вызвало само появление «дворового театра» в Ярлепа (так называл его сам Коцебу), где была поставлена комедия в трёх действиях, под названием «DieOrganiedesOchiris». В новом театре прошла премьера комедии. Участие в постановке комедии приняли члены семьи Крузенштернов, их родственники и местные дворяне. Организованный Коцебу дворовой театр, можно считать одним из первых театров, а также не вызывает сомнений то, что театр Коцебу был первым деревенским театром. Нужно упомянуть, что первый профессиональный театр образовался в Таллинне в 1795-1798 годах, который развился после того, как Коцебу организовал свою труппу.
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The Garden Kingdom of Dessau-Wörlitz, located in Saxony-Anhalt in the Middle Elbe Region, is an exceptional example of landscape design and planning from the Age of the Enlightenment in the 18th century. Its diverse components – the outstanding buildings, English-style landscaped parks and gardens, and subtly modified expanses of agricultural land – served aesthetic, educational, and economic purposes in an exemplary manner.

The grounds, which had been divided into four parts since the constructions of a railway line and the Bundesautobahn 9 in the 1930s, were designated a World Heritage Site by UNESCO in 2000.

For Prince Leopold III Friedrich Franz of Anhalt-Dessau (1740-1817) and his friend and adviser Friedrich Wilhelm von Erdmannsdorff (1736-1800), the study of landscape gardens in England and ancient buildings in Italy during several tours was the impetus for their own creative programme in the little principality by the rivers Elbe and Mulde. As a result, the first landscape garden in continental Europe was created here, with Wörlitz as its focus. Over a period of forty years a network of visual and stylistic relationships was developed with other landscape gardens in the region, leading to the creation of a garden landscape on a unique scale in Europe. In the making of this landscape, the designers strove to go beyond the mere copying of garden scenery and buildings from other sites, but instead to generate a synthesis of a wide range of artistic relationships. Among new and characteristic components of this garden landscape was the integration of a didactic element, arising from the philosophy of Jean-Jacques Rousseau (1712-1778), the thinking of Johann Joachim Winckelmann (1717-1768), and the aesthetics of Johann Georg Sulzer (1720-1779). The notion of public access to the buildings and grounds was a reflection of the pedagogic concept of the humanisation of society.

Proceeding from the idea of the ferme ornée, agriculture as the basis for everyday life found its place in the garden landscape. In a Rousseauian sense, agriculture also had to perform a pedagogic function in Anhalt-Dessau. Through the deliberate demonstration of new farming methods in the landscape garden, developments in Anhalt-Dessau were not merely theoretical, but a practical demonstration of their models in England. It is noteworthy that these objectives - the integration of aesthetics and education into the landscape – were implemented with outstanding artistic quality. Thus, for instance, the buildings of Friedrich Wilhelm von Erdmannsdorff provided important models for the architectural development of Germany and central Europe. Schloss Wörlitz (1769-73) was the first Neoclassical building in German architectural history. The Gothic House (from 1774) was a decisive influence on the development of Gothic Revival architecture in central Europe. Here, for the first time, the Gothic style was used to carry a political message, namely the desire for the retention of sovereignty among the smaller Imperial territories. The churches in Riesigk (1800), Wörlitz (1804-09), and Vockerode (1810-11) were the first Neoclassical, ecclesiastical buildings in Germany, their towers enlivening the marshland, floodplain landscape in which they served as waymarkers. In parts of the Baroque park of Oranienbaum, an Anglo-Chinese garden was laid out, now the sole surviving example in Europe of such a garden in its original form from the period before 1800. The development of stylistic eclecticism in the 19th century had its roots in the closing years of the 18th century.

Another feature of the landscape is the integration of new technological achievements, such as the building of bridges, an expression of a continuing quest for modernity. Through the conscious incorporation of the older layouts at Oranienbaum and Mosigkau into a pantheon of styles, the landscape became an architectural encyclopaedia featuring examples from ancient times to the latest developments. Nowhere else in Germany or Europe had a prince brought such an all-embracing and extensive programme of landscape reform into being, particularly one so deeply rooted in philosophical and educational theory. With the unique density of its landscape of monuments, the Garden Kingdom of Dessau-Wörlitz is an expression of the enlightened outlook of the court at Dessau, in which the landscape became the idealised world of its day.

Through the conscious and structured incorporation of economic, technological, and functional buildings and parks into the artistically designed landscape, the Garden Kingdom of Dessau-Wörlitz became an important concourse of ideas, in that it facilitated the convergence of 18th century grandeur of design with the beginnings of 19th century industrial society. The reforming outlook of this period brought about a huge diversity of change in the garden layout, and this legacy can still be experienced today.