Nymphenburg Palace is the main summer residence of the former rulers of Bavaria of the House of Wittelsbach. The palace owes its foundation as a summer residence to the birth of the long-awaited heir to the throne, Max Emanuel, who was born in 1662 to the Bavarian Elector Ferdinand Maria and his wife, Henriette Adelaide of Savoy, after some ten years of marriage.
In 1664 construction began to the plans of the north Italian architect Agostino Barelli, who also designed Munich's Theatine Church. Initially, the Nymphenburg was a mighty cubic pavilion, flanked by the court church, several outbuildings and a small, walled, geometrical garden. By 1679 the palace complex, in its first incarnation, had nearly been finished.
Nymphenburg Palace acquired its present-day dimensions under the elctor Max Emanuel (reigned 1680-1726). Supervised by the court architect Henrico Zuccalli, two off-set pavilions were built on each side of the existing structure, to the north and south. Begun in 1701, the pavilions were linked with the central edifice by galleries. However, the Spanish War of Succession soon put a stopp to construction work because Max Emanuel was again obliged to spend time outside Bavaria, from 1704 to 1715.
When the Elector returned to Munich in 1715, he was accompanied by numerous French, or French-trained, artists. As his palace complexes, such as those in Dachau, Fürstenried, Nymphenburg and Schleißheim, were further enlarged, these artists supplied works conforming to the latest French fashions.
Notable among them were the architect Joseph Effner and the garden artist Dominique Girard. But local painters also received important commissions. The views of the Bavarian Palaces in the galleries were executed by Franz Joachim Beich, while among the stucco workers Johann Baptist Zimmermann was the leading light. So it was that the Munich court developed into one of Europe's foremost centres of the arts.
About 1715, the court architect Joseph Effner, together with the French landscape architect Dominique Girard, designed an overall plan for Nymphenburg and the subsequent extension was carried out in accordance with this plan.
Karl Albrecht, first as Elector of Bavaria (reigned 1726-45) and then as Emperor Charles VII (from 1742 onwards), continued the construction work at Nymphenburg begun by his father. He enhanced the complex by adding the palace's crescent. Both palace and crescent were intended to form the centre of a planned 'Carlstadt'. His most precious legacy, however, is the Amalienburg in Nymphenburg's park. With this witty, graceful Rococo gem, François Cuvillés the Elder, a Paris-trained architect, brought Munich court art to its peak of expression. Executed by pre-eminent artists and specialist court workshops, the Amalienburg now ranks among the most charming European architectural creations of the period.
Under Elector Maximilian III Joseph (reigned 1745-77), the Great Hall at Nymphenburg Palace acquired the opulent decoration that can be admired today. Here Johann Baptist Zimmermann, together with François Cuvilliés the Elder, created a major work of Munich court Rococo. The vaulted ceiling of the Palace Chapel was also painted. Finally, under Max III Joseph, the Nymphenburg Porcelain Manufactory moved into its present quarters at the front of the palace. At this time the park, too, was given a new look. The Grand Parterre was remodelled and adorned with statues of the most important gods of Olympus. The exterior flights of steps, also date from this period and form a suitably representative entrance to the main building and Great Hall.
Elector Karl Theodor, who ruled in Bavaria and the Palatinate from 1777 to 1799, changed little at Nymphenburg. He had the galleries widened to create new rooms which were furnished in the style of the day. In 1792 Karl Theodor opened the Nymphenburg palace park to the public.
When Bavaria became a kingdom, in the early nineteenth century, Nymphenburg resumed its important function. Elector Maximilian IV Joseph, who, as Maximilian I Joseph, was the first King of Bavaria (reigned 1806-25), ordered some of the rooms to be redesigned and appointed with noble Neoclassical furniture. The superintendent of the royal gardens, Friedrich Ludwig Sckell, tranformed the geometrical French gardens into a landscape garden in the English style.
King Maximilian I Joseph died at Nymphenburg in 1825. In subsequent years the palace remained a favourite residence of the Bavarian royal family.References:
The Walled City of Jajce is a medieval fortified nucleus of Jajce in Bosnia and Herzegovina, with citadel high above town on top of pyramidal-shaped steep hill, enclosed with approximately 1,300 metres long defensive walls,. It is one of the best preserved fortified capitals of the Bosnian Kingdom, the last stronghold before the kingdom dissolved under the pressure of military advancement at the onset of Ottoman Empire takeover.
The entire complex of the Walled city of Jajce, with the citadel, city ramparts, watchtower Medvjed-kula, and two main city gate-towers lies on the southern slope of a large rocky pyramid at the confluence of the rivers Pliva and Vrbas, enclosed by these rivers from the south-southwest, with the bed of the Pliva, and east-southeast by the river Vrbas gorge.
The fortress was built by Hrvoje Vukčić Hrvatinić, the founder of Jajce. However, the city became the seat of the Bosnian kings, hence the royal coat of arms decoration on the citadel entrance. A part of the wall was built by the Hungarian King, while the Ottomans erected the powder magazine. The walls are high and the castle was built on a hill that is egg shaped, the rivers Pliva and Vrbas also protect the castle. There is no rampart on the south and west.
Jajce was first built in the 14th century and served as the capital of the independent Kingdom of Bosnia during its time. The town has gates as fortifications, as well as a castle with walls which lead to the various gates around the town. About 10–20 kilometres from Jajce lies the Komotin Castle and town area which is older but smaller than Jajce. It is believed the town of Jajce was previously Komotin but was moved after the Black Death.
The first reference to the name of Jajce in written sources is from the year 1396, but the fortress had already existed by then. Jajce was the residence of the last Bosnian king Stjepan Tomasevic; the Ottomans besieged the town and executed him, but held it only for six months, before the Hungarian King Matthias Corvinus seized it at the siege of Jajce and established the Banovina of Jajce.
Skenderbeg Mihajlović besieged Jajce in 1501, but without success because he was defeated by Ivaniš Korvin assisted by Zrinski, Frankopan, Karlović and Cubor.
During this period, Queen Catherine restored the Saint Mary"s Church in Jajce, today the oldest church in town. Eventually, in 1527, Jajce became the last Bosnian town to fall to Ottoman rule. The town then lost its strategic importance, as the border moved further north and west.
Jajce passed with the rest of Bosnia and Herzegovina under the administration of Austria-Hungary in 1878. The Franciscan monastery of Saint Luke was completed in 1885.
The Walled city of Jajce is located at the confluence of the Pliva and Vrbas rivers. It was founded and started developing in the Middle Ages and acquired its final form during the Ottoman period. There are several churches and mosques built in different times during different rules, making Jajce a rather diverse town in this aspect. It is declared National Monument of Bosnia and Herzegovina, and, as the old Jajce city core, including the waterfall, and other individual sites outside the walled city perimeter, such as the Jajce Mithraeum, it is designated as The natural and architectural ensemble of Jajce and proposed as such for inscription into the UNESCO"s World Heritage Site list. The bid for inscription is currently placed on the UNESCO Tentative list.