History of Sweden between 12000 BC - 4001 BC
The Pleistocene glaciations scoured the landscape clean and covered much of it in deep quaternary sediments. Therefore no undisputed Early or Middle Palaeolithic sites or finds are known from Sweden. As far as it is currently known, the country's prehistory begins in the Allerød interstadial c. 12,000 BC with Late Palaeolithic hunting camps of the Bromme culture at the edge of the ice in what is now the country's southernmost province. Shortly before the close of the Younger Dryas (c. 9,600 BC), the west coast of Sweden (Bohuslän) was visited by hunter-gatherers from northern Germany. This cultural group is commonly referred to as the Ahrensburgian and were engaged in fishing and sealing along the coast of western Sweden during seasonal rounds from the Continent. Currently, we refer to this group as the Hensbacka culture and, in Norway, as the Fosna culture group. During the late Preboreal period, colonization continued as people move towards the north-east as the ice receded. Archaeological, linguistic and genetic evidence suggests that they arrived first from the south-west and, in time, also from the north-east and met half-way.
An important consequence of de-glaciation was a continual land uplift as the Earth's crust rebounded from the pressure exerted by the ice. This process, which was originally very rapid, continues to this day. It has had the consequence that originally shore-bound sites along much of Sweden's coast are sorted chronologically by elevation. Around the country's capital, for instance, the earliest seal-hunter sites are now on inland mountain tops, and they grow progressively later as one moves downhill toward the sea.
The Late Palaeolithic gave way to the first phase of the Mesolithic in c. 9600 BC. This age, divided into the Maglemosian, Kongemosian and Ertebølle Periods, was characterised by small bands of hunter-gatherer-fishers with a microlithic flint technology. Where flint was not readily available, quartz and slate were used. In the later Ertebølle, semi-permanent fishing settlements with pottery and large inhumation cemeteries appeared.
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.