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3. Justification for Inscription
the smaller buildings within the park,
particularly the Rococo “Amalienburg” palace.
Topical Comparison
Summer residence: preferred summer
residence of the (Wittelsbach) Electors
of Bavaria, Kings of Bavaria from 1806;
Nymphenburg canal towards the city
centre preserved as a Baroque water axis,
its appearance in places altered by more
recent building; triple visual axes somewhat
impaired by railway lines and high-rise
buildings; working quarters (stables &c.)
largely preserved.
Synthesis of gardening styles: original Baroque
layout by Sckell largely redesigned in a
landscaped style with the exception of the
parterre, although the three radiating avenues
(patte d’oie) were retained (conversion of the
two flanking axes into landscaped meadow
valleys while the central axis with the canal
and cascade was not touched).
Furnishing: structures in the park, the so-called
”Parkburgen“ (“Pagodenburg”, “Amalienburg”,
“Badenburg”, the artificial ruin of “St.
Magdalen’s Hermitage”), group of sculptures
of Pan with a goat, and the parterre statues
and urns largely preserved.
Technical monuments: cast-iron pumping
stations in the ”Green Wellhouse“ (1803) and
“Johannisbrunnhaus” (1808) by Joseph von
Baader preserved and still in operation – they
constitute one of the most important technical
monuments in Bavaria.
Authenticity: palace with Baroque furnishing
largely preserved, in parts Classicist redesign,
minor war damage; Badenburg restored
1944 after heavy war damage (fresco in
vault reconstructed); park after extensive
planting of shrubs in the late 19th-century
(“Strauchgürtel”) and a longish phase of
neglect in the early 20th-century gradually
restored, from the 1960s onwards, to the
appearance of the Sckell layout; responsible:
Christian Bauer, who also drew up a
park management plan; from the 1990s
reconstruction of original paths from Sckell’s
plans.
Summary
Sckell redesigned the Baroque park of
Nymphenburg while respectfully retaining
the basic structure, the radiating triple
avenues – the central axis was kept largely
unchanged and was integrated into the new
design, the flanking axes remained as major
basic structures but were converted into the
meadowed vales characteristic of Sckell’s style.
Insofar as this constitutes a partial conversion
of an existing layout, Schwetzingen and
Nymphenburg are comparable, if only within
certain limits.
Bibliography
Carl August Sckell: Das königliche Lustschloß
Nymphenburg und seine Gartenanlagen. München,
n.d.(1837).
Dieter Hennebo, Alfred Hofmann: Geschichte der deutschen
Gartenkunst, vl. 2. Hamburg 1965, p. 219-229.
Friedrich Ludwig von Sckell: Beiträge zur Bildenden
Gartenkunst. München 1823. Reprint Worms 1982.
Uta Schedler: Die Statuenzyklen in den Schlossgärten von
Schönbrunn und Nymphenburg: Antikenrezeption nach
Stichvorlagen. Hildesheim 1985.
Gesche von Deessen: Die Badenburg im Park von
Nymphenburg. München 1986.
Ulrika Kiby: Die Exotismen des Kurfürsten Max Emanuel
in Nymphenburg. Eine kunst- und kulturhistorische
Studie zum Phänomen von Chinoiserie und Orientalismus
im Bayern und Europa des 16. bis 18. Jahrhunderts.
Hildesheim 1990.
Gerhard Hojer, Elmar D. Schmid: Nymphenburg: Schloß,
Park und Burgen. Amtlicher Führer der Bayerischen
Verwaltung der Staatlichen Schlösser, Gärten und Seen.
München 1991.
Rainer Herzog: Die Behandlung von Alleen des
18. Jahrhunderts in Nymphenburg, Ansbach und
Veitshöchheim. In: Florian Fiedler (ed.): Die Gartenkunst
des Barock (Hefte des Deutschen Nationalkomitees/
International Council on Monuments and Sites/Deutsches
Nationalkomitee, 28). München 1998, p. 7-14.
Uta Hasekamp: „Allein diese alte symmetrische
Gartenkunst (…) hat doch auch ihre Vorzüge“. Der formale
Garten im Werk von Friedrich Ludwig Sckell am Beispiel