There are 3 major zones: (1) the Blumengarten, (2) the Pleasure ground, and (3) the park. There is a vocabulary and language of composition in the use of specific tree species. For instance, plane trees mark a transition from the park to the pleasure ground. The beech shows the most gardened areas, and the silver poplars serve as exclamation points. A major point of consideration is the park that Puckler writes about and envisions versus the park in actuality. The actual development of the park is very different because of various hindrances and also Puckler's "own erratic nature." In contrast, what Pucker writes about is "a non-material park universe" full of reveries and personal/societal allusions. This day was mostly about orienting ourselves in the park. The afternoon visit to the museum was more of an orientation to Puckler as a person. While he was using his travels to experience more of the world and perhaps propagate different ideas, he was also escaping from his obligations, especially in regards to debt, by traveling. In the Schloss museum, there is a small room lined with images of Puckler's "romantic" (?) conquests.

All of this serves as a mid-life point of comparison for Park Branitz, where he spent the later years of his life. The iconography (pyramid, six-pointed star, etc) seems to indicate some reflection upon his end of life, yet the remaining clear desire for color and glamour seems to show the continuation and culmination of financial irresponsibility. Is Branitz a reflection of thoughtfulness or some egomaniacal desire to leave a mark because he saw himself as some kind of king and wanted to be buried as such? There is a lack of documentation in regards to Puckler's personal thoughts on this park compared to all of the writing left related to Muskau. Branitz is much smaller, but much of the language and design strategy is the same. For instance, smaller trees break up vast expanses of space, which divides those spaces up into smaller rooms. These trees also serve as reasons to redirect paths within the overall composition. There is much more iconography in a smaller space, relative to Muskau. Does Branitz show an evolution of Puckler as a designer, and/or is it a mostly new chapter? It seems like the main idea is different, while much of the strategy remained similar.