In combination with the palace buildings, the Grand circle entrance structures and the expansive park landscape form the ensemble of the Nymphenburg Summer Residence of Bavarian dukes and kings, located in the modern Munich Neuhausen-Nymphenburg borough.

[3] The 1662 birth of Maximilian II Emanuel, Elector of Bavaria of the Wittelsbach family was the occasion to consider the construction of a palatial residence and garden for the young mother, Electoress Henriette Adelaide of Savoy, in between the villages of Neuhausen and Obermenzing.

The elaborate Baroque palace complex, which would serve as a summer residence and alternative to the seat of government, the Munich Residenz, was only realized a generation later under the adult Maximilian II Emanuel.

[13] From 1715 onwards Dominique Girard, who had previously worked in André Le Nôtres Versailles Gardens, realized the spacious arrangements of the park with the support of Joseph Effner, a student of Germain Boffrand.

He decided to subdivide the park into two distinct landscape areas of varying size, each with its own character and atmosphere, to which two very differently shaped and designed lakes contributed significantly.

The Carl Friedrich von Siemens Foundation is located at Südschloßrondell 23, a two-storey baroque hipped roof building with structured stucco and a narrow central risalit, erected in 1729 by Effner.

In the course of the redesign of the entire palace park by Sckell, it was simplified, but retained its original size: in 1815, the six-part broderie parterre became a four-part lawn with a flower bordure.

It is also called the Kaisergarten (Imperial Garden) because it is located in the immediate vicinity of Prince-elector Karl Albrecht's apartment rooms, where he resided during his time as Charles VII (Holy Roman Emperor from 1742 to 1745).

The Pagodenburg, which lies on an island formed by a ring-like canal, dominates the design and largely occupies the northern part of the lake and can be reached via two pedestrian bridges.

Water appears in the form of the calm surfaces of the two lakes, flows in canals and streams, falls and rushes in the two cascades and rises in the geysers of the two large fountains.

A contrast to these rooms, which are plainly furnished with simple paneling, exhibits the two-part chapel, the walls of which are grottoed with fantastic stucco work, shells and originally colored pebbles.

The design was executed by Johann Bernhard Joch, the stucco figure of the Penitent Magdalene is the work of Giuseppe Volpini, the ceiling frescoes in the chapel room and in the apse were created by Nikolaus Gottfried Stuber.

The paths on the Great Cascade were also decorated with a group of fourteen statues made of lead by Guillielmus de Grof, twelve Cherubs represented the months of the year, two others the continents.

Viewed from the palace garden staircase, on the far left are: Mercury, Venus and Bacchus on the far right are: Diana, Apollo and Ceres and facing each other on the central road: Cybele and Saturn, Jupiter and Juno and Proserpina and Pluto.

The hard facial features of Cybele, whose head adorns a mural crown and the drastic pose of Saturn, about to devour one of his sons, convey destruction and cruelty, which is surprising in the context of a princely pleasure garden.

Between the upper and lower cascade basins are two reclining figures with urns on both sides of the falling water, that symbolize the Isar and Danube rivers, made by Giuseppe Volpini (1715–1717).

These are: Hercules (1718–1721), Minerva (1722–1723), Flora and Aeolus (both around 1728), also from Giuseppe Volpini, Mars and Pallas (both around 1777) and Amphitrite with a dolphin (1775) from Roman Anton Boos and Neptune made by Guillielmus de Grof (around 1737).

In the southern garden section of the Amalienburg and the entire landscape park are only paths that in a variety of curves form a greater network with an irregular floor plan.

A special attraction are the long visual aisles, which can be seen from the garden-side palace stairs and invite to calm views and light experiences, shadows and color nuances depending on the time of day and season.

The west-facing central axis leads the eye along the canal to the distant cascade, over which the sunset can be observed on summer evenings, which Friedrich Ludwig Sckell left when he transformed it into a landscape park.

The South Vista consists of a lawn path towards the west-south-west as it also begins at the basin of the Central canal, but continues to open and leads over the northern tip of the larger Badenburg Lake.

[20] The original landscape design concept of Friedrich Ludwig von Sckell centered around domestic tree species and the woods of the local oak-hornbeam forest with among oak and hornbeam include ash, sycamore - and Norway maple, winter and summer lindens, as well as occasional pines and spruces.

Sckell resorted to selective planting methods of differently sized and mixed species in order to acquire effects e.g. for varied and realistic forest silhouettes in front of meadows and the waters.

To create atmosphere or add nuances to particular places, von Sckell planted large, small, slender or wide, fast- or slow-growing tree and shrub species in groups, rows or clusters.

Adaptive tree species have formed riparian forest habitats in ravines, depressions, trenches and canals, where in addition to oak and hornbeam, ash and alder do occur.

Numerous butterfly species can be found on calcareous grasslands, such as meadow brown, silver-washed fritillary, common brimstone, orange tip and purple emperor.

Human intervention such as care of the lawns, artificial plantings and the removal of dead wood in the context of traffic safety obligations are classified under low intensity.

The Nymphenburger Park reveals this in its iconological program: the large number of antique statues of the gods are dedicated to the monarchy and allude to the divine hierarchical order as the basis of all moral values.

The Nymphenburger Park is looked after by the Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen (Bavarian administration of the state palaces, gardens and lakes).

The maintenance of the park requires the integration of the preservation of historical garden art monuments, nature protection, recreational use by the visitors and traffic safety obligations.