ABSTRACT
The Elector's Palace's salient enhancement over Friedenstein is the centering's comprehensiveness. Here de Cotte, from Paris, helped the screen along to maturity. Canonical Baroque façades typically use one dominant ceremonial point of entry as the major, orchestrating element regardless of width. Secondary entries become clearly subordinate. The main door's centralizing frontispiece generates a fully-fledged, hierarchical system activating and gradating numerous sub-parts into a complex, organically differentiated whole. Vienna's Schonbrunn and Belvedere palaces offer Austrian examples, as does Buda's Royal Castle for Hungary. Such organizational treatments contrast with screens. A sizable, lantern-like clock tower originally rose from the roof's ridge at centre, reinforcing the portal's position from afar, as one negotiated the climb. During 1697–1705, Elector Joseph Clemens commissioned prominent Munich architect Enrico Zuccali, an Italian-Swiss emigrant to Bavaria, to replace a thirteenth century palace. The Palace is visible from varying distances anywhere within the lawn, but there is no marked, frontal approach.
