Schleissheim Palace complex
The Schleißheim palace complex is located in the municipality of Oberschleißheim in the Munich district . It is a complex of three individual palace buildings from the 17th and 18th centuries, which are axially connected to one another by a spacious garden. The area includes the Old Schleissheim Palace to the west , the neighboring New Schleissheim Palace and Lustheim Palace at the east end of the park . The ensemble of buildings was built by the Bavarian electors as a summer residence , but the complex remained unfinished.
Along with Nymphenburg Palace, Schleissheim is one of the largest residences in the Munich area and one of the most important baroque complexes in Germany. The palace complex is part of the Bavarian Administration of State Palaces, Gardens and Lakes . All three castles and the park can be visited. In addition to the historical sequence of rooms, changing exhibitions are shown in the old castle, the Lustheim castle houses the Meißen porcelain collection Ernst Schneider Foundation . The New Palace serves as the baroque gallery of the Bavarian State Painting Collections .
overview
The east-west orientation of the palace complex with its three main buildings and the park extends over more than a kilometer.
The origin of the Schleissheim castles was a Schwaige with a small chapel acquired by Duke Wilhelm V from the Freising Cathedral Chapter in 1597 . From 1598 to 1600, the duke had various farm buildings, a simple manor house and nine chapels in the neighboring woods built for the hermits living there. In 1616 his son, who later became elector Duke Maximilian I , took over the Schleissheim estate. He had the Schwaige manor house replaced by today's Old Castle in 1617–1623 .
On the occasion of his wedding, Duke Maximilian's grandson Maximilian II. Emanuel had Lustheim Castle built as a festive garden palace at some distance from the old castle building until 1688 . In anticipation of the imperial crown, he also had the New Palace designed from 1701 , which was to serve as a residence based on the Versailles model and accommodate an extensive court. The plans envisaged integrating the old castle into the new building planned as a spacious four-wing complex; However, the designs, which had been reduced several times, could not be carried out for cost reasons, and so in the end only the east wing of the planned complex was built. The gigantic torso of the new castle was rarely inhabited by the Wittelsbach family and opened to the public as a museum castle in the 19th century.
Old Schleissheim Palace
History of the castle
The old Schleißheim Palace goes back to a simple mansion built under Duke Wilhelm V (r. 1579–1597) after his abdication around 1598, which formed the center of the extensive Schwaighof and was called Wilhelm's building. The modest complex, located near the Wittelsbach summer residence, Schloss Dachau , was intended to serve the Duke as a place of reflection and prayer in the last years of his life.
In 1598, Duke Wilhelm V, who had previously founded the Hofbräuhaus , set up a brewery in Wilhelmshof, from which the Schleißheim beer emerged .
Maximilian I (reigned 1597–1651), the son of Duke Wilhelm, had the building demolished down to the cellar walls as early as 1617 and the present-day Old Castle built instead . This unpaved complex is typologically similar to that of Laufzorn Castle, which Maximilian's brother Albrecht had begun the year before . There, too, a flight of stairs leads up to the manorial first floor. The building in the late Renaissance style, based on Andrea Palladio's villas , was completed in 1623. Heinrich Schön the Elder was presumably hired as the master builder, while Peter Candid executed numerous wall and ceiling paintings.
In 1679 Maximilian's son and successor, Elector Ferdinand Maria (r. 1651–1679) died in the Old Palace. His son Max Emanuel took over the Schwaighof and planned to include the old castle in the extensive new building of a Schleissheim residence, but the plans were never fully implemented. After the New Palace was built, the older building was used less often. The large central hall served as the Schleissheim parish church from the 19th century. The old castle suffered severe damage in the Second World War and was still in ruin decades after the end of the war. A restoration took place from 1970 onwards, not all of the historic interiors were restored, but some of them were used in a modern, museum-like manner.
Building
The old Schleissheim Palace is the starting point for an extensive courtyard. To the west of the palace is the Maximilianshof , surrounded by residential wings , which is separated from the Wilhelmshof with its extensive farm buildings by a transom-like transverse building with a central clock tower . Only the clock tower still dates from the first construction period.
The old castle, built in the “Italian style”, is a broad, plastered building with only one main floor on a basement plinth. The building is structured by thirteen window axes, the central wing with the ballroom emerges as a risalit from the structure. The entrance area is designed according to the Palladian motif , the facades are sparingly decorated with decorative elements from the Renaissance.
The original spatial structure is only preserved in the southern half of the building after the war damage. Particularly noteworthy is the large hall in the middle of the building, which today forms the foyer. The stucco furnishings of the former Wilhelmskapelle are also largely preserved .
Collections
Two exhibitions are presented in the Old Castle, the ecumenical collection of Gertrud Weinhold “The Year of God and its Festivals” and the collection on regional studies of East and West Prussia , both of which are branch museums of the Bavarian National Museum .
The total of over 6,000 objects in the Weinhold Collection document the calendar festivals of the religious year as well as their customs, devotional materials and ritual objects in a worldwide comparison, while the Prussian Collection with 400 objects is dedicated to the history and culture of Prussia, starting with the missionary and colonization by the Teutonic Order to the products of the royal majolica and terracotta workshops in Cadinen and works by East Prussian artists such as Ernst Wichert , Max Halbe , Agnes Miegel and Lovis Corinth .
Lustheim Palace
History of the castle
The Lustheim Castle lies on the eastern edge of the Schleißheimer parks, little more than a kilometer away from the complex of the Old and New Castle. The high baroque building was built from 1684 on the occasion of the marriage of Elector Max Emanuel (r. 1679–1726) to the Austrian imperial daughter Maria Antonia in 1685. Lustheim, as the name suggests, served as a pure pleasure and hunting palace and was not permanently inhabited. The executive architect of the building based on the Italian villa suburbana was Enrico Zuccalli .
Building
Lustheim Palace is located on a circular island and, as a point de vue, forms the end of the baroque courtyard garden. The floor plan of the palace is reminiscent of a stylized H, and two wing-like risalits adjoin the central main building. The brick-built and plastered building has two full floors; the central wing is surmounted by a belvedere, which, with its visual axes, provides a wide view of the surrounding landscape.
The center of the palace is the large ballroom in the central wing, which is flanked by the apartments of the Elector and the Electress. The upper floor contained simple rooms for the servants, the basement accommodated the castle kitchen and utility rooms. A cycle of art-historically significant frescoes in the ballroom and in the electoral apartments, executed by Francesco Rosa , Giovanni Trubillio , Antonio Maria Bernardi and Johann Anton Gumpp , depicts scenes from the myth of Diana, the goddess of the hunt.
collection
After extensive renovation, Lustheim Palace was established in 1971 as the first branch museum of the Bavarian National Museum . Since then, it has housed the Meißen porcelain collection of the Ernst Schneider Foundation , the size and importance of which is comparable to the porcelain collection in the Dresden Zwinger. The presentation of over 2000 exquisite porcelains offers an insight into the impressive variety of products from the Meissen manufactory and their almost inexhaustible inventiveness in the first decades from their foundation in 1710 to the time of the Seven Years' War .
New Schleissheim Palace
History of the castle
The New Schleissheim Palace was also built on behalf of Elector Max Emanuel (ruled 1679–1726). At the turn of the 18th century, the Bavarian duke was able to raise his hopes for the dignity of the emperor and tried to underline his status with a residential building based on the French model. From 1696 the first plans for a summer residence of the elector in Schleissheim were made. The monumental New Palace was built from 1701 according to plans by Enrico Zuccalli , but construction work came to a standstill in 1704 as a result of the War of the Spanish Succession . The elector's political goals failed and he went into exile. Construction work was resumed after Max Emanuel's return in 1715. It was not until 1719 that the facade and interior decorations were carried out according to plans by Joseph Effner . The original intention to build a four-wing baroque residence including the old castle had to be abandoned due to the precarious financial situation of the client and so only the main building was completed until the elector's death in 1726 - after several reductions in plans.
Originally planned as a summer palace (only a few rooms have a fireplace) and a new residence, the palace was rarely inhabited due to the changeful fate of Max Emanuel; his successors preferred the Nymphenburg Palace, which is closer to Munich. The son and successor of Max Emanuel, Karl Albrecht (r. 1726–45), only had a few missing marble fireplaces, wall coverings, paneling and flooring added, the grandson Maximilian III. Joseph (r. 1745–77) had the guard room expanded into a new dining room and commissioned the richly carved portals from Ignaz Günther , among others . These have since been replaced by copies in 2018 in order to preserve the originals. The originals can be viewed in the castle in the future.
In 1790, the electoral palace in Schleissheim was given a court parish, which from then on was occupied by the Schleißheim Franciscans from the Mittenheim Schleißheim monastery .
The New Palace in Schleissheim, with its collection of paintings founded by Elector Max Emanuel, was made accessible to the public as a "gallery palace" at the beginning of the 19th century. By Leo von Klenze in 1819 some changes were made to the façade, which should give an appearance klassizistischeres the baroque building; Among other things, he had the small gables above the corps de logis and the dormitories of the skylights removed. His classical redesigns on the facades were not adopted during the reconstruction after the Second World War, the restoration was based on Effner's original plans. At that time, he retained Zuccalli's facade structure, but modernized it with sculptural decoration in the style of the Regency .
Between 1875 and 1879 Prince Otto was placed under surveillance in Schleissheim. During the Second World War, the castle was damaged by two direct bomb hits in April 1945. The New Schleissheim Palace is open to visitors today and can be visited.
Building
Exterior design
The New Palace is a broad structure more than 300 meters long. The main building, the Corps de Logis , is divided on the garden side by 37 window axes, of which eleven axes fall on the central wing with the large staircase, the ballroom and the gallery. The thirteen-axle side wings with the electoral living quarters are connected to the central wing, which is structured with colossal pilasters. The castle building is connected by seven-arched arcades with two pavilions in the south and in the north, the southern one was to serve as a guest house, the northern one the pumping station for the water features.
The central building of the palace has three full floors, the side wings have two full floors, as well as a mezzanine and an attic floor . The top floor of the central building is set back on the garden side, creating a large terrace there. This terrace is the result of a design change after parts of the garden facade collapsed during construction due to insufficient foundations . Since the lack of construction could not be corrected without great effort, a complete three-storey extension of the garden facade was dispensed with, which distinguishes it from its counterpart on the courtyard side. The flatter roof of the central building takes some of the height that he gains from the additional storey.
The galleries of the arcades north and south of the main building, with the two pavilions as perspective endpoints of the north-south axis, were already included in Enrico Zuccali's original plan. By the time of the first major construction stop in 1704 after Elector Max Emanuel had fled into exile, the south pavilion and the south gallery were probably completed. The correspondence on the north side was only under construction, it was later continued by Joseph Effner, but was only completed by Leo von Klenze under King Ludwig I (r. 1825–1848). The galleries, which form a closed and only superficially structured front on the west side, opened on the park side in the east with seven round arches each, whose original two-tone baroque color scheme has meanwhile been restored. The 15 allegorical figures in each of the arcade niches and in the wall pillar niches between the columns of the gallery arches are not baroque, but an addition from the late 19th century. When under King Ludwig II (reigned 1864–1886) attic figures were cast for his newly built neo-baroque Herrenchiemsee Palace , the plaster models for this cast work were brought to the Schleißheim arcades. These allegories show qualities and themes of good rule such as arts, sciences or virtues.
Interiors and furnishings
The monumental complex includes a spacious staircase inside the main building, which merges into the so-called White Hall and with this forms a Baroque spatial work of art, several ballrooms and the four parade apartments of the electoral couple and the electoral couple . The apartments each consist of an anteroom, the audience room, the parade bedroom and the large cabinet. Artists such as Charles Dubut , Jacopo Amigoni , Johann Baptist Zimmermann , Cosmas Damian Asam and Franz Joachim Beich contributed to the furnishing . The most significant rooms in terms of art history are the Red Cabinet (hunting room) in the Elector's apartment, the Electress's Chamber Chapel and the Viktoriensaal . Particularly noteworthy are the stucco work, the series of tapestries from Brussels and Munich, as well as the tapestries and panels in many of the rooms.
The Zuccallis Great Staircase is of particular architectural importance . The flights of stairs and platforms are located within a high, wide hall, an idea that Balthasar Neumann later took up when designing the steps for the castle of Augustusburg in Brühl and the residence in Würzburg. The dome fresco by Cosmas Damian Asam depicts Venus in the forge on the volcano, where the weapons are made for her son Aeneas, who here bears the facial features of Elector Max Emanuel. Between the wooden pillars of the dome in the room above the stairwell stood the wind players who made music from here when special festivities were taking place downstairs. The hidden room itself is decorated with paintings, which are believed to have been made by Nikolaus Gottfried Stuber . The staircase was not completed until 1847/48 under King Ludwig I by Leo von Klenze using stored original components .
The stairwell leads to the all-white Great Hall (White Hall), which extends over two floors in the middle of the main building and is flooded with window light from both long sides. The stucco comes from Johann Baptist Zimmermann based on the designs of Joseph Effner. The colossal ceiling fresco by Jacopo Amigoni and two paintings on the narrow sides by Franz Joachim Beich depict acts of war by Max Emanuel. 1703–1704, two monumental paintings were created that were permanently installed in the great hall of the palace. With a size of 5.10 × 9.69 m each and a weight of around 1.5 t each, The Relief of Vienna 1683 and The Battle of Mohács 1687 are the largest canvas paintings owned by the Bavarian state (and probably the largest to this day in Germany, which were not conceived as circular paintings ).
Beich also created ten more battle paintings for Schleissheim Palace in the Viktoriensaal adjoining the Great Hall from 1720–1725. Their richness of detail and the conscientiousness of Beich, who even visited the sites of the battles, make the paintings a valuable source for military history . The plastic Hercules Baths were designed by Robert de Cotte , the putti reliefs are by Dubut.
Robert de Cotte was also used for the floor plan of the 57 m long Great Gallery on the garden side behind the Great Hall. It has been restored to its original state as much as possible during the most recent renovations, even if its most important masterpieces are now on display in the Alte Pinakothek . The six gold-plated console tables with their Tegernsee marble tabletops are masterpieces of Munich court art under Elector Max Emanuel, who had them carved for the Great Gallery by court sculptor Johann Adam Pichler from 1722–1725 based on designs by Schleissheim palace architect Joseph Effner. In 1761 they were supplemented by another pair of tables. From the time of Max Emanuel's grandson, Elector Maximilian III. Joseph also bought the five monumental glass chandeliers that were around 1.70 meters high in Vienna. The large gallery provides access to the two most important apartments in the New Palace: to the south that of the Elector, to the north that of the Electress. When all the doors are open, there is a 160-meter-long suite of rooms on the garden side.
In the elector's apartment, the path leads through two rooms decorated with precious series of tapestries from Brussels with campaign scenes, the anteroom and the audience room , to the parade bedroom . As the most ceremonially important room in the apartment, it has the richest furnishings, including the parade bed of Elector Max Emanuel behind a carved balustrade, decorated with red silk velvet. In the adjoining large cabinet in the elector's apartment, no original furniture has been preserved, but behind it is the hunting room (red cabinet) richly decorated with hunting trophies and chinoiserie with authentic furniture from the time of Karl Albrecht and Max III. Josephs. There is also the Dutch Painting Cabinet (Brown Cabinet). The Maximilian Chapel or Great Chapel was built between 1720 and 1724. The chapel oratorios on the upper floor were accessible directly from the elector's parade bedroom. The barrel vault of the chapel depicts the "Glory of St. Maximilian" by Cosmas Damian Asam, the marbled tabernacle top of the altar is from the workshop of Johann Adam Pichler.
On the other side of the Great Gallery is the apartment of the Electress, mirroring the apartment of the Elector. Here, too, both the anteroom and the audience room were once decorated with knitted carpets, which are only partially on display. In the audience chamber of electress today hang portraits of Elector Max Emanuel and his second wife Therese Kunigunde of Joseph Vivien . In the parade bedroom in the elector's apartment, which is decorated with a wall covering made of yellow damask , the parade bed of the elector is only partially preserved. The large cabinet in the Electress's apartment, which is now unfurnished, has a ceiling fresco by Jacopo Amigoni . Behind it is the Electress's chamber chapel, richly decorated with Scagliola from the time of Elector Maximilian I , which opens to the next floor under a lantern on the ceiling decorated with stucco by Johann Baptist Zimmermann.
The stucco cabinet , located directly under the chapel on the ground floor in the apartment of the Kurprinzessin, also shows valuable Scagliola cladding, here too it was created by court marble sculptor Wilhelm Pfeiffer as early as 1629 for the residence in Munich and was only installed later in Schleissheim.
Mirroring the stucco cabinet in the elector's apartment is the blue cabinet at the end of the suite. The blue-framed plinth panels with their silver-plated carvings and the blue ceiling with the silver-plated stucco by Johann Baptist Zimmermann are reminiscent of the once exquisite furnishings in Max Emanuel's time.
From 1758 the music and billiard room (northern garden room) on the garden side on the ground floor was commissioned by Max III. Josephs by Franz Xaver Feuchtmayer according to designs by François de Cuvilliés in the Rococo style. The southern garden hall , on the other hand, still shows Johann Baptist Zimmermann's reliefs with shepherd scenes and putti from 1723, while the grisaille frescoes , which thematically refer to the garden, were painted by Cosmas Damian Asam in 1724. Between the two halls is the Sala terrena with four clay reliefs with sea scenes by Giuseppe Volpini and stucco grisaille paintings by Nikolaus Gottfried Stuber . In front of the staircase on the other side is the vestibule with Tuscan columns made of Tegernsee marble and vaulted flat domes with illusionistic painting, also by Nikolaus Gottfried Stuber.
The original furniture in the sequence of rooms, as far as it still exists, is now largely stored for conservation reasons or on display in the Munich Residence . The Flemish tapestries and tapestries that Max Emanuel acquired during his governorship in the Spanish Netherlands have been preserved.
Baroque gallery
Today some rooms contain a baroque gallery of the Bavarian State Painting Collections . The focus is on the Italian and Flemish paintings that are exhibited in the magnificent “Great Gallery” and other rooms.
Among the masters now exhibited again in the palace are such prominent painters as the Flemish Peter Paul Rubens and Anthonis van Dyck , the Italians Guido Reni , Luca Giordano , Il Guercino , Carlo Saraceni , Marcantonio Bassetti , Alessandro Turchi , Carlo Dolci and Pietro da Cortona , the Germans Joachim Sandrart , Johann Heinrich Schönfeld and Johann Carl Loth as well as a cabinet with examples of Spanish painting by Alonso Cano , José Antolínez and Jusepe de Ribera .
Most of the French paintings from the 17th and 18th centuries exhibited in the palace are historically closely related to Elector Max Emanuel. For example, some pictures of Pierre-Denis Martin show his French and Polish relatives, his sister Maria Anna was married to the Grand Dauphin , and he himself is a second marriage to Therese Kunigunde , a daughter of the Polish king Jan Sobieski . A huge historical picture by Joseph Vivien deals with the reunification of the elector with his family in 1715. Rooms with battle paintings are adjacent.
The former guard room on the ground floor, which was converted into a dining room from 1762, shows portraits of all the princes of Bavaria between 1597 and 1777: On the north wall of the room there is an equestrian portrait of Maximilian I by Nikolaus Prugger , a portrait of Ferdinand Maria standing by George Desmarées and a representation of Max II. Emanuels on horseback as the general of Martin Maingaud, on the south wall are equestrian portraits of Karl Albrecht and Max III. Joseph of Desmarées. The canvas pictures embedded in the walls are older than the room decoration and were subsequently brought to today's frame sizes.
In 1852, over 1000 paintings, which were kept in the Bavarian State Painting Collections in Schleissheim, Augsburg and Nuremberg, were sold at a public auction with the permission of the Bavarian royal family ( Schleissheim auction ). The sale served to finance modern acquisitions for the Wittelsbach portrait gallery . The supposedly dispensable paintings included pearls that were regarded as copies, such as Dürer's “St. Anna Selbdritt ”(today in New York, Metropolitan Museum of Art) and Grünewald's“ Maria-Schnee-Wunder ”(today in Freiburg, Augustinermuseum).
The unfinished palace complex
The Schleissheim palace complex has remained unfinished. Elector Max Emanuel's ambitious plans to build a large residence based on the Versailles model had to be abandoned due to the financial difficulties involved.
The drafts for Lustheim Palace envisaged surrounding the building, which is located on a circular island, with four gallery buildings erected in a semicircle. The buildings were supposed to connect the buildings of the beautiful stable and the Renatus chapel together with Lustheim Palace to form a large garden palace. Orangeries, festival halls and guest rooms were planned in the circular buildings. The project was only partially carried out and the circular buildings were never completed. They were left to decay in the course of the 18th century and had to be demolished in 1741. Only the outer pavilions, artistically hardly less important than the actual castle, have been preserved.
The New Palace was designed as a monumental, four-wing residence. Today's castle was planned as the main wing of the complex, which was to be connected to the old castle via a northern and a southern side wing. For the old castle and its courtyards, a complete baroque redesign was planned, the current wing with the clock tower was to be replaced by semi-circular farm buildings with a central triumphal arch. For years, Schleissheim was only called "the building" in the surrounding area, because even the east wing of the New Palace, which was finally completed, remained unfinished for a long time due to the political entanglements of the elector and a lack of money. Max Emanuel's successors were not very interested in Schleissheim either, the heavy baroque building was no longer considered "modern" even in the Rococo. Even if a few rooms were redesigned later and many furnishings were finally removed, both the castle and the gardens have largely been preserved in the original.
Courtyard garden and pavilions
Courtyard garden
The large courtyard garden was designed by Dominique Girard , a student of André Le Nôtre , the basic structure of the area goes back to Enrico Zuccalli. The garden consists of several sections: those with Broderiebeeten designed flowerbeds in front of and behind the New Palace, the central axis as an absolute organizing principle of the garden with the side lying shrubbery , and the like Insel and a southern landscape area. The central axis initially served as a track for the Paille-Maille game, popular at court , before the Great Canal was built at the end of the 18th century. Since then, water has been the central element within the garden. The large canal in the middle of the garden and the round moat on Lustheimer Insel are connected to the Nymphenburg palace complex via the north Munich canal system , a system of waterways.
The baroque gardens have largely been preserved in their original form and, unlike numerous other palace gardens, was not converted into a landscape park in the course of the 19th century. In addition to the Great Garden in Hanover-Herrenhausen , the Schleissheimer Park is the only baroque garden in Germany that still retains its original basic structure, although its architectural decoration has been partially lost today. By 1772 , Roman Anton Boos created four mythological groups that are no longer preserved and a river god, which has also been lost, for the Schleißheim palace gardens.
Pavilions
At the transitions to Lustheimer Insel there are two pavilions that form the remains of the unfinished circular buildings: the Renatus Chapel and the Schöne Stall. They have been extensively restored in recent years, but are only accessible to the public to a limited extent due to the salinisation of the walls. After ten years of renovation work, the Renatus Chapel , a major work of the Bavarian high baroque, was reopened in August 2005. The small church, consecrated to St. Renatus, was built in 1688 by Enrico Zuccalli on behalf of Elector Max Emanuel . It replaced the old Renatus Chapel, which Duke Wilhelm V had built and which had to give way to the new building of Lustheim Palace in 1684. The altarpiece of St. Renatus in front of the Madonna was created by Giovanni Trubillio, the dome fresco of the Glory of St. Renatus by Johann Anton Gumpp.
The northern pavilion, known as the beautiful stable , was also built by Zuccalli following the Renatus chapel. The ground floor consists of a large, fully frescoed hall, which at times served as a stable for noble riding horses . The wall frescoes represent a pseudo-architecture with pilasters, window niches and statues, in the ceiling fresco the deities Aurora, Apollo and Diana symbolize the times of day morning, noon and evening. The painting is attributed to Caspar Gottfried Stuber . In stark contrast to this is the stone pavement of the floor, which is common for a horse stable, on which the division into sixteen horse stalls can still be seen. Since the renovation of the frescoes and the treatment of the salinization have not yet been completed, the hall can only be viewed through a glass porch in the summer months.
Lines of sight
Elector Max Emanuel not only intended to build a residence in line with his status, but also to connect his castles with a network of axes and canals and to present them - as an expression of absolutist rulership - as the center of the lines of sight emerging from them . Starting from the avenues leading radially away from Lustheim Palace, the north-eastern line of sight pointed to the Freisinger Domberg 20 km away , the east along the Schleissheim Canal to the approximately 6 km away tower of St. Katharina in Garching near Munich , the south-east towards the parish church almost 8 km away St. Valentin in Unterföhring , the southern one to the Peterskirche in Munich 12 km away , the southwest one to St. Peter and Paul in Feldmoching, 5 km away in today's Munich district 24 Feldmoching-Hasenbergl, the western one along the central axis of the park to the old or later to the New Castle and the northwest to St. Peter in Ampermoching .
A line of sight goes south from the Old Castle to the Frauenkirche in Munich, which is also the end point of a line of sight from Fürstenried Castle . Finally, the northern side canal has Dachau Castle as its destination.
Of these lines of sight, only the Schleissheim Canal, which is covered with branches, the avenues radially extending from Lustheim Castle and two forest paths, as well as the timber line of the Berglholz to Oberschleißheim, otherwise they are overgrown or blocked.
Sewer system
It is part of the north Munich canal system . The Hofgarten is fed with water from the Würm and Isar rivers. Duke Wilhelm V had his Schwaige supplied with water using the old Würm Canal, built in 1601 . In the old castle the canal flows as Mühlbach northwards through the western part of the Wilhelmshof and its farm buildings. One junction runs as Maschinenbach along Effnerstraße through Wilhelmshof and another junction crosses Maximilianshof and the surrounding residential buildings as Brunnbach .
Following the construction of Lustheim Palace in 1687, Elector Max Emanuel had part of the water from the Würm Canal in the southern side canal along the Hofgarten to the east, in a semicircle around Lustheim Palace and back to the west in the northern side canal.
For the planned New Palace , the Schleissheim Canal was built in 1689 , with which Isar water was conducted from the English Garden in Munich to the Hofgarten. In addition, the Würm Canal was expanded and partially rebuilt in 1690/91. The Schleissheim Canal flows on the central axis from the east into the side canal that encircles Lustheim Palace. Immediately after the two canals merge, part of the water is diverted to the inner ring canal around Lustheim Palace. In addition, a pond is fed at the eastern end between the two canal rings, which should serve as a kind of harbor basin for the courtly gondolas between the circular buildings planned for Lustheim Palace.
From the inner ring canal, the water flows through the central canal over the double cascade into the large basin on the eastern ground floor, which is significantly lower than the side canals. Together with the water from the fountain, it is drained underground and guided under the northern side canal in a north-westerly direction in the underground Isarbachl to the Gänsgraben . Shortly before the New Castle, some water is released from the northern side canal into the lower Berglbach. In the New Palace, water-driven pumps were provided for the fountains.
The canal system was not only intended to give the landscape the flair of the Netherlands, where the elector was governor for many years, but also served as a convenient means of bringing building materials in addition to the water features in the park.
In the Brunnhaus , built north of the Old Palace by Carl von Effner on behalf of King Ludwig II in 1867 , the side channel with a water wheel drove the pumps with which water from the lower Brunnbach was conveyed to the fountains via a pressure pipe. The water wheel and pumps are still there, but the fountains are now powered by electric pumps.
Immediately after the Brunnhaus there was a lock with which the boats could overcome the height difference of 3 m to the Dachau-Schleissheim Canal , which was built in 1691/92 . The lock has meanwhile been replaced by a long staircase through which the water flows out of the side canal, but the extended escape point in front of the lock chamber and the confluence of the Maschinenbach are still there.
Up until the Peace of Karlowitz in 1699, the huge earthworks for these canal stretches were partly carried out by Turks prisoners of war and then mainly by units of the Munich garrison. Immediately after completion, the canals were used to load freight for the construction of the palace on the waterway; at the same time they were used for courtly rides, for which Venetian gondoliers were hired several times.
Events
In the past few years, the Bavarian Drag Hunting Association, together with the Bavarian Riders and Drivers Association, organized historical hunting and carriage galas in the castle grounds.
Celebrities from politics, business and culture (around 1500 guests) meet at the annual summer festival of the Bavarian Parliament .
The Schleissheim Palace Concerts take place in the Great Hall every year .
Film set
In Schleissheim Palace shooting took place among others for the movies Decision Before Dawn (dt .: Decision Before Dawn ) (1951) by Anatole Litvak , Paths of Glory (dt .: Paths of Glory ) (1957) by Stanley Kubrick , année dernière L' à Marienbad (German: Last year in Marienbad ) (1961) by Alain Resnais and most recently The Three Musketeers (2011) by Paul WS Anderson with Orlando Bloom.
literature
- Alfred Nossig : Schleissheim Castle and its gallery . With 9 illustrations. In: Vom Fels zum Meer 22nd vol., Vol. 2, 1903, pp. 1795–1802.
- Georg Paula , Timm Weski: District of Munich (= Bavarian State Office for Monument Preservation [Hrsg.]: Monuments in Bavaria . Volume I.17 ). Karl M. Lipp Verlag, Munich 1997, ISBN 3-87490-576-4 , p. 172-195 .
- Ernst Götz u. Brigitte Langer: Schleißheim palace complex ; Official Leader, Revised; (Bavarian Administration of State Palaces, Gardens and Lakes); 1st edition Munich 2005; ISBN 3-932982-55-X .
- Luisa Hager: Schleißheim Palace ; (Langewiesche library); Verlag Karl Robert Langewiesche successor to Hans Köster: Königstein / Taunus 1974; ISBN 3-7845-1361-1 .
- Peter O. Krückmann u. Victoria Salley / Bavarian Castle Administration (ed.): Schleißheim ; (Prestel Leader compact); Prestel: Munich / London / New York 2001; ISBN 3-7913-2694-5 .
- Annette Schommers u. Martina Grigat / Bavarian National Museum (ed.): Meissen porcelain from the 18th century. The Ernst Schneider Foundation in Lustheim Palace . CH Beck: Munich 2004; ISBN 3-406-51905-9 .
- Sabine Heym: Lustheim Palace. Hunting and festival building for Elector Maximilian II Emanuel of Bavaria . In: Oberbayerisches Archiv, 109 (1984), 2 (original dissertation LMU Munich).
- Sabine Heym: Henrico Zuccalli (around 1642–1724). The Bavarian court architect . Munich 1984.
- Norbert Hierl-Deronco: "IT IS A LUST TO BUILD", From building owners, builders and building in the Baroque in Kurbayern etc., chapter canals and boat trips , Krailling 2001, ISBN 3-929884-08-9
- Stefan Hemler: With students in Schleißheim Palace. Possibilities and limits of historical excursions, examined on the basis of a sequence of lessons on absolutism in Bavaria, Munich 2009 (contributions to high school pedagogy 28).
Web links
- Official website of the Bavarian Palace Administration for the Schleissheim Palace complex with a detailed description of the New Palace with a tour, the Schleissheim Court Garden via the Old Schleissheim Palace and Lustheim Palace
- Homepage of the Meissen porcelain collection Ernst Schneider Foundation in Lustheim Palace
- Virtual Tour: New Palace , Lustheim Palace , Lustheim - The North Pavilion - Beautiful barn , Lustheim - Southern Pavilion - Renatus and grounds (also available on mobile phones, no flash player required)
- Schleißheim palace complex in the Bavaria Atlas (original sheet 1863)
- sueddeutscher-barock.ch: New Schleissheim Castle
Individual evidence
- ↑ Abendzeitung Germany: The castle should foam again: Remontebräu brewery cooperative wants to give Schleißheim its own beer - Abendzeitung Munich. Retrieved October 20, 2019 .
- ↑ Homepage of the Meißen porcelain collection Ernst Schneider Foundation in Lustheim Palace
- ↑ SZ Venus and Aeneas within reach
- ↑ Presentation of the planned system ( Memento of the original from March 7, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Model of the lock design ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ tourism-schleissheim
- ↑ Reopening of the Renatus Chapel
- ↑ Documentation of the historical visual axes and canals of the Schleissheim castles. Dachauer Moos Association V., archived from the original on May 22, 2005 ; accessed in 2006 .
- ↑ Report of the Bavarian Broadcasting Corporation on the shooting in Bavaria with a list of the locations ( memento from September 25, 2011 in the Internet Archive )
Castles: Höhenkirchen Castle | Ismaning Castle | Planegg Castle | Lustheim Palace | Schleißheim Old Palace | New Schleissheim Palace | Seeholzen Castle (sold) | Laufzorn Castle
Castles and ruins: Grünwald Castle | Schwaneck Castle
Castle stables: Burgstall Aying | Burgstall Baierbrunn | Burgstall Beigarten | Burgstall Blindham | Römerschanze Grünwald | Birg Höhenschäftlarn | Kleinhelfendorf tower hill | Burgstall Unterschleißheim
Coordinates: 48 ° 14 ′ 55 ″ N , 11 ° 34 ′ 6 ″ E
