Schloss Haimhausen is a Schloss in the Bavarian town of Haimhausen, Germany.

History

The site has been the location of a castle since at least 1281, when it was mentioned in written sources. This first castle was however destroyed during the Thirty Years' War and not rebuilt until 1660. At that time, a Baroque palace was built on the site, the core of the present structure. It was rebuilt from 1747 to 1750 in a Rococo style, and has remained largely unchanged since. During this time, the estate belonged to Count Sigmund von Haimhausen, an industrialist, politician and co-founder of the Bavarian Academy of Sciences and Humanities who however died without heirs. After his death, the estate was sold to James Eduard Haniel. Descendants of Haniel still run a brewery located adjacent to the Schloss. The park of the estate was transformed into an English landscape garden during the ownership of Haniel. In 1794 it was sold again. It remained a family home until the 1930s, when the expensive upkeep of the buildings led to its abandonment as a home. During World War II, thousands of books from the Bavarian State Library were housed in the palace chapel. After the war, the building has served several different purposes. It is today owned by the Bavarian International School. The buildings are used for education and hence not open to the public.



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The Schleißheim Palace (German: Schloss Schleißheim) comprises three individual palaces in a grand Baroque park in the village of Oberschleißheim, a suburb of Munich, Bavaria, Germany. The palace was a summer residence of the Bavarian rulers of the House of Wittelsbach.

The palaces

Old Schleissheim Palace

The history of Schleißheim Palace started with a Renaissance country house (1598) and hermitage founded by William V close to Dachau Palace. The central gate and clock tower between both courtyards both date back to the first building period. The inner courtyard is called Maximilianshof, the outer one Wilhelmshof. Under William's son Maximilian I the buildings were extended between 1617 and 1623 by Heinrich Schön and Hans Krumpper to form the so-called Old Palace. This plan is typologically similar to the castle of Laufzorn in Oberhaching begun by Maximilian's brother Albert the year before. There, too, a free staircase leads up to the first floor, which is used as a mansion. The building, which was designed in the style of Andrea Palladio in the late Renaissance, was completed in 1623.

The rooms were decorated by Peter Candid. Maximilian's son and successor Ferdinand Maria died here in 1679. After heavy destruction in the Second World War the palace with its spacious buildings was reconstructed. Most of the stucco decoration of the chapel Wilhelmskapelle has been preserved. The Old Schleißheim Palace houses today two exhibitions, one on religious culture, the other the history of Prussia. The Grand Hall in the middle of the main building today serves as foyer for the museums.

Lustheim Palace

Then Enrico Zuccalli built Lustheim Palace as a garden villa in Italian style in 1684–1688 for Maximilian II Emanuel and his first wife, the Austrian princess Maria Antonia.

Lustheim lies on a circular island and forms as a point de vue the conclusion of the baroque court garden. The floor plan of manor reminiscent of a stylized H, to the central main building will be followed by two wing-like avant-corps. The brick built and plastered building has two storeys, the middle section is dominated by a belvedere, which provides a wide view of the surrounding countryside. The center of the palace is the great hall in the middle section, which is flanked laterally by the apartments of the Elector and Electress. Upstairs rooms were simple for the servants, the basement contained the kitchen and utility rooms.

The interior is dominated by the large banqueting hall in the middle of the building. The frescoes were done by Johann Anton Gumpp, Francesco Rosa and Johann Andreas Trubillio.

Since 1968 the palace has housed a grand collection of Meissen porcelain, only outranged by the Dresden Porcelain Collection in the Zwinger, Dresden.

The palace once formed the centre point of a semicircle of round buildings. Two pavillons still exist: To the south of Lustheim Place the Renatus Chapel was erected in 1686 by Zuccalli in the southern pavillon. The northern pavillon houses the decorated stable which was built for the favourite horses of Elector Max Emanuel.

New Schleißheim Palace

Zuccalli also finally erected the Baroque New Palace between the two palaces in 1701–1704 as the new residence, since the elector expected the imperial crown. But after Max Emanuel had lost Bavaria for some years in the War of the Spanish Succession, the construction work was interrupted. Joseph Effner enlarged the building to one of the most impressive Baroque palaces in 1719–1726. But only the main wing was completed.

The New Palace is a wide-bearing construction of more than 300 meters in length. The main building, the corps de logis, is divided by 37 garden-sided window bays, eleven axes fall on the middle section with the grand staircase, the ballroom and the gallery. The middle section is structured with pilasters. The main wing is connected by arcades with two pavilions in the south and in the north, the southern pavilion should serve as a guest house, the northern one keeps the pumping station for the trick fountains of the park. The central building of the castle has three storeys. The top floor of the central building is set back garden side, so there is a large terrace. This terrace is the result of a change in the draft, after parts of the garden facade were still collapsed during construction due to an insufficient foundation.

Important examples of German baroque architecture are especially the Grand Hall, the Grand Gallery, the wide staircase, the Maximilian's Chapel and the four state apartments decorated by artists such as Charles Dubut, Franz Joachim Beich, Johann Baptist Zimmermann, Cosmas Damian Asam and Jacopo Amigoni. The Grand Gallery was constructed in line with a draft provided by Robert de Cotte. The Victory Hall, the Red Cabinet and the Chapel of the Electress keep the most significant interior decorations. The Grand Staircase of Zuccalli is particularly significant in terms of architecture: The stairs and pedestals lie within a high, wide hall, an idea which Balthasar Neumann later took up in the design of the palace of Augustusburg in Brühl and the Residence Palace in Würzburg. The dome fresco by Cosmas Damian Asam depicts Venus in the blacksmiths of the volcano, where the weapons are made for her son Aeneas, who is wearing the facial features of Elector Max Emanuel. Most of the rooms still show their original late baroque decoration celebrating the elector's victories against the Turks. The entirely preserved Gobelin tapestries were acquired by Max Emanuel from Flemish manufacturies when he served as Governor for the Spanish Netherlands.

Max Emanuels's son Emperor Charles VII Albert preferred the more private atmosphere of Nymphenburg Palace, so only one of four planned wings was completed.

But Max Emanuel's grandson Maximilian III Joseph ordered to decorate some rooms in Rococo style. In 1763 Ignaz Günther decorated the wings of the east portal with allegorical adornments. Under King Ludwig I finally Leo von Klenze completed the Great Staircase.

Klenze's neoclassical alterations of the façade were not restored with the renovation after the destructions in World War II.

Gallery of Baroque paintings

The Gallery of baroque paintings owned by the Bavarian State Picture Collections is today exhibited in several rooms. Among the artists are Flemish Baroque painters such as Peter Paul Rubens and Anthony van Dyck, Italians like Guido Reni, Luca Giordano, Guercino, Carlo Saraceni, Marcantonio Bassetti, Alessandro Turchi, Carlo Dolci and Pietro da Cortona, but also the Germans Joachim von Sandrart, Johann Heinrich Schönfeld and Johann Carl Loth and the Spanish painters Alonso Cano, José Antolínez and José de Ribera.

The French paintings of the 17th and 18th centuries exhibited in the palace are for the most part historically closely related to Elector Max Emanuel and his family. For example, some pictures of Pierre-Denis Martin show his French and Polish relatives, his sister was married to the Grand Dauphin, he himself was in a second marriage engaged with a daughter of the Polish king Jan Sobieski. A huge historiography of Joseph Vivien deals with the reunion of the Elector with his family in 1715. Rooms with battle paintings are celebrating the Elector.

The former Gardesaal, converted from 1762 to a new dining room, shows the portraits of all the Electorates of Bavaria between 1597 and 1777. On the north wall are a portraits of Maximilian I by Nikolaus Prugger, a portrait of Ferdinand Marias in standing position by George Desmarées and a depiction of Max II Emanuel on horseback as a commander by Martin Maingaud, on the south wall shows equestrian portraits of Charles Albert and Max III. Joseph by Desmarées. The canvas paintings, which are embedded in the walls, are older and had been retrofitted to today's frame size.

In 1852, over 1000 paintings that had been in storage at the Bayerische Staatsgemäldesammlungen in Schleißheim, Augsburg and Nuremberg were sold at a public auction with the permission of the Bavarian royal house. The proceedings were used to fund modern acquisitions for the Wittelsbach portrait gallery.

Schlossanlage Schleissheim

The Schleissheim Palace (German: Schloss Schleißheim) comprises three individual palaces in a grand baroque park in the village of Oberschleißheim, a suburb of Munich, Bavaria, Germany. The palace was a summer residence of the Bavarian rulers of the House of Wittelsbach.

The history of Schleissheim Palace started with a renaissance country house (1598) and hermitage founded by William V close to Dachau Palace. The central gate and clock tower between both courtyards still date back to the first building period. The inner courtyard is called Maximilianshof, the outer one Wilhelmshof. Under William's son Maximilian I the buildings were extended between 1617 and 1623 by Heinrich Schön and Hans Krumpper to the so-called Old Palace.

The rooms were decorated by Peter Candid. Maximilian's son and successor Ferdinand Maria died here in 1679. After heavy destruction in the Second World War the palace with its spacious buildings was reconstructed. Most of the stucco decoration of the chapel Wilhelmskapelle has been preserved. The Old Schleissheim Palace houses today two exhibitions, one on religious culture, the other the history of Prussia. The Grand Hall in the middle of the main building today serves as foyer for the museums.

Then Enrico Zuccalli built Lustheim Palace as a garden villa in Italian style in 1684-1688 for Maximilian II Emanuel and his first wife, the Austrian princess Maria Antonia.

Lustheim lies on a circular island and forms as a point de vue the conclusion of the baroque court garden. The floor plan of manor reminiscent of a stylized H, to the central main building will be followed by two wing-like avant-corps. The brick built and plastered building has two storeys, the middle section is dominated by a belvedere, which provides a wide view of the surrounding countryside. The center of the palace is the great hall in the middle section, which is flanked laterally by the apartments of the Elector and Electress. Upstairs rooms were simple for the servants, the basement contained the kitchen and utility rooms.

The interior is dominated by the large banqueting hall in the middle of the building. The frescoes were done by Johann Anton Gumpp, Francesco Rosa and Johann Andreas Trubillio.

Since 1968 the palace has housed a grand collection of Meissen porcelain, only outranged by the Porzellansammlung in the Zwinger, Dresden.

The palace once formed the centre point of a semicircle of round buildings. Two pavillons still exist: To the south of Lustheim Place the Renatus Chapel was erected in 1686 by Zuccalli in a pavillon. The northern pavillon houses the decorated stable which was built for the favourite horses of Elector Max Emanuel.

Then Enrico Zuccalli built Lustheim Palace as a garden villa in Italian style in 1684-1688 for Maximilian II Emanuel and his first wife, the Austrian princess Maria Antonia.

Lustheim lies on a circular island and forms as a point de vue the conclusion of the baroque court garden. The floor plan of manor reminiscent of a stylized H, to the central main building will be followed by two wing-like avant-corps. The brick built and plastered building has two storeys, the middle section is dominated by a belvedere, which provides a wide view of the surrounding countryside. The center of the palace is the great hall in the middle section, which is flanked laterally by the apartments of the Elector and Electress. Upstairs rooms were simple for the servants, the basement contained the kitchen and utility rooms.

The interior is dominated by the large banqueting hall in the middle of the building. The frescoes were done by Johann Anton Gumpp, Francesco Rosa and Johann Andreas Trubillio.

Since 1968 the palace has housed a grand collection of Meissen porcelain, only outranged by the Porzellansammlung in the Zwinger, Dresden.

The palace once formed the centre point of a semicircle of round buildings. Two pavillons still exist: To the south of Lustheim Place the Renatus Chapel was erected in 1686 by Zuccalli in a pavillon. The northern pavillon houses the decorated stable which was built for the favourite horses of Elector Max Emanuel.

The New Palace is a wide-bearing construction of more than 300 meters in length. The main building, the corps de logis, is divided by 37 garden-sided window bays, eleven axes fall on the middle section with the grand staircase, the ballroom and the gallery. The middle section is structured with pilasters. The main wing is connected by arcades with two pavilions in the south and in the north, the southern pavilion should serve as a guest house, the northern one keeps the pumping station for the trick fountains of the park. The central building of the castle has three storeys. The top floor of the central building is set back garden side, so there is a large terrace. This terrace is the result of a change in the draft, after parts of the garden facade were still collapsed during construction due to an insufficient foundation.

Important samples of German baroque architecture are especially the Grand Hall, the Grand Gallery, the wide staircase, the Maximilian's Chapel and the four state apartments decorated by artists such as Charles Dubut, Franz Joachim Beich, Johann Baptist Zimmermann, Cosmas Damian Asam and Jacopo Amigoni. The Grand Gallery was constructed in line with a draft provided by Robert de Cotte. The Victory Hall, the Red Cabinet and the Chapel of the Electress keep the most significant interior decorations. Most of the rooms still show their original late baroque decoration celebrating the elector's victories against the Turks. The entirely preserved Gobelin tapestries were acquired by Max Emanuel from Flemish manufacturies when he served as Governor for the Spanish Netherlands.

Max Emanuels's son Emperor Charles VII Albert preferred the more private atmosphere of Nymphenburg Palace, so only one of four planned wings was completed.

But Max Emanuel's grandson Maximilian III Joseph ordered to decorate some rooms in rococo style. In 1763 Ignaz Günther decorated the wings of the east portal with allegorical adornments. Under King Ludwig I finally Leo von Klenze completed the grand stairway.

Klenze's neoclassical alterations of the façade were not restored with the renovation after the destructions in World War II.

The Gallery of baroque paintings owned by the Bavarian State Picture Collections is today exhibited in several rooms. Among the artists are Flemish Baroque painters such as Peter Paul Rubens and Anthony van Dyck, Italians like Guido Reni, Luca Giordano, Guercino, Carlo Saraceni, Marcantonio Bassetti, Alessandro Turchi, Carlo Dolci and Pietro da Cortona, but also the Germans Joachim von Sandrart, Johann Heinrich Schönfeld and Johann Carl Loth and the Spanish painters Alonso Cano, José Claudio Antolinez and José de Ribera.

The grand park is one of the rare preserved baroque gardens in Germany. Its structure with canals and bosquet area was arranged by Zuccalli. Dominique Girard, a pupil of Le Notre, constructed the grand parterre and the cascade until 1720. Water forms since the central element in the garden. The Grand Canal in the garden center and the ditch round of Lustheim island are part of the northern Munich channel system, a system of waterways that connected also to the complex of Nymphenburg Palace.

From the Old Palace, a line of sight goes south to the Frauenkirche in Munich, which is also the end point of another line of sight of the Fürstenried Palace. The northern side channel has finally Dachau Palace as target.

In the Brunnhaus (well house), which was built in 1867 north of the Old Palace by Carl von Effner, the waterwheel and the pumps are still present, the fountains are, however, now powered by electric pumps.

The Schloßwirtschaft Oberschleißheim Biergarten is located on the palace grounds, with seating for 1,000. Its roots trace back to 1597, when the founder of the Hofbräuhaus brewery retired to a farm there. Following the building of the New Schleissheim Palace in the 17th century, the Schloßwirtschaft (palace restaurant) provided catering to its workers and servants. A royal brewery followed, enjoying a long period of success before closing. Under the shade of chestnut trees Hofbrauhaus beers and traditional Bavarian fare are served today, enjoyed with a picturesque view of the palace, particularly at sunset.

Schleissheim Palace

The Dachau Palace is a former residence of the rulers of Bavaria at Dachau, southern Germany.

The castle was constructed around 1100 as a castle by the cadet branch of the House of Wittelsbach. In 1182, the last Count of Dachau, Konrad III, died without issue and Duke Otto I of Bavaria took possession of it shortly thereafter. The original castle was demolished between 1398 and 1403. In 1467 Sigismund, Duke of Bavaria resigned and then kept only Bavaria-Dachau as his domain until his death in 1501.

William IV of Bavaria and his son Albert V ordered the construction of a Renaissance style four-wing palace with a court garden on the site of the old castle. The new building was designed by Heinrich Schöttl; construction began in 1546 and was completed in 1577. It later became the favoured residence of the rulers of Bavaria. Also the history of Schleissheim Palace started with a renaissance country house (1598) and hermitage founded by William V close to Dachau Palace.

In 1715, Maximilian II Emanuel commissioned a redesign in Baroque style by Joseph Effner. Only the south-west wing is extant; King Maximilian I ordered the other 3 wings to be demolished in the early 19th century. They had suffered extensive damage at the hands of Napoleonic troo

The Palace is managed by the Bavarian Administration of State-owned Palaces, an administrative department of the Free State of Bavaria. It is open to visitors and the Banqueting Hall can be booked for special events. It is also used as a venue for classical concerts.

The main sight of the palace is the banqueting hall with its coffered Renaissance ceiling, designed and created between 1564 and 1566 by Hans Wisreutter, which was restored to the palace in 1977. The view from the top of the Schlossberg overlooks Munich and extends to the Bavarian Alps.

The court garden was created from the 1572 in order to enjoy the remarkable view from the Schlossberg, several pavilions were built, of which three are still preserved. Comparable with the vineyard and famous Sanssouci Palace, were the "hanging gardens" of the Schlossberg: terraces with precious espalier fruits. For the upper part of the parterres a still existing balcony of lime trees was created. Joseph Effner re-designed together with his brother Johann Christoph Effner also the garden in Baroque style in 1717. As a representative of an enlightened absolutism, Elector Max III. Joseph ordered already in 1765 to develop an English landscape garden. Today, the lower part of the garden has been abandoned and is awaiting resurrection.

Dachau Palace

Das Schloss Hohenkammer ist ein denkmalgeschütztes Schloss in Hohenkammer im Landkreis Freising in Oberbayern. Es ist eine vierflügelige Anlage mit Laubeninnenhof, vier erkerartigen Ecktürmen und einem quadratischen Torturm. Als Hofmarkschloss war es Herrensitz der Hofmark Hohenkammer.

Geschichte

Die ursprüngliche Burg Hohenkammer gehörte den erstmals im 11. Jahrhundert bezeugten Herren von Camer bzw. Kammer, die sich 1042 in Hohenkammer niederließen. Die „hohen Herren von Camer“ waren Ministeriale der Grafen von Scheyern. Von 1551 bis 1801 war die Hofmark Hohenkammer im Besitz der Grafen von Haslang, die in der zweiten Hälfte des 16. Jahrhunderts das Schloss Hohenkammer errichteten. Nach einem verheerenden Brand 1648 wurde es im Stil der Renaissance wieder aufgebaut. 1804 bis 1821 war das Schloss im Besitz der Grafen Preysing und gelangte dann an den Verleger Johann Friedrich Freiherr von Cotta. Seit 1833 war es im Besitz der Familie von Vequel-Westernach. Mechthilde Freiin von Vequel-Westernach zog in eine kleine Villa in der Nähe (heute Baronessvilla) und verkaufte das Schloss im Jahr 1917 an die Raiffeisen-Genossenschaft. Nach wechselvoller Nutzung wurde es 1970 zu einem Schulungszentrum der Bayerischen Raiffeisen-Zentralbank (später DZ Bank).

Seit 2003 sind Schloss, Baroness-Villa und Gut Eichethof im Besitz der Münchener Rückversicherungs-Gesellschaft, die durch die neu gegründete Schloss Hohenkammer GmbH im Schloss ein Hotel und Tagungszentrum mit drei Restaurants betreibt. 2007 wurde das Schloss saniert.

Seit 2015 ist Florian Vogel Küchenchef in Camers Schlossrestaurant, das im Guide Michelin 2017 mit einem Michelinstern ausgezeichnet wurde.

Schloss Hohenkammer

Ismaning Palace (German: Schloss Ismaning) is a Baroque palace in Ismaning. It currently serves as the town hall.

History

The palace was built in 1530 by Philip of the Palatinate in the Renaissance style. From 1716 to 1724, it was transformed by Johann Franz Eckher into the Baroque style. In 1816, it was taken over by Napoleon's stepson, Eugène de Beauharnais, and his wife, Princess Augusta of Bavaria. According to the neoclassical plans of the court architect Leo von Klenze, the palace experienced further remodelling in 1836. Starting in 1853, the palace underwent several changes of ownership over the next decades. From 1899 to 1919, it was owned by the city of Munich. Since 1919, it has been owned by the municipality of Ismaning.

Ismaning Palace

Schloss Thalhausen ist ein in Thalhausen (Gemeinde Kranzberg) gelegenes Schloss mit Schlosskapelle.

Geschichte

Talahusun taucht erstmals in einer Urkunde des Freisinger Bischofs Waldo auf, in der er in den Jahren 883–906 Ländereien in Thalhausen mit dem Bischof Zacharias von Brixen tauschte. Um 1150 werden erstmals Wittelsbacher Ministeriale erwähnt, die sich „von Thalhausen“ nennen. Verwaltet wird das Gebiet durch das Landgericht Kranzberg. 1358 werden die Pullinger als Herren von Thalhausen geführt, sie sterben 1554 im Mannesstamm aus. 1555 erhält Lorenz Pronner, der die letzte Pullingerin heiratete, das Gebiet und erringt die Hofmarksgerechtigkeit auf Lebenszeit. Diese beinhaltete die niedere Gerichtsbarkeit sowie das Recht auf Frondienste und Abgaben gegenüber den Untertanen. Ab diesem Zeitpunkt kann man von einer Hofmark Thalhausen sprechen, obwohl nie eine besondere Hofmarkserhebung stattfand; vielmehr wurde die Hofmarksgerechtigkeit immer wieder den jeweiligen Besitzern auf Lebenszeit übertragen. Ende des 15. Jahrhunderts wird bereits von einem Schloss berichtet, welches Ende des 17. Jahrhunderts umgebaut wird. 1707 wird die neue Schlosskapelle St. Anna, ein achteckiger Zentralbau mit schlankem Zwiebelturm, eingeweiht. 1786 erwarb Graf Maximilian Karl Theodor von Holnstein die Hofmark mit Schloss und Brauerei; das Schloss ist bis 1988 in deren Familienbesitz, die Brauerei – von deren dunklem Bier Fürst Bismarck so angetan war, dass er es sich zuschicken ließ – wurde 1923 geschlossen.

1817 wurden die Hofmarksrechte aufgelöst und in ein Patrimonialgericht II. Klasse umgewandelt. Im Rahmen des 2. Gemeindeedikts von 1818 wurde Thalhausen mit den Unterorten Ampertshausen, Neuhausen, Oberberghausen, Oberthalhausen und Dorfacker zu einer Patrimonialgemeinde. Die letzten Adelsvorrechte wurden mit der Aufhebung der Patrimonialgerichte 1848 abgeschafft.

Schloss Thalhausen

The Nymphenburg Palace (German: Schloss Nymphenburg), i. e., "Castle of the Nymph (or Nymphs)", is a Baroque palace in Munich, Bavaria, southern Germany. The palace is the main summer residence of the former rulers of Bavaria of the House of Wittelsbach.

The palace was commissioned by the prince-electoral couple Ferdinand Maria and Henriette Adelaide of Savoy to the designs of the Italian architect Agostino Barelli in 1664 after the birth of their son Maximilian II Emanuel. The central pavilion was completed in 1675. As a building material it utilised limestone from Kelheim. The castle was gradually expanded and transformed over the years.

Starting in 1701, Max Emanuel, the heir to Bavaria, a sovereign electorate of the Holy Roman Empire, undertook a systematic extension of the palace. Two pavilions were added each in the south and north of Barelli's palace by Enrico Zucalli and Giovanni Antonio Viscardi and connected with the centre pavilion by two gallery wings. In 1716 Joseph Effner redesigned the facade of the centre pavilion in French Baroque style with pilasters. Later, the south section of the palace was further extended to form the court stables (1719). For the sake of balance, the orangery building was added to the north and only completed in 1758. Finally, a grand circle (the Schlossrondell) with Baroque mansions (the so-called Kavaliershäuschen – cavalier's lodges) was erected under Max Emanuel's son Holy Roman Emperor Charles VII Albert.

In 1795 the Elector Charles Theodore ordered the widening of the galleries on the park side. In 1826 under King Ludwig I of Bavaria his architect Leo von Klenze removed the gables of the main pavilion with the Electoral coat of arms and created an attic decoration directly under the roof instead.

With the Treaty of Nymphenburg signed in July 1741, Charles Albert allied with France and Spain against Austria. Two of the latter's children were born here: Maria Antonia (future Electress of Saxony) in 1724 and Maria Anna Josepha (future Margravine of Baden-Baden) in 1734. Charles Albert lived during his time in Munich as Holy Roman Emperor in Nymphenburg Palace and died there in 1745. In 1747 Elector Max III. Joseph founded the Nymphenburg Porcelain Manufactory. In 1792 Elector Charles Theodor opened the park for the public.

For a long time the palace was the favourite summer residence of the rulers of Bavaria. King Max I Joseph died there in 1825 and his great-grandson King Ludwig II was born there in 1845. In 1863 the only meeting between Ludwig and Otto von Bismarck was held in Nymphenburg, although they remained connected in a lifelong friendship.

Today Nymphenburg is open to the public but also continues to be a home and chancery for the head of the house of Wittelsbach, currently Franz, Duke of Bavaria. To Jacobites, who trace the line of legitimate British monarchy down through the legal heirs of James II of England, the head of the house of Wittelsbach is the legitimate heir of the Stuart claims to the thrones of England, Scotland, France, and Ireland; this claim is not being actively pursued.

The palace, together with its park, is now one of the most famous sights of Munich. The baroque facades comprise an overall width of about 700 metres. Some rooms still show their original baroque decoration while others were later redesigned in rococo or neoclassical style.

The Steinerner Saal (Stone Hall) in the central pavilion, with ceiling frescoes by Johann Baptist Zimmermann and F. Zimmermann and decorations by François de Cuvilliés, is an impressive sight. Acting as a grand hall, it occupies over three floors of the central pavilion of the palace. The central ceiling fresco is Helios in his chariot, accompanied by other gods.

North of the Stone Hall, there is the wood-panelled antechamber, the audience chamber decorated with Brussels tapestries and the former bedroom with the so-called Little Beauty Gallery with the ladies of Versailles, all rooms were remodelled under Maximilian II Emanuel in the style of the Régence but retain their original Baroque ceilings. Here are on display portraits of the elector and his wife Theresa Kunegunda Sobieska. The bedroom closes the park side, next to it is the Drechsel Cabinet (turnery cabinet) of Maximilian III Joseph, designed by François de Cuvilliés. Three rooms further to the north were created under Charles Theodore with the widening of the gallery wing. In the first room there are now more portraits of ladies from the Great Gallery of Beauties of Max Emanuel, the second one is decorated with a pile rug with the coats of arms of Bavaria and the Palatinate (known as "coat of arms room"), while the third room contains portraits of Charles Theodore and both his consorts Elisabeth Auguste and Maria Leopoldine.

South of the Stone Hall are inversely to the northern rooms of the main building, the hall with the portrait of Charles Albert, the audience room with the portrait of the founding couple Ferdinand Maria and his consort Henriette Adelaide and the Former Bedroom with portraits of Max Emanuel and his consort Theresa Kunegunda. Here too, the original Baroque ceilings have survived. The walls of the so-called lacquer cabinet that adjoins the bedroom are almost completely covered with Chinese panels showing scenes from a Chinese novel. The stucco was done by Franz Xaver Feuchtmayer the Younger. Behind the south gallery are the Writing Cabinet and Antechamber of Elector Charles Theodore, which were created with the widening of the gallery wings.

In both the North and South Galleries next to the Central Pavilion are vedutes of Bavarian castles. These galleries connect the central pavilion with the southern and northern pavilions.

The Inner southern Pavilion housed the apartments of the Electress during the period of its origin. The former small dining room of the Inner Southern Pavilion today houses the famous attraction Gallery of Beauties of King Ludwig I of Bavaria. On behalf of the king the court painter Joseph Karl Stieler has portrayed 36 "beautiful" women from all social classes of Munich, the best known of these are the shoemaker's daughter Helene Sedlmayr and Ludwig's longstanding infamous mistress, Lola Montez. Nearby, the Queen's bedroom one can see where, on 25 August 1845, King Ludwig II of Bavaria was born. Its mahogany furniture was made in 1815 in Munich, unlike the mahogany furniture for Queen Caroline’s audience room which was made in Paris, as was the furniture in the Queen's Study. The Outer Southern Pavilion is generally inaccessible. It served as a kitchen building at Max Emanuel's time and was then reconstructed like the inner pavilion in neo-classical times. Further south, the third pavilion was built as a comedihaus and then served from 1750 as a new kitchen house. The southern corridor built in 1747 connects this building with the stables in the south wing.

In the former royal stables in the South Wing is the Carriage Museum (Marstallmuseum), with one of the greatest coach collections in Europe. They also played a part in historical events - the Paris Coronation Coach for example was used for the coronation of Emperor Charles VII in 1742. Among the main attractions of the museum are the magnificent carriages and sleighs of King Ludwig II.

The first floor of the former court stables houses a collection of Nymphenburg porcelain, the factory which, also located in the palace complex, was founded by Maximilian III Joseph. Its handcrafted products are of legendary kind and quality, nowadays said to be comparable only to Augarten and Sèvres.

The Nymphenburg Porcelain Manufactory itself is located in one of the houses of the northern roundabouts and can be visited only by written appointment. In the adjoining Outer South Wing of the castle is a restaurant with beer garden.

The Inner Northern Pavilion is generally inaccessible, here was Max Emanuel's "appartement de parade". The Outer Northern Pavilion houses the chapel, whose ceiling painting deals with the life of St. Mary Magdalene. It was already begun in 1702 by Antonio Viscardi from the design by Enrico Zuccalli. Further north is the third pavilion, the Gardemeublebau from 1723, which served for the Cue sports and the Jeu de Passe during the period of its origin. It is connected to the north wing by the northern corridor of 1739.

Since 1990 the Museum of Man and Nature has been housed in the North Wing. The Hubertus Hall upstairs served for concerts. Today the Hubertus Hall, the Orangery Hall, and the Johannis Hall in the North Wing as well as the Iron House in the park can be booked for parties, concerts, conferences and other functions. From 1835 the Mary Ward Elementary School was in the adjoining Outer North Wing of the castle. Founded by Mary Ward, it paved the way for a better education for girls. Mary Ward came after travelling from Rome to Munich in 1627 and was sponsored by Elector Maximilian I. King Ludwig I finally invited the girls' school to the Nymphenburg Palace in 1835.

The 200-hectare (490-acre) park, once an Italian garden (1671), which was enlarged and rearranged in French style by Dominique Girard, a pupil of Le Notre, was finally redone in the English manner during the early 19th century by Friedrich Ludwig von Sckell, on behalf of prince-elector Charles Theodore. Von Sckell was also the creator of the English Garden in Munich. He preserved the main elements of the Baroque garden (such as the "Grand Parterre"). The park is bisected by the long western canal along the principal axis which leads from the palace to the marble cascade (decorated with stone figures of Greek and Roman gods) in the west. The iron greenhouse north of the Grand Parterre was completed in 1807, the adjacent geranium house in 1816.

The garden parterre is still a visible feature of the French garden. As part of the transformation of the entire castle grounds by Sckell it was simplified, but retained its original size. The "Grand Cascade" was built by Joseph Effner in 1717. He was referring to a concept of François Roëttiers. The water falls in the middle of a two-part water staircase, the first stage being half round to the west, the second, deeper, is formed to the east. The cascade consists of symmetry which continues through the centre channel. The right side of the cataract was covered with pink marble in 1770. Originally a supporting architecture was to be provided, which was never executed. Instead, from 1775 to 1785, sculptures were added. Many were the work of Dominik Auliczek and Roman Anton Boos, who later added twelve decorative marble vases with mythological themes.

The fountains in front of the palace and in the garden parterre continue to be operated by the water powered Pumping Stations built between 1803 and 1808.

The Northern Cabinet Garden is small garden that borders directly the garden side of the north wing of the main palace. It is also called Kaisergarten, because it is in the immediate vicinity of the rooms where Charles Albert lived during his time in Munich as Emperor Charles VII. It has its counterpart in the Southern Cabinet Garden where François de Cuvilliés built an octagonal bird house in 1757.

Two lakes are situated on both sides of the canal. The "Dörfchen" was created under Maximilian III Joseph as Petit hameau. The "Salettl" (1799), a cottage with its little garden nearby close to the former menagerie served as attraction for the children of Maximilian IV Joseph.

The garden wall (1730–1735) preserves several Ha-ha effects. A passage close to the old arboretum in the north of the Grand Parterre leads to the large Botanical Garden of Munich.

The canals of Nymphenburg are part of the northern Munich channel system, a system of waterways that connected also to the complex of Schleissheim Palace. The endpoint of the eastern canal leading from the city to the palace forms the Cour d'honneur, the centre was designed by Effner as a water parterre with a fountain, cascade and branching canals on both sides. The driveway ("Auffahrtsallee") from the city on both sides of the eastern canal is framed by a semicircle of smaller baroque buildings ("Kavalierhäuser") at the Cour d'honneur. The eastern endpoint of the canal is the Hubertusbrunnen (1903, a fountain building by Adolf von Hildebrand).

The main building alone has more than 300,000 visitors per year. Nymphenburg Palace is running dead even with the Munich Residence and lies ahead of Schleissheim Palace, but clearly behind the castles of King Ludwig II, especially Neuschwanstein.

Museums:

Schlossmuseum (Royal apartments: Central pavilion, North and South Galleries, Inner Southern Pavilion, Garden pavilions)
Marstallmuseum (Carriage Museum: South wing)
Porzellanmuseum München (Nymphenburg porcelain museum: South wing)
Museum of Man and Nature (North wing)
Erwin von Kreibig-Museum (South Schlossrondell)
Schloss Nymphenburg is accessible by Munich public transport's tram number 17. This line passes through the city centre, including Stachus and the main train station.

The palace and its park were some of the main filming locations of Alain Resnais's 1961 movie Last Year at Marienbad. Also Ludwig, a 1972 film directed by Italian director Luchino Visconti about the life and death of King Ludwig II, was partly filmed in Nymphenburg. The Dressage Facility for the equestrian events of the 1972 Summer Olympics was created in the Nymphenburg park.

The palace serves also as headquarters of the Bavarian Administration of State-Owned Palaces, Gardens and Lakes.

Nymphenburg Palace

Die Fürstbischöfliche Residenz Freising ist ein Gebäude auf dem Domberg in Freising und war bis zur Säkularisation in Bayern Sitz der Freisinger Bischöfe. Heute haben dort das Bildungszentrum Kardinal-Döpfner-Haus des Erzbistums München und Freising, das Hilfswerk Renovabis und das Institut für Theologische und Pastorale Fortbildung Freising (bis 2014) ihren Sitz.

Gebäude

Von der aus dem Frühmittelalter auf dem Domberg bestehenden agilolfingischen Herzogsburg ist wohl nur in den Fundamenten der Türme etwas erhalten. Denn während eines Jahrtausends wurden in der nachmaligen Residenz der Bischöfe und Fürstbischöfe eine Menge an Umbaumaßnahmen durchgeführt.

Residenz

Die Residenz ist eine Vierflügelanlage mit einem zentralen Hof. Der Kern des Gebäudes stammt aus dem 14. Jahrhundert. Von diesem Gebäude sind noch einige Räume im Nordflügel erhalten. Unter Fürstbischof Philipp von der Pfalz begann ab 1517 eine Neugestaltung. Davon sind heute noch die Hofarkarden erhalten, deren ornamentale Säulen bis 1519 von Stephan Rottaler gestaltet wurden. Die heutige Form der Residenz stammt aus den Jahren 1607 bis etwa 1622.

Das Erdgeschoss wurde ursprünglich von der Freisinger Hochstifts-Verwaltung genutzt bzw. diente verschiedenen Versorgungseinrichtungen des bischöflichen Hofes. Im heutigen Veit-Adam-Saal – ehemals Amtsstube des Fürstbischöflichen Hofrates – ist Stuck von 1619 erhalten. Im ersten Obergeschoss im Osten und Südosten existieren Fürstenzimmer mit feinen Boiserien, um 1730 (heute Privaträume des Erzbischofs von München und Freising, teilweise Seminarräume des Bildungszentrums), mit Großem Kabinett und Kleinem Kabinett, Ausstattung aus dem 18. Jahrhundert. Im zweiten Obergeschoss befindet sich ein Saal mit stuckierter Decke von Johann Baptist Zimmermann, um 1715/20.

Residenzhof

Im annähernd quadratischen Innenhof befindet sich an der Nordwestecke ein Fischkalter von 1651/85; am Treppenaufgang sieht man den Freisinger Mohr, eine Stuckfigur von 1720. Dieser Residenzhof dient gelegentlich im Sommer – nach Einbau einer Zuschauertribüne – für Theatervorstellungen und Konzerte.

Großer Residenzturm

An der Nordwestecke der Residenz stand ein Residenzturm oder auch Khueturm genannter Turm. Im Gegensatz zu den anderen Türmen auf dem Domberg handelte es sich dabei nicht um einen Kirchturm, sondern um einen weltlichen Turm.

Die ältesten Teile des Turmes stammen vermutlich noch aus dem Mittelalter und waren Teil des Bergfriedes der damaligen Bischofsresidenz. Dieser erste Turm war in mehrere Geschosse mit nur kleinen Fenstern gegliedert. Die Geschossgliederung entsprach nicht der der anliegenden Gebäude und der Turm hob sich klar von diesen ab.

1620 wurde das ursprüngliche Dach abgebrochen und durch einen achteckigen Aufbau mit Welscher Haube ersetzt. Aufgrund der großen Grundfläche des Rumpfturmes war es möglich einen umlaufenden Balkon anzubringen, der die höchste Aussichtsgalerie in Freising und Umgebung darstellte.

Nach dem Brand von 1743 wurde die Welsche Haube beim Instandsetzen durch eine Zwiebelhaube ersetzt. Während der Regierungszeit von Fürstbischof Ludwig Joseph von Welden (1768–1788) wurde die Turmgalerie mit Vasen und Figuren ausgeschmückt. Darunter befand sich auch eine Figur des Erzengel Michael, was dazu führte, dass das Oktogon über einige Jahre den Namen Michaelsburg trug.

Im Verlauf des 18. Jahrhunderts ergaben sich statische Probleme, die vom bekannten Baumeister Johann Michael Fischer 1755 aber nicht als besorgniserregend bezeichnet wurden. Da aber unter dem Nachfolger von Ludwig Joseph von Welden, Maximilian Prokop von Toerring-Jettenbach, aufgrund der hohen Verschuldung des Hochstifts Freising kein Geld mehr für den Unterhalt des Turms zur Verfügung stand, wurde das Oktogon und die Galerie 1790 abgerissen und durch ein Mansarddach ersetzt. Als einige Jahre nach der Säkularisation in Bayern 1802/03 das Gebäude in ein Priesterseminar umgewandelt wurde, wurde der Turm bis auf Höhe der umliegenden Gebäude herab verkürzt. Der Großteil der Bausubstanz ist jedoch nach wie vor erhalten und – nach Entkernung des Turm – heute in die anderen Gebäude integriert.

Ursprünglich war der Turm Teil der Wehranlagen der Residenz und diente so rein militärischen Zwecken. Spätestens Anfang des 18. Jahrhunderts verlor der Turm mit der Beseitigung der Anlagen diese Funktion und diente repräsentativen Zwecken. Ein Teil des Turms diente auch als Gefängnis, allerdings ab Ende des Mittelalters nur für Geistliche. Grund für eine Haft waren zum Beispiel negativer persönliche Lebenswandel oder auch konträre Meinungen in Glaubensfragen. Ein bekannter Insasse war Lorenz von Westenrieder, der hier 1775 wegen eines umstrittenen Schulbuchs einige Tage Arrest absitzen musste. Von dieser Nutzung stammt vermutlich der Name Khueturm her, der laut Johann Andreas Schmeller auf das Wort khue oder kue für bischöfliches Gefängniß für delinquierende Geistliche zurückgeht.

Um den Domberg mit Wasser zu versorgen, entstand ab dem 16. Jahrhundert ein Leitungsnetz und der Turm wurde auch als Wasserturm genutzt. Das Grundwasser wurde mit einem von der Moosach angetriebenen Pumpwerk auf den Domberg und in einen Kupfertank gepumpt, der in einem der oberen Stockwerke des Turms lag. Von dort aus verteilte sich das Wasser über ein weitverzweigtes Leitungsnetz. In manchen Quellen wird der Turm deswegen als Wasser Reserv bezeichnet.

Im 17. und 18. Jahrhundert war das Oktogon mit einer Uhr ausgestattet. Auf vier Seiten waren Zifferblätter angebracht und es gab zusätzlich zwei Schellen für den Uhrschlag. Teile des Uhrwerks sind erhalten und sollen restauriert werden.

Stand 2020 ist im Rahmen der Neugestaltung des Kardinal-Döpfner-Hauses geplant, wieder einen großen Turm zu errichten. Dabei wird konkret Bezug genommen auf das historische Vorbild.

Kleiner Residenzturm

An der Nordostecke des Gebäudes liegt der kleine Residenzturm. Auf einem viereckigen Unterbau sitzt ein achteckiger Aufbau mit einer Haube. Im unteren Bereich des Turm befindet sich die fürstbischöfliche Hauskapelle. Vom Turm führt der sogenannte Fürstengang über die Zufahrten zum Domhof in Richtung Dom.

Fürstbischöfliche Hauskapelle

Im Mittelalter lag die persönliche Kapelle des Bischofs über der Vorhalle des Doms. Durch den Bau der Orgelempore 1622 wurde sie jedoch vom Dom abgeschnitten und als Sakralraum aufgegeben. Schon 1617 wurde jedoch in der Residenz eine Privatkapelle eingerichtet. Die Kapelle lag im unteren Teil des kleinen Residenzturmes im gleichen Stockwerk wie die Wohnräume des Bischofs im Ostflügel. Ihre Stuckatur entstand im Jahr 1629. Der bedeutende und kürzlich restaurierte Altar wurde in Jahren 1617 bis 1620 von Philipp Dirr geschaffen.

Seit dem 19. Jahrhundert wurde die Kapelle nach Westen erweitert und reicht dort über zwei Geschosse. Im oberen Teil ist heute Stuck aus dem 18. Jahrhundert zu sehen.



Fürstbischöfliche Residenz (Freising)

The Amalienburg is an elaborate hunting lodge in the grounds of Nymphenburg Palace, Munich, in southern Germany. It was constructed in 1734–1739 by François de Cuvilliés, in Rococo style, for the later Holy Roman Emperor Charles VII and his wife, Maria Amalia of Austria.

Most of the ground floor is given over to the round Hall of Mirrors in the center of the building, which mirrored walls reflect the external nature. It was designed by Johann Baptist Zimmermann and Joachim Dietrich (1690–1753). It creates an ethereal atmosphere in the Bavarian national colors of silver and blue.

In the south of the hall, the door leads to the electoral Rest room and the Blue Cabinet, with access to the privy chamber. The Blue Cabinet was the bedroom of the Electress and the pavilion also accommodates a kennel room for the hunting dogs.

North from the Hall of Mirrors is the entrance to the Pheasant room and the Hunting room. The Pheasant Room is bordering the kitchen. The kitchen is decorated with precious tiles from Delft which when being laid were mixed up by workers in the wrong order. The blue and white tiles in a Chinese style show flowers and birds. The Castrol stove (1735) built for the kitchen is a masonry construction with several fireholes covered by perforated iron plates. It is also known as a stew stove and was the first design that completely enclosed the fire.

In the central niche of the eastern facade is a stucco sculpture by Johann Baptist Zimmermann, representing a scene with the hunting goddess Diana. The presentation introduces the image program in all facilities of the building. The attic was derived from 1737, also manufactured to a design by Zimmermann, with decorative vases which disappeared at an unknown date. In 1992, they were recreated and designed by Hans Geiger: four adorn the entrance facade, twelve the garden side of the Amalienburg.

A platform with ornate lattice, which is fitted to the building in the center of the roof, served as a raised hide for pheasant hunting: the birds were driven to the Amalienburg from the former pheasant (now menagerie) building. Since the castle could be supplied by the kitchen of Nymphenburg Palace, the Amalienburg lacks private farm buildings in contrast to the two other park pavilions.



Amalienburg

Das Schloss Geiselbullach ist ein Schloss in Geiselbullach in der Gemeinde Olching (Landkreis Fürstenfeldbruck) in Bayern. Es dient heute als Gutshof und ist in Privatbesitz.

Geschichte

Bayerns Kurfürst Max Emanuel überließ seinem Hofkammerrat Johann Adam Geisler 1724 ein großes Areal in der Flur am „Buelach“ (gemeint ist vermutlich ein Buchenwald) in der Nähe der Amper zur Bewirtschaftung und verlieh ihm zudem das Adelsprädikat von Geiselbullach. Geisler erbaute dort ein Schloss mit eingefriedetem Park, eine große Kapelle zu Ehren des Hl. Johannes Nepomuk sowie Häuser für abhängige „Gütler“ und Handwerker. Häufig wechselnden Nachfolgern fehlte wohl das Geschick für die Wirtschaftsführung des Gutes. Erst der aus Udine stammende Kaufmann Alois Sabbadini scheint das nötige wirtschaftliche Gespür besessen zu haben. Unter seiner Zeit entstand 1816 der Turm zu der Kapelle, die ein früherer Schlossbesitzer, der Hofmaler Johann Adam von Schöpf, in feinstem Rokoko ausgemalt hatte. 1891 kaufte Adolf Scheller das Schloss, das 1894 ausbrannte. 1895 erfolgte die Errichtung des heutigen Schlosses. 1918 erwarb die aus Ungarn stammende Familie Raadts das Schloßgut. Ernst Raadts machte daraus einen Musterbetrieb. 1947 wurde er im Übrigen Landrat des Landkreises Fürstenfeldbruck. Besitzer des Schlosses ist seit 1964 die Familie Stürzer, die das Anwesen aufwendig restauriert hat. Die ehemalige Schlosskapelle St. Johann Nepomuk gehört inzwischen der Stadt Olching und wurde 2017 renoviert.