Magdalenenklause

Stepping inside the tranquil Nymphenburg Palace Park, you’ll discover a hidden gem. It is the Magdalenenklause, a unique structure that stands as a testament to the Elector Max Emanuel’s desire for a retreat. The Magdalenenklause, also known as the Magdalene Hermitage, was built between 1725 and 1728. The Magdalenenklause was designed by Joseph Effner, the architect behind several other structures within the palace grounds. From the outside, the Magdalenenklause appears to be a crumbling ruin. The tiles and partially plastered walls, along with the cracks and crumbling plaster, contribute to this illusion. This design was intentional. It reflected the Baroque era’s preoccupation with the transient nature of earthly things. However, the seemingly dilapidated exterior of the Magdalenenklause hides a richly designed interior. Inside, you’ll find the Grotto Chapel of St. Mary Magdalene and a similarly grotto-like Entrance Hall. The northern part of the Magdalenenklause houses the Elector’s Apartments. These rooms, paneled in oak “à la Capucine,” possess a monastic austerity, adorned with copper engravings. The furnishings within the Magdalenenklause add to its unique character. The chapel’s altarpiece features a crucifix and two candlesticks crafted from a narwhal tusk. A Byzantine table crucifix, seized by Max Emanuel during the Turkish wars in Hungary, graces the refectory. The Magdalenenklause served as a refuge for the Elector. It allowed him to escape the demands of court life. While intended as a place of contemplation, it also served as a stage for courtly play. This duality adds another layer to the intriguing nature of the Magdalenenklause. The Magdalenenklause is more than just a building. It’s a tangible representation of the philosophical and spiritual currents of the Baroque period. It is a place where the contemplation of life’s fragility intersects with the grandeur of courtly life.