Nymphenburg Palace Park
The Nymphenburg Palace Park is one of the largest and most important garden works of art in Germany . It forms a unit with Nymphenburg Palace and the park castles. The facility is located in the west of Munich in the Neuhausen-Nymphenburg district, named after the castle, on the border with Pasing-Obermenzing . The park is a listed building as a garden work of art and is a protected landscape area . Almost its entire area is also registered as a Natura 2000 area.
The artful combination of formal garden and landscape park is considered a masterpiece of garden art and makes the entire complex of palace and park a much-visited attraction. On its eastern side facing the city, it is bounded by the Nymphenburg Palace with the upstream palace rondel. From all other sides it is largely enclosed by the historical garden wall. To the north is the Botanical Garden and behind it, on the other side of Menzinger Straße, the Kapuzinerhölzl .
The French gardens of Vaux-le-Vicomte and Versailles Palace were the models for the original baroque garden . The present shape is the result of the fundamental redesign by Friedrich Ludwig Sckell from 1799. The park within the garden wall has a size of 180 hectares , the area of the whole complex is 229 hectares.
Overview
The garden consists of the large landscaped part to the west and the regularly designed area near the castle. The central canal divides the park landscape into a northern and a southern area. The water is supplied from the west of the Würm via the Pasing-Nymphenburg Canal . The water is diverted to the east and northeast via two canals and via the Hartmannshofer Bach to the north.
In the northern part there is the smaller Pagodenburger See with the Pagodenburg , in the southern part the larger Badenburger See with Apollo Temple and the Badenburg . The green fountain house with the water wheels and pressure pumps for the garden fountain is in the village of the southern part of the park. The Amalienburg determines the southeast part of the park.
In the east, the palace park borders the articulated palace building. On the garden side of the castle is the large garden ground floor, which occupies the middle part of the rectangle delimited by canals and is an extension of the central axis of the canal. The castle rondell is located on the city side of the castle .
history
The first planning
The birth of Prince Elector Max Emanuel of Bavaria from the noble Wittelsbach family in 1662 was the occasion to build a castle with a garden in the area between the villages of Neuhausen and Obermenzing as a gift for the young mother, Electress Henriette Adelaide of Savoy . The foundation stone for the “Schwaigbau zu Nymphenburg” was laid in 1664. Contrary to a widespread misconception , the Italian name “Borgo delle Ninfe” was first created in the 19th century. The complex was designed as a pleasure palace in the style of Italian country villas; The baroque palace complex, which could serve as a summer residence and alternative to the seat of government, the Munich Residence , was only expanded a generation later under Max Emanuel. The model was the Piedmontese hunting lodge La Venaria, whose architect Amedeo Castellamonte (1613–1683) provided the first designs for Nymphenburg. Agostino Barelli was employed as the first architect, and the court architect Marx (Markus) Schinnagl as site manager . The work began with the construction of a cube-shaped castle building and the creation of a garden west of the castle. It was a small, Italian- designed garden ground floor.
The French garden
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Between 1701 and 1704, changes and extensions to the garden in the French Baroque style were made by Charles Carbonet . This was accompanied by the construction of the canal and the supply of the water brought by the Würm .
The generous design was realized from 1715 by Dominique Girard , who had previously worked in the gardens of Versailles created by André Le Nôtre , and Joseph Effner , a student of Germain Boffrand . Girard managed a skilful flow of water in the formerly dry terrain. A rectangle of canals was created that brought the main palace and the garden ground floor into an island position. The west side of the rectangle formed the Great Cascade . In the style of the French models, straight paths were laid out and rows of trees and arcades were planted, which strictly divided the garden. The complex now consisted of two main areas, the ornamental garden near the castle and the forest to the west; the park castles had their own, smaller parterres.
1715 Max Emanuel made the subsequent outside of the castle park forest almost to Lake Starnberg in the deer hunting park remodel. As within the park, but on a larger scale, aisles were created and three hunting lodges were built.
The landscape park
The decisive change to the current shape of the garden was initiated by the redesign by Friedrich Ludwig Sckell. Sckell had previously shown a harmonious merging of the French and English garden styles with his design of the Schwetzingen palace garden. The work in Nymphenburg took longer due to the size of the garden. From 1799, Sckell first designed the demarcated Crown Prince Garden as a special garden. The creation of an extensive landscape park based on the English model began in 1804 with the southern part of the park, which was completed in 1807, and was completed with the northern part in 1810-1823.
Unlike Lancelot Brown in England, who created extensive landscaped parks by destroying the baroque gardens, Sckell proceeded more cautiously. He preserved the ground floor on the garden side of the castle as well as the central axis with the canal and the final cascade. In this way, he succeeded in subdividing the park unobtrusively into two landscape areas of comparable size, each with its own character and mood, to which two lakes, which Sckell designed very differently, contributed significantly.
This trick makes the Nymphenburger Park an example of a synthesis of two fundamentally different garden forms: the orderly French baroque garden that enhances nature through the means of art, with the English landscape park that stages the free play of nature. The garden was first opened to the general public in 1792 under Elector Karl Theodor.
The park after the end of the monarchy
Originally, the driveway avenues, the circular castle, the main castle and the garden formed a unit that stretched for more than three kilometers in an east-west direction and was located far from the gates of Munich. The growth of the city allowed buildings and the road network to advance further and further into the surrounding area. With the construction of the wide Ludwig Ferdinand Bridge over the Nymphenburg Canal , the construction of residential buildings along the northern and southern castle driveway and the construction of a railway line in the west, the park and castle were completely embraced and became a part of Munich.
After the abolition of the monarchy , the park and palace became part of the former crown property and were administered by the state. With the end of the Weimar Republic , the National Socialists seized the facility. Since the summer of 1936, the revue Night of the Amazons , with horses and dancing girls, was performed. After the violent appropriation of the monastery church in the orangery tract, a hunting museum was opened in this part of the castle in October 1938. The local group leadership of the NSDAP received an underground bunker .
During the Second World War, the main palace and the Amalienburg were given a camouflage to protect them from air attacks , the large areas of the path were darkened and parts of the central canal were covered. The water basins on the city side of the castle were also filled up later. The castle church, the forecourt, the Badenburg and the Great Cascade were destroyed or severely damaged by bombs , damage was also caused to the group of figures of Pan and the trees in the park. Occupation soldiers blew up an old building south of the Great Cascade , which had been used as an arsenal.
The repair of the structures and the restoration of the garden made slow progress. Although the restoration was carried out according to the historical models, a number of losses were not compensated for. The sports field in the southern tip of the park, which was laid out before the Second World War, represents an ongoing, gross intervention in the park.
During the 1972 Summer Olympics , riding events were held in the palace gardens: the dressage competitions were held on the garden parterre. The statues were relocated, the riding arena and grandstands were built as temporary facilities , and the outbuildings of the castle were used as stables .
The park and its parts
The driveway avenues
The northern and southern driveway avenues accompany the canal running from the city to the castle. They are the only part of a star-shaped avenue system planned by Joseph Effner for an ideal baroque city ("Carlstadt") . It was also planned to connect the elector's three summer residences (Nymphenburg, Schleissheim Palace and Dachau Palace ) with canals, on the one hand so that courtly society could get from one pleasure to the next by gondola, on the other hand - following the Dutch model - as Transport route for agricultural products and building materials.
The very long castle driveways along the castle canal served as a display of absolutist power. The journey was supposed to impress princely guests: a visitor who was approaching the castle from the east in a horse-drawn carriage noticed the growing backdrop of the building, while driving through the roundabout his vehicle described a semicircle so that the castle was almost half a kilometer wide presented its grandeur.
The main castle and the driveway roundabout
The end of the castle canal leading from the city to the castle is the courtyard , the center of which Effner designed as a water parterre, with a fountain, water cascade and canals branching off on both sides. These break through the chain of main and ancillary buildings and are continued under the galleries on the garden side that were built between around 1739 and 1747. This further emphasizes the connection between the courtyard, palace and the garden behind, which is already indicated by the large window openings and arches in the main building.
The driveway roundabout is closed on the city side by a semicircle of smaller buildings, the cavalier houses . These ten circular pavilions were planned by Joseph Effner and built from 1728. The Nymphenburg Porcelain Manufactory has been located in the pavilion at Nördliches Schloßrondell 8, a two-storey hipped roof building with a semicircular central projection and plastered structure from 1758 . The orangery was located in the square building in the northernmost corner of the palace during the Baroque period . Today the Carl Friedrich von Siemens Foundation is located in the pavilion at the Südliche Schloßrondell 23, a two-story baroque hipped roof building from 1729 with stucco structure and a narrow central projection by Effner . In front of the Ehrenhof there is also a lawn ground floor, which underlines the character of the building designed as a garden palace.
The garden ground floor
The garden ground floor, which is closely linked to the garden side of the castle, is a feature of the French garden that is still visible today. In the course of the redesign of the entire palace park by Sckell, it was simplified, but retained its original size: In 1815, a six-part broderie parterre became a four-part lawn with a flower border. The view of a viewer standing on the steps of the castle is led across the ground floor with the central garden fountain to the water axis.
Today the ground floor is divided into four fields, of which the eastern ones, facing the castle, are significantly longer than the western ones. This shortening of perspective creates additional spatial depth, seen from the castle stairs, an effect that is reinforced by the fountain. The ground floor has a lawn in the manner of a parterre à l'angloise , which is bordered by a row of flowers. A spring and a summer planting with color changes are currently being carried out.
The landscape park
The largest area of the park is taken up by the landscape garden designed in the English style. The northern part is determined from that in the Northern perusal lying pagoda Burger lake with the Pagodenburg and the pagoda Burger valley , a north-trending Wiesentalstrasse with a in the ball Weiher debouching stream. The southern part is even more varied with a southern view , the large Badenburg lake , which allows the visitor to look over the water surface to the Apollo temple built in the form of a monopteros and the Badenburg , behind which a wide meadow valley called a lion valley leads to the south, as well as the village , the Amalienburg south of the Great Parterre and the Crown Prince Garden .
Special gardens
Crown Prince Garden
The rectangular Kronprinzengarten ( Ludwigsgarten ) lies northeast of the Amalienburg . He was the first work of Friedrich Ludwig Sckell in Nymphenburg, the 1799 this manageable gardens, which already features has the English garden style, the young Ludwig I created. The pavilion was also built for him , a two-story timber structure, the octagonal main part of which has two rooms with the same floor plan on both floors. In the porch, popularly known as the “witch's house”, a staircase leads to the first floor. Its exterior painting should give the impression of an artificial ruin. The walls inside are decorated with hand-printed wallpaper. A small stream emerges between stones as if from a natural rock spring; it is fed by the water of the southern canal via a sloping water pipe. The garden is separated from the rest of the Amalienburg garden by a wooden fence . The Crown Prince Garden was restored in 1982/83.
The ornamental gardens
There are three ornamental gardens to the north of the garden parterre . They border on the old greenhouses to which they are spatially related. These flower gardens were designed as formal gardens by Friedrich Ludwig Sckell (1810–1820), the regularity of which should contrast with the landscape park.
Northern Cabinet Garden
This small garden borders directly on the garden side of the north wing of the main castle. It is also called the Imperial Garden because it is in the immediate vicinity of the rooms that Karl Albrecht lived in during his time as Karl VII (German Emperor from 1742–45). It has its counterpart in the southern cabinet garden, both of which had the function of giardini segreti .
Its furnishings included a flower parterre, an arcade to a garden pavilion to the north, in front of which there is a round, now dry water basin, to which a staircase leads down. Two parallel beech hedges lead from north to south, each with five niches decorated with busts on Hermes plinths . The busts are made of coarse-grained marble, the bases are made of red marble. They are likely to have been made at the end of the 17th or the beginning of the 18th century and may have come from the workshop of Giuseppe Volpini.
The Northern Cabinet Garden is one of the oldest parts of the Nymphenburg Gardens still preserved in its structure.
South cabinet garden
The southern cabinet garden was similar to the northern one before it was redesigned by Friedrich Ludwig Sckell. Sckell provided it with a particularly large amount of valuable trees. In the south corner is the small cascade consisting of two basins , which its present form probably in 1764 after a design by François Cuvilliés the Elder. Ä. received. It was built in 1724 together with the creation of this part of the garden. The upper, smaller basin is adorned with a nappe d'eau . Both basins are made of red marble. Behind the upper basin is an aedicula added at the beginning of the 19th century , in the niche of which there is a copy of the Venus italica by Antonio Canova .
The small cascade is surrounded by four statues by Konrad Eberhard . They depict: Leda with the swan (1810), Silenus (a satyr) with Bacchus as a boy (1812), the sleeping Endymion (1820) and Diana hurrying towards them (1820). The figures displayed are copies, the originals were made of Carrara marble. In the northern part of the garden there is the octagonal bird house by François de Cuvilliés the Elder. Ä. from the year 1757. The building in the manner of a small garden pavilion is made of stone and plastered on all sides, a protruding, cage-like grille made of wrought iron is attached in front of the southern window. The building is also by Cuvilliés; the colored painting is the work of Ambrosius Hörmannstorfer (renewed in 1977 by Res Koller).
The restoration of the cascade was completed in July 2008. The original operation via a sloping water pipe from the canal at the Grünen Brunnhaus was converted to a circulation system with a pump and filter. The stones of the fountain surround were reused, the statues were replaced by casts of the originals.
Lakes and canal system
Due to an imperceptible difference in height of around five meters between the northern and southern parts of the park, it was possible to create three levels by means of clever water management. The gradient enables the cascades and allows water wheels to be operated for pumping purposes. From the west, water that is taken from the Würm near Pasing is led into the park area via the Pasing-Nymphenburg Canal. The canal branching off into the southern, higher part of the park retains its original level, while most of the water feeds the Great Cascade . A northern bypass channel leads further water to the basin below the cascade. The cascade and bypass canal fall on the lower level of the central canal and the water basin in front of the garden ground floor. Originally the northern bypass canal was connected to the canal coming from the west by a lock; the lock has now been replaced by a small weir.
Some of the water from the southern canal is used to operate the water wheel pumps for the fountain on the garden side, the rest flows over a waterfall (former sluice) to the lower level of the central canal. The central canal divides into two arms in front of the large ground floor , which lead under the connecting wings of the palace (therefore called “waterways” ), encompass the main palace building and garden ground floor and lead to the basin in front of the courtyard. The pumping station in the Johannis well tower of the castle building , which is also driven by water wheels, is fed from the northern arm . Most of the water from the park then falls to the lower level of the basins of the castle rondell and the castle canal between the castle driveways, which ends in a water basin ( Hubertus fountain ) . The water is drained but not by the lock channel , but by two inconspicuous grooves in the north section of the rondel, marking the beginning of the Nymphenburg Biedersteiner channel form.
The lakes
The two lakes shape the Nymphenburg Park significantly. These are artificial waters that were created in the course of the redesign by Ludwig von Sckell. Already in the Baroque period there were two small ponds in the area of today's waters, they related to the Parkschlösschen Badenburg and Pagodenburg . Sckell thus followed up on an existing idea. The excavated earth provided the material that was used to create the meadow valleys.
Badenburg lake
The larger of the two lakes is called Badenburger See . It is located in the southern part of the park. It owes its name to the Badenburg on its southern bank. It was laid out between 1805 and 1807. Its area is 5.7 hectares. On a headland from the north is the Temple of Apollo , built in the form of a monopteros , which dominates the north-western part and is clearly visible from various points on the shore. There are three small islands in the lake.
Pagodenburger See
In the northern part of the park is the smaller lake, the Pagodenburger See . It was completed in 1813. In terms of design, he is determined by the Pagodenburg , which is located on an island formed by a ring-like channel that largely occupies the northern part of the lake and can be reached via two pedestrian bridges. The area of the lake including the approximately one hectare island is 2.9 hectares. The water feeds the Hartmannshofer Bach , which flows freely to the north through the Pagodenburger Tal , a lovely meadow valley, and flows 420 meters further north into the Kugelweiher - a typical creation for Sckell. The lake's water inlet is underground from the central canal, the inlet was originally camouflaged as a rock grotto. A dam overgrown with thick wood shields the lake from the south to the higher central canal.
Canals, locks and bridges
The canals of the palace park are part of the Nymphenburg Canal, which runs through large parts of western Munich . While the central canal is reminiscent of French gardens, the entire system is based on Dutch models, in particular from Het Loo . Most of the canals could be navigated by boat until 1846. Remains of the locks from the 18th century can be found by the flood canal behind the Great Cascade and between the village and the Amalienburg in the southern park canal.
Originally there were sixteen bascule bridges. The bridges that exist today are from more recent times ( Nymphenbrücke 1902, Bogenbrücke 1903, Badenburgbrücke 1906, Northern and Southern Swan Bridge 1969). They are made of concrete, have decorations and artistically forged bridge railings. They cannot be opened, and a boat passage is no longer possible.
The central channel
The central water axis goes back to the original baroque design of the garden. The central canal begins with a basin below the Great Cascade , leads 800 meters straight to the east and ends in a basin that closes off the garden ground floor. Two canals branch off from this water basin, which enclose the garden parterre with the flower gardens and greenhouses in the north and a strip of the Amalienburg part of the park in the south and then flow to the east towards the castle. Both canals pass under the wing buildings of the castle, the building connections are called waterways .
The southern channel
The western part of the southern canal feeds Lake Badenburg . Apart from the small amount of water that flows off over the small stream at the Pan group , the canal in its continuation diverts the lake water to the east. Its appearance is that of a small waterway - in the Baroque era, gondolas and boats drove here for the pleasure of the members of the court . The small watercraft overcame the difference in height between Lake Badenburg and the central basin at the garden ground floor by means of a lock .
Water arts
The well thought-out use of the water gives the Nymphenburg facility its attractive liveliness. Water appears in the form of the calm areas of the two lakes, flowing in the canals and streams, falling and rushing in the two cascades and rising in the fountains of the two large fountains. The numerous water features from the Baroque period are no longer there.
The great cascade
The amount of water that flows through the park is brought in from the west via the Pasing-Nymphenburg Canal . A considerable part of this water falls over the Great Cascade from the upper to the lower cascade basin. The cascade forms the end point of the visual axis along the central canal, even if it can hardly be seen from the castle stairs on the garden side because of the considerable distance.
The Great Cascade was built by Joseph Effner in 1717. He was referring to a concept by François Roëttiers . The water falls in the middle of a two-part water staircase, the first step being shaped like a semicircle to the west, the second, lower, to the east. The cascade continues the symmetry through the central channel. The face of the cataract was clad with pink marble in 1770. Originally a flanking architecture was planned, but this was never implemented. Instead, sculptures were erected at the end of the 18th century .
Part of the remaining water volume of the Pasing-Nymphenburg Canal is channeled into the southern canal before the cascade while maintaining the level, the other falls in a former sluice into a lateral flood canal, which contributes to the supply of the central canal.
The fountains in front of the castle and on the garden side
The fountains are still operated by pumping stations that are driven by water wheels and have been in operation since the beginning of the 19th century.
The city-side fountain is supplied with water by pressure pumps in the Johannis-Brunnturm of the castle building, which are driven by three overshot water wheels. They were designed by Joseph von Baader in 1807 and replaced an older pump that had been built by Franz Ferdinand Albert Graf von der Wahl in 1716. The facility is still largely in its original condition.
The garden-side fountain had its predecessor in the Flora fountain , which dominated the baroque garden ground floor. It was built in 1717-22. Its large, octagonal marble basin was adorned with numerous figures made of gilded lead cast by Guillielmus de Grof. Besides the large statue of Flora, there were putti and animal figures, some of which were arranged in scenes that showed them in teasing situations. The fountain was demolished at the beginning of the 19th century in the course of the simplification of the garden parterre by Ludwig von Sckell; its remains have disappeared. Today's fountain is operated by means of a pressure pipe from the Grünen Brunnhaus in the village .
Buildings
The park castles
The so-called park castles are not mere staffage buildings, but pleasure palaces with comfortable rooms that represent architectural gems. The Pagodenburg stands on the smaller, northern lake, which is therefore also called the Pagodenburger See. The Badenburg is located on the larger, southern lake, which is therefore also known as the Badenburg lake. The Amalienburg, the largest of the Parkschlösschen, is the center of a rectangular part of the garden bordering the garden ground floor to the south.
Badenburg
The Badenburg is located at the southeast end of the Great Lake. The structure dominates part of the lake, as it is cleverly inserted into a visual axis and can also be seen from the north. The castle was built by Joseph Effner between 1718 and 1722. It was the first large building in Europe in centuries to be used solely for the purpose of being able to enjoy a comfortable bathroom. As part of the restoration from 1983-84, the wood shingle roof and the ocher yellow color of the building were restored.
Two open staircases, one from the south and one sweeping one from the north, lead into the building. The northern one opens the spacious hall to the lake. The other rooms on the ground floor are: to the south-west the bathroom, to the south-east the bedroom with adjoining writing desk and cloakroom, in the middle a playroom with a passage to the hall. The hall has festive decorations by Charles Dubut . The ceiling fresco by Jacopo Amigoni , destroyed in 1944, was replaced in 1984 by a copy by Karl Manninger . Three rooms are decorated with Chinese wallpaper . While two of them show scenes from everyday life in the Far East, the third shows plants, birds and butterflies in pink-green colors. In the great hall there are two fountains with statuettes of Triton children riding on water-spouting dolphins , the gilded lead castings are by Guillielmus de Grof (1722).
The bathroom extends over two floors, basement and ground floor. It is almost completely taken up by the bathing pool, which can be called luxurious with an area of 8.70 × 6.10 and a depth of 1.45 meters. It is laid out with Dutch tiles. The gallery, clad in stucco marble, is closed off by a wrought-iron railing by Antoine Motté . Nymphs and naiads adorn the ceiling of the bathing room . The technical systems required for hot water preparation are located in the basement.
The southern staircase is flanked by two lion figures, which were probably placed on the stair stringers around 1769. They come from Charles de Groff , are made of Regensburg green sandstone and were sometimes white. The staircase connects the castle with a wide meadow valley, the Löwental, which owes its name to the two animal figures and ends with a Ha-Ha .
Pagoda Castle
The Pagodenburg was built as a maison de plaisance under the direction of Joseph Effner from 1716 to 1719, according to tradition, using a floor plan by Max Emanuel . As early as 1767 there was a revision by François Cuvilliés the Elder. Ä. in the rococo style.
The term Pagodenburg is already used in contemporary reports and refers to the interior decoration according to the fashion of the Chinoiserie . At that time, the term pagoda was understood to mean both pagan temples in Asia and the deities depicted in them. The latter can also be found in the wall paintings on the ground floor of the Pagodenburg.
The two-storey building is an octagonal structure with four very short wings and a cross-shaped, north-south oriented floor plan.
The ground floor consists of a single room, the Salettl, which is decorated entirely in blue and white. Its walls are largely covered with Delft tiles . In the niches and the arches of the side cabinets, as well as on the door to the stairwell, there are wall paintings by Johann Anton Gumpp, which show the numerous eponymous Asian deities. The ceiling is painted with female personifications from the four continents.
Around 1770, the original furnishings in the Salettl were replaced by rococo-style furniture, which with its blue and white frame picks up on the colors of the wall design and can still be seen in the Pagodenburg today. This includes a round pull-out table with the Wittelsbach coat of arms on the tabletop, two canapés and a chandelier .
The pagoda castle is divided into four on the upper floor. While one wing is reserved for the staircase, the other three house a relaxation room, the Chinese salon and the smaller Chinese cabinet. The relaxation room is the only room in the Pagodenburg that has no elements of Chinese fashion, but is entirely committed to the style of the French Regency . There is a fireplace with a mirror above it and an alcove with two day beds.
The walls of the Chinese salon are clad with black lacquered wood paneling, which serves as a frame for Chinese scrolls with plant and bird motifs. In the window and door reveals there are European lacquer panels, which are also painted with floral motifs based on the scroll paintings. Above that there is a gold-ground figure frieze that leads to the ceiling painting. This also shows chinoise motifs in a grotesque style . The Chinese Cabinet has the same basic structure as the Chinese Salon, but the wall paneling is kept in red lacquer. The 33 scroll pictures that were used for the wall paneling on the upper floor are New Year's pictures imported from China, only three of which are European imitations.
The two lacquer chests of drawers in the Chinese Salon were assembled in France from East Asian lacquer panels. The fronts and the cover plates show Urushi lacquers with golden and silver scattered images and paintings on a black background. You can see cranes, ducks and swans on a riverside landscape.
In 2003 a comprehensive restoration of the Pagodenburg was completed.
A replica of the Pagodenburg is in Rastatt . Margravine Franziska Sibylla Augusta von Baden was so impressed on a visit to Elector Max Emanuel that she had the plans sent to Rastatt. The Rastatt Pagodenburg was built there under the direction of the court architect Johann Michael Ludwig Rohrer .
Amalienburg
The Amalienburg stands in the Amalienburger Garten, which connects to the garden ground floor to the south. It was designed by François Cuvilliés the Elder. Ä. Built from 1734 to 1739 as a hunting lodge for pheasant hunting . The rocaille can be found as the main form in ornamentation of the early Rococo , but floral ornament motifs still prevail in the building.
The entrance is in the west, in front of it a rounded courtyard is indicated. On the east side a staircase leads to the outside, originally there was a garden ground floor related to the building. It is no longer recognizable due to the redesign in the landscape style.
The one-story rococo building was a gift from Elector Karl Albrecht to his wife Amalie . The stucco work and carvings of the hunting lodge were carried out by Johann Baptist Zimmermann and Joachim Dietrich . The entrance leads to the centrally located, round hall of mirrors , the mirrored walls of which depict nature outside. The hunting room and the pheasant room are connected to the north, the rest room and the blue cabinet to the south; from there the retirade and the dog room are accessible. The kitchen is adjacent to the pheasant room in the north. The blue and white Chinese style tiles show flowers and birds. A 1735 by François Cuvilliés d. Ä. designed Castrol stove (derived from casserole , French for saucepan ); It was the first stove with a closed fire box and a stove top. As rooms that are particularly rare in the princely environment, the kitchen and dog room underwent a final comprehensive renovation for the 800th anniversary of the state capital of Munich (1958).
In the central niche of the eastern facade is a stucco half-sculpture by Johann Baptist Zimmermann, which depicts a scene with Diana, the goddess of the hunt. The representation introduces the image program that defines the entire furnishings of the building . The attic carried decorative vases from 1737, also made to a design by Zimmermann, which disappeared at an unknown point in time. In 1992 they were recreated according to a design by Hans Geiger, four have adorned the entrance facade since then, twelve on the garden side of the Amalienburg.
A platform with an elaborate lattice, which is placed on the building in the middle of the roof, served as a high stand for pheasant hunting: the birds were driven to the Amalienburg by the then pheasantry (now a menagerie building). Since the castle could be supplied by the kitchen in the house, the Amalienburg lacks its own farm building, unlike the other two park castles.
Staffage buildings
Magdalenenklause
Although it is counted among the park castles, the Magdalenenklause, which is somewhat hidden in the northern part of the park, differs significantly from the other castles. It is a hermitage designed as an artificial ruin . It was built by Joseph Effner between 1725 and 1728. The single-storey building has a rectangular floor plan, the aspect ratio of which corresponds to the golden section . To the north-west and south-west, this rectangle is extended by two apses ; two small, round extensions are added to the building corners at the front. The entrance facade alludes to Italian ruins, the plastering on the outside reveals seemingly bricked-up window openings, which reinforces the impression of the dilapidated state. The roof, which was kept flat until 1750, was a perfect match.
The building is considered an early representative of the hermitage and ruin architecture in Germany; of the garden folly type , the building, separated from the neighboring palace, was intended to serve as a place of contemplation for the elector - a memento mori , which he did not live to see completion.
The building is entered from the east. A dining room and a prayer room follow a vestibule , an anteroom and a small cabinet. In contrast to these rooms, which are simply furnished with simple paneling, there is the two-part chapel , the walls of which are grottled with fantastic stucco work, shells and formerly colored pebbles . The design was carried out by Johann Bernhard Joch , the stucco figure of the penitent Magdalena comes from Giuseppe Volpini , the ceiling frescoes in the chapel and in the apse were created by Nikolaus Gottfried Stuber . The grilles were made by Antoine Motté.
Temple of Apollo
The Temple of Apollo stands on a peninsula on the shore of Lake Badenburg. It is a monopteros with ten columns in Corinthian style made of gray-beige sandstone. The structure was built by Carl Mühlthaler 1862–65 based on a plan by Leo von Klenze . Inside there is a marble stele with a dedication by Ludwig I. It forms an eye-catcher of the landscape around the lake, invites you to linger and allows the visitor a panoramic view of the water surface.
Before the temple of Apollo was built, a wooden round temple stood twice on the headland. The first was built in 1805 for the Electress's birthday. When this had become brittle, Friedrich Ludwig von Sckell suggested the construction of a stone round temple with a cella based on the model of the Temple of Vesta in Tivoli . After his idea was rejected, a somewhat larger replacement structure made of larch wood was built, which was completed in 1818.
Hamlet
The five buildings of the village are on the north bank of the southern park canal. The houses built for court servants in a beaver enclosure that no longer exists today and some of them are still inhabited, embody the idealized idea of rural life in courtly times - the longing for the supposed idyll of the world of farmers and shepherds. Models can be found in a staffage village in the park of Chantilly (1774) and in the Hameau de la Reine in the park of the Palace of Versailles (1783).
In the second half of the 18th century, a few more single-storey small farmhouses were added to the two-storey Green Well House. These are the Hirschgartenbrunnhaus, the Brunnwärterhaus, formerly with a smithy, and the beaver keeper's house. In 1803/04, the pump house, which had previously been accompanied by two wooden water towers, was converted into the Grünen Brunnhaus, whose pumping stations served pressure pumps via internal water wheels from that point on. Water from the southern canal, which at this point still has the same level as the Würm Canal, is fed into the building via a small branch. With the doors and windows open during the day, visitors to the park can observe how the height difference of the site is used to generate energy. The machines were designed by Joseph von Baader in 1803 and have been supplying the fountain in the garden ground floor ever since.
Functional buildings
The historic greenhouses
The greenhouses in Nymphenburg Park, not to be confused with those in the nearby Botanical Garden , adjoin the three flower gardens in the north . They stand in a row, parallel to the floor plan of the garden ground floor inside and the canal rectangle outside. The eastern greenhouse was built in 1807 and rebuilt after a fire by Carl Mühlthaler in 1867 as a construction made of iron and glass. It is therefore called the Iron House . The rooms under the roof functioned as living space for the gardeners, who had to ensure constant temperatures around the clock. In this way it was possible to cultivate the valuable exotic plants of King Maximilian I Joseph , an enthusiastic botany collector, under glass. The middle greenhouse is the geranium house that Sckell had built in 1816. The side pavilions, built as wing structures, were used by King Maximilian I Joseph and his family to stay. To the west of it stands the palm house that Sckell had built in 1820. It received hot water heating as early as 1830.
To the north of it, directly on the castle wall, is the gooseneck greenhouse. It is the oldest in the area. Created in 1755, "rare fruits", e.g. B. pineapple, grown for the court kitchen.
menagerie
The building of the former menagerie is located outside the park wall south of the Amalienburger garden . Max Joseph bought a large number of exotic animals, including a llama, kangaroos, a monkey and various species of birds.
Sculpture program
The image program of the Nymphenburg Garden, created in the 18th century, is borrowed from Roman mythology. The sculptures represent the sixteen main deities of Olympus . Their arrangement was changed with the conversion to an English landscape park; Today there are only twelve statues left on the garden ground floor, four have been moved to the Great Cascade . Male and female deities take turns. Most of the statues are made of Lasa and Sterzing marble , the plinths are made of red Tegernsee marble or tuff stone .
The image program of the baroque garden was much more extensive than today's garden layout suggests. In many places on the ground floor there were figures and decorative vases made of gold-plated lead cast, the twelve vases were made by Guillielmus de Grof in 1717–22. The paths by the Great Cascade were decorated with fourteen groups of figures made of lead, also by Guillielmus de Grof; twelve of the putti depictions represented the months of the year, two more the continents. They were repaired in 1753–54 by Charles de Groff, the son of Guillielmus, and set up on the garden ground floor. None of the lead figures and vases are still there. At the end of the 18th century they were already considered to be out of date. In addition, the weather hit them, they were full of holes, parts broke off, the iron inner supports rusted - a fall from its base usually completely ruined a sculpture.
The furnishing with marble statues proceeded extremely slowly, for many years stucco models formed a temporary solution. The first drafts for today's marble statues came from Franz Ignaz Günther , Johann Baptist Hagenauer and Johann Baptist Straub . There are differing research results on the attribution in detail.
Statues on the garden ground floor
The garden ground floor has two types of plastic jewelry. There are twelve large statues on plinths and twelve ornamental vases on plinths with figural reliefs, all in the form of putti dancing, matching the mythological theme of the statues.
While the vases are set up on the narrow sides of the four compartments forming the garden ground floor, the statues are on their long sides. Viewed from the steps on the garden side, these are on the far left: Mercury , Venus , Bacchus ; far right: Diana , Apollo , Ceres ; facing each other on the middle way: Cybele and Saturn , Jupiter and Juno , Proserpina and Pluto .
Roman Anton Boos created all the ornamental vases (1785–1798) and the figures of Bacchus (1782), Mercury (1778), Apollo (1785), Venus (1778), Diana (1785) and Ceres (1782). Dominik Auliczek made the statues of Proserpina (1778), Juno (1791–92), Pluto (1778) and Jupiter (1791–92). The figures of Saturn and Cybele are by Giovanni Marchiori (both delivered from Treviso in 1765 , signed on the plinth ) and are made of Carrara marble.
The older statues, Cybele and Saturn, differ stylistically from all the figures designed later. The hard facial features of Cybele, whose head is adorned with a wall, and the drastic pose of Saturn, who is about to devour one of his sons, convey destruction and cruelty, which is surprising in the context of a princely pleasure garden.
Statues on the Grand Cascade
Between the upper and lower cascade basins, on both sides of the falling water, there are two reclining figures with urns by Giuseppe Volpini , symbols of the Isar and Danube rivers (1715–1717). Eight statues on pedestals are grouped symmetrically around the upper basin. These are: Hercules (1718–1721), Minerva (1722–1723), Flora and Aeolus (both around 1728) also by Giuseppe Volpini, Mars and Pallas (both around 1777) and Amphitrite with a dolphin (1775) by Roman Anton Boos , and Neptune by Guillaume de Grof (around 1737). The river gods have their role models in the garden of the Versailles Palace. The statues of Volpini were originally in the garden of the Schleissheim Palace .
Group of Pan
On the way from Badenburg to the north is the sculpture of the resting Pan on the left , who plays the shepherd's flute ( Syrinx ) in the company of a billy goat . The seated figure from 1815 comes from Peter Simon Lamine , who repeats his motif from 1774 from the Schwetzingen Palace Park. Executed in Carrara marble , the shepherd god stands somewhat enraptured on an artificial elevation on a base made of Nagelfluh . The entire area was originally structured with additional rocks, which are clearly visible but have sunk into the terrain today. The “Pan Monument”, as early historians called the group, crowns an artificial spring. It is the outflow of the Great Lake, which pours into the Teufelsbach with a small waterfall and flows in a northeasterly direction. The background of the ancient legendary figure is formed by yews, which merge into a residual vegetation of the originally existing barberries, clematis, blackberries and ferns. It is the only garden decoration that was realized during Friedrich Ludwig von Sckell's Bavarian tenure. Pan representations are among the popular motifs in the sculpture programs of garden art.
Statues in the flower gardens
In front of the Iron House, in the middle of a round well basin, there is a figure of a boy who is being dragged down by a dolphin. It was made in sandstone in 1816 by Peter Simon Lamine at the instigation of Max Joseph I. The depiction of the dolphin as a fish-like monster was common at the time.
A similar fountain is in front of the geranium house. In the middle is the figure of a boy riding a dolphin. The sculpture was made by Johann Nepomuk Haller based on a design by Lamine (1818).
A group of four figures on a common base decorates the middle flower garden. It represents the judgment of Paris . The statues show Paris with the apple as the subject of the dispute, Aphrodite , Hera and Pallas Athene (from left to right); they were executed in red sandstone by Landolin Ohmacht (1804–1807).
The staging of the landscape
The road network
An elaborate system of footpaths runs through the park. It also allows long walks without having to walk routes twice. All paths are water-bound, there are no additional driveways like in the English Garden .
In the large ground floor and in the flower gardens, the network of paths is based on the straight lines of the French garden: from the fine gravel space in front of the garden-side castle stairs, a spacious connection leads to the garden fountain and on to the end basin of the central canal; the walker moves there on the great east-west axis, which has the central building of the castle as its center. To the north and south there are two parallel paths, both with benches, a row of trees and a hedge. Parallel paths then accompany the central channel to the lower basin of the Great Cascade , this and the upper basin are trapezoidal and rectangular enclosed by paths. This exhausts the range of geometric connections.
In the southern part of the Amalienburg garden and in the entire landscape park there are only paths that form a generous network with an irregular floor plan in varied curves. It gives the walker a feeling of unconstrained movement in a landscape that represents its own, self-contained cosmos, whose visitors think they are removed from the everyday world. A significant proportion of the paths lead through the forest, the border of which is designed in many places so that it does not always reach the path: a special design principle typical of Friedrich Ludwig Sckell. The system of paths created by Sckell has hardly changed to this day. It is the key to experiencing the landscape staging of the Nymphenburg Park.
Visual effects
The inclusion of the water surface, which can be seen as small, glittering spots in the two views, creates an unexpected depth effect; the expansion of the park appears to have increased. The viewer only develops this effect after looking for a long time. The views are given the function of a perspective into an idyllic world. The lighting conditions, which change depending on the time of day, season and weather, always give new nuances the opportunity to unfold, even the sky sometimes seems to be included in the staging.
The garden wall
The wooded area of the baroque garden was part of an extensive wooded area that reached into the Starnberg area and only parts of which have been preserved. The Kapuzinerhölzl connects to the north. A garden wall was built between 1730 and 1735 in order to prevent game movement. It encloses the entire park almost completely except for the Pasing-Nymphenburg Canal, which is separated by a grille, and with the exception of the east side, which is bounded by the palace building. The wall is roughly plastered, and there is a functionless round tower at two of the western corners. Inside the park, a beaten path leads along the wall. This path offers an interesting alternative away from the tourist hustle and bustle, as this path shows the castle park from its wild side. The path is not marked on the official maps and has a total length of approx. 7 km.
The ha-has
The peculiar designation Ha-Ha , here called Aha , for a deeply laid wall or for a ditch that replaces a section of a garden wall, comes from the surprise of the walker when he discovers this trick to visually expand the garden. The Ha-Ha was introduced to gardening in the early 18th century, its construction method was described by Antoine-Joseph Dézallier d'Argenville .
In Nymphenburger Park there are four Ha-Has, three large and one smaller, three are in the southern part of the park. They extend the visibility through the meadow valleys to the surrounding area. All Ha-has were only created in the course of the transformation into a landscape park by Sckell. The southern view ends in Pasinger Ha-Ha , it dates back to 1807. The Löwental leads to Löwental-Ha-Ha and the Wiesental towards Laim to Laimer Ha-Ha , both from 1810. In the northern part of the park, Menzinger Ha- Ha the northern inspection . Originally, distant views were possible as far as Blutenburg, Pipping and the Alps. Today these lines of sight are partially blocked.
The views
A special attraction for the visitor's eye are the long viewing aisles, which can be seen from the castle stairs on the garden side and which invite you to calmly look at and experience light, shadow and color nuances depending on the time of day and season. The west-facing central axis leads the eye along the canal to the cascade that can be seen in the distance, over which the sunset can be observed on summer evenings - a symbol of absolutist greatness that Friedrich Ludwig Sckell retained when he transformed it into a landscape park. To the right and left of the central axis, two symmetrical viewing aisles lead into the idyllic park landscape and convey an illusion of infinity. In the opposite direction, both aisles have the central building of the palace as a point de vue . These three transparent lines already existed in the French garden and were integrated into the landscape park by Sckell, but also extended beyond the park boundaries with the Ha-Has.
Northern view
The northern view consists of a lawn aisle towards west-northwest with an irregular wood border. It begins at the basin of the central canal west of the garden parterre. The aisle leads the view over almost the entire water surface of the Pagodenburger See . A Ha-Ha extends the view over the park boundary into the adjacent green area.
Southern view
The southern view consists of a lawn aisle towards the west-southwest; it also begins at the basin of the Mittelkanal, but opens wider and leads over the northern tip of the larger Badenburg Lake . On the west bank of the lake, the visual aisle is led as a narrow strip of lawn to the park boundary, where it is also extended over a ha-ha.
Garden history classification
Of the garden creations by Dominique Girard and Joseph Effner, apart from the canal system and the palace buildings, only the water parterre to the east and the northern cabinet garden to the northwest of the main palace are preserved today. The splendor of the lavish garden furnishings can still be seen in Bernardo Bellotto's two paintings.
The gardens of the Nymphenburg Palace underwent their greatest changes with the creation of the landscape park by Ludwig von Sckell. It was a redesign and, at the same time, a further development: The garden parterre, which is committed to the French garden style, and the water axis were left, but simplified; the forest area, originally segmented by hunting aisles, the embossed areas and the embedded, independent, formal garden parterres of the three park palaces were subjected to uniform over-planning and transformed into a self-contained park landscape in the English style, with a not inconsiderable portion being converted into water areas.
History of ideas background
The establishment of English gardens by royal houses after the French Revolution and their slide into a reign of terror is to be assessed differently than the creation of parklands before 1789 by an aristocratic avant-garde who had invented the new "natural" garden style. Mention should be made of Stourhead in England (by Henry Hoare the Younger ), Ermenonville in France (by René Louis de Girardin ), Wörlitz in Anhalt (by Franz von Anhalt-Dessau ), Alameda de Osuna (by Maria Josefa Pimentel) in Spain and Arkadia in Poland (by Helene Radziwiłł). What they all have in common is a new understanding of the relationship between man and nature and approaches to social reform based on the equality of all people, as Jean-Jacques Rousseau had propagated in his writings.
These aristocratic utopians, endowed with considerable financial resources, found imitators, and the romantic landscape garden finally became contemporary fashion. The renovation of the existing gardens devoured immense sums of money, which could not have been inferior to the costs incurred in creating baroque gardens.
The appropriation of the new garden concept for the monarchy
At the beginning of the 19th century, the construction of a landscape garden was no longer an expression of a utopia or revolutionary idea. The European monarchies faced the threat of a loss of power through external modernization. A visible expression of this tendency was the adoption of the new, fashionable garden style. Two large landscape gardens were created in Munich, apart from the Nymphenburg Park, the English Garden in the Isar floodplain north of the Residenz . The latter was supposed to be a park for the citizens and was thus to be understood as a social signal. Little changed in the political constitution of the kingdom. The monarchy's desire for peace and quiet was perhaps nowhere more evident than in the harmonious design of the new Nymphenburg landscape.
The transformation of the landscape might have been successful, but that of society was not. The Nymphenburg Park reveals this in its iconological program: The large number of Roman statues of gods are due to the monarchy, and they show the correctness of the hierarchical order as a basic moral value. The equipment in the parks of Ermenonville, however, was completely different. A Rousseau island, as it was copied by Franz von Anhalt-Dessau and Helene Radziwiłł, would have been unthinkable for a Bavarian king.
Sckell's landscape abstained from any political symbols. This was the only way to decouple from Rousseau's ideas and to connect the new garden style to traditional elements, such as those symbolized by the water axis, the Pagodenburg and the Badenburg. However, this also created the prerequisite for giving the beauty of the park landscape a permanent timelessness.
Flora and fauna of the Nymphenburg Palace Park
The original concept of Friedrich Ludwig von Sckell was based on the native tree population and the already existing trees of the tanned forest of the bedstraw-oak-hornbeam forest type with oak, hornbeam, ash , sycamore and norway maple , winter and summer linden , as well as individual pines and spruces . With targeted plantings, he also ensured that a mixture of different species with slightly different heights of growth formed a varied forest silhouette in front of meadows and water. For targeted landscape effects, von Sckell had future large trees planted in groups and with a local focus. These were in the northern half of the park: Linden (near the Pagodenburg ), which was followed by an area of dense mixed forest to the north; in the southern half: also linden trees (near Badenburg ), alders (on Lake Badenburg ), white poplars and towering Italian poplars (on the northern shore of Lake Badenburg ), robinia (near the Temple of Apollo). Rowan berries and dogwood were found here and there . There were oaks by the Magdalenenklause , while Sckell had surrounded the Amalienburg with a spruce grove, individual trees of life and Virginia juniper .
Forest stands
The closed forest stands are species-rich and also well mixed according to age. The shrub layer is only slightly developed and largely limited to the roadsides and individual shrubs . Hazel , hawthorn , dogwood , privet , honeysuckle , snowball and, in lighter locations, elderberry are typical . The herb layer is well developed. Stachys sylvatica , aposeris , yellow archangel , Sanikel , Avens and Brachypodium sylvaticum are in the shade, in more open areas to find the grove bluegrass , at seams also the rare Meadow Gold Star . Ivy is widespread . The white berry mistletoe is particularly common on winter linden trees .
In depressions and on the ditches and channels, adapted tree species form forest communities similar to riparian forests. Beside the oaks and hornbeams there are ash and alder trees . The common bird cherry grows among them . In contrast to the closed forest areas, there is a dense undergrowth with moisture-indicating perennials such as cabbage thistle and Wolfstrapp . In the direct bank area there are water dost and meadowsweet .
When redesigning the park, Sckell tried to integrate old trees from the time of the baroque garden. The ancient, hollowed out but still vital linden tree not far from the Hartmannshofer Tor has survived into our time.
Meadows and bodies of water
The meadows of the park, apart from the lawns in the garden floor and unfertilized einschürig . On the surveys , it is largely the plant community of the sage-oat meadow , the main species of which is the common oat . The Meadow Clary , the Meadow knapweed , alfalfa , Oxlip , Marguerite , eyebright and germander speedwell are among the flowering plants of this colorful for flowering meadows. A limestone grassland could survive on small, particularly nutrient-poor remaining areas of around one hectare . It consists of an upright brisket and a feathered twig with a bulbous buttercup , a large brunelle , a cluster of bellflower and a sun rose as character types. Kiel leek also grows here , a dry grass plant classified as "endangered" according to the Red List for both Bavaria and Germany .
The park's waters are almost entirely enclosed in artificial banks. They are omitted once a year, which prevents vegetation formation in the water. The exception is the spherical pond , it has a natural bank around which a 0.5–2 m wide border of swamp sedge stretches. There are also marsh skullcap and wolfstrapp, as well as the water lily on the water surface . The northern section of the inlet to the pond in the Pagodenburger Valley is lined with sedges and tall perennials. Numerous water birds such as mute swans , geese and ducks as well as the carp in the lakes benefit from the intensive feeding by park visitors. The high nutrient input this way pollutes the water quality.
Ecological value and nature protection
The Nymphenburg Palace Park, with its diverse landscape elements, offers not only its cultural significance and an important recreational function, but also a habitat for many plant and animal species. 17 mammal and 175 bird species have been identified. Its special value results from the large area and the original structure of the building . The near-natural mixed forest with many very old trees should be emphasized. Particularly valuable are the parts of dead wood , which provide nesting and living space for cave breeders , bats and dead wood inhabitants . Deer have lived in the park since it was a royal hunting ground . Other mammals are the fox , rabbits and a larger population of the polecat . Noctule bat and pygmy bats live in the park, the water bat has been sporadically detected, the rough-skin bat is suspected to be a guest.
Among the breeding birds , the tree falcon (red list: endangered), the sparrowhawk , the kingfisher (endangered), pied flycatcher and warbler , the park is an important habitat on bird migration or as winter quarters . In winter, for example, the pochard (threatened with extinction in Bavaria) occurs. Almost every winter there are also some waxwings in Nymphenburg Park . In special winters, these invasive birds from northern and northeastern Europe invade southern Bavaria with thousands of specimens, the Nymphenburg Park is traditionally their most important winter habitat.
The very rare hermit beetle ( Osmoderma eremita ) also lives in some tree hollows . Numerous species of butterflies can be found on the poor meadows in the park, such as B. Great ox-eye , imperial mantle , lemon butterfly , aurora butterfly and great clover butterfly . The ball pond in the far north of the park is home to common toad , common frog , grass snake and several species of dragonflies , including the Common winter damsel (endangered).
In contrast to its layout, the palace park is now completely surrounded by settlement areas due to the advancement of urban development. A biological exchange with populations outside is hardly possible, apart from birds, airworthy insects and some other highly mobile species. The Nymphenburg Canal to the east and the line of sight to the Blutenburg to the west are the only narrow connections that are extremely disturbed in their ecological function. The Kapuzinerhölzl , which borders the park to the north, is isolated with it.
The Nymphenburg Palace Park is a landscape protection area . It has also been reported to the European Union as a fauna-flora-habitat area for the European biotope network . A previously unimplemented proposal by the City of Munich to designate a nature reserve has been in place since 1987 . There are several natural monuments in the park : two groups of six or nine old yew trees near the Amalienburg, as well as outstanding individual trees. A solitary copper beech immediately south and a gnarled and bizarre summer linden on the lake shore north of the Badenburg , also a solitary fern-leaved beech on a fork in the road south of the Amalienburg , a hanging beech on the swan bridge and a pedunculate oak in the village. Human interventions in the form of maintaining the lawns, artificial planting and removing dead wood as part of the road safety obligations are classified as of low intensity. Meadow mowing is rated as positive for biodiversity.
Management and maintenance of the park
The Nymphenburger Park is looked after by the Bavarian Administration of State Palaces, Gardens and Lakes . The maintenance of the park stands in the field of tension between the monument preservation of the garden work of art, nature conservation, the recreational use by the visitors and the traffic safety obligations . The benchmark for maintenance is the park maintenance work “Garden Monument Preservation Objective”, which was developed in 1989/1990. It compares the historical documents received with the actual condition and develops careful measures to bring the appearance of the park closer to the origin. These will be implemented in small steps in the medium and long term.
From 2006 to 2012, the administration, together with the Bavarian State Institute for Forests and Forestry, developed a model project " Forest maintenance as garden monument maintenance and biotope maintenance" based on the Nymphenburg Palace Park.
Due to the sensitivity of the visitors to tree felling, interventions with a long planning horizon of around 30 years are carried out gradually. In addition, it was tried out how visitors react to information offers on park maintenance and the justification of interventions.
Visitors
The city-side garden in front of the main castle and the round castle are accessible at all times. The garden parterre, the Amalienburger Garten and the landscape park are open during daylight, with the exception of the cabinet gardens and the immediate vicinity of inhabited buildings.
Pedestrian access is possible from different directions: the main entrance is under the northern connecting gallery between the central building and the crown prince building (arcade passage), side entrances are under the southern connecting gallery and at various points on the garden wall: from the south to the Amalienburger Garten , further from the west on the Pasing -Nymphenburg Canal and from the north in the direction of the Kapuzinerhölzl . To the north there is a passage to the botanical garden. Bicycles may not be taken into the garden.
The three park palaces and the hermitage can be visited as well as parts of the main palace. The houses of the village , the farm buildings of the park castles and the former menagerie cannot be entered.
The Northern and Southern Cabinet Gardens are not open to the public. The statues on the garden ground floor and on the Great Cascade cannot be viewed during the cold season as they are protected from frost by wooden winter cladding.
Entry to the palace park is free.
Performances in the Nymphenburg Palace Park
In contrast to Bavaria's permanent seat of government , the city residence in the center of Munich, the baroque summer residences or “pleasure palaces” were by definition more places of upscale leisure. Open-air concerts and opera performances in so-called hedge theaters took place here in a (garden) architecturally representative setting .
After the end of the monarchy , the upper middle class took up this tradition. Singspiele and concerts by the Bavarian State Orchestra and State Opera Ballet formed an integral part of Munich culture in the 1920s. Thematically determining was the Rococo era and the charm of the palace gardens. Preferred locations were the Badenburg, the ground floor west of the castle and the ballroom itself.
Following on from this, the spectacular “ Night of the Amazons ” took place in the years 1936 to 1939 as a major evening event of the lavishly paid horse race for “ The Brown Ribbon of Germany ”. Under the pretext of ancient mythology, nudity and eroticism were staged. In addition, performative art forms alternated with tableaux vivants and concert program items . In the spacious setting of the inner parterre, hundreds of members of the SS-Totenkopfstandarte Dachau appeared among the 2000 actors .
Immediately after the end of the Second World War, Tino Walz initiated concerts in front of the Amalienburg and the “Nymphenburg Summer Games” in the ballroom of the palace. After the end of this festival series, the Munich Youth Welfare Office will continue this tradition with the annual “Serenade in front of the Badenburg”. The “Nymphenburg Male Choir of 1861”, with its annual summer serenades in front of the Amalienburg, is also a constant in civic cultural life in the palace gardens. Since 1998, Munich has had another hall for concerts and chamber operas, the Hubertussaal in the orangery wing of the palace .
Reception in literature and film
With interior shots of the Amalienburg and views of the park of Nymphenburg and Schleißheim in his film “ Last Year in Marienbad ” (1961), the director Alain Resnais succeeded in creating sequences of elegiac magic.
The framework of the satirical novel Der ruinbaumeister by Herbert Rosendorfer , Zurich 1969, takes place in the winding forest paths of the park.
literature
General representations
- Georg Dehio : Handbook of the German art monuments. Bayern IV, Munich and the surrounding area. 3rd, updated edition. Deutscher Kunstverlag, Munich 2006, ISBN 3-422-03115-4 . (Section Munich, Nymphenburg Palace )
- Doris Fuchsberger and Albrecht Vorherr: Nymphenburg Palace under the swastika , Allitera Verlag Munich 2014, ISBN 978-3-86906-605-9 .
- Doris Fuchsberger and Albrecht Vorherr: Nymphenburg Palace: Buildings, People, History , Allitera Verlag Munich 2015, ISBN 978-3-86906-749-0 .
- Doris Fuchsberger: Night of the Amazons: A Munich series of festivities between Nazi propaganda and tourism attraction , Allitera Verlag Munich 2017, ISBN 978-3-86906-855-8 .
- Georg A. Gut: Nymphenburg Palace: The prehistory and the three perspectives in the park. Gut Verlag, Munich 2004.
- Gerhard Hojer, Elmar D. Schmid (arrangement): Nymphenburg: palace, park and castles. Official leader. Bavarian Administration of State Palaces and Lakes, 22nd edition. Munich 1999, ISBN 3-932982-16-9 .
- Horst Lohmann (author), Museum Education Center (ed.): In the summer palace of the Wittelsbachers: Nymphenburg, palace and park; a workbook of the MPZ. 7th edition. Museum Education Center, Munich 1987.
- Bernhard Römmelt: The Nymphenburg Park. Buchendorfer Verlag, Munich 2001, ISBN 3-934036-61-9 .
- Herbert Rosendorfer: The Night of the Amazons . Munich 1992, ISBN 3-423-11544-0 .
- Stefan Schweizer: "Giving our worldview a visible expression". National Socialist historical images in historical parades on the "Day of German Art". Wallstein, Göttingen 2007, ISBN 978-3-8353-0107-8 .
- Helga Voigt: At home with the Wittelsbachers: Nymphenburg Palace and its park. In: Stattreisen München eV (Hrsg.): Walks into Munich's past. 1st edition. Ars-vivendi-Verlag, Cadolzburg 2004, ISBN 3-89716-497-3 , pp. 26-34.
park
- Utta Bach: The garden culture at the Munich court under Elector Max Emanuel 1679 - 1726 , Munich, 2007, ISBN 978-3-8316-0771-6
- Michael Eckert : Physics in the palace gardens - the pleasure garden as the setting for new technology. Nymphenburg Palace, Versailles, Sanssouci . 2020, ISBN 978-3-9623-3114-6 .
- Thomas Grüner: Nymphenburg Palace Park - animals and plants - walks in all seasons . MünchenVerlag, Munich 2017, ISBN 978-3-7630-4043-8
- Volker Hannwacker: Friedrich Ludwig von Sckell. The founder of the landscape garden in Germany. Deutsche Verlagsanstalt, Stuttgart 1992, ISBN 3-421-03012-X , pp. 80-93.
- Rainer Herzog: Friedrich Ludwig von Sckell and Nymphenburg. Bavarian Palace Administration , Munich 2003, ISBN 3-932982-52-5 .
- Ellis Kaut , Kurt Price: The Nymphenburg Park . Nymphenburger Verlagbuchhandlung, Munich 1987, ISBN 3-485-01878-3 .
- Hans F. Nöhbauer , Joachim Kraus (texts), Bernhard Römmelt (photos): A natural paradise in the city: The Nymphenburg Park. Buchendorfer Verlag, Munich 2001, ISBN 3-934036-61-9 . (Illustrated book)
- Carl August Sckell : The royal pleasure palace Nymphenburg and its gardens . Munich 1837/40. (Historical park guide)
- Reinhard Mößmer: Restoration of the trees in the Nymphenburg Palace Park . In: LWF Knowledge No. 68, "Nymphenburg Palace Park - Forest Management as Monument Preservation and Biotope Protection", Freising, 2012, ISSN 0945-8131
Park architecture and sculptural jewelry
- August Alckens: The sculptures in the Nymphenburg Palace Park. Kieser, Augsburg 1938. (The art in Munich; 1.)
- Gift from Deessen: The Badenburg in the park of Nymphenburg. tuduv-Verlag, Munich 1986, ISBN 3-88073-199-3 . (Writings from the Institute for Art History at the University of Munich, Volume 9)
- Dietrich v. Frank: Joseph Effner's Pagodenburg: Studies on a 'maison de plaisance'. tuduv-Verlagsgesellschaft, Munich 1985, ISBN 3-88073-175-6 . (Writings from the Institute for Art History at the University of Munich, Volume 2)
- Ulrika Kiby: The Exotisms of Elector Max Emanuel in Nymphenburg. An art and cultural historical study on the phenomenon of chinoiserie and orientalism in Bavaria and Europe from the 16th to 18th centuries. Its political relevance. Olms, Hildesheim 1990, ISBN 3-487-09097-X .
- Werner Meyer: The Parkschlößchen: Example: the Pagodenburg in Nymphenburger Park (1717-1719). In: Castles, palaces and fortresses in Germany and Europe. Würzburg, 2/2002, pp. 105-107.
- Kai-Uwe Nielsen: The Magdalenenklause in the palace gardens of Nymphenburg. tuduv-Verlagsgesellschaft, Munich 1990, ISBN 3-88073-374-0 . (Writings from the Institute for Art History at the University of Munich, Volume 53)
- Norbert Nordmann: In the new garden behind the orangery päu, On the history of citrus and its wintering in Nymphenburg Palace , in: Castles and Palaces. Journal for Castle Research and Monument Preservation , 1, 2012, pp. 22–31.
- Hermann Sand : The Pagoda Castle. Breu & Schneider, Munich 2003. (Neuhauser, Nymphenburger Hefte; 27)
- Uta Schedler: The statue cycles in the palace gardens of Schönbrunn and Nymphenburg, architectural reception based on engravings. Olms, Hildesheim / Zurich / New York 1985, ISBN 3-487-07694-2 . (Studies in art history, 27)
- Peter Volk : Guillielmus de Grof (1676-1742). Studies on sculpture at the Kurbayrischer Hof in the 18th century. Dissertation, Frankfurt am Main 1966.
Web links
- Bavarian Administration of State Palaces, Gardens and Lakes: Nymphenburg Palace Park
- Bavarian Administration of State Palaces, Gardens and Lakes: History of the Park
- Historical map: Nymphenburg in the west of Munich
- Friedrich Ludwig von Sckell - garden artist and urban planner broadcast in RadioWissen of the BR on April 28, 2014
- Schlosspark-Freunde-Nymphenburg eV
- Naked Amazons, expelled nuns - Nymphenburg Palace under the swastika . Broadcast in: Between Spessart and Karwendel of the BR on May 10, 2014.
- Visible transience: the Magdalenenklause in the Nymphenburg Palace Park. Broadcast of the BR on June 30, 2017 [1]
- Naked in Nymphenburg: The Nazis and their "Night of the Amazons" . BR , broadcast on February 18, 2018.
Individual evidence
- ↑ Roswitha von Bary: Henriette Adelaide. Electress of Bavaria . Unchanged reprint of the original edition Munich 1980. Pustet, Regensburg 2004, ISBN 3-7917-1873-8 , p. 246 .
- ^ Bary: Henriette Adelaide . Regensburg 2004, p. 247 .
- ^ Bary: Henriette Adelaide . Regensburg 2004, p. 244 .
- ↑ Brigitte Langer (Ed.): The furniture of the castles Nymphenburg and Schleissheim . Munich 2000, p. 15-16 .
- ↑ Friederike Wappenschmidt: Chinese wallpapers for Europe. From scroll painting to wallpaper . Berlin 1989, p. 137 .
- ↑ Brigitte Langer: Lacquer cabinets and lacquer furniture of the 18th century in the Munich castles . In: Michael Kühlenthal (Ed.): Japanese and European lacquer work. Reception, adaptation, restoration . Munich 2000, p. 214-236 .
- ↑ This chapter is based on the official biotope description based on the biotope mapping of Bavaria , object: MUENCHEN-0111-01 from 1981–84 and the 1998 update, as of October 4, 1998, edited by: W. von Brackel
- ^ Bavarian Administration of State Palaces, Gardens and Lakes, Thomas Aniol: Bavarian Castle Administration | Nymphenburg | Park | Animals. Retrieved May 3, 2017 .
- ^ Landesbund für Vogelschutz in Bayern eV: Peaceful Invasion ( Memento from February 9, 2005 in the Internet Archive ) - press release about the invasion year 2005/06
- ↑ Ordinance of the City of Munich on the "Nymphenburg" landscape protection area of August 19, 2005 (PDF; 82 kB)
- ↑ List of natural monuments in the state capital Munich. Annex to the ordinance of the City of Munich on the protection of natural monuments in the City of Munich (Natural Monument Ordinance) , in the version dated September 8, 2011
- ↑ UNIS – Factsheet: Nymphenburger Park with Allee and Kapuzinerhölzl - entry in the database of the European Environment Agency ( Memento from February 19, 2014 in the Internet Archive )
- ↑ Bavarian State Institute for Forests and Forestry: Nymphenburg Palace Park , LFW Wissen Volume 68 (2012)
- ^ Süddeutsche Zeitung: Gaps for Light , February 26, 2011, page R10
- ↑ The Nymphenburg Palace Park in Munich is so beautiful
- ^ Tino Walz: Diary excerpts. In: Nymphenspiegel. Volume IV. Munich 2008.
Competition venues for the 1972 Summer Olympics
Coordinates: 48 ° 9 ′ 28 " N , 11 ° 29 ′ 34" E