History of Germany between 1815 - 1866
The German Confederation was a loose association of 39 German states in Central Europe, created by the Congress of Vienna in 1815 to coordinate the economies of separate German-speaking countries and to replace the former Holy Roman Empire. Most historians have judged the Confederation to be weak and ineffective, as well as an obstacle to German nationalist aspirations. It collapsed due to the rivalry between Prussia and Austria, warfare, the 1848 revolution, and the inability of the multiple members to compromise. It dissolved after the Prussian victory in the Seven Weeks' War of 1866.
In 1848, revolutions by liberals and nationalists were a failed attempt to establish a unified German state. Talks between the German states failed in 1848, and the Confederation briefly dissolved but was re-established in 1850.
The dispute between the two dominant member states of the Confederation, Austria and Prussia, over which had the inherent right to rule German lands ended in favour of Prussia after the Seven Weeks' War of 1866. This led to the creation of the North German Confederation under Prussian leadership in 1867. A number of South German states remained independent, allied first with Austria (until 1867) and subsequently with Prussia (until 1871), after which they became a part of the new German Empire.
Before 1850 Germany lagged far behind the leaders in industrial development – Britain, France, and Belgium. In 1800, Germany's social structure was poorly suited to entrepreneurship or economic development. Domination by France during the era of the French Revolution (1790s to 1815), however, produced important institutional reforms. Reforms included the abolition of feudal restrictions on the sale of large landed estates, the reduction of the power of the guilds in the cities, and the introduction of a new, more efficient commercial law. Nevertheless, traditionalism remained strong in most of Germany. Until mid-century, the guilds, the landed aristocracy, the churches, and the government bureaucracies had so many rules and restrictions that entrepreneurship was held in low esteem, and given little opportunity to develop. From the 1830s and 1840s, Prussia, Saxony, and other states reorganized agriculture. The introduction of sugar beets, turnips, and potatoes yielded a higher level of food production, which enabled a surplus rural population to move to industrial areas. The beginnings of the industrial revolution in Germany came in the textile industry, and was facilitated by eliminating tariff barriers through the Zollverein, starting in 1834.
German artists and intellectuals, heavily influenced by the French Revolution and by the great German poet and writer Johann Wolfgang von Goethe (1749–1832), turned to Romanticism after a period of Enlightenment. Philosophical thought was decisively shaped by Immanuel Kant (1724–1804). Ludwig van Beethoven (1770–1827) was the leading composer of Romantic music. His use of tonal architecture in such a way as to allow significant expansion of musical forms and structures was immediately recognized as bringing a new dimension to music. His later piano music and string quartets, especially, showed the way to a completely unexplored musical universe, and influenced Franz Schubert (1797–1828) and Robert Schumann (1810–1856). In opera, a new Romantic atmosphere combining supernatural terror and melodramatic plot in a folkloric context was first successfully achieved by Carl Maria von Weber (1786–1826) and perfected by Richard Wagner (1813–1883) in his Ring Cycle. The Brothers Grimm (1785–1863 & 1786–1859) not only collected folk stories into the popular Grimm's Fairy Tales, but were also linguists, now counted among the founding fathers of German studies. They were commissioned to begin the The German Dictionary, which remains the most comprehensive work on the German language.
Palacio Real de Aranjuez is a former Spanish royal residence. It was established around the time Philip II of Spain moved the capital from Toledo to Madrid. Aranjuez became one of four seasonal seats of government, occupied during the springtime (from about holy week). Thereafter, the court moved successively to Rascafría, El Escorial and wintered in Madrid. Aranjuez Cultural Landscape is an UNESCO World Heritage Site.
After the Christian conquest, Aranjuez was owned by the Order of Santiago and a palace was built for its Grand Masters where the Royal Palace stands today. When the Catholic Monarchs assumed the office of Grand Master of the Order of Santiago, Aranjuez became part of the Royal estate. This fertile land, located between the Tajo and Jarama Rivers, was converted into the Spanish monarchy's most lavish country retreat: during Spain's Golden Age, Aranjuez became a symbol for the perfection of nature by mortal hands, as El Escorial was for art.
Such excellence was based on strong Renaissance foundations, as Charles V envisaged this inherited estate as a large Italian-inspired villa, a desire continued by Philip II who appointed Juan Bautista de Toledo to design leafy avenues that ran through the gardens and farming land. A series of dams was constructed in the 16th century to control the course of the Tajo River and create a network of irrigation canals.
The splendour of the estate was only enhanced by the Bourbon monarchs, who would spend the whole spring, from Easter to July, at the Palace. Phillip V added new gardens and Ferdinand VI designed a new system of tree-lined streets and created a small village within the estate, which was further developed by Charles III and Charles IV. As Ferdinand VII and Isabella II continued to visit Aranjuez during the spring, the splendour of this site was maintained until 1870.
The Royal Palace, built by Phillip II on the site of the old palace of the Grand Masters of Santiago, was designed by the architect Juan Bautista de Toledo –under whom construction began in 1564– and later Juan Herrera, who only managed to finish half the project. Although glimpses of the original layout still remain, the building itself is more characteristic of the classicism favoured by the Hapsburg monarchs, with alternating white stone and brick. The original design was continued by Phillip V in 1715 but not finished until 1752 under Ferdinand VI. The rectangular layout that Juan Bautista de Toledo had planned, and that took two centuries to complete, was only maintained for 20 years, since in 1775 Charles III added two wings onto the Palace.
As the Prince of Asturias, Charles IV was a frequent visitor to the pier pavilions built by Ferdinand VI and grew up playing in the Prince’s Garden. When he became King, he decided to build a new country house at the far end of these gardens, known as the Casa del Labrador (the labourer's house) due to its modest exterior that was designed to heavily contrast the magnificent internal decor. It was built by chief architect Juan de Villanueva and his pupil Isidro González Velázquez, who designed some of the interior spaces. These rooms, developed in various stages until 1808, are the greatest example of the lavish interior decor favoured by this monarch in his palaces and country retreats. Highlights at this Site include the combination of different types of art and the luxurious textiles, in particular the silks from Lyon, as well as wealth of original works on the main floor, where Ferdinand VII added various paintings and landscapes by Brambilla.
Phillip II, a great lover of gardens, paid special attention to this feature of the Aranjuez Palace: during his reign, he maintained both the Island Garden, designed by the architect Juan Bautista de Toledo, and the King's Garden, immediately adjacent to the Palace and whose current layout was designed by Philip IV. The majority of the fountains on this island were commissioned by Phillip IV, while the Bourbons added other features such as the Charles III benches.
Phillip V made two French-style additions to the existing gardens: the Parterre Garden in front of the palace and the extension at the far end of the Island Garden, known as the Little Island, where he installed the Tritons Fountain that was later moved to the Campo del Moro park by Isabella II.
The Prince's Garden owes its name and creation to the son and heir of Charles III who, in the 1770s, began to use Ferdinand VI's old pier for his own enjoyment. He also created a landscaped garden in the Anglo-French style that was in fashion at the time and which was directly influenced by Marie Antoinette's gardens at the Petit Trianon. Both Juan de Villanueva and Pablo Boutelou collaborated in the design of this garden.