Lydia Koidula
Encyclopedia
Lydia Emilie Florentine Jannsen, ( – ), known after her pen name
Lydia Koidula was an Estonian poet
. Her sobriquet
means ‘Lydia of the Dawn’ in Estonian
. It was given her by the writer Carl Robert Jakobson
. She is also frequently referred to as Koidulaulik – ‘Singer of the Dawn‘.
(1819–1890) remained anonymous. In spite of this, she was a major literary figure, the founder of Estonian theatre, and closely allied to Carl Robert Jakobson
(1841-1882), the influential radical and Friedrich Reinhold Kreutzwald
(1803-1882), writer of the Estonian national epic, Kalevipoeg
(The Son of Kalev).
Lydia Jannsen was born in in Vändra
, Pärnu County
, Governorate of Livonia (now in central Estonia
). The family moved to the nearby county town of Pärnu
in 1850 where, in 1857, her father started the first local Estonian language
newspaper and where Lydia attended the German grammar school. The Jannsens moved to the university town of Tartu
, the most progressive town in Estonia, in 1864. Nationalism
, including publication in indigenous languages, was a very touchy subject in the Russian Empire
but the rule of Czar Alexander II
(1855-1881) was relatively liberal and Jannsen managed to persuade the imperial censorship to allow him to publish the first national Estonian language newspaper in 1864. Both the Pärnu local and the national newspaper were called Postimees
(The Courier). Lydia wrote for her father on both papers besides publishing her own work. In 1873 she married Eduard Michelson, a Latvian army physician, and moved to Kronstadt
, the headquarters of the Russian navy near St. Petersburg. In 1876-78 the Michelsons visited Breslau, Strasbourg
and Vienna
. Koidula lived in Kronstadt for 13 years but despite spending her summers in Estonia, she never stopped feeling inconsolably homesick. Lydia Koidula was the mother of three children. She died on August 11, 1886 after a long and painful illness. Her last poem was Enne surma- Eestimaale! (Before Death, To Estonia!).
Koidula’s most important work, Emajõe Ööbik, (The Nightingale of the Emajõgi
[the Mother] River), was published in 1867. Three years earlier, in 1864, Adam Peterson, a farmer, and Johan Köler, a fashionable Estonian Saint Petersburg portraitist, had petitioned the czar for better treatment from the German landlords who ruled Estonia, equality and for the language of education to be Estonian. Immediately afterwards they were taken to the police where they were interrogated about a petition that ‘included false information and was directed against the regime’. Adam Peterson was sentenced to imprisonment for a year. Two years later, in 1866, the censorship reforms of 1855 that had given Koidula’s father a window to start Postimees
were reversed. Pre-publication censorship was re-imposed and literary freedom was curtailed. This was the political and literary climate when Koidula started to publish. Nevertheless, it was also the time of the National Awakening when the Estonian people, freed from serfdom in 1816, were beginning to feel a sense of pride in nationhood and to aspire to self-determination. Koidula was the most articulate voice of these aspirations.
German influence in Koidula’s work was unavoidable. The Baltic Germans had retained hegemony in the region since the 13th century, throughout German, Polish, Swedish and Russian rule and thus German was the language of tuition and of the intelligentsia in 19th century Estonia. Like her father (and all other Estonian writers at the time) Koidula translated much sentimental German prose, poetry and drama and there is a particular influence of the Biedermeier
movement. Biedermeier, a style which dominated ‘bourgeois’ art in continental Europe from 1815 to 1848, developed in the wake of the suppression of revolutionary ideas following the defeat of Napoleon. It was plain, unpretentious and characterised by pastoral romanticism; its themes were the home, the family, religion and scenes of rural life. The themes of Koidula’s early Vainulilled (Meadow Flowers; 1866) were certainly proto-Biedermeier,but her delicate, melodic treatment of them was in no way rustic or unsophisticated and the unrestrained patriotic outpourings of Emajõe Ööbik are anything but. Koidula reacted to the historical subjugation of the Estonian people as to a personal affront; she spoke of slavery and the yoke of subordination with all the grief and anguish of personal experience. By the time of the National Awakening in the 1860s, Estonia had been ruled by oppressive foreign powers, Danish, German, Swedish, Polish and Russian for over 600 years. She was, however, no mere victim or wilting plant. Koidula's work is full of passion and pride and she was conscious of her own role in the destiny of the nation – ‘It is a sin, a great sin, to be little in great times when a person can actually make history’ she wrote to a Finnish correspondent.
The Estonian literary tradition started by Kreutzwald continued with Koidula but whereas The Bard of Viru
tried to imitate the regivärss folk traditions of ancient Estonian, Koidula wrote (mostly) in modern, Western Europe
an end-rhyming metres that had, by the mid 19th century, become the dominant form . This made Koidula’s poetry much more accessible to the popular reader. But the major importance of Koidula lays not so much in her preferred form of verse but in her potent use of the Estonian language. Estonian was, still, in the 1860’s, in a German dominated Baltic province of Imperial Russia, the language of the oppressed indigenous peasantry. It was still the subject of orthographical bickering, still used in the main for predominantly patronising educationalist or religious texts, practical advice to farmers or cheap and cheerful popular story telling. Koidula successfully used this neglected and abused language to express emotions that ranged from an affectionate poem about the family cat, in Meie kass (Our Cat) and delicate love poetry, Head ööd (Good Night) to a powerful cri de coeur and rallying call to an oppressed nation, Mu isamaa nad olid matnud (My Country, they have buried you). With Lydia Koidula the colonial view that the Estonian language was an underdeveloped instrument for communication was, for the first time, very powerfully contradicted.
Koidula is also considered the ‘founder of Estonian theatre’ through her drama activities at the Vanemuine Society
(Estonian: Vanemuise Selts), a society started by the Jannsens in Tartu
in 1865 to promote Estonian culture. Lydia was the first to write original plays in Estonian and to tackle the practicalities of stage direction and production. Despite some Estonian interludes at the German theatre in Tallinn
, in the early 19th century, there had been no appreciation of theatre as a media and few writers considered drama of any consequence, though Kreutzwald had translated two verse tragedies. In the late 1860s, both Estonians and Finns started to develop performances in their native tongues and Koidula, following suit, wrote and directed the comedy, Saaremaa Onupoeg (The Cousin from Saaremaa
) in 1870 for the Vanemuine Society. It was based on Theodor Körner
’s (1791-1813) farce Der Vetter aus Bremen, (The Cousin from Bremen) adapted to an Estonian situation. The characterisation was rudimentary and the plot was simple but it was popular and Koidula went on to write and direct Maret ja Miina, (aka Kosjakased; The Betrothal Birches, 1870) and her own creation, the first ever completely Estonian play, Säärane mulk (What a Bumpkin!). Koidula’s attitude to the theatre was influenced by the philosopher, dramatist, and critic Gotthold Ephraim Lessing
(1729–1781), the author of Erziehung des Menschengeschlechts (The Education of the Human Race; 1780) - her plays were didactic and a vehicle for popular education. Koidula’s theatrical resources were few and raw – untrained, amateur actors and women played by men - but the qualities that impressed her contemporaries were her creation of a gallery of believable characters and the fact that her finger was on the pulse of contemporary situations.
At the first Estonian Song Festival
of 1869, an important rallying of the Estonian clans, two poems were set to music with lyrics by Lydia Koidula - Sind Surmani (Till Death) and Mu isamaa on minu arm (My Country is My Love), which became the unofficial anthem during the Soviet occupation when her father's Mu isamaa, mu õnn ja rõõm (My Country is My Pride and Joy), the anthem of the Estonian Republic in 1921–1940 was forbidden. Koidula’s song always finished every festival, with or without permission. The tradition persists to this day.
Museum, the museum gives an overview of the life and work of poet Lydia Koidula and her father Johann Voldemar Jannsen (author of the lyrics of Estonian anthem), important figures in Estonian national awakening period in the 19th century.
The Koidula museum is located in the Pärnu Ülejõe schoolhouse. The building was constructed in 1850 and has a unique interior. It was the home of Johann Voldemar Jannsen and the editorial office of the Perno Postimees
newspaper until 1863, now it is under protection as a historical monument. Jannsen’s elder daughter, poet Lydia Koidula grew up in the house. It is the main task of the museum to keep alive the memory of Koidula and Jannsen and to introduce their life and work in the context of the period of national awakening in Estonia through the permanent exposition.
There is a Monument of Lydia Koidula in the citycenter of Pärnu
next to the historical building of Victoria Hotel on the corner of Kuninga and Lõuna street. The monument dates to 1929 and was the last work by famous Estonian sculptor Amandus Adamson
.
Pen name
A pen name, nom de plume, or literary double, is a pseudonym adopted by an author. A pen name may be used to make the author's name more distinctive, to disguise his or her gender, to distance an author from some or all of his or her works, to protect the author from retribution for his or her...
Lydia Koidula was an Estonian poet
Estonian literature
Estonian literature refers to literature written in the Estonian language The domination of Estonia after the Northern Crusades, from the 13th century to 1918 by Germany, Sweden, and Russia resulted few early written literary works in Estonian language. The oldest records of written Estonian...
. Her sobriquet
Sobriquet
A sobriquet is a nickname, sometimes assumed, but often given by another. It is usually a familiar name, distinct from a pseudonym assumed as a disguise, but a nickname which is familiar enough such that it can be used in place of a real name without the need of explanation...
means ‘Lydia of the Dawn’ in Estonian
Estonian language
Estonian is the official language of Estonia, spoken by about 1.1 million people in Estonia and tens of thousands in various émigré communities...
. It was given her by the writer Carl Robert Jakobson
Carl Robert Jakobson
Carl Robert Jakobson was an Estonian writer, politician and teacher active in Livonia, Russian Empire. He was one of the most important persons of Estonian national awakening in the second half of the 19th century.Between 1860 and 1880, the Governorate of Livonia was led by a moderate...
. She is also frequently referred to as Koidulaulik – ‘Singer of the Dawn‘.
Life
Writing in Estonia, like elsewhere in Europe, was not considered a suitable career for a respectable young lady in the mid-nineteenth-century. Koidula’s poetry and her newspaper work for her populist father, Johann Voldemar JannsenJohann Voldemar Jannsen
Johann Voldemar Jannsen was an Estonian journalist and poet active in Livonia....
(1819–1890) remained anonymous. In spite of this, she was a major literary figure, the founder of Estonian theatre, and closely allied to Carl Robert Jakobson
Carl Robert Jakobson
Carl Robert Jakobson was an Estonian writer, politician and teacher active in Livonia, Russian Empire. He was one of the most important persons of Estonian national awakening in the second half of the 19th century.Between 1860 and 1880, the Governorate of Livonia was led by a moderate...
(1841-1882), the influential radical and Friedrich Reinhold Kreutzwald
Friedrich Reinhold Kreutzwald
Friedrich Reinhold Kreutzwald was an Estonian writer, who is considered to be the father of the national literature for the country.-Life:Friedrich's parents were serfs at the Jõepere estate, Virumaa. His father worked as a granary keeper and his mother was a chambermaid...
(1803-1882), writer of the Estonian national epic, Kalevipoeg
Kalevipoeg
Kalevipoeg is an epic poem by Friedrich Reinhold Kreutzwald held to be the Estonian national epic.- Origins : There existed an oral tradition within Ancient Estonia of legends explaining the origin of the world...
(The Son of Kalev).
Lydia Jannsen was born in in Vändra
Vändra
Vändra is a borough with a municipality status in Pärnu County, Estonia. Vändra is surrounded by Vändra Parish in which the borough itself is not part of. It has a population of 2,500 and an area of 3.28 km²....
, Pärnu County
Pärnu County
Pärnu County , or Pärnumaa , is one of 15 counties of Estonia. It is situated in south-western part of the country, on the coast of Gulf of Riga, and borders Lääne and Rapla counties to the north, Järva and Viljandi counties to the east, and Latvia to the south...
, Governorate of Livonia (now in central Estonia
Estonia
Estonia , officially the Republic of Estonia , is a state in the Baltic region of Northern Europe. It is bordered to the north by the Gulf of Finland, to the west by the Baltic Sea, to the south by Latvia , and to the east by Lake Peipsi and the Russian Federation . Across the Baltic Sea lies...
). The family moved to the nearby county town of Pärnu
Pärnu
Pärnu is a city in southwestern Estonia on the coast of Pärnu Bay, an inlet of the Gulf of Riga in the Baltic Sea. It is a popular summer vacation resort with many hotels, restaurants, and large beaches. The Pärnu River flows through the city and drains into the Gulf of Riga...
in 1850 where, in 1857, her father started the first local Estonian language
Estonian language
Estonian is the official language of Estonia, spoken by about 1.1 million people in Estonia and tens of thousands in various émigré communities...
newspaper and where Lydia attended the German grammar school. The Jannsens moved to the university town of Tartu
Tartu
Tartu is the second largest city of Estonia. In contrast to Estonia's political and financial capital Tallinn, Tartu is often considered the intellectual and cultural hub, especially since it is home to Estonia's oldest and most renowned university. Situated 186 km southeast of Tallinn, the...
, the most progressive town in Estonia, in 1864. Nationalism
Nationalism
Nationalism is a political ideology that involves a strong identification of a group of individuals with a political entity defined in national terms, i.e. a nation. In the 'modernist' image of the nation, it is nationalism that creates national identity. There are various definitions for what...
, including publication in indigenous languages, was a very touchy subject in the Russian Empire
Russian Empire
The Russian Empire was a state that existed from 1721 until the Russian Revolution of 1917. It was the successor to the Tsardom of Russia and the predecessor of the Soviet Union...
but the rule of Czar Alexander II
Alexander II of Russia
Alexander II , also known as Alexander the Liberator was the Emperor of the Russian Empire from 3 March 1855 until his assassination in 1881...
(1855-1881) was relatively liberal and Jannsen managed to persuade the imperial censorship to allow him to publish the first national Estonian language newspaper in 1864. Both the Pärnu local and the national newspaper were called Postimees
Postimees
Postimees is an Estonian daily newspaper. It was established in 1 January 1857 by Johann Voldemar Jannsen and became Estonia's first daily newspaper in 1891....
(The Courier). Lydia wrote for her father on both papers besides publishing her own work. In 1873 she married Eduard Michelson, a Latvian army physician, and moved to Kronstadt
Kronstadt
Kronstadt , also spelled Kronshtadt, Cronstadt |crown]]" and Stadt for "city"); is a municipal town in Kronshtadtsky District of the federal city of St. Petersburg, Russia, located on Kotlin Island, west of Saint Petersburg proper near the head of the Gulf of Finland. Population: It is also...
, the headquarters of the Russian navy near St. Petersburg. In 1876-78 the Michelsons visited Breslau, Strasbourg
Strasbourg
Strasbourg is the capital and principal city of the Alsace region in eastern France and is the official seat of the European Parliament. Located close to the border with Germany, it is the capital of the Bas-Rhin département. The city and the region of Alsace are historically German-speaking,...
and Vienna
Vienna
Vienna is the capital and largest city of the Republic of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.723 million , and is by far the largest city in Austria, as well as its cultural, economic, and political centre...
. Koidula lived in Kronstadt for 13 years but despite spending her summers in Estonia, she never stopped feeling inconsolably homesick. Lydia Koidula was the mother of three children. She died on August 11, 1886 after a long and painful illness. Her last poem was Enne surma- Eestimaale! (Before Death, To Estonia!).
Works
Emajõgi
The Emajõgi is a river in Estonia which flows from Lake Võrtsjärv through Tartu County into Lake Peipus, crossing the city of Tartu for 10 km. It has a length of 100 km...
[the Mother] River), was published in 1867. Three years earlier, in 1864, Adam Peterson, a farmer, and Johan Köler, a fashionable Estonian Saint Petersburg portraitist, had petitioned the czar for better treatment from the German landlords who ruled Estonia, equality and for the language of education to be Estonian. Immediately afterwards they were taken to the police where they were interrogated about a petition that ‘included false information and was directed against the regime’. Adam Peterson was sentenced to imprisonment for a year. Two years later, in 1866, the censorship reforms of 1855 that had given Koidula’s father a window to start Postimees
Postimees
Postimees is an Estonian daily newspaper. It was established in 1 January 1857 by Johann Voldemar Jannsen and became Estonia's first daily newspaper in 1891....
were reversed. Pre-publication censorship was re-imposed and literary freedom was curtailed. This was the political and literary climate when Koidula started to publish. Nevertheless, it was also the time of the National Awakening when the Estonian people, freed from serfdom in 1816, were beginning to feel a sense of pride in nationhood and to aspire to self-determination. Koidula was the most articulate voice of these aspirations.
German influence in Koidula’s work was unavoidable. The Baltic Germans had retained hegemony in the region since the 13th century, throughout German, Polish, Swedish and Russian rule and thus German was the language of tuition and of the intelligentsia in 19th century Estonia. Like her father (and all other Estonian writers at the time) Koidula translated much sentimental German prose, poetry and drama and there is a particular influence of the Biedermeier
Biedermeier
In Central Europe, the Biedermeier era refers to the middle-class sensibilities of the historical period between 1815, the year of the Congress of Vienna at the end of the Napoleonic Wars, and 1848, the year of the European revolutions...
movement. Biedermeier, a style which dominated ‘bourgeois’ art in continental Europe from 1815 to 1848, developed in the wake of the suppression of revolutionary ideas following the defeat of Napoleon. It was plain, unpretentious and characterised by pastoral romanticism; its themes were the home, the family, religion and scenes of rural life. The themes of Koidula’s early Vainulilled (Meadow Flowers; 1866) were certainly proto-Biedermeier,but her delicate, melodic treatment of them was in no way rustic or unsophisticated and the unrestrained patriotic outpourings of Emajõe Ööbik are anything but. Koidula reacted to the historical subjugation of the Estonian people as to a personal affront; she spoke of slavery and the yoke of subordination with all the grief and anguish of personal experience. By the time of the National Awakening in the 1860s, Estonia had been ruled by oppressive foreign powers, Danish, German, Swedish, Polish and Russian for over 600 years. She was, however, no mere victim or wilting plant. Koidula's work is full of passion and pride and she was conscious of her own role in the destiny of the nation – ‘It is a sin, a great sin, to be little in great times when a person can actually make history’ she wrote to a Finnish correspondent.
The Estonian literary tradition started by Kreutzwald continued with Koidula but whereas The Bard of Viru
Virumaa
Virumaa is a former independent county in Ancient Estonia. Now it is divided into Ida-Viru County or Eastern Vironia and Lääne-Viru County or Western Vironia...
tried to imitate the regivärss folk traditions of ancient Estonian, Koidula wrote (mostly) in modern, Western Europe
Western Europe
Western Europe is a loose term for the collection of countries in the western most region of the European continents, though this definition is context-dependent and carries cultural and political connotations. One definition describes Western Europe as a geographic entity—the region lying in the...
an end-rhyming metres that had, by the mid 19th century, become the dominant form . This made Koidula’s poetry much more accessible to the popular reader. But the major importance of Koidula lays not so much in her preferred form of verse but in her potent use of the Estonian language. Estonian was, still, in the 1860’s, in a German dominated Baltic province of Imperial Russia, the language of the oppressed indigenous peasantry. It was still the subject of orthographical bickering, still used in the main for predominantly patronising educationalist or religious texts, practical advice to farmers or cheap and cheerful popular story telling. Koidula successfully used this neglected and abused language to express emotions that ranged from an affectionate poem about the family cat, in Meie kass (Our Cat) and delicate love poetry, Head ööd (Good Night) to a powerful cri de coeur and rallying call to an oppressed nation, Mu isamaa nad olid matnud (My Country, they have buried you). With Lydia Koidula the colonial view that the Estonian language was an underdeveloped instrument for communication was, for the first time, very powerfully contradicted.
Drama
Vanemuine
Vanemuine, a literal translation from is a theatre in Tartu, Estonia. It is the first Estonian language theatre, founded as the Vanemuine Society on June 24, 1865 following the idea of Johann Voldemar Jannsen. In 1869 Vanemuine Society organised the first song festival in Estonia...
(Estonian: Vanemuise Selts), a society started by the Jannsens in Tartu
Tartu
Tartu is the second largest city of Estonia. In contrast to Estonia's political and financial capital Tallinn, Tartu is often considered the intellectual and cultural hub, especially since it is home to Estonia's oldest and most renowned university. Situated 186 km southeast of Tallinn, the...
in 1865 to promote Estonian culture. Lydia was the first to write original plays in Estonian and to tackle the practicalities of stage direction and production. Despite some Estonian interludes at the German theatre in Tallinn
Tallinn
Tallinn is the capital and largest city of Estonia. It occupies an area of with a population of 414,940. It is situated on the northern coast of the country, on the banks of the Gulf of Finland, south of Helsinki, east of Stockholm and west of Saint Petersburg. Tallinn's Old Town is in the list...
, in the early 19th century, there had been no appreciation of theatre as a media and few writers considered drama of any consequence, though Kreutzwald had translated two verse tragedies. In the late 1860s, both Estonians and Finns started to develop performances in their native tongues and Koidula, following suit, wrote and directed the comedy, Saaremaa Onupoeg (The Cousin from Saaremaa
Saaremaa
Saaremaa is the largest island in Estonia, measuring 2,673 km². The main island of Saare County, it is located in the Baltic Sea, south of Hiiumaa island, and belongs to the West Estonian Archipelago...
) in 1870 for the Vanemuine Society. It was based on Theodor Körner
Theodor Körner (author)
Karl Theodor Körner was a German poet and soldier. After some time in Vienna, where he wrote some light comedies and other works, he became a soldier and joined the German uprising against Napoleon...
’s (1791-1813) farce Der Vetter aus Bremen, (The Cousin from Bremen) adapted to an Estonian situation. The characterisation was rudimentary and the plot was simple but it was popular and Koidula went on to write and direct Maret ja Miina, (aka Kosjakased; The Betrothal Birches, 1870) and her own creation, the first ever completely Estonian play, Säärane mulk (What a Bumpkin!). Koidula’s attitude to the theatre was influenced by the philosopher, dramatist, and critic Gotthold Ephraim Lessing
Gotthold Ephraim Lessing
Gotthold Ephraim Lessing was a German writer, philosopher, dramatist, publicist, and art critic, and one of the most outstanding representatives of the Enlightenment era. His plays and theoretical writings substantially influenced the development of German literature...
(1729–1781), the author of Erziehung des Menschengeschlechts (The Education of the Human Race; 1780) - her plays were didactic and a vehicle for popular education. Koidula’s theatrical resources were few and raw – untrained, amateur actors and women played by men - but the qualities that impressed her contemporaries were her creation of a gallery of believable characters and the fact that her finger was on the pulse of contemporary situations.
At the first Estonian Song Festival
Estonian Song Festival
The Estonian Song Festival is one of the largest amateur choral events in the world, a Masterpiece of the Oral and Intangible Heritage of Humanity...
of 1869, an important rallying of the Estonian clans, two poems were set to music with lyrics by Lydia Koidula - Sind Surmani (Till Death) and Mu isamaa on minu arm (My Country is My Love), which became the unofficial anthem during the Soviet occupation when her father's Mu isamaa, mu õnn ja rõõm (My Country is My Pride and Joy), the anthem of the Estonian Republic in 1921–1940 was forbidden. Koidula’s song always finished every festival, with or without permission. The tradition persists to this day.
Memorial Museum of Lydia Koidula
A branch of the PärnuPärnu
Pärnu is a city in southwestern Estonia on the coast of Pärnu Bay, an inlet of the Gulf of Riga in the Baltic Sea. It is a popular summer vacation resort with many hotels, restaurants, and large beaches. The Pärnu River flows through the city and drains into the Gulf of Riga...
Museum, the museum gives an overview of the life and work of poet Lydia Koidula and her father Johann Voldemar Jannsen (author of the lyrics of Estonian anthem), important figures in Estonian national awakening period in the 19th century.
The Koidula museum is located in the Pärnu Ülejõe schoolhouse. The building was constructed in 1850 and has a unique interior. It was the home of Johann Voldemar Jannsen and the editorial office of the Perno Postimees
Postimees
Postimees is an Estonian daily newspaper. It was established in 1 January 1857 by Johann Voldemar Jannsen and became Estonia's first daily newspaper in 1891....
newspaper until 1863, now it is under protection as a historical monument. Jannsen’s elder daughter, poet Lydia Koidula grew up in the house. It is the main task of the museum to keep alive the memory of Koidula and Jannsen and to introduce their life and work in the context of the period of national awakening in Estonia through the permanent exposition.
There is a Monument of Lydia Koidula in the citycenter of Pärnu
Pärnu
Pärnu is a city in southwestern Estonia on the coast of Pärnu Bay, an inlet of the Gulf of Riga in the Baltic Sea. It is a popular summer vacation resort with many hotels, restaurants, and large beaches. The Pärnu River flows through the city and drains into the Gulf of Riga...
next to the historical building of Victoria Hotel on the corner of Kuninga and Lõuna street. The monument dates to 1929 and was the last work by famous Estonian sculptor Amandus Adamson
Amandus Adamson
Amandus Heinrich Adamson was an Estonian sculptor and painter.-Life:...
.