Munich residence
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The residence in downtown Munich was the Munich City Palace and the residence of the Bavarian dukes , electors and kings and thus a political and cultural center of the country for centuries. The spacious palace is the largest inner-city palace in Germany and today one of the most important spatial art museums in Europe.
The building complex comprises ten courtyards and is divided into the three main complexes: the Königsbau (facing Max-Joseph-Platz ), the Maximilian Residence (including the Old Residence , the facade facing the Residenzstrasse and most of the inner wings) and the ballroom building ( facing the Hofgarten ). The Allerheiligen-Hofkirche and the Residenztheater also belong to the Residenz. Of the outbuildings, the Marstall's riding school still exists . In the course of ongoing structural development, starting with the grotto courtyard, a total of ten inner courtyards were created, with the fountain courtyard and the imperial courtyard being particularly important as venues for court receptions, festivals and ceremonies.
The interior of the Residenz Museum with entrance in the Königsbauhof today consists of 130 showrooms. In terms of style, the residence, which has grown over the centuries, is a mixture of Renaissance , Baroque , Rococo and Classicism . In front of the entrance to the Imperial Court and the passage to the Brunnenhof there are two large bronze lions each for the four cardinal virtues, prudence, strength, justice and temperance, which a worthy ruler should bring with him. Each lion holds a shield on which the respective virtue is symbolically depicted and which ends in a small lion head at the lower tip. (Touching the snout of these little lion heads is said to bring good luck.)
The place of the residence was already animated by people thousands of years ago. It was only in 2014 that archaeologists found an almost undamaged, Late Bronze Age grave directly below the pharmacy courtyard of the residence.
History and architecture
The Gothic New Veste
As early as 1385, the Neuveste was located on the site of today's residence , which was built after the revolt of the Munich citizens against the brothers Johann II , Stephan III, who lived in the city . and Friedrich initially served as a refuge for the duke and his court instead of the old court, which had become too insecure . It is assumed that construction began as early as 1363, after the city had increasingly enclosed the old courtyard in the course of completing the Second Wall Ring . As atonement for the failed civil uprising of 1385, the dukes had received permission from the city, "a vest in die instead of ze pawen and an aigen tor ... the sy out and a ride".
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The Neuveste was a Gothic moated castle that could only be reached from the city via a fortified bridge. Significantly, the largest tower, the Silver Tower, was not on the outside, but strengthened the inner front against the city. The state treasury was later located here. North of the Silver Tower, which also served as a keep , was separated by a defensive wall on the northwest side of the Palas . To the east, in the north of the inner courtyard, the courtyard hall and the Dürnitz were connected . As part of the construction of the Neuveste, the Neuvesttor was also built in the northeast corner of the second wall ring at the end of the 14th century . The Neuveste has been changed and expanded over the centuries. Around 1470, under Duke Johann's great-grandson Albrecht IV (ruled 1465–1508), the walls and the gate were built in the north, followed by two gun turrets in 1460–1500. As late as 1466, however, the citizens of Munich had the strength to limit the access of Duke Siegmund and his younger brother Albrecht to the castle, according to which the first should only enter Neuveste with six, the other with four servants. Albrecht subsequently pushed the bourgeoisie back further and further, and since the beginning of modern times the court has determined the fate of the city. In 1470/71 Albrecht's brother Christoph the Strong was interned in the Neuveste. In 1476, after the duke's final reconciliation with the citizens, the Neuveste was included in the previously open flank of the city fortifications. New living space has not yet been created under Albrecht. Over time, the castle gradually lost its fortification character, which had become obsolete due to the increased number of cannons that could penetrate the walls. As the ducal seat, the Neuveste only replaced the Old Court under Albrecht's son Wilhelm IV . Around 1620 all buildings on the west side were demolished, in 1750 parts of the building were makeshift repairs after a fire, before the last remnants were demolished after 1800.
Even today, however, the cellar vaults and foundation walls of the former castle are located under the pharmacy courtyard of the Munich residence. Your position is marked by red stones in the pavement of the courtyard. The walls of the southwest corner tower from around 1500 and the vaults with the round pillars in the ballroom cellar in the south of the former castle are the last remaining remains of the Neuveste and the oldest part of today's residence.
The renaissance castle
When Duke Wilhelm IV (reigned 1508–1550) moved the residence of the Wittelsbachers from the Old Court, which has since served as the seat of the authorities, to the Neuveste , the history of the residence began as a modern palace . In 1518 a moat was created where Marstallplatz is today. Between 1530 and 1540, Wilhelm had the aforementioned round room building expanded on the south-east corner of the castle and the first courtyard garden set up on the site of today's Marstallplatz . A history cycle was hung in the garden pavilion, which also included Albrecht Altdorfer's Battle of Alexander . In 1545 the belligerent sister of Duke Sabina of Bavaria was under arrest for weeks in Neuveste.
Duke Albrecht V (reigned 1550–1579) had Wilhelm Egckl set up a ballroom ( St. George's Hall ) south of the George Chapel on the east side of the Neuveste , and an art chamber in the Marstall building (today's State Office for Monument Preservation), in which many Munich residents Collections have their origins. Since there was not enough space for the extensive collection of sculptures in this building to the north of the Alter Hof, the Antiquarium was built between 1568 and 1571 by Simon Zwitzel and Jacopo Strada . The new building had to be erected outside the castle complex, as there was no space for it in the Neuveste . This gave the residence a new direction of development. The Antiquarium , occupying the entire ground floor of the building, is the largest Renaissance hall north of the Alps. The court library, which formed the core of the later Bavarian State Library , was housed on the upper floor of the new building .
From 1560, another garden was laid out further north on the area of today's State Chancellery. In its northeast corner, a summer house with a cycle of ceiling paintings on the theme of the Silver Age was built in 1565/67 (only individual ceiling paintings survived). In 1560/70 a ballroom was built on the southwest corner of the Neuveste, the cellar of which has been preserved but is generally inaccessible.
In 1580/1581 Duke Wilhelm V (r. 1579–1597) had the widow's cane built for Duchess Anna on Residenzgasse . Then the Hereditary Prince Wing was built to the north . Between 1581 and 1586, the four-wing complex of the Mannerist grotto courtyard with the Perseus Fountain , which was of great art historical importance , was built, Friedrich Sustris was the architect. It got its name after the fountain and shell wall on the western antiquarian facade. The Black Hall wing was added to the Antiquarium in the east , but was only expanded under the successor. At the time of Wilhelm V, however, the court moved from Neuveste to the newly created buildings.
The Maximilian Residence
Under Duke Maximilian I (reigned 1597–1651), who later became elector, the Maximilian residence named after him was built on the west side of the antiquarian during the period of Mannerism in the transition to the early Baroque . The only publicly visible facade until the 19th century has been preserved. With the portals guarded by two lions each and the statue of Our Lady as Patrona Bavariae in a wall niche between the portals, it dominates the west side of the residential complex. Maximilian had the existing buildings rebuilt and connected. The Brunnenhof , which had previously served as an open space for tournaments, was closed. The Black Hall was built around 1600/1602, adjoining the Antiquarium in the southeast , which received an illusionistic ceiling painting by the painter Hans Werl (reconstructed) and was accessible via a monumental double staircase. Around 1607 the renovation of the Brunnenhof began, with the gabled buildings erected on the narrow sides, one of which is placed in front of the clock tower . It was constructed from 1612 to 1615 based on a model by Heinrich Schön the Elder as a clad, half-timbered cantilever structure. The large Wittelsbach fountain was built in the middle of the courtyard in 1610 . The figures created by Hubert Gerhard and brought together there (allegorical representation of the four Bavarian rivers: Danube , Lech , Inn and Isar ) and the statue of Otto von Wittelsbach were originally created for other projects. In addition, from 1612 Maximilian I had large parts of the south and west wings of the Neuveste with the silver tower and the palace torn down to make room for the extensions. Between 1612 and 1616, Maximilian I had the wings built to the west of the imperial court , which was painted uniformly using the fresco technique .
Inside, the two-storey court chapel (1601–1603) with rich stucco decoration was created to replace older prayer rooms in the Neuveste, as well as the private apartments of the duke and duchess. The gallery of the court chapel was reserved for the ruling family. The large central picture of the main altar by Hans Werl shows Maria in glory under the Trinity. The rich chapel , paved with marble and richly decorated with stucco marble inlay ( Scagliola ) , on the other hand, served as the Duke's private room. Between 1614 and 1619, the Kaiserhof with the Trier rooms and the stone rooms , the Kaisersaal and the Kaisertreppe was created as a spacious guest quarters in the north , which documents Maximilian's high political aspirations. The rooms, which were built under the direction of Hans Krumpper and Heinrich Schön and decorated by Peter Candid , among others , not only illustrate Maximilian I's view of the world, but with their magnificent door frames, ceiling frescos and tapestries are also exemplary of the architecture of the early 17th century. The name of the stone rooms goes back to the rich furnishings with marble, stucco marble and scagliola. This suite of rooms served as the highest-ranking guest apartment, which was inhabited by the emperor and his wife when they stopped in Munich. In the event of an imperial visit, the next of kin of the imperial family and high-ranking members of their court would stay in the Trier rooms, otherwise the rooms were used as council rooms. The now restored Imperial Hall with the grand staircase of the same name was the largest and most important festival room in the residence in the 17th century. From 1799 the imperial hall and the adjoining four-person hall had to give way to the so-called court garden rooms, a new apartment for Elector Max IV Joseph (from 1806 King Max I Joseph of Bavaria), until both were reconstructed after the Second World War.
The residence building, which now exceeded the size of the Vienna Hofburg at the time, made an impression on contemporaries, even though Friedrich Nicolai wrote in 1781 that he would have considered the building to be a rich prelature. After the occupation of Munich by his troops in May 1632, King Gustav II Adolf had a Protestant service celebrated in the residence. By the end of May 1632, Gustav Adolf left Munich and moved on. The King of Sweden, who is said to have carried a lot of booty, even said that the residence would be on wheels if he would roll it to Stockholm. In any case, the buildings of the residence had now become so extensive that they were sufficient for Maximilian's successors until the early 19th century. They now concentrated mainly on the interior design of the residence.
The baroque residence
The apartments of the baroque and rococo
During the high baroque period , Electress Henriette Adelaide , wife of Elector Ferdinand Maria (ruled 1651–1679) since 1650, had her mother-in-law's smaller apartment between Residenzgasse and Grottenhof expanded into a magnificent suite of rooms between 1666 and around 1669. It now consisted of the Guard Hall (Hartschiersaal), two anterooms, the audience chamber (Golden Hall), a large cabinet (Grotto Room), the bedroom with bed alcove, a small chapel and a cabinet (Heart Cabinet). This spatial sequence was supplemented by a gallery between Residenzgasse and the southern garden and a corridor-like library. Henriette Adelaide based her building project on models from her home in Turin as well as on the latest Parisian fashions. The apartment had numerous paintings set into friezes and ceilings, each of which gave the rooms their own themes. The architect was Agostino Barelli , while the room designs were from Antonio Pistorini. In 1674 a fire destroyed the first three rooms, while the Electress rescued her children from the fire and died two years later, seriously injured. Since the Pope's visit to Pius VI. In 1782 the rest of the apartment was called the Papal Room . In 1944 almost all of these rooms were destroyed; today only the cabinet of hearts gives a certain impression of the social demands and artistic status of this apartment of a Bavarian elector.
The extensions by Maximilian II. Emanuel (reigned 1679–1726) (Alexander and summer rooms as representative living spaces) had already been rebuilt at the end of his life. With the exception of a room that is now inaccessible, the remains were lost in the residence fire of 1729. The imperial administration in Bavaria from 1705, when the elector was out of the country for ten years and the court was dismissed, had survived the residence largely unscathed, as had later foreign occupations. During the exile of the electoral family, only Princess Maria Anna remained in the residence and kept in touch with the family, who were scattered in France, Italy and Austria.
Max Emanuel's successor, the Elector and later Emperor Karl Albrecht (r. 1726–1745) had the Reichen Zimmer with the Green Gallery , the Cabinet of Mirrors and the Parade Bedroom built on the site of his father's rooms . Its elaborate decor is dominated by the gold ornament on the white walls and the purple-colored, chased Genoese velvet. As the name suggests, a green silk damask was only used for the Green Gallery . The order of the rooms and their nooks and crannies go back to a reflection of the rooms of the papal rooms. The parade bedroom was used for the morning lever ceremony . Between 1726 and 1730, the ancestral gallery was built on the ground floor with its magnificent stucco work carried out by Johann Baptist Zimmermann . The ancestral gallery today contains over a hundred portraits of members of the Wittelsbach family up to the last King of Bavaria, Ludwig III. This room was also intended to underpin Karl Albrecht's claim to the imperial crown by deriving it from Charlemagne , Emperor Ludwig the Bavarian and the legendary Agilolfinger Theodo , whose portraits he placed in the center of the room. In addition, Karl Albrecht had another splendid cabinet built next to the ancestral gallery to store the house treasure, for which no special room was previously available. Since the construction of the Old Treasury under Prince Regent Luitpold in 1897, this room has housed the porcelain cabinet to this day . Thus, all buildings erected by the court architects Joseph Effner and François de Cuvilliés serve only to glorify his house and to obtain the imperial crown, which Karl Albrecht finally succeeded in 1742. In addition to the aforementioned Johann Baptist Zimmermann , Joachim Dietrich and Wenzeslaus Miroffsky were also involved as artists . The two-storey exterior facade of the Green Gallery with seven arched windows in the Königsbauhof is a masterpiece by Cuvilliés from 1730. In January 1745, Karl Albrecht died as Emperor Charles VII in the residence, which was therefore also an imperial palace for a short time.
Karl Albrecht's son, Elector Maximilian III. Joseph (r. 1745–1777) had renounced all claims to the imperial crown, which is reflected in the electoral rooms set up by François de Cuvilliés and Johann Baptist Gunetzrhainer . These living rooms were designed in the late Rococo style above the Antiquarium, where the court library had previously been located.
The old residence theater
But more important was the construction of the Old Residence Theater from 1751 (also Theater Cuvilliés called), a box theater in the rococo style , which was solely the yard reserved. The contemporary division of society was then also reflected in the different design of the different ranks in the audience area.
This construction had become necessary because the old Georgssaal, which had previously served as a theater, was destroyed in the Neuveste fire on March 5, 1750. The Cuvilliés Theater was built as a quasi free-standing building in the former courtyard garden, which was only connected to the residence by a foyer in order to minimize the risk of fire. In addition, extra thick walls were built as well as a device to be able to pump water into the roof structure in an emergency. A lifting construction was also astonishing, which made it possible to raise the floor of the theater so that the room could also be used as a ballroom.
The classicist extensions Max l. Joseph and Ludwig I.
With the elevation of Bavaria to kingdom in 1806 and the major urban development changes made in Munich at the beginning of the 19th century, the previously unrepresentative, invisible parts of the residence were exposed. Court architects such as François de Cuvilliés already had this in part unworthy of a residence in the time of Maximilian III. Josephs prompted generous expansion plans, which, however, were not implemented due to the empty state coffers. According to a design from 1764/1765, a large new wing was planned on the east side of the residence. Even under the successor Karl Theodor (r. 1777–1799), the electoral gallery , built in 1780/1781 by the Munich court builder Karl Albert von Lespilliez , was only built on the north side of the court garden .
King Max I Joseph (reigned 1799–1825) initially contented himself with refurbishing the rooms instead of the Imperial Hall and modernizing the Hercules Hall (today's Max Joseph Hall ). He also had the State Council rooms set up between the Hartschiersaal and the stone rooms . The Charlotte rooms were decorated in the Empire style at the beginning of the 19th century . Furthermore, between 1811 and 1818, he had the Royal Court and National Theater built in front of the later Max-Joseph-Platz according to plans by Karl von Fischer instead of the Franciscan monastery that was demolished in 1802 . After the redesign of this square on the south side, the north-western access to the residence began to become increasingly representative in 1816 with the planning for Odeonsplatz . It was not until 1817 that construction work began , initially for the stables , which would soon turn the residence into one of the largest city palaces.
The complex reached its present size between 1825 and 1842 under King Ludwig I (ruled 1825–1848) with the wings of the royal building and the ballroom building and the All Saints Court Church built by Leo von Klenze in the classicism style . With the extension buildings, numerous other room arrangements were created.
The stables
From 1817 the new stables with the royal riding school, the carriage dungeons and stables as well as the administration were built opposite the unadorned east side of the residence . The building of the riding school with the monumental arched portal, crowned with busts of Kastor and Pollux, is considered to be one of the most mature early works by Leo von Klenze . For the construction of the royal stables, the spacious building complex of the arsenal of the sovereign, which had been east of the residence since 1615 and was closely connected to it, had to surrender part of its area as early as 1807. Only the Riding School has survived to this day and is used as a so-called Marstall Theater, while the Marstall Museum was moved to Nymphenburg Palace .
The All Saints Court Church
The All Saints Court Church , built in the Byzantine and Romanesque style from 1826, was modeled on the palace chapel of Palermo and decorated with magnificent frescoes, of which only a few remains have survived today. The facade of the Allerheiligen-Hofkirche, Klenze's only sacred building ever erected, now upgraded the severely neglected east side of the residence opposite the royal stables. In front of the church there was once a garden decorated with rose beds, which later had to give way to post-war buildings. The cabinet garden adjoins the church to the north.
The royal building
The Königsbau was built from 1826 to 1835 as a two-story south wing with a green sandstone facade up to 30 meters high on Max-Joseph-Platz. The Palazzo Pitti and Palazzo Rucellai in Florence served as models . The Königsbau has a central section raised by one storey with roof terraces on the sides.
The treasury and the Nibelungen halls painted by Schnorr von Carolsfeld are now on the ground floor . They were designed as publicly accessible showrooms and can be entered via a separate entrance on Residenzstrasse.
Ludwig I's living quarters were on the first floor . The royal apartment , which is still preserved today, was primarily used for representation and could be viewed at that time by prior arrangement. The actual private apartments of the royal couple on the back of the royal building are no longer preserved due to their destruction in the World War. Klenze was not only responsible for the architecture, but also designed the floors, the wall paintings and all the furniture. The ceremonial entrance to the king's apartment is formed by the yellow staircase , a splendid architecture by Klenze consisting of a sequence of semi-dome, cross-vaulted hall and magnificent portal.
The so-called festival rooms , which were intended for small court parties , were located on the second floor . The sequence of rooms was divided into salon, reception salon, dance hall, flower room and private rooms for the king. The floor plan of these rooms is still preserved today in a greatly simplified form and houses the Bavarian Academy of Fine Arts .
The ballroom building
In the years 1832-1842, finally, the Italian Renaissance modeled was on the north side of the courtyard which is also the style Festsaalbau to the last remnants of after the fire of 1750 just poorly reconditioned run where already Cuvilliés had planned a new building, Neuveste to remove. A loggia with figures by Ludwig Michael Schwanthaler is located in front of the central projection of the 250 meter long monumental front with two or three storeys and raised corner pavilions .
A generous sequence of rooms was created in the ballroom building , which contained the throne room in the middle, the imperial halls , the ballroom and the battle hall in the northeast pavilion. These rooms were only intended for state acts and court festivals and could be reached via a grand staircase, which is no longer preserved . From the splendid ballroom , visitors approached through three large antechambers, which were painted with scenes from medieval imperial history, a spacious, classical hall in white and gold, the side stands of which were supported by Corinthian columns: the great throne room was the highlight of this sequence of rooms and was exactly in the middle of the building. The most important ceremonies such as the accession to the throne took place there, framed by twelve colossal statues from Ferdinand von Miller's ore foundry , which represented the most important Wittelsbach rulers and which are now located in the foyer on the ground floor of the ballroom building.
On the ground floor of the ballroom building there were six halls, which (as a counterpart to the Nibelungen halls ) were painted with motifs from the Odyssey and were intended to serve as guest rooms. Ludwig Michael Schwanthaler also created the designs for these murals. Johann Georg Hiltensperger was responsible for on-site execution .
At the Festsaalbau who is also in the east on Marstallplatz Apothecary connected, then the Hofapotheke contained as well as apartments and offices of the courtiers. The large adjacent pharmacy courtyard is named after this.
The conversions of Max II. Joseph and Ludwig II.
Max II Joseph (reigned 1848–1864) only had the king's apartment rebuilt according to his needs and a winter garden built on a connecting wing to the National Theater based on a design by Franz Jakob Kreuter . However, this construction was carried out by August von Voit , who had already built the Munich Glass Palace for the king. In addition, Max II had the Residenz Theater restored, which after 1825 had been used almost exclusively as a set magazine for the National Theater . The arsenal of the sovereign in the east of the residential complex has now been finally dissolved, this happened gradually between 1853 and 1863 on the occasion of the construction of Maximilianstrasse . The armory on Lothstrasse was built as a replacement .
Ludwig II (r. 1864–1886) had many changes made to the residence that are no longer preserved today. First he redesigned his princely apartment in the attic of the northwest pavilion of the ballroom building in the style of Louis XIV . In addition, rooms in the court garden rooms were set up for his fiancée Princess Sophie in Bavaria (the sister of Empress Elisabeth "Sisi" of Austria) , which she was never supposed to live in since the engagement had previously been dissolved. In addition, the Nibelungen Halls were completed under Ludwig II .
He also continued the tradition of his grandfather Ludwig I by having his own cycle of paintings created in the corridor above the Theatinergang , which led to his apartments. These pictures represented scenes from Wagner's Ring tetralogy. Ludwig II also had the stage of the Residenztheater electrified. He also had the entire apartments in the residence restored.
Around 1870 he had a 70 × 17 m winter garden built over the north-west wing of the ballroom building by the court garden director Carl Effner and the theater painter Christian Jank . A nine-meter-high barrel made of glass and iron spanned the garden with exotic flora and fauna, an artificial lake, a Moorish kiosk, a fishing hut and large, interchangeable panorama paintings by Julius Lange . After the death of Ludwig II, the elaborate structure was dismantled on the instructions of Prince Regent Luitpold in 1897, as it was too heavy to be built underneath and the water from the artificial lake dripped into the servants' rooms below. Only the porch in the Kaiserhof, which was built for support, remained in place until 1950.
The residence at the end of the monarchy
Even with Ludwig II, the Bavarian monarch lived only temporarily in the residence. Queen Therese had previously complained about the lack of comfort . Her son Prince Regent Luitpold (r. 1886–1912) was actually at home in Palais Leuchtenberg , which was even named after him at the time. Nevertheless, he had the stone rooms rebuilt for his purposes , as he did not want to live in the king's apartments. The construction of a new treasury, designed by Julius Hofmann - today's cash room - which was already locked by a safe door (1897) , also dates from his time .
Luitpold's son Ludwig III. (r. 1912–1918) lived most of the time in the Wittelsbacher Palais and therefore only lived in the residence for a short period before the revolution in 1918. Like his father, he first moved into the stone rooms in the Kaiserhof tract , and later into the Königsbau . Technical modernizations such as central heating and electrical lighting were carried out here, which the Prince Regent had rejected. In addition, the Nibelungen Halls were used by Queen Maria Therese during the war to make handicrafts for the soldiers in the field with women from all walks of life. When the revolution broke out in November 1918 and numerous demonstrators appeared in front of the residence, the palace remained undamaged. The royal family left the residence on the first night after the outbreak of the revolution. In contrast, the revolutionary Rudolf Egelhofer was shot on May 3, 1919 in the courtyard of the residence.
Residence Museum
Already at the time of Ludwig I , interested citizens could visit the premises of the royal building by prior arrangement (if the royal couple was not present in the residence) . In doing so, the king wanted his subjects to consciously demonstrate his idea of royal living. Under Prince Regent Luitpold, it was already possible to visit all unused parts of the residence as well as the old treasury , and in 1897 the first guide through the Munich residence finally appeared .
After the 1918 revolution , the final step towards becoming a museum was taken. At that time, a total of 157 rooms could be viewed, which could be quite a strain for the visitor. Today's Residenz Museum has more than 130 showrooms. An audio tour is offered in five languages. In addition to the Antiquarium , the Old Court Chapel and the numerous ceremonial rooms, the so-called imperial rooms , the rich rooms and representative living spaces Ludwig I , especially who are porcelain chambers , which include not only exhibits from all over Europe and an important collection of East Asia, and the miniature cabinet with 129 miniature paintings to highlight. There is also a relic chamber and the silver chambers . With the bronze sculptures from the late 16th and early 17th centuries exhibited in the Festsaalbau since the Egyptian State Collection moved out, including the originals of the four lions from the entrance area, the Residenz Museum presents one of the richest collections of European bronze art from the Mannerist period and early baroque .
Treasury
The treasury was essentially founded by Albrecht V and since then has housed the house treasures of the Bavarian Wittelsbachers, who were united with the Palatinate house treasures under Elector Karl Theodor. The insignia has been accessible to the public since the construction of the Old Treasury under Prince Regent Luitpold in 1897. The collection, which is now located in the eastern wing of the first floor in the Königsbau, houses goldsmithing and jewelery from the early Middle Ages to Classicism . The collection of over 1200 individual pieces is one of the most valuable in the world and includes works made of rock crystal , enamel and ivory , cameos , jewelry, medals, pompous swords, cups and tableware .
World famous include the prayer book of Emperor Charles the Bald (approx. 860), the altar ciborium of Emperor Arnulf of Carinthia (end of the 9th century), the cross reliquary of Henry II , the crown of Empress Kunigunde , that of the Hungarian Queen Gisela von The cross donated to the Regensburg Niedermünster in Bavaria (all around 1000), the so-called Heinrich crown (around 1270) and the Palatinate Crown from England (around 1370). Ornamental swords such as the Franconian ducal sword of the Würzburg prince-bishops (approx. 1460) are exhibited. The numerous highlights of the collection include the Rappoltsteiner Cup (approx. 1540), the Holbein bowl (approx. 1540), the St. George statuette (approx. 1590), the crown insignia of Emperor Charles VII (1742), which were in Paris made Bavarian crown insignia (1806) with the crowns of the king and queen , the travel service of Empress Louise of France and the ruby jewelry of Queen Therese . There are also non-European treasures on display, such as the sumptuous daggers captured in the Turkish wars , Ceylon ivory work and Chinese porcelain.
The Munich State Coin Collection is also housed in the residence . Here, too, the Electoral Palatinate and Bavarian collections were combined during the time of Karl Theodor.
Destruction and rebuilding
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During the air raids on Munich during World War II , the residence was badly destroyed, especially in 1944 (only 50 m² of the 23,500 m² roof area remained intact) and was largely reconstructed in the decades that followed, which is mainly due to the fact that almost the entire Furniture and a large part of the wall and ceiling cladding could already be outsourced before the first bomb attacks. Otherwise a reconstruction in its current form would have been unthinkable. In the course of this relatively quick reconstruction phase, Tino Walz and the head of the building department of the Bavarian Palace Administration, Rudolf Esterer, did well . Together with the Friends of the Residence, they made it possible to secure the existing building fabric by erecting emergency roofs and starting reconstruction quickly.
There were also large fundraising campaigns. Among other things, Bayerischer Rundfunk contributed to the reconstruction with a million donation, provided that a concert hall could be built into the residence as a replacement for the Odeon , which was also destroyed and is now home to the Bavarian Ministry of the Interior. The former and not irrevocably destroyed Great Throne Room was sacrificed for this. The New Hercules Hall, newly built by Esterer in the style of monumental neoclassicism, is located here today . A ballroom called the Herkulessaal had existed in the Hofdamenstock of the Residenz since around 1600 ; it was destroyed in the Second World War and later renamed the Max-Joseph Hall after its redesigner to prevent confusion with the new Herkulessaal . What have also been lost are the frescoes of the Allerheiligen-Hofkirche , the once magnificent furnishings of the papal rooms , the ceiling of the Golden Hall by Balthasar Ableithner , the living rooms of Ludwig II , the rear rooms in the Königsbau as well as all the remaining classical halls in the Festsaalbau, including the magnificent ones Grand staircase opposite the stables . Some other room suites such as the electoral rooms were only rebuilt in a simplified manner.
The former residence guard in the old residence was expanded into the Palatinate wine tasting room in the style of a courtly Dürnitz until 1970, today also a reminder of the Rhine Palatinate lost to Bavaria after the Second World War. Today's Residenz-Apotheke and other small shops are adjacent.
After the war, the New Residence Theater was built in place of today's, relocated, rebuilt Cuvilliés Theater , which was rebuilt in the pharmacy floor of the residence further north . The east side of the residence, once decorated with rose beds, was also built; Between the stables built by Klenze and the Allerheiligen-Hofkirche , which was not secured until 1972, are now the buildings for the hydraulic systems of the National Theater and the Spanish cultural institute. The Kronprinz-Rupprecht-Brunnen between the residence and the Marstall building, the former riding school, was created in 1961 by the sculptor Bernhard Bleeker .
Today the festive halls are used for receptions and concerts. The premises of the Residenz thus form the framework for the Munich Residence Concerts . In addition, the residence museum, other museums and authorities are located in the residence. The Bavarian Academy of Fine Arts has had its headquarters on the 2nd floor of the Königsbau since 1972 . In the east wing of the banquet hall construction is Bavarian Academy of Sciences housed while in the west wing of the headquarters of the National Academy of Sciences is located.
By 1985, on the basis of written sources, the two festival rooms of the 17th century that had been lost since 1799, the Kaisersaal and the Vierschimmelaal, were rebuilt and furnished with the preserved paintings and carpets. Work is still going on on the residence to this day. Most recently, the more than fifty-year-old Cuvilliés Theater was extensively restored by 2008 . In addition, the foyer courtyard was equipped with a glass roof and work is being carried out on the expansion of the rear rooms of the royal building. The Yellow stairs of Klenze is restored from 2016 to 2020, she was once the main access to the royal apartments in the royal.
Courtyard garden
The first garden was built in 1530 on the site of the later Marstallplatz south of the Neuveste. The history of the court garden of the Residenz at the current location north of the ballroom building began in 1560 under Duke Albrecht V with the construction of a new Renaissance garden with a (not preserved) pleasure house north of an older complex from the early 16th century. 1613–1617 Maximilian I expanded the complex to its present size. Since then, there has been a pavilion in the middle of the court garden, the Diana temple , which was laid out by Heinrich Schön the Elder (1615).
See also
Movie
- Fateful years of a royal castle. Reconstruction of the Munich residence. A film documentation by Bernhard Graf , BR 2004.
swell
- Travel report of the Augsburg patrician Philipp Hainhofers from the year 1611 (printed in: The journeys of the Augsburg resident Philipp Hainhofer to Eichstädt, Munich and Regensburg in the years 1611, 1612 and 1613. Ed. By Chr. Haeutle. In: Journal of the Historisches Verein für Schwaben and Neuburg, 8, Augsburg 1881, pp. 1–204. - digitized )
- Baldassare Pistorini: Brief description of the palace, seat of the most illustrious princes of Bavaria: Descrittione compendiosa del palagio sede de 'serenissimi di Baviera [1644] . Edited by Lucia Longo-Endres and the Commission for Bavarian State History. Munich 2006. Summary
- Ranuccio Pallavicino: I Trionfi dell'Architettura nella Sontuosa Residenza di Monaco… Munich 1667. Digitized on Google Books
literature
- Anna Bauer-Wild; Brigitte Volk-Knüttel: Residence . In: Bauer, Hermann; Rupprecht, Bernhard (Ed.): Corpus of baroque ceiling painting in Germany. Volume 3: Free State of Bavaria. Administrative region of Upper Bavaria. City and district of Munich. Part 2: Secular buildings. Munich 1989, pp. 20-349.
- Ernst von Bassermann-Jordan: The decorative painting of the Renaissance at the Bavarian court . F. Bruckmann, Munich 1900 - online
- Adolf Feulner: The Residence Museum in Munich . F. Bruckmann, Munich 1922 - online
- Kurt Faltlhauser: The Munich Residence. History, destruction, reconstruction. Thorbecke, Ostfildern 2006, ISBN 978-3-7995-0174-3
- Gerhard Hojer: Ludwig I's sumptuous apartments in the royal building of the Munich residence. Hugendubel GmbH, Munich 1992, ISBN 3-88034-639-9
- Gerhard Hojer: King Ludwig II Museum Herrenchiemsee. Hirmer Verlag, Munich 1986, ISBN 3-7774-4160-0
- Gerhard Hojer, Herbert Brunner and Lorenz Seelig: Munich Residence. Bavarian Administration of State Palaces, Gardens and Lakes, Munich 1996, without ISBN
- Stephan Hoppe: New apartments for the emperor. Munich and Vienna in architectural dialogue in the early 17th century . In: Paulus, Simon; Philipp, Klaus Jan (Ed.): "Around 1600". The new Lusthaus in Stuttgart and its architectural and historical context. Berlin 2017, pp. 75–95 Online on Art-Doc
- Johannes Erichsen u. Katharina Heinemann: Bavaria's Crown 1806 - 200 years of the Kingdom of Bavaria. Hirmer Verlag, Munich 2006, ISBN 978-3-7774-3055-3
- Henriette Graf: The Residence in Munich - court ceremony, interiors and furnishings from Elector Maximilian I to Emperor Karl VII. Bavarian Administration of State Palaces, Gardens and Lakes, Munich 2002, ISBN 3-932982-43-6
- Susan Maxwell: The Pursuit of Art and Pleasure in the Secret Grotto of Wilhelm V of Bavaria , in: Renaissance quarterly, 61 (2008), 2, pp. 414–462.
- Thorsten Marr: The Munich Residence 1918 to 1931. From the castle to the museum . In: Journal for Bavarian State History . tape 79 , Issue 1, 2016, ISSN 0044-2364 , p. 97-158 .
- Matthias Memmel: The Odyssey Cycle by Ludwig Michael Schwanthaler for the Munich Residence . (LMU publications / History and Art Studies, No. 32). Munich 2008
- Samuel John Klingensmith: The utility of splendor. Ceremony, social life and architecture at the Court of Bavaria 1600–1800. Chicago, Ill. [U. a.] 1993.
- Cornelia Kemp: The Cabinet of Hearts of Electress Henriette Adelaide in the Munich Residence. A precious love concept and its iconography. In: Münchner Jahrbuch der bildenden Kunst , 33 (1982), pp. 131–154.
- Brigitte Knüttel: On the history of the Munich residence 1600–1616 (I) , in: Münchner Jahrbuch der bildenden Kunst 18 (1967), pp. 187–210.
- Tino Walz: Downfall and New Beginning - The rescue of the Wittelsbach treasury, the reconstruction of the Munich residence and other memories from my life. Langen / Müller, Munich 2003, ISBN 3-7844-2940-8
- Tino Walz, Otto Meitinger and Toni Beil: The Munich Residence . Bayerische Vereinsbank, Munich 1987, without ISBN
- Prince Adalbert of Bavaria: When the Residenz was still a Residenz. Prestel Verlag, Munich 1967, ISBN 3-7913-0225-6
- Thomas Langenholt: The Wittelsbacher Album . Books on Demand GmbH, Norderstedt 2001, ISBN 3-8311-2818-9
- Herbert Brunner: The art treasures of the Munich residence. Süddeutscher Verlag, Munich 1977, ISBN 3-7991-5743-3
- Herbert Brunner: The treasury of the Munich Residence. Bavarian Administration of State Palaces, Gardens and Lakes Munich, Munich 1970, without ISBN
- Hermann Neumann: The Munich Residence. Prestel Museum Guide, 2nd edition Munich 2007, ISBN 978-3-7913-2207-0
- Jean Louis Schlim: Ludwig II. - Dream and Technology. MünchenVerlag, Munich 2010, ISBN 978-3-937090-43-6 . The winter garden at the Munich Residenz, with 3D simulations.
- Otto Meitinger: The historical development of the Neuveste. A contribution to the history of the Munich Residence . Munich 1970.
Web links
- residenz-muenchen.de - website of the Bavarian administration of the state palaces, gardens and lakes
- muenchen.de: Residence
- muenchen-lese.de: Munich Residence
Individual evidence
- ↑ The courtyards of the Munich residence at residenz-muenchen.de.
- ↑ a b Lions in front of the Munich Residence: Stroking brings luck , Alfred Dürr and Jakob Wetzel, Süddeutsche Zeitung , March 26, 2013, accessed October 29, 2018.
- ↑ Researchers find 3000 year old grave in Munich , Die Welt .
- ↑ Faltlhauser, pp. 17–29.
- ↑ Bauer Wild; Volk-Knüttel 1989, pp. 33–48 (Anna Bauer-Wild)
- ^ Susan Maxwell: The court art of Friedrich Sustris. Patronage in late Renaissance Bavaria. Ashgate, Farnham, et al. a. 2011. The ten courtyards of the Residenz , administration of the Munich Residenz
- ↑ Knüttel 1967.
- ↑ Bauer Wild; Volk-Knüttel 1989, p. 117
- ↑ Hoppe 2017.
- ↑ Anja Karlsen: The Central European Staircase . Petersberg 2016, p. 62 .
- ↑ Prince Adalbert of Bavaria, pp. 118–120.
- ^ The ancestral gallery on the side of the Bavarian administration of the state palaces, gardens and lakes
- ^ Karl Hausberger / Benno Hubensteiner : Bavarian Church History , p. 232.
- ↑ Langenholt
- ↑ Faltlhauser, pp. 110–111.
- ↑ Hojer: Prunkappartements , pp. 9-16.
- ↑ Hojer: Prunkappartements , pp. 155–166.
- ^ Memmel
- ↑ Prince Adalbert of Bavaria, p. 306.
- ^ Prince Adalbert of Bavaria, p. 340.
- ↑ Faltlhauser, p. 148.
- ^ Brunner: Treasury
- ↑ Walz, Meitinger et al. Beil, p. 47.
- ↑ Walz: Downfall and New Beginning
- ^ Walz, Meitinger & Beil
- ↑ Anna Bauer-Wild: The pleasure house Albrechts V. and its ceiling paintings. In: Monuments at the Münchner Hofgarten Research and reports on planning history and historical buildings. Munich 1988, pp. 28-44; Michael Petzet: The arcades at the lower court garden and the Munich architecture of the Renaissance. In: Monuments at the Münchner Hofgarten Research and reports on planning history and historical buildings. Munich 1988, pp. 9-27.
Coordinates: 48 ° 8 ′ 28 " N , 11 ° 34 ′ 41" E