München – O gradu i tri muzeja | Munich – About the city and three notable museums [Vendi Jukić Buča]
Prednost života u gradu s brojnim iseljenicima s područja vlastite provenijencije je dakako olakšan pristup omiljenoj gastronomiji na razumljivom jeziku (prema informaciji taksista Bošnjaka Denisa, u Münchenu živi oko 300 000 ljudi s područja bivše Jugoslavije). Pojeli smo fantastične pite i odlične sarajevske ćevape i sudžukice. Dućan s ex-jugoslavenskim proizvodima bolje je opskrbljen nego nama lokalni u Parizu i to s čak dvije vrste mlinaca. U Münchenu smo boravili tijekom travnja, neposredno prije Uskrsa, u jeku sezone medvjeđeg luka i uzgojenih šparoga, koje smo jeli pripremljene na raznolike načine bavarskih specijaliteta. Ali nije samo nepce u mogućnosti biti razveseljeno delikatesama, München pruža uređen i raznolik kulturni, sportski i rekreativni aspekt života.
Zanimljivi i aktivni boravak na otvorenom čine brojni parkovi, zeleni perivoji, otvoreni prostrani trgovi sa skulpturama i fontanama, kafići i restorani na otvorenom, iznenađujuće čista rijeka Isar koja razdjeljuje grad po sredini sa šljunčanim obalama ada idealnim za sunčanje i zelenim šetnicama s obje strane. Monumentalne građevine najčešće su muzeji, a dvije impozantne, koje s obje strane Propileja flankiraju neoklasični Königsplatz, i koje namjeravam posjetiti idući put, kao i druge dolje navedene institucije, su Gliptoteka i Državna antička zbirka (Staatliche Antikensammlung). Druge impozantne građevine odnose se na crkvene i administrativne prostore te bivše kraljevske palače. Residenz München s velikim vrtom, kompleks monarha Wittelsbach, najveća je njemačka gradska palača, a njezina znamenita dvorana Antiquarium najveća renesansna dvorana sjeverno od Alpa. Uz Maximilianeum, koji u fazi restauracije filmski neočekivano izvire iz gustog šumika na istočnoj obali rijeke, od našeg jednodnevnog boravka u Münchenu 2019. na proputovanju iz Riezlerna u Firenzu, još sam jedino pamtila impresivan Rathaus, Novu gradsku vijećnicu, na Marienplatzu te Karlstor, gradska vrata iz 14. stoljeća. Frauenkirche, münchenska katedrala s dva tornja, najveća dvoranska crkva na svijetu. Iako se nalazi u blizini, zapravo odmah iza Rathausa, poprilično je zakrivena od direktnog pogleda s Neuhauser i Kaufingerstrasse, ali su zato vidljivi njezini tornjevi, najviši zbog lokalnih ograničenja gradnje. Zanimljivi su reljefi Duge šetnje s radoznalim Pulcijem prekidala sam odmorima u tradicionalnoj slastičarnici (Konditorei) s odličnom kavom i omiljenom, čokoladom bogatom, tradicionalnom, Prinzregententortom. Pulci se jako dobro uklopio u München, čiji je istaknuti simbol Bavarske upravo lav. Brojne lavlje skulpture izložene su u gradu i münchenskim muzejima. Tijekom šetnji primijetila sam malu vitrinu s modernim staklenim komadima i arheološkim replikama. U ovoj trgovini tvorničkog ali i ručno izrađenog stakla upoznala sam vlasnicu, simpatičnu Evu, te kupila kao svoj rođendanski poklon, staklenu vrtnu kuglu bavarskog staklenog umjetnika.
Engleski vrt impresivno je Velika prirodna oaza koja se prostire od samog centra grada i obuhvaća gotovo cijeli njegov sjeveroistok. Podsjetio me je na nepregledna prostranstva područja Port Meadowa u Oxfordu, ali s više uređenih dijelova. Ispod jednog od mostova s izrazitim protokom vode omogućeno je surfanje na opću radoznalost prolaznika koji stvaraju gužve na uskom prolazu zastajanjima kako bi promatrali urbane surfere u akciji. Oduševila me količina srijemuša kakvu sam još jedino u okolici ETH u Zürichu vidjela. U neposrednoj blizini parka se nalazi nekoliko muzeja, od kojih sam posjetila dva – Državnu arheološku zbirku i Nacionalni muzej Bavarske.
One of the advantages of living in a city with many expatriates from your own region is, of course, easier access to favorite foods and communication in a familiar language (according to taxi driver, Bosnian Denis, around 300,000 people from the former Yugoslavia live in Munich). We enjoyed fantastic burek pies and exceptionally good Sarajevo-style ćevapi and sujuk sausages. The store selling ex-Yugoslav products was better stocked than the ones we have in Paris, even carrying two types of mlinci (traditional flatbread). We visited Munich in April, just before Easter, during wild garlic and cultivated asparagus season, which we enjoyed prepared in various Bavarian specialties. But it’s not only the palate that can be delighted with delicacies—Munich offers a well-organized and diverse cultural, sports, and recreational scene.
The city invites active and engaging outdoor experiences with its many parks, green promenades, wide open squares adorned with sculptures and fountains, open-air cafés and restaurants, and the surprisingly clean River Isar, which splits the city in two, with gravel banks perfect for sunbathing and green walkways on both sides. The monumental buildings in Munich are often museums. Two impressive ones, flanking the neoclassical Königsplatz on either side of the Propylaea, which I plan to visit next time, are the Glyptothek and the State Collection of Antiquities (Staatliche Antikensammlung). Other monumental buildings are associated with religious and administrative spaces, as well as former royal palaces. The Residenz Munich, with its large garden, is the largest German city palace and its famous Antiquarium Hall is the largest Renaissance hall north of the Alps. Alongside the Maximilianeum, which, under restoration, unexpectedly rises from the dense forest on the river’s east bank, I still recall the impressive Rathaus (New Town Hall) and the 14th-century Karlstor from our 2019 stopover in Munich on our way from Riezlern to Florence. The Frauenkirche, Munich’s cathedral with two towers, is the world’s largest hall church. Although it’s nearby, right behind the Rathaus, it is somewhat obscured from direct view from Neuhauser and Kaufingerstrasse. However, its towers are clearly visible due to local building height restrictions. During long walks with curious Pulci, I took breaks in a traditional pastry shop (Konditorei) with excellent coffee and my favorite, the rich chocolate-filled, traditional Prinzregententorte. Pulci adapted well to Munich, whose prominent symbol is the lion. Numerous lion sculptures are displayed throughout the city and its museums. During walks, I noticed a small display case with modern glass pieces and archaeological replicas. In a shop selling both factory-made and hand-crafted glass, I met the owner, the lovely Eva, and bought a glass garden ball from a Bavarian glass artist as a birthday gift for myself.
The Englischer Garten is an impressive natural oasis that stretches from the city center, covering almost the entire northeastern part of Munich. It reminded me of the vast expanses of Port Meadow in Oxford but with more landscaped areas. Beneath one of the bridges with a strong water flow, surfing is allowed, sparking curiosity from passersby who crowd along the narrow passage to watch urban surfers in action. I was also struck by the abundance of wild garlic, a sight I had only previously encountered near ETH in Zurich. Several museums are located near the park, and I visited two – the State Archaeological Collection and the Bavarian National Museum.
Državna arheološka zbirka…
..zbirka je otvorena javnosti u formi muzeja. Jezgra današnje zbirke potječe od privatne kolekcije liječnika i antropologa Johannesa Rankea, koji ju je donirao Bavarskoj državi. Zbirka je kontinuirano rasla uključivanjem artefakata pronalaženih na bavarskom području te je preseljena u današnje prostore korten-čelične kubno-kaskadne zgrade 1976. godine. Zbirka je ponovno otvorena 2024. nakon perioda osmogodišnje restauracije. Tijekom renovacije izgrađeni su prostrani podrumski prostori, u kojima se organiziraju i privremene izložbe. Koncept stalnog postava, umjesto kronološkog slijeda prostorija, fokusiran je na ključne arheološke artefakte i događaje koji su povezani s određenim važnim temama ljudskog postojanja. Institucija provodi lokane i internacionalne projekte konzervacije te arheološka istraživanja, od kojih je najznačajniji lokalni projekt Gradska arheologija Münchena. Muzej ima izraženu edukativnu i interaktivnu funkciju. Stalni postav prostire se na dva kata i sadrži pet kolekcija nalaza – iz prapovijesti, rimskog perioda, srednjovjekovnog i modernog perioda, nalaze izvan Bavarske te numizmatičku zbirku u okviru dvije velike tematske cjeline: osnove i metode arheologije te evolucija ljudskog postojanja. Iz prve cjeline iznimno me se dojmila prostorija gdje su u staklenom podu, ‘pod zemljom’, tipološki grupirani i izloženi arheološki nalazi kakvi se najčešće pronalaze tijekom arheoloških istraživanja. Vrlo realistično je prikazana i rekonstrukcija groba s raznovrsnim brončanim i keramičkim prilozima. U cijelosti je u Muzej relocirano drveno okno sa životinjskim kosturom pronađeno na području Marienhofa. Penjanjem na prvi kat stalnog postava, sa stepenica pada pogled na podni mozaik iz Westerhofena. Mozaik je ukrašavao prostoriju kvadratnog tlocrta s apsidom, središnje pozicioniranim bazenom za vodu te otvorenim krovom iznad (atrij s kompluvijem i impluvijem). Mozaična površina, podijeljena isprepletenim trakama, prikazuje geometrijski uzorkovana polja s mitskim morskim stvorenjima te scenske prikaze lova na jelene u prirodi i borbe životinja u areni. Na katu su arheološki artefakti izloženi kronološki u okviru tematskih cjelina. Posebno mi je zanimljivo bilo vidjeti metalne ‘torbica’ kakav se jedan brončani pozlaćeni primjerak, porijeklom iz Vindolande, čuva u Ashmoleanu.
Tijekom mog posjeta Zbirci, aktualna privremena izložba Razumijevanje izvornih oblika umjetnosti ledenog doba (Urformen Eiszeitkunst begreifen) na području Njemačke. Izložene su većinom replike izražene od originalnih materijala, kao rekonstrukcije oštećenih figurica, kako bi se prikazala njihova puna forma i pokušao razumjeti značaj. Figurice su prezentirane uz kontekst spiljskih nalazišta s područja južne Njemačke a neka od njih su i od UNESCO važnosti. Ističe se figurica antropomorfnog prikaza polučovjeka s uzdignutim rukama protumačenim kao Štovatelj (‘Adorant’). Osobnog sam mišljenja da je prikazan napad.
Boravak u muzeju je ugodan, interaktivan i poučan. Cijena ulaznice je prihvatljiva a nedjeljom, kada je produženo i radno vrijeme, ulaznica je samo jedan EUR. U okviru Muzeja djeluje i cafe te trgovina u kojoj sam kupila münchenski med.
The State Archaeological Collection…
…is open to the public in the form of a museum. The core of the current collection originates from the private collection of doctor and anthropologist Johannes Ranke, who donated it to the Bavarian State. The collection grew continuously, incorporating artifacts found in the Bavarian region and was relocated to the current corten-steel cubic building in 1976. The museum was reopened in 2024 after an eight-year renovation. During the renovation, spacious basement areas were built, where temporary exhibitions are organized. Instead of a chronological display, the permanent exhibition focuses on key archaeological artifacts and events tied to important themes of human existence. The institution also carries out local and international conservation projects and archaeological research, with the most significant being the local project “City Archaeology of Munich.” The museum has a pronounced educational and interactive function. The permanent exhibition spans two floors and consists of five collections: prehistoric, Roman, medieval, modern finds, objects from outside Bavaria, and a numismatic collection, within two major thematic sections: the foundations and methods of archaeology, and the evolution of human existence. I was particularly impressed by a room in the first section where archaeological finds, often discovered during archaeological excavations, were typologically grouped and displayed under a glass floor, ‘underground.’ A grave reconstruction with various bronze and ceramic offerings was also very realistically portrayed. The museum also relocated a wooden frame with an animal skeleton found in the Marienhof area. Upon climbing to the first floor of the permanent exhibition, a mosaic from Westerhofen can be seen from the stairs. The mosaic decorated a square-shaped room with an apse, centrally positioned water pool, and an open roof above (atrium with compluvium and impluvium). The mosaic surface, divided into interwoven bands, depicts geometrically patterned fields with mythical sea creatures and scenes of deer hunting in nature and animal battles in an arena. Upstairs, archaeological artifacts are displayed chronologically within thematic sections. I was especially interested in seeing a metal ‘pouch’—a bronze gilded example similar to the one from Vindolanda, which is kept at the Ashmolean Museum.
During my visit to the collection, the temporary exhibition Understanding Original Forms of Ice Age Art was on display, focusing on the German region. Mostly replicas made from original materials were shown, as reconstructions of damaged figurines, in order to present their full form and attempt to understand their significance. The figurines were presented alongside the context of cave sites in southern Germany, with some of them being of UNESCO importance. One notable figurine depicted an anthropomorphic half-human figure with raised arms, interpreted as an “Adorant” (Worshiper). Personally, I believe it depicts an attack.
The visit to the museum is pleasant, interactive, and educational. The ticket price is reasonable, and on Sundays, when the museum has extended working hours, the entrance fee is only one Euro. The museum also has a café and a shop where I bought Munich honey.
Bavarski nacionalni muzej…
…nalazi se u historicističkoj zgradi s kraja 19. stoljeća izrađenoj upravo za Bavarski nacionalni muzej. Jedan je od najvećih u Europi muzeja posvećenih dekorativnoj umjetnosti, a to se i osjeti prilikom posjete. Meni je osobno najveća zanimljivost Muzeja ogroman podrumski nadsvođen prostor prožet tunelima, većim i manjim prostorima, doslovce poput kripte, ispunjen s nebrojenim krippen – scenama jaslica. Ova zbirka jaslica najveća je na svijetu i prikazuje više od 60 scena jaslica izrađenih između 1700. i 1900. godine na području regije Alpa i Italije, a sadrži i krajolike i arhitekturne scene Max Schmederera (1854.-1917.). Scene jaslica inspirirane su srednjovjekovnih oltarnim reljefima i figurama Isusa kao bebe štovanih u samostanima te postav započinje izlošcima slika i skulptura. Oko 1800. godine proizvode se majstorski izrezbarene scene u Münchenu. Krippen su izložene iza velikih staklenih panela, a one iznimno velike prostiru se duboko unutar prostora. Većina ih je izrađena vrlo detaljno, korištenjem široke palete boja te od raznih materijala. Izložbene prostorije u prizemlju organizirane su kronološki od kasne antike do Prosvjetiteljstva a najzastupljeniji je period gotike. Veliki dio postava u prizemlju čini zbirka oružja i oklopa. U najvećoj prostoriji izložena je monumentalna brončana grupa Huberta Gerharda, Mars, Venera i Kupid, izvorno dio središnjeg stupa velike fontane u dvorištu dvorca Kirchheim, po kojoj je dvorana dobila i ime. Prostrano središnje stepenište vodi na prvi kat gdje je postav organiziran tematski/tipološki: artefakti od bjelokosti, lov, galantno odijevanje, glazbeni instrumenti, igra, srebrno posuđe, i brojne druge umjetnine. Pored umjetnosti 19. stoljeća dio prostora namijenjen je specijalnim izložbama te interijerima značajnih zgrada od povijesne važnosti te seoskih i cehovskih prostora iz različitih regija Bavarske. Primjerice rekonstruirane su kasnosrednjovjekovna cehovska soba augsburških tkalaca, soba iz Landshuta te kabinet iz münchenske palače Tattenbach s oslikanim svilenim tkaninama iz 18. stoljeća. I muzejska zgrada je iznimno zanimljiva. Ne čini se da se radi o zgradi sagrađenoj za muzej, već palači adaptiranoj muzeju. Zanimljive su podne pločice, svodovi, veliki stakleni prozori, stupovi, kameni potpornji, skulpturalne konzole, a u zidovima se nalaze ugrađeni elementi s drugih lokacija poput sakramente niše obitelji Bibra iz 15. stoljeća s područja Frankonije. Nije uvijek jasno obilježeno kojim putem treba pratiti postav, pa je vrlo moguće da sam i propustila koju prostoriju, jer često ne slijede jedna drugu, kao u drugim muzejskim i muzeju namijenjenim građevinama. Predlažem konzultiranje internetske kolekcije Muzeja prije dolaska za pronalazak znamenitijih, manjih i manje izloženih izložaka. Od većih i istaknutih izložaka, pored već navedenih, zamijetila sam Smrt koja jaše lava s monumentalnog sata u opatiji Heilsbronn u okrugu Ansbach blizu Nürnberga iz 16. stoljeća, Mariju Magdalenu tijela prekrivenog dlakom u prirodnoj veličini s oltara župne crkve u Münnerstadtu u Donjoj Frankoniji (prema legendi, grešnica iz Novog zavjeta otišla je u pustinju kako bi iskupila svoju razvratnost te joj je Božjom providnošću narasla dlaka kako bi joj sakrila golo tijelo). Vrlo lijepa je modna kolekcija a ističe se i velika maketa Münchena. Imala sam prilike vidjeti kustosice u akciji te ih zamoliti za fotografiju prilikom intervenciji na jednoj od vitrina.
Uokolo Muzeja nalazi se uređeni vanjski prostor vrta s ugodim kafićem.
Bavarian National Museum…
…is located in a historicist building from the late 19th century, constructed specifically for the Bavarian National Museum. It is one of the largest museums in Europe dedicated to decorative arts, and this is immediately evident during a visit. The most striking feature for me personally was the vast vaulted basement space, filled with tunnels and various rooms, literally resembling a crypt, packed with countless crèches (Nativity scenes). This collection is the largest in the world, showcasing over 60 crèches created between 1700 and 1900 in the Alpine region and Italy, including landscapes and architectural scenes by Max Schmederer (1854-1917). The Nativity scenes are inspired by medieval altar reliefs and figures of baby Jesus revered in monasteries. The display begins with paintings and sculptures. Around 1800, masterfully carved scenes were produced in Munich. The crèches are exhibited behind large glass panels, with exceptionally large ones extending deep into the space. Most are crafted with great detail, using a wide range of colors and materials. The ground-floor exhibition rooms are organized chronologically from the late antiquity to the Enlightenment, with the Gothic period being the most represented. A significant part of the collection on the ground floor consists of weapons and armor. In the largest room, there is a monumental bronze group by Hubert Gerhard, Mars, Venus, and Cupid, originally part of the central column of the large fountain in the courtyard of Kirchheim Castle, after which the room is named. The spacious central staircase leads to the first floor, where the exhibition is organized thematically/typologically: ivory artifacts, hunting, gallant dressing, musical instruments, play, silverware, and many other works of art. Besides 19th-century art, part of the space is dedicated to special exhibitions and the interiors of historically significant buildings, as well as rural and guild spaces from different regions of Bavaria. For example, late medieval guild rooms of Augsburg weavers, a room from Landshut, and a cabinet from the Tattenbach Palace in Munich, with painted silk textiles from the 18th century, have been reconstructed. The museum building itself is exceptionally interesting. It doesn’t seem like a museum-purpose-built structure, but rather a palace adapted into a museum. Notable features include floor tiles, vaults, large glass windows, columns, stone supports, sculptural consoles, and embedded elements from other locations, such as sacrament niches from the Bibra family (15th century, Franconia). The museum’s layout isn’t always clearly marked, and it’s easy to miss rooms since they often don’t follow one another as in other museums. I suggest consulting the museum’s online collection before your visit to locate notable, smaller, and less-exposed exhibits. Among the larger, notable exhibits, besides those already mentioned, I noticed Death Riding a Lion from the monumental clock at Heilsbronn Abbey in the Ansbach district near Nuremberg, dating from the 16th century, and a Mary Magdalene, her body covered in hair, in life-size, from the altar of a parish church in Münnerstadt, Lower Franconia (according to legend, the sinner from the New Testament went to the desert to atone for her debauchery, and by divine providence, her hair grew to cover her naked body). The fashion collection is very beautiful, and a large model of Munich stands out. I had the opportunity to see the curators in action and ask them for a photo while they were working on one of the showcases.
The area surrounding the museum includes a well-maintained garden with a pleasant café.
Na dan odlaska, naš let za Barcelonu bio je vrlo kasno navečer te sam imala prilike posjetiti još jednu muzejsko-povijesnu ustanovu tijekom prijepodneva. Željela sam posjetiti Nymphenburg ali brinulo me da li ću imati dovoljno vremena, s obzirom na njegovu impresivnu veličinu. Ali neka vas veličina ovog kraljevskog posjeda ne zaplaši previše jer nije sav prostor otvoren za javnost te ukoliko ne želite duže vrijeme provesti u krasnom parku (koji je bez naplate otvoren za javnost i može se posjetiti bilo kada) jedno prijepodne je sasvim dovoljno za obilazak ovog kompleksa.
On the day of departure, our flight to Barcelona was very late in the evening, so I had the opportunity to visit one more museum-historical institution in the morning. I wanted to visit Nymphenburg, but I was worried if I would have enough time, considering its impressive size. However, don’t let the size of this royal estate intimidate you too much, as not all areas are open to the public. If you don’t want to spend a long time in the beautiful park (which is free and open to the public at any time), one morning is more than enough to tour this complex.
Nymphenburg
Posjed se sastoji od velikog vrta koncipiranog po uzoru na Versailles na području 180 ha šume uređene u engleskom stilu s dva jezera, palače u kojoj se uz sobe otvorene javnosti nalaze Marstallmuseum i Muzej porculana te četiri ‘manja’ paviljona. Na izbor je više vrsta ulaznica ovisno o tome koliko se toga želi posjetiti. Do posjeda vozi direktni tramvaj iz centra Münchena ali potrebno je pješačenjem zaobići vodenu površinu s prednje strane dvorca. Palača je toliko dugačka da jedva stane u kadar horizontalno orijentiranog mobitela. Dvanaest soba ove ljetne rezidencije Bavarskih vladara namijenjeno je razgledu posjetitelja, od toga dvije su privremeno bile nedostupne. U prizemlju se nalazi muzejska trgovina. Uskim i skromnim stepeništem uspinje se na piano nobile direktno u grandiozno dekoriranu dvoranu iz koje se kroz visoke staklene prozore pogled rasprostire po vrtu i u nedogled. Iako su brojni vladari iz dinastije Wittelsbach dodavali uređenju unutrašnjosti od baroka i rokokoa do neoklasicizma, palača je izgrađena za i u iščekivanju prijestolonasljednika elektora Maxa Emanuela (1662–1726). Potonji je najviše pridonijeo njezinom današnje izgledu, pod utjecajem francuskih umjetnika koji su ga pratili na povratku u München 1715. godine. ‘Portreti’ palače i vrta kroz godine i faze razvoja postavljeni su u hodnicima dijela otvorenog za javnost. Impresivne su barokne stropne slike te zidne slike i štuko ornamenti iz razdoblja rokokoa Velike dvorane. Tamno smaragdna nijansa prevladava u spavaćoj sobi kraljice Karoline, s originalnim namještajem od mahagonija, sobi rođenja kralja Ludviga II, nakon sto su u Nymphenburg preselili njegovi roditelji Maximilian II i Maria Pruska. Zamijetila sam realističnu skulpturu crne mačke s podignutom šapicom ispred kamina. U znamenitoj Sobi Ljepotica izloženi su portreti žena za koje je Kralj Ludvig I. od Bavarske smatrao da su izuzetne vanjštine, iz svih slojeva društva.
Marstallmuseum, koji se nalazi u bivšim ‘Jahaćim stajama’ nymphenburške palače, jedan je od najznačajnijih muzeja dvorskih kočija, putovanja i konjaničke kulture na svijetu. Ime je dobio prema Marstallplatzu, u blizini Residenza, gdje su se konji i kočije čuvali tijekom zime. Glavni izložak je krunidbena kočija cara Karla VII. izrađena u francuskom rokoko stilu, ali ni druge izložene kraljevske kočije nisu manje fascinantne. Među kočijama u rasponu izrade 300 godina, ističu se i brojne saonice kralja Ludviga II, kojeg se u Muzeju i prezentira najviše kroz njegovu strast jahanja i vožnje saonicama.
Na katu ovog krila palače nalazi se Muzej porculana. Kraljevsku porculansku radionicu osnovao je elektor Max III. Joseph 1747. godine, a u palaču Nymphenburg premještena je s originalne lokacije ‘Zelenog dvorca’ kod Neudecka 1761. Porculan ili ‘bijelo zlato’ kako se tada nazivao, smatrao se jednim od najvrjednijih i najtraženijih luksuznih dobara tog vremena, te se čuvao kao vjerske relikvije ili drago kamenje. Porculan je bio oličenje dvorske profinjenosti i korišten je u najvišoj mjeri u reprezentativne svrhe. Glavni modelar Nymphenburške radionice bio je Franz Anton Bustelli, poznat po svojim životnim, ekspresivnim figuricama koje su dekorirale kraljevski desertni stol. Kolekcija sadrži, međuostalim, Bustellijevu kolekciju glumaca ‘Talijanske komedije’, iznimne jugendštilovske komade, interijer s porculanskom čajankom, skulpture ptica izrađene metodom slikanja ispod glazure gotovo u prirodnoj veličini te portret-medaljone.
Od palače, poprečno kroz šumu, Veliki kanal vodi do Velike kaskade, koja je u vrijeme mog posjeta bila isušena, vjerojatno radi potrebe održavanja ili restauracije. Brojni puteljci omogućavaju dužu ili kraću šetnju kroz prirodu, a smjerokazima su označene različite destinacije, poput monoptera ili kipa Pana nad izvorom. Četiri paviljona različite funkcije, izgrađena su simetrično po dva sa svake strane centralne osi. Prema karti posjetitelj prvo dolazi do Amalienburga, najmlađeg paviljona, u funkciji lovačke kuće, koji je u rokoko stilu izgrađen po nalogu elektora Karla Albrechta za njegovu suprugu. Rozo-bijela reljefna fasada podsjetila me je na kazališni rekvizit torte ukrašene šlagom, koji je Robert posudio iz Gavelle za jedan moj osnovnoškolski rođendan. Unutrašnjost fascinira, a posebnim umijećem koncipirane su dvije prostorije – Dvorana ogledala i prostrana, svijetla, visoko stropna kuhinja u nizozemskom stilu – san svakog kuhara. Dekorirana je kineskim stilom, tj. motivima prikaza s kineskog porculana, koji je bio popularan u Parizu tijekom 18. stoljeća, a koji je prisutan i u drugim paviljonima. Ostale tri, Pagodenburg, Badenburg i Magdalenenklause, izgradio je elektor Max Emanuel početkom 18. stoljeća. Badenburg, osim po iznimno dekoriranoj unutrašnjosti, poseban je jer ima izgrađen unutrašnji bazen s nadvišenom ophodnom galerijom. Do bazena, koji je namijenjen hodanju kroz vodu te ima ugrađene mramorne klupice za odmor, pristupa se kroz podrum. Voda je propuštana kroz dvije velike slavine dekorirane delfinima. Pagodenburg je najmanji ali ništa manje dekorirani paviljon s katom na kojem se nalaze privatne sobe, dok je prizemlje jedna reprezentativna primaća soba. Magdalenenklause s kapelom izgrađenom u stilu talijanske renesansne grotto arhitekture izgrađen je za Maxa Emanuela kao njegovo mjesto za predah od dvorskih obaveza. Istaknut je primjer vrtne građevine namjerno izgrađene u formi ruševine kao imitacije pustinjačkog doma. Travanjski dan moje posjete bio je vrlo vruć, ali unutar kapele temperatura je bila znatno niža i omogućavala izuzetno ugodan boravak (mnogi turisti pokušali su se zakloniti unutar ovog objekta, za koji potrebna ulaznica). Druge prostorije obuhvaćaju radni kabinet s originalnim namještajem, oratorij te spavaću sobu. Na izlasku iz parka srela sam guske s pomladcima, par koji me je zamolio za fotografiju te vrlo zadovoljni uzvratili uslugu i skulpture lavova na stepeništu stražnje strane Palače te povijesnu vodenu pumpu u Johannisbrunnhaus-u.
Nymphenburg
The estate consists of a large garden designed in the style of Versailles, covering 180 hectares of forest in the English style with two lakes, a palace with public rooms as well as the Marstallmuseum and the Porcelain Museum, and four ‘smaller’ pavilions. There are various ticket options depending on how much you want to visit. A direct tram from the center of Munich takes you to the estate, but you’ll need to walk around the water feature in front of the castle. The palace is so long that it barely fits into the horizontal frame of a mobile phone. Twelve rooms of this summer residence of the Bavarian rulers are open to visitors, two of which were temporarily inaccessible. On the ground floor, there is a museum shop. A narrow, modest staircase leads up to the piano nobile directly into the grand, ornate hall from where the view through tall windows stretches across the garden to the horizon. Although numerous rulers of the Wittelsbach dynasty added to the interior, from Baroque and Rococo to Neoclassicism, the palace was built in anticipation of the heir to the throne, Elector Max Emanuel (1662–1726). He contributed the most to its current look, influenced by the French artists who accompanied him on his return to Munich in 1715. ‘Portraits’ of the palace and garden through the years and development phases are displayed in the corridors of the publicly accessible section. The baroque ceiling paintings, wall paintings, and stucco ornaments from the Rococo period in the Grand Hall are impressive. A dark emerald shade predominates in Queen Caroline’s bedroom, with original mahogany furniture, and in the room where King Ludwig II was born, after his parents Maximilian II and Maria of Prussia moved to Nymphenburg. I noticed a realistic sculpture of a black cat with its paw raised in front of the fireplace. In the famous Beauty Room, portraits of women whom King Ludwig I of Bavaria considered exceptionally beautiful are displayed, from all social classes.
The Marstallmuseum, located in the former ‘Riding Stables’ of the Nymphenburg Palace, is one of the most significant museums of court carriages, travel, and equestrian culture in the world. It is named after Marstallplatz, near the Residenz, where horses and carriages were kept during the winter. The main exhibit is the coronation carriage of Emperor Charles VII, made in the French Rococo style, but other royal carriages on display are equally fascinating. Among the carriages spanning 300 years, many sledges of King Ludwig II stand out, and the museum primarily presents him through his passion for riding and sleighing.
On the upper floor of this wing of the palace is the Porcelain Museum. The royal porcelain workshop was established by Elector Max III Joseph in 1747, and moved to the Nymphenburg Palace from its original location at the ‘Green Castle’ near Neudeck in 1761. Porcelain, or ‘white gold,’ as it was called at the time, was considered one of the most valuable and sought-after luxury goods of the era and was kept as religious relics or gemstones. It symbolized courtly sophistication and was used to represent the highest standards. The main modeler at the Nymphenburg workshop was Franz Anton Bustelli, known for his lifelike, expressive figurines that decorated the royal dessert table. The collection includes, among others, Bustelli’s collection of ‘Italian Comedy’ actors, exceptional Jugendstil pieces, interiors with porcelain tea sets, bird sculptures painted under the glaze in almost life-size, and portrait medallions.
From the palace, across the forest, the Grand Canal leads to the Great Cascade, which was dry during my visit, likely for maintenance or restoration. Numerous paths allow for longer or shorter walks through nature, and signposts indicate different destinations, such as the Monopteros or the statue of Pan over the spring. Four pavilions with different functions were symmetrically built, two on each side of the central axis. According to the map, visitors first arrive at Amalienburg, the youngest pavilion, which functions as a hunting lodge. Built in Rococo style by Elector Karl Albrecht for his wife, its pink-and-white relief façade reminded me of a theatrical prop in the shape of a cake decorated with whipped cream, which Robert borrowed from Gavella for one of my elementary school birthdays. The interior is fascinating, and two rooms were designed with exceptional skill: the Mirror Hall and the spacious, brightly lit, high-ceilinged kitchen in Dutch style—a dream for every cook. It is decorated in the Chinese style, with motifs from Chinese porcelain, which was popular in Paris during the 18th century, and is also present in other pavilions. The other three pavilions—Pagodenburg, Badenburg, and Magdalenenklause—were built by Elector Max Emanuel in the early 18th century. Badenburg, apart from its exceptionally decorated interior, is special because it has an internal pool with an elevated gallery for walking around the water, featuring marble benches for resting. The pool, meant for walking through the water, is accessed through the basement, and water is released through two large dolphin-decorated faucets. Pagodenburg is the smallest but no less decorated pavilion, with private rooms on the upper floor, while the ground floor is a representative reception room. Magdalenenklause, with a chapel built in the style of Italian Renaissance grotto architecture, was constructed for Max Emanuel as a place to rest from court duties. It is a prominent example of garden architecture intentionally built as a ruin in the form of a desert retreat. The April day of my visit was very hot, but inside the chapel, the temperature was much cooler, providing a very comfortable stay (many tourists tried to shelter inside this building, for which an entrance ticket is required). Other rooms include a working cabinet with original furniture, an oratory, and a bedroom. On leaving the park, I encountered geese with their young, a couple who asked me for a photo, and very happily returned the favor, along with lion sculptures on the rear staircase of the palace and the historical water pump in Johannisbrunnhaus.
Nadam se vratiti u München ponovo i uskoro, ne samo radi konzumacije omiljenih delikatesa, već kontinuirane posjete institucija i muzeja koje nisam bila u prilici obići te ponovne posjete uređenim vanjskim prostorima onih koje jesam. Put iz Pariza najpraktičniji je direktnim brzim vlakom s Gare d’Est. A i Pulci voli München. I putovanja vlakom.
I hope to return to Munich soon, not only for my favorite delicacies but also to visit institutions and museums I didn’t get the chance to explore, and revisit the well-maintained outdoor spaces of those I did. The most convenient way to travel from Paris is by direct high-speed train from Gare d’Est. Pulci also loves Munich. And train journeys.
Više fotografija Pulcija u Münchenu:
More photographs with Pulci in Munich:
Vendi Jukić Buča
Pariz, 6. svibnja 2025.
Paris, 6 May 2025
https://www.archaeologie.bayern/en/museum/
https://www.ingolstadt.de/stadtmuseum/scheuerer/museum/r-08-010.htm
https://www.ashmolean.org/collections-online#/item/ash-object-334392
https://www.bayerisches-nationalmuseum.de/en/visit
https://www.nymphenburg.com/
