Nymphenburg CastleThe Nymphenburg Castle
1664 the building began according to the designs of the northern Italy based architects Agostino Barelli, who also planned the Munich theatre chapel. Nymphenburg, the Nymphenburg Sommerresidenz in Italy, was at first a massive cubical gazebo, surrounded by the Hofkirche, several outhouses and a small, bricked-in geometric park. Until 1679 the palatial compound was almost ready in its first reincarnation.
The Nymphenburg Palace received its present size under the Elector Max Emanuel (reign 1680-1726). Under the direction of the courtyard designer Henrico Zuccalli, two offset pavilion were erected on each side of the building, to the west and west. The Nymphenburg Palace, but the War of the Spanish Succession soon put an end to the building work, as Max Emanuel was forced to reside outside Bavaria again from 1704 to 1715.
In 1715, when the Elector came back to Munich, he was joined by a large number of highly educated works by either professional Frensh or Frenchs. When his castle ensembles, such as those in Dachau, Fürstenried, Nymphenburg and SchleiÃheim, were further expanded, these performers delivered works that corresponded to the latest fashion in France. Of particular note are the architects Joseph Effner and the landscape gardener Dominique Girard.
Thus the Münchner Hof became one of the most important art centers in Europe. Schloss Nymphenburg, city side, Around 1715 the royal designer Joseph Effner, together with the famous Parisian landscaper Dominique Girard, drew up an overall map for Nymphenburg and the following expansion was done according to this map.
Among the interventions carried out at the time, the following are particularly noteworthy: the centre of the complex, the centre gazebo, was reconstructed, the king's dwellings were refurbished and ornamented, the extensions in front of the Grand Palais were converted into residence for courtiers and the half-moon was built with a ring-walled structure and five couples of gazeblions.
In 1715, after the designs of Dominique Girard and Joseph Effner, the gardens were re-designed and expanded to give them their present size and unique character. Charles Albrecht, first as Elector of Bavaria (reigned 1726-45) and then as Emperor Charles VII (from 1742), resumed the building work in Nymphenburg started by his sire.
The castle and half-moon were to be the center of a proposed "Carlstadt". However, his most valuable heritage is the Amalienburg in NymphenburgýPark. François Cuvillés the Elder, an internationally acclaimed Parisian educated expert, took Munichâ??s architecture to the cutting edge of its expressive potential with this playful, beautiful antiquity. The Amalienburg castle, built by outstanding painters and courtly specialised garages, is today one of the most attractive buildings of its time in Europe.
During the reign of Elector Maximilian III Joseph (1745-77), the Great Hall of Nymphenburg Palace purchased the sumptuous furnishings that can still be seen today. Johann Baptist Zimmermann and François Cuvilliés the eldest, together, produced a main work of the Munich Rococo Courtyard. Also the vaulting of the castle chapel was decorated.
Under Max III Joseph, the Nymphenburg Porcelain Manufactory eventually occupied its present accommodation at the front of the castle. Prince-elect Karl Theodor, who reigned in Bavaria and the Palatinate from 1777 to 1799, did little to change Nymphenburg. Karl Theodor opened the Nymphenburg Castle Gardens to the general public in 1792.
Nymphenburg regained its important role when Bavaria became a realm in the early 19th cent. Prince elect, Prince Maximilian IV Joseph, who as King of Bavaria was the first King of Bavaria (reigned 1806â "25), had some of the rooms remodeled and furnished with fine neo-classical music. His Majesty King Máximilian I Joseph passed away in 1825 in Nymphenburg.
During the following years the castle stayed a popular residency of the Bavarians. Ludwig II of Bavaria (reigned 1864-1886) was borne here on August 25, 1845.