GENERAL DATA Park Maksimir, which was originally formed on the outskirts of Zagreb at the end of 18 th and the

first half of 19 th century, today is completely surrounded wi th town settlements. In this new surrounding Park Maksimir still represents a sh elter for many plant and animal species, despite its small area of only 316 ha. Its value for the protection of endangered species connected to old hollows is s ignificant because of preserved hundred-year-old oak forests. In Park Maksimir m ore than one hundred bird species are recorded, of which specifically significan t are hole-nesting birds. Interesting data is that population density of middle spotted woodpecker (Dendrocopos medius) in Park Maksimir, an endangered species in Europe, is one of the largest in the world. Other animal species connected to old forests are significant as well, like squirrels and some bat species, other wise globally endangered animal species. Besides forests, in Park Maksimir we can find meadows, lakes and streams, which also represent important habitats for various plants and animal, and in that way contribute to its biological diversity. During the times Park Maksimir was formed, it was the most modern, elite and pop ular enterprise in the city and further, and to it many famous names and politic s of that time were connected to. Today it represents a first rate antique livin g part of the city area with which we should keep and preserve a prestigious pla ce among European historical sights with a modern approach to protection and way s of utilization. PROTECTION CATEGORY monument of park architectureprotected cultural asset YEAR OF FOUNDING 1964 AREA 316 ha ALTITUDE 120 to 167 m/above sea level MEAN ANNUAL TEMP. 11C ANNUAL PRECIPITATION 870 mm MOST COMMON WIND DIRECTION north, northeast Park Maksimir is a unique object of park architectural heritage of City of Zagre b and Republic Croatia. It was raised on the final southern foothills of Medvedn ica at the end of 18 th and the first half of 19 th century. Clearing autochthon ous forest of common oak and hornbeam formed it. It is the first public park in southeast Europe, and one of the first in the world. At the time of forming it w as one of the most important park accomplishments of Austro-Hungarian Monarchy. Until than only private parks were formed, which were located next to noblemen's castles and royal residences, and not accessible to general public. Park Maksimir's founder was Zagreb 's Bishop MAKSIMILIJAN von VRHOVAC DE EHRENBE RG ET RAKITOVEC (1752. - 1827.). / Maksimilijan Vrhovec, source: Croatian Historical Museum / In 1787, after becoming Zagreb 's bishop, he decided to grant citizens of Zagreb with a park for rest and recreation on the place of an old bishop's forest. Bis hop Vrhovac had an idea to form the park in a baroque (French) stile, which is w itnessed by three radial paths, shaped as a duck's foot, that were made during h is time, which was one of baroque characteristics of a park. Paths constructed b y Bishop Vrhovac can still today be seen in the Park, and one of them is the mai n straight axis of the alley from the main entrance (portal) all the way to the bottom of Vidikovac. Park Maksimir was ceremonially opened for public in 1794, b y which the end of its primal renovation works was celebrated. It was named Maks imilian's peace or Maksimir for short, after its founder. When Bishop Vrhovec wa s accused for masonry and connection with Hungarian Jacobinism, he was reproache d for spending too much money on raising a huge park. For that reason, further r enovation of the Park was terminated. After the death of Bishop Maksimilijan Vrhovec, Bishop ALEKSANDAR ALAGOVI (1760-1 837) continued with the work on forming Park Maksimir, which abandons the initia tive idea of forming the park in baroque stile and begins with works on opening and forming meadows and individual park complexes. Beside the fact that Bishop A lagovi performed few works on adaptation of Park Maksimir, he gave the basis for forming a landscape park, which Archbishop Juraj Haulik masterfully completed an

d formed. Archbishop JURAJ von HAULIK DE VARALLYA (1788. - 1869.) / Juraj Haulik, source: Croatian Historical Museum / become Zagreb 's bishop in 1837, and already a year later continued with works o n forming Park Maksimir. He hired a group of expert Austrian artists, which form ed emperor's parks in Laxenburg, Schnbrunn, Hetzendorf near Vienna. Head of the g roup was an expert landscape architect of emperor's gardens MICHAEL SEBASTIAN RI EDL (1793-1872), and beside him other artists were: Franza Schcht, Leopold Philip p, Franjo Serafin Krbler, Joseph K sc hmann, Antun Dominik Fernkorn, Anton Kothgas ser and at that time young architect Bartolomej Felbinger. FRANZ SCHCHT (1793 - 1872) has designed garden pavilions, as well as other buildi ngs in Park Maksimir. During that period constructed were Umbrella pavilion (tod ay on it's place we can find Mogila), Bellevue pavilion, Public temple (today on it's place we can find St. Juraj's chapel constructed in 1863), Glorieta pavili on, Echo pavilion (the only preserved pavilion in Park Maksimir constructed in 1 840), Fisherman's cottage, Peaceful cottage, Dutch cabin, Swiss house (1842), Ga tekeeper's cabin (1847), Gazebo (Kiosk, constructed in 1843), and Tavern (today M aksimilijan restaurant constructed around 1860). In 1839 Park's name was changed to Jurjaves in the honor of Archbishop Haulika 1 839, and after his death Park got its old name Maksimir back. / Entrance portal and Equestrian statue of St. Juraj, source: photo I. Standl, 1 871 / Park Maksimir is designed in the stile of English park at the time Romanticism a ppears in Europe, and the elements of new stile are applied in the new special c omposition of the Park. Natural difference of terrain altitude in Park design co mposition was skillfully used to emphasize its plasticity, as well as alternatio n of vast meadow areas with forest belts, and decorative plantations, which is i ts exceptional design value and characteristic. / Zornberg's map of Park Maksimir from 1846, source: MGZ / The first protection of Park Maksimir dates since 1948 when it was proclaimed na tural curiosity, together with the area of grange, arable land and forest in tot al area of 316 ha, by a Resolution of former Ground institute for protection of natural curiosities in Zagreb. Today Park Maksimir, for its exceptional value, benefits a double protection. It is protected as a monument of park architecture by the Nature protection law an d as a cultural asset by the Law on protection and preservation of natural asset s, and is registered in the Registry of cultural assets of Republic Croatia. Protected cultural assetsBesides Park Maksimir as a whole, many other single obj ects in Park Maksimir are protected as cultural assets: BISHOP HAULIKS NEW VILLA (Z-0480/Nar. nov., 18/03)It is presumed it was constructed in 1855, but there ar e no reliable sources on that. The faade with shallow risalit that ends with a lo w triangular gable, the formation of roof chaplet, shallow carved large windows, bow windows, motives of the three windows on risalit, it all makes a compositio n of early phase of romantic historicism. Blueprint of the Villa has not been fo und yet, but it is presumed its author could be Franjo Klein judging only by fem ale allegorical figures, which he richly placed on all of his faades. Today Paris h office of St. Jeronims parish is located in the Villa. / Bishop Hauliks new Vill a, source: archive PIM /GATEKEEPERS CABIN (Z-0475/Nar. nov., 18/03)Single-story h ouse of orthogonal layout under four-sided roof that used to be covered with gre en shiest was built in 1847. Plans of faade and layout with the signature of bish ops commissioner and head of construction works Leopold Philipp have been preserv ed, which somewhat differ of constructed. In the past, it was used as accommodat ion for two uniformed disabled park keepers and guides for foreigners, from wher e the name comes from. The flat had two rooms and a kitchen with open fire. / Ga

tekeeper's cabin, source: archive PIM / ECHO PAVILION (Z-0478/Nar. nov., 18/03) It was constructed after 1840 after Franza Schcht's design, and is the only prese rved pavilion in Park Maksimir, also known as Lantern-Temple. On a twelve sided stone pedestal, wooden rocks are separated with half-colons with capitals made o f stylistic leaves. Rocks are penetrated with ten semicircle windows and two ent rances. Echo pavilion is a common garden facility in early Romanticism gardens w ith symbolic significance of dedication to mountain Nymph. The pavilion was buil t in the honor of goddess Echo, and it especially well echoes sounds, which make s it a special attraction, which is intertwined in its name. Public institution M aksimir renovated the pavilion in 2001. Echo Pavilion, animated 3D model (Macrom edia Flash, 2.96 MB; adapted for fast internet) / Echo pavilion, source: V. Grg esina / GAZEBO (Z-0472/Nar. nov., 18/03)Also known under the name Kiosk, was con structed in the period from 1841 to 1843, by Franza Schcht's design. It is the mo st notable object, the center from which paths branch, around which the main par k's parties are grouped. It is a stereo metric two-floor corpus, 17 meters in he ight, with a quadratic design in the ground floor surrounded with a porch and a tower placed at the edge of the northeast faade. All the faades are the same. On t he corners of the porch are strong quadratic pillions divided with shallow pilas ters and two central pillions on both sides of the steps. The corner ones are st one made and the central are wooden. On the openings vary semi circled endings a nd lunettes separated from the opening with a coronal. Terraces are fenced with grated fence made of cast iron. The tower ends on the third floor with a triangu lar gable. Pillions, pilasters, circled endings of openings, triangular gable, a re characteristic Paladi motives, and Viennese architecture varies them in instr umentation of faade of cubic established corpus of the building. Public instituti on Maksimir renovated the Gazebo in 2002. / Gazebo, source: archive PIM / SWISS HO USE (Z-0476/Nar. nov., 18/03)Single-story house, known as Tyrolean house, as wel l, was constructed by Franza Schcht's design, during 1841, and was completed in f all 1842. Ground floor was made of hewed stone, first floor made of roughly hewe d oak beams, encircled with wooden balcony supported with four wooden beams. A b alcony is located under the canopy as well. Two-parted truss is covered with shi est. It belongs to stylized rustic architecture, and that is where it got its na me from. Haulik's salon gives a special value to the house, made of wooden plati ng and richly carved baroque ceiling, which Michael Sebastian Riedl from Augusti nian monastery in Klosterneuburg acquired as a gift from Provost Jakob Ruttensto ck. Windows and balcony doors are decorated with 12 stained-glass windows with s cenes from Swiss and Tyrol landscapes made by Antun Kothgaser according to Antun Gurk's sketches. Public institution Maksimir has renovated the house in 2005. / Swiss house, source: archive PIM /OBELISK (Z-0477/Nar. nov., 18/03)Pyramidal sh aped monument OBELISK, work of sculptor Josepha Kschmann, Archbishop Juraj Haulik placed in 1843 in the Valley of dahlias in the honor of the end of works in Par k Maksimir. It was built in a way that a square pedestal was placed on the botto m steps, and on it a pyramidal shaped obelisk was placed. On the back, left and right side of square pedestal three bronze laurel corollas were embedded. On the pyramidal part of the monument, on each side embedded are another four smaller bronze laurel corollas. On the front side of the square part stands a metal pane l with text written in Latin. In it Haulik stated his motive for designing Park Maksimir. A stone panel is placed below the metal panel and on it a translation of the Latin text by landscape architect Smiljan Klai (1912 - 1989) is carved in, which says:AS A HELP FOR THE NEEDY, WHICH DID NOT GIVE WAY TO SLOTH, TO PEACEFUL CITIZENS AS ENCOURAGEMENT FOR MORE USEFUL AND PLEASANT FARMING, AS AN ADORNMENT OF METROPOLIS, AS WELL AS THE PRIDE OF HOMELAND AND SOLES TIRED OF PUBLIC WORKS AND LIFE'S REALITY, TO FRESHEN UP WITH INNOCENT DELIGHTS OF NATURE, THESE GROVE S, WHOSE EMBELLISHMENT I WANTED FOR A LONG TIME, AND RECENTLY SOMEWHAT TRIED ALO NG WITH SURROUNDING FIELDS AND ACCORDING TO CAPABILITY EMBELLISH, AND PLACED THI S AS A MODEST PROOF JURAJ HAULIK, ZAGREB'S BISHOP, KINGS DEPUTY OF BAN'S HONOR I N THE YEAR OF SALVATION 1843.Public institution Maksimir renovated the monument in 2001. / Obelisk, source: archive PIM /ST. JURAJS CHAPEL (Z-0473/Nar. nov., 18/0 3)It was constructed during the period from 1862 to 1864 in New-gothic stile in the place where Public temple used to be on an elevated location near the villa (

that is Haulik's villa). Although original architectonic blueprints were not foun d, it is noticeable from the preserved notes that Bishop Haulik asked Tyrolean w orkshop Glasmalerei-Anstalt to do the project and design of the chapel. It was a n ew workshop created in Innsbruck in 1861 by Albert Neuhauser (1832 - 1861), pain ter on glass, self-taught architect Josef Vonstadl (1928 - 1893) and painter Geo rg Mander. In it, Archbishop Juraj Haulik wanted to be buried. The basis was sha ped as a cross with short wings of the transept and polygonal shrine. Walls were made of brick, and construction parts of stone. Faade with portal, on which a hi gh window with pointed arch continues, ends with distaff. The other two large wi ndows are on the wings of transept. Roof was covered with shiest. Inside walls w ere painted with stone grease so that it seems it is made of ashlars. On the ceili ng, between the ribs, golden stars are painted on a blue background. The floor i s paved with black and white tiles. Fence around the chapel is made of cast iron bars. Construction and design is a collective work of domestic and internationa l masters. Sculptor Michael Stolzer made a high relief in wood with the figure o f St. Juraj for the altar above a black marble table. Stain-glass windows are de dicated to figures from the Old and New Testament (Moses and Aron, Peter and Pau l), and above the portal to Our Lady with Christ and John the Babtist. Stain-gla ss windows are covered with grids. Hanging lamp made of gilded brass is a work f rom Neuhauser workshop, as well. The ceiling was painted by Viennese painter Jos ef Proksch. Masonry works were done by Andrea Tessitori from Fulani. Benches wer e made in Lepoglava penitentiary, and Haulik's klecalo was purchased in Vienna. Contractors were city geodesist from Zagreb 's city service Construction-firefigh ting committee Janko Nikola Grahor (1827-1906), and construction-stone carving ma ster Franjo Klein (1828-1889). The chapel was sanctified in October 1869. / St. Jurajs chapel, source: archive PIM /BISHOP HAULIKS VILLA (Z-0474/Nar. nov., 18/03 ) Classicistic building constructed according to Franz Schcht's design in the per iod from 1839 to 1840. It is a high, single-story, right triangular building wit h central risalit that ends with a triangular, richly profiled garble, centrally monogrammed G. H. In front is a terrace, and in the back a double staircase in between which is the entrance to the basement. Openings continue in a semi circl e above a prominent corona that goes around the whole house. Apartment consists of a salon, study, bedroom, small foyer and several small servants' chambers. Sa lon opens to the terrace, its layout is square, and walls are divided with pilas ters and recesses. In the bedroom we can see a bath tub placed in the floor and covered with parquet, which is a rarity for that time. The house with rose garde n was separated from the park with a green painted fence. In the description fro m 1869 it was stated that the roof was covered with yew shingle, and that beside it there is a small greenhouse with one glass wall and walled in heating pipes. Supervisor of construction works was Andrija Leitner. / Bishop Hauliks villa, so urce: archive PIM /HAULIKS VILLAS OUTHOUSES (Z-0479/Nar. nov., 18/03)A complex of outhouses that were supposedly constructed at the same time as Hauliks villa, dur ing the period from 1839 to 1840. Today it is used as a facility of the Institut e for dairy and livestock at Faculty of agronomy, University of Zagreb. / Hauliks villas outhouses, source: archive PIM /SILK FACTORY (Z-0482/Nar. nov., 18/03) La rge outhouse with an unknown construction date, but it is known that it already existed in 1853. It has a linear design, roof with two canopies covered with til e, ground floor and a high first floor on which south and north faade are two hor izontal lines of low, narrow windows, so that the building appears as if it had two floors. Only attic windows were installed on the garble, and later on six wi ndows were installed but they are inappropriate in shape and size along the whol e garble. In the central axis of the south faade is entrance door, and in front o f it is an elevated wooden porch covered with a single-canopy roof. The inside r ooms were used for cocoons of the silkworm. Today it is used as storage house of Faculty of agronomy, University of Zagreb. / Silk factory, source: archive PIM /BEEHIVE (Z-0481/Nar. nov., 18/03)Single-story building constructed in 1853 wit h one-story central part intended as an apartment for the beekeeper. Two long gr ound floor wooden wings are added to the object, where beehives are located. Ori ginally, about 200 beehives were placed in it. Today it is used for educational purposes for beekeeping class at Faculty of agronomy, University of Zagreb.

THE HISTORY OF PARK ARCHITECTUREThe art of design of - gardens and parks dates s ince the ancient pre-biblical times and since the very beginning it has a religi ous, magical and mystical significance. Alkinoos garden in Homer's Odyssey accor ding to the oldest descriptions was shown as a beautiful orchard or vegetable ga rden. Almost all antiquity religions had their mythical park: the Israeli had Ed en, Assyrians Eridu, Hindu Ida-Varshu, Etruscans The Holy Forests, and in all of these civilizations the guiding line of prosperity of the heavens was always ex pressed and included in the park. In time spatial design develops and becomes a place of pleasure, but also the place of achievement of intellectual and estheti cal codes and requests. Park architecture is a work of man, and only partially o f nature, the design is never random and insignificant. Different historical per iods bring differences in the design. ANCIENT PARKS: Gardens of Mesopotamia, Pe rsia, Egypt, Greece and Rome Parks of Mesopotamia arouse by using irrigation sys tem, and are located between rivers Euphrates and Tigris. The basic inspiration for park design is the square shaped Biblical garden Eden, the symbol of the fou r rivers of Heaven, the water canals contain in them all fruits of the land. Han ging (terrace) gardens of Babylon is located along the bank of Euphrates River, and is one of the seven miracles of the Ancient world, constructed for the Assyr ian queen Semiramis. The water was brought up to the terraces by hydraulic devic es (about 809 - 760 B.C.). / Hanging gardens of Babylon / Persian parks were pre sented as a miracle of earthly greenery. Egyptian parks - the appearance of the park is preserved on pictures in tombs, on stone relieves that show gardens of P haraohs, groves next to temples and gardens next to noblemen's' houses. The shap e of the garden is simple with irrigation canals. They date back to 3000 years B .C.Ancient Greece - In Ancient Greece the gardens were areas planted with fruit trees in peristyle of the house, on public areas, in holy groves and areas surro unding public buildings. Ancient Rome - Topiaries (opus topiaria) occur for the first time - design of trees and shrubs by clipping them into geometrical shapes , most of all box-trees, myrtle, holm oak, cypress, and laurel. Orthogonal rows of pyramids, prisms, spheres, cones, human figures, divinities, war, mythologica l and hunting scenes are formed. For the first time water mirrors, canals and fo untains are used in the design: porches, pergolas, arbors in small parks, pavili ons and summer deck chairs, nymphaeums . ISLAMIC GARDENS AND PARKS The Arabian g ardens express the longing for Mohamed's heaven as a place of enjoyment and sati sfaction. The main design elements of Islamic gardens and parks are water - the holy motif in the shape of water mirrors, fountains, and pools, it displays the expression of power and prosperity. It serves for creating a pleasant microclima te, colors by using flowers and parti-colored tiles, the smell - usage of aromat ic Mediterranean and oriental plants: lavender, myrtle, jasmine, lemon, hyacinth , rose, mimosa Isfahan, the capital of Persia, founded in the year 1598, used to be called the city of gardens. The Spanish Arabic park architecture is well pres erved. Arabs stayed in Spain from 711 until 1492 therefore the influence in desi gn is very large. The gardens are marked with courts with a simple geometrical g round plan. The most famous among them are: Alhambra, Court of the myrtles - Pat io de los Arrayanes, Court of the lions - Patio de los Leones and Court of the c ypresses - Patio de los Ciprases in Granada. The masterpiece of Islamic symbolis m is Taj Mahal in Agra, India, mausoleum made of white marble - a monument of lo ve and passion. Shah Jahan, grief-stricken when his third wife Mumtaz Mahal died (during the birth of their fourteenth child), constructs it in her memory. / Ta j Mahal, Agra / CHINESE PARKS Chinese parks are based on the Chinese philosophy of Confucianism and Taoism; they imitate nature and create an illusion of infini te space. They are connected with painting, poetry, literature, sculpture and ar chitecture. The first park occurs between 11th and 8th century B.C., and it is a fenced natural landscape intended for king's hunting - the Royal park in Beijin g. The Chinese park is full of messages and information, gives peace, serves for meditation, conversation and reading poetry. The basic elements of Chinese park

: rocks, architecture, water and plants (flowers and garden furniture). / Yuyua n, China / A Chinese proverb says: A beautiful garden doesn't have to be larger than a cats skin. JAPANESE PARKSThe park art comes from China into Japan in th e 6th century, and Zen Buddhism made the most powerful influence on its developm ent. Japanese gardens are characterized by the connection between the house and the garden, which are an inseparable unit. The main elements of the design of Ja panese park are stone, water, plant and house. Stones and rocks are the symbols of nature, and out of planting material undersized slowly growing plant species are used, and also a gardening technique of growing and forming bonsai plants oc curs. Three basic park types are: house gardens, contemplation gardens (Zen-gard ens), gardens for tea-ceremonies tee. Contemplation garden Ryoan-ji in Kyoto, en d of the 15th century. The garden is made of sand and rocks, and the only plant element is the moss on rocks. / Ryoan-ji, Kyoto / The park of emperor's palace K atsura in Kyoto dating the year 1620 is a masterpiece of Japanese park art on an area of 4 ha. Actually, the park is a lake in the shape of a crane, and an isla nd shaped as a turtle, which symbolizes longevity. MEDIEVAL GARDENS, 9th - end of 15th centuryThe closed divine gardens, inapproachable places fenced with high walls hortus conclusus. The useful gardens of herb gardens (artifacts) for grow ing medicinal plants and nutritional plants are of smaller dimensions and most o ften settled inside the walls of monasteries or towns. Meditation gardens, so ca lled monastery cloister. Pleasure gardens were formed for stay and entertainment , located next to a fortified castle, fortress, surrounded by a wall and towers. By the end of 15th century they appear in parks around castles with unavoidable topiaries and labyrinths for noblemen and poets' entertainment. After the Crusa des, until that time unknown species of flowers and decorative shrubs arrive fro m the Middle East.RENAISSANCE PARKS, 14th - 16th centuryNastaje u ambijentu rene sansne Italije, temelj je europske perivojne umjetnosti. Perivoj postaje proirenj e kue i prostor stanovanja na otvorenom, pojavljuje se osna simetrija, dubina pro stora i usmjeravanje vizura. Ureenje partera je geometrijsko s okomitim alejama i vizurama prema fontanama, skulpturama, paviljonima. Perivoji su smjeteni na padi ni s nekoliko terasa meusobno povezanih stubama i rampama. Voda je dominantni ele ment u obliku kaskada, vodenih zrcala, vodenih lanaca. Od biljnih vrsta upotrebl javaju se zimzelene vrste sporog rasta koje se mogu lako oblikovati: empres, crni ka, tisa, lovor, mirta i imir. Zanemaruju se prirodni oblici te se na ovaj nain isk azuje prevlast nad prirodom, cvjetnim vrstama se koristi u intimnom skrivenom vr tu (giardino segreto). Prvi put se javlja zanimanje krajobrazni arhitekt. Najpoz natiji meu njima, Pirro Ligori, projektirao je najimpresivniji perivoj renesanse - vrtove Ville d'Este u Tivoliju u drugoj polovici 16. st. They are formed in th e ambient of renaissance Italy, and are the basis of European park art. The park becomes an extension of the house and a living area in the open, axial symmetry appears, spatial depth and guiding of views. Design of the ground floor is geom etrical with vertical alleys and views toward fountains, sculptures, and pavilio ns. The parks are located on a slope with several terraces, which are connected by steps and ramps. Water is the dominant element shaped as cascades, water mirr ors, and water chains. Out of plant species slow growing evergreens are used, wh ich can be easily shaped: cypress , Holm oak, larch, laurels, myrtle and box-tre e. Natural shapes are ignored and in this way domination over nature is expresse d, and flowering species are used in an intimate hidden garden (giardino segreto ). For the first time the profession landscape architect appears The most famous among them, Pirro Ligori, designed the most impressive park of the renaissance - the gardens of Ville d'Este in Tivoli in the second half of 16th century. / Ville d'Este, Tivoli / FRENCH BAROQUE, end of 16th - 18th centuryThe French ba roque parks are a part of landscape composition with strict forms and geometrica l shapes. The park fuses with the landscape, the sky, reflections on the water a nd alleys that lead away in the distance. The whole park can be encompassed in a glance; they are designed for grand events and luxurious ceremonies. The whole park occupies large areas up to several hundred hectares. Andr Le Ntre was a membe r of a famous family of gardeners, he was a painter and an architect and the mai n creator of the largest baroque parks. The park of castle Vaux-le-Vicomte was t he first great work of Le Ntrea, which became a model and inspiration of the whol

e century. In Versailles it is visible that park architecture is a reflection of very complex social-political situations and a status symbol for showing off th e power of an individual. / Versailles, Paris / ENGLISH LANDSCAPE PARKS, 18th - 19th centuryStrict forms and simple geometry in space are completely abandoned ; there is no more uniformity, symmetry and unnatural shapes. The style of lands cape design was developed under the influence of the Enlightenment, man and natu re are not on the opposite sides, such as they were in the renaissance design, a ll that is natural is perfect and beautiful, the man does not subject the nature to himself, but learns from it. The composition of parks and the basic elements of design are landscape, vegetation, water and rocks. Valleys, hills and flat a reas exchange. The water appears in the form of creeks, lakes, ponds, cascades, and is an unavoidable element of design. Mr. William Kent is considered the firs t creator of the landscape style. There are four basic elements of design: terra in, vegetation, water and rocks. ARK ARCHITECTURE OF THE 19 th - 20 th century The first public city parks for recreation and education appear. They are the in tegral part of city structure. England - in the year 1845 issued the Law on rais ing public parks, the first in Europe. The most famous public parks: Hyde Park, Bois de Boulogne and Bois de Vincennes Germany - park next to the castle Neuschw anstein and Prince Hermann von Pckler's park in Muska, Laxenburg in Austria and C entral Park in the north America. There are two basic concepts when designing a park - environmental and artistic. Artistic approach - a more strong design sinc e 1980's. Environmental concept - observing biological and environmental criteri a, minimalism in design, no creativity. The result of environmental concept - fa celess landscape area that has a recreational, environmental and microclimatic f unction, but without any architectural, artistic or urbane functional response i n the city area, a search for identity WATER SURFACES IN PARK MAKSIMIR Lakes Maksimir lakes are a inseparable part of total landscape picture of the Park, wh ich can be confirmed by the fact that they were formed parallel with the Park. H ighly valuable esthetic and landscape characteristics of lakes, from the time th ey were formed have an artifact function as well, firstly as ponds, and than as recreational surfaces for boat rides. During the past six lakes were formed in Park Maksimir, and today we have four l eft THE FIRST, THE SECOND, THE THIRD AND THE FIFTH. In 1839 the first lake was b uilt next to Maksimirska street, two years later the second, than the third that is nowadays dried out fourth lake. Artificially formed lakes get their water fr om Bliznec stream, which is directly flowing into the second and fifth lake. Bes ide Bliznec stream, we can name other periodical streams but their importance fo r supplying lakes in comparison with Bliznec stream is insignificant (Mirni Dol and Dahlia). The first lake is located in the southern part of Park Maksimir. Lake area is ab out 1.5 hectare, and water depth around 3.30 meters. It was constructed in 1839 in a part of oak forest near Potanska street (today Maksimirska street) where a s mall lake used to be. Bishop Haulik expanded it from 1844 to 1845 and constructe d a waterfall on the part of stream Bliznec where its opened canal pours water i n the lake. Two differently sized islands were built during the construction wor ks. On the smaller one was a small wooden house for swans, after which the islan d got its name Swan island. On the larger one a sculpture Fisherman from Naples was placed. Both islands are now a part of the ZOO. It gets water from the Secon d lake, which gets its water from Bliznec stream and occasional from little stre am Dahlia that springs in Park Maksimir and dries out in the dry season. Overflo w in the lake is located about 1 meter above the bottom sot that the water below overflow hill stagnates. / The first lake with arched bridge, postcard from 1900, source: MGZ /

The Second lake is located north of the First lake on 122 elevation. Its area is about 0.7 hectare, and depth from 0.5 to 1.5 meters, and it is the smallest lak e in this lake system. Bliznec stream water brings into the lake a great amount of suspended inorganic and organic matter, and in the time of heavy rain a lot o f matter from catchments area is drained into the lake. / The Second lake with swan house, photo from 1935, source: Ministry of Culture / The First and second lake are connected with a half-round gutter that flows thro ugh the park as a decorative stream from Fakultetsko dobro street to Second lake . From the Second lake water flows in the First lake over a waterfall. The Third lake is located to the west of the First and Second lakes, and was bui lt in 1911. In the beginning it was partially supplied with water from Pikornica stream that was canalized in 1987, and today by pipelines from the Fifth lake th at gets water from Bliznec stream. Its area is around 2 hectares with water face elevation of around +127 meters. Water depth is from 1 to 4 meters. / The Third lake, source: archive PIM / The Fourth lake (former Third) was built by Bishop Haulik in the period from 185 3 to 1862, and was located next to the natural flow of Bliznec stream in the nor theast part of the Park, opposite of the beehive, but it is empty since 1975. It was located on elevation 135 m, on the area of about 1.1 hectares, and water de pth was from 0.5 to 1.0 meters. It got water from the Fifth lake, and the water discharged in Bliznec stream. HRVATSKE VODE is financing its ongoing renovation. Pavilion Birch (Fishermen) cottage will be renovated along with the lake. It us ed to be located on the north shore of the lake and was destroyed in 1940. / Birch cottage on the Fourth lake, photo from 1930, source: MGZ / The Fifth lake is located in the northern part of Park Maksimir and is the large st lake of Maksimir 's lake system. Its area is about 3 hectares. It is located on elevation 142 m. After demolishment of the old one, a new dam was renovated. Water depth is 6 meters, and it gets water partially from rainfall area Mirni Do l, but mostly from newly renovated supply from Bliznec. On the Fifth lake fisher men from SFC Bukovac-Maksimir, carry out recreational-sports fishing. / The Fifth lake, source: archive PIM / The Sixth lake (Pond) was located near army firing range in the valley of Ivania s tream, and was formed by broadening and deepening its basin. Today this pond doe s not exist any more, but the mentioned broadening can still be seen on the bott om part of dry stream basin. Pond was intended for spawning fish for the purpose of breeding fish fry. More on Park Maksimir's lakes you can find in publication Jezera u perivoju Maks imir, author Amalije Denich, Zagreb, 2004, published by Public institution Maksim ir, which can be purchased in the Institution. Streams In park Maksimir we can find the following streams: BLIZNEC, BUKOVAK, DAHLIA, MAK SIMIREC, MIRNI DOL, PIKORNICA and TEFANOVEC. Below we will mention streams of grea ter importance for Park's water system. Bliznec stream springs in the area of nature park Medvednica. It is the most sig nificant stream in Park Maksimir. Catchment area is about 1250 ha, which gives t he possibility for forming significant streams that can serve as a basis for fee ding Maksimir's lakes with water. Dahlia stream springs in Park Maksimir, and it flows into Second lake. Catchment area of Dahlia stream is about 43 ha. From the viewpoint of lake supply, it doe s not offer the possibility of significant flows, especially during the dry seas

on. Maksimirec stream is located in the western part of Park Maksimir, and it encomp asses precipitation catchment area of only 22 ha. It is periodical in character, and during the summer it always dries out. Since it flows through settled are, waters of this stream are polluted and cannot be used for lake supply. Mirni dol stream springs in the north part of Park Maksimir, it encompasses prec ipitation catchment area of about 61 ha, and flows into the Fifth lake. Since it has a limited hydrographic catchment area, it is periodical in character, and d oes not represent a significant contribution for lake supply. Pikornica stream springs in Gornji Bukovac (Poarinje), flows through the area of P ark Maksimir and flows into the Third lake, and finally into city sewage near th e First lake. Total catchment area is around 130 ha. Flow of Pikornice stream was deviated by construction of sewage in settlements Poarinje and Gornji Bukovac. B efore renovation and reconstruction waste and fecal water were pouring into the Third lake. Dry opened stream basin can still be seen in the Park. In it one can see water only during very heavy rain. / Bliznec stream, source: archive PIM / PLANT WORLD MAKSIMIR - HORTICULTURAL DEVELOPMENT RENOVATION OF HORTICULTURAL PAR TSPark Maksimir encompasses the bordering area of southern slopes of Medvednica and the flats of Sava river. For that reason forest associations that grow in la rge areas of surrounding hills and lowlands of north Croatia are represented in it. For centuries this area was abundant in oak forest, which is characteristic for north Croatian climate. And exactly in this autochthonous flora lays the bea uty and stylistic value of Maksimir's park vegetation. In the southern lowland p arts of Park Maksimir dominant role has common oak (Quercus robur), inside fores t association with hornbeam (Carpinus betulus). Common oak is partially spread along valleys between the hills of the northern part of the Park. In common oak forests we can find European alder (Alnus glutinosa) and white willow (Salix alb a), as well as Common ash (Fraxinus excelsior), English elm (Ulmus minor), White poplar (Populus alba) and Littleleaf linden (Tilia cordata). On elevated Park t errains dominates forest association of Sessile oak (Quercus petraea) and Sweet chestnut (Castanea sativa), and bordering areas of these two associations are ch aracterized by compositions of Sessile oak and Turkey oak (Quercus cerris). Next to hornbeam we can find European Bird Cherry (Prunus padus), European filbert ( Corylus avellana) and other tree species. All these species, including Beech (Fa gus sylvatica) on higher elevations, Acacia (Robinia pseudaccacia) and many othe r tree and shrub species contribute to exceptional diversity of Maksimir forests . More than 300 species of various plants, besides autochthonous tree and shrub species, were planted in Park Maksimir at the time it was formed, but many of th em have disappeared. Pinewood in Park Maksimir is represented as introduction of Scotch and Black pine (Pinus silvestris and Pinus nigra) inside oak forests, or as elevated culture of Spruce (Picea excelsa) as a part of Common oak forest. F rom pinewood species Douglas fir next to Gazebo is worth mentioning, while a str onger participation of pinewood is noticed east of the Swiss house. In the past many species of trees and shrubs were planted in Maksimir. Some of the species l ike African Tamarisk, Slippery Elm, English ivy, Lebanese cedar, Japanese privet , Japanese pagoda tree, Canadian plum were thriving in Park Maksimir. Many speci es of ground vegetation in forest, as well as grassland and marsh vegetation giv e significance to biodiversity. Many among them are protected by law and endange red such as some spring flowers, Butcher's Broom (Ruscus hypoglossum), Common Tu rk's Cap Lily (Lilium martagon), Willow Leafed Gentian (Gentiana asclepiadea) an d others. / Lungwort (Pulmonaria officinalis), source: archive PIM / Grassland vegetation occupies small areas in the eastern part near Faculty grange, and in the southern part it is distributed, in a wider or narrower belt, between the la kes from the east to the west. It was developed after cutting down original fore sts, depending on natural habitat conditions. Drainage of the terrain, mowing, v arious intensities of transgression (playgrounds, paths, trails) and similar ant

hropogenic influences are responsible for its appearance. Developed grassland as sociations are included in class of marsh and valley meadows. Grasslands on the southern part of the Park have developed under anthropogenic influences and infl uence of various water regimes, porosity, that is, the capability of soil to ret ain water. / Dwarf periwinkle (Vinca minor), source: archive PIM / / Bear's gar lic (Allium ursinum), source: archive PIM / In the marshed parts of Park Maksimi r various species of sedge (Carex spp.) and rushes (Juncus spp.) as well as grou ps of alders and willows occur. MAKSIMIR - HORTICULTURAL DEVELOPMENTPark Maksim ir is the most important Croatian landscape park, a natural rarity, monument of park architecture and a very significant cultural and historical park notability . The old oak forest, which used to be used for hunting and cutting, for centuri es belonged to the central bishop's property. Maksimilijan Vrhovec, the park's c onceptual founder, took a decision to turn the forest, along with arable land an d meadows, into a park, and in the year 1787 construction begun. The Park was en visaged in a baroque French style, with simple geometrically designed planes of planted flowers. The characteristic of a French baroque style in Maksimir is the star shaped crossing which was common in baroque parks. / A star-shaped crossin g, source: archives of PIM / Large forest areas have been cleared, the Main alle y from the main entrance to the hill of today's Gazebo, 800 m long, was construc ted, and that is the only remaining of the baroque composition in the Park. Afte r 7 years of construction works, in 1794 the Park was ceremonially opened and gi ven to the people of Zagreb, for their enjoyment. It was the first public promen ade in southeastern Europe. Aleksandar Alagovi, Vrhovec's heir and the bishop of Zagreb from 1826 until 1837, renovates Maksimir in an English style park. After four decades that the Park was used, in 1838, bishop Juraj Haulik begins with th e renovation of the Park in the spirit of English landscape romantic park archit ecture and is the true creator of the Park. At that time the park was called Jur javes. Bishop Juraj Haulik had an exceptional taste for arts with a special feel ing for nature, and was a great expert in botany and horticulture. As a member o f the Viennese society for horticulture, in 1838 he issues a special instruction for designing and embellishing the Park. It was, in fact, a group of behavioral rules primarily intended for the supervisor, forester and gardener. According t o Haulik's wishes, landscape architect of parks in Schnbrunn and the author of th e park at the emperor's villa Laxenburg in Austria, Michael Riedl, planned horti cultural interventions. Haulik's and Riedl's ideas were realized by at that time very famous Viennese gardener Franjo Serafin Krbler, which after one year of wor king in emperor's gardens in Schnbrunn and Laxenburg comes to Zagreb on the posit ion of the bishop's head gardener, and stays there for 27 years. He participates on numerous exhibitions of gardening and receives many important acknowledgemen ts and awards for his horticultural flower creations. In Graz, in 1855 he receiv ed two silver medals, and in Trieste receives an honorary diploma. In the spirit of those times, flowers in Maksimir were abundant, different flowering species exchanged with seasons, and flower beds were regularly maintained. The area of t he Park was overwhelmed with webs of weaving romantic paths that wind through sm all forests, meadows and openings. Instead of long truncated hauls through which horseback riders and carriages of Vrhovec's time used to travel, the winding pa ths of Jurjaves were intended for pedestrian walkers. Numerous pavilions, romant ic bridges, many resting places, isolated corners, poetry readings, lakes and st reams were scattered all over the Park. / The Echo Pavilion, source: archives o f PIM / / The Park, source: archives of PIM / Following the model of English ga rdens, Riedl introduces in Maksimir numerous exotic plant species that origin fr om the warmer parts of the world, and that are for the first time used for desig ning Parks in our parts. Those are the following species: Dahlias or Georginas ( Dahlia sp.), Hydrangeas (Hortensia sp.), English holy (Ilex aquifolium), Box tre e (Buxus sempervirens), Staghorn sumac (Rhus typhina), Cherry laurel (Prunus lau rocerasus), Eastern Redcedar (Juniperus virginiana), Norway spruce (Picea abies) , Colorado blue spruce (Picea pungens), Austrian pine (Pinus nigra), Eastern whi te pine (Pinus strobus). All of these decorative plants were not chosen only for its decorative shape and color, but has a certain symbolic meaning in the spiri t of the mystery of nature and life. As an example, European larch (La rix decid

ua) is a symbol of light, Nordmann fir (Abies nordmanniana) is a symbol of perse verance, and the Northern red oak (Quercus rubra) is a symbol of eternal friends hip. Baron Leonard Zornberg made a situation plan of the Park in 1846. / Zornb erg's map of Park Maksimir dating 1846, source: ZCM / On of the most significant meaning of the map is in its chartered views. The characteristic of Maksimir pa rk is the notion that its boundaries cannot be perceived from any place in the P ark. RENOVATION OF HORTICULTURAL PARTSBy renovating former historical feature s and complexes we are striving to bring back to Park Maksimir the, in style, ro mantic atmosphere of the golden Haulik's ages. During 2008 renovated were lots t hat in time almost completely disappeared: Steinsitz - the Rock center, Lindensi tz - The lime-tree center and the Valley of the Dahlias. Plans originating since the time the Park was formed were used in the project of renovating horticultur al parts of the Park, and data from the album Park Jurjaves were used, as well a s numerous articles that describe the appearance of the stated parts in the Park . The Valley of the Dahlias The Valley of the Dahlias is located between the Ga zebo and the hill with the chapel of St. Juraj. From the north and northeast sid e it is surrounded by natural forest, and through the valley, by the stream, lea ds a slightly cranked path all the way to the Obelisk. The most beautiful valley in the Park is formed with the variety of colors and shapes of species, the flo ral broche is imaginatively horticulturaly designed and maintained with care. Th e original plan of the Park dating 1846 by baron Zornberg is the most authentic and very precise, and from it one can precisely determine the way to form the Va lley of the Dahlias. / The Valley of the Dahlias, source: ZCM / During the reno vation of The Valley of the Dahlias the meadow by the stream was renovated, and cleaning and nursing works of the oak grove were performed. Stream banks were pa rtly cleaned from weeds and from the bed leaves and mud were collected. Renovati on of the floral broche of dahlias was done on the exact location determined by original plans. The floral plantation shaped as a medallion is 450 m2 in area. T he colors of Dahlias are very impressive ranging from white, yellow, pink, from bright red to tan red with all the hues in-between. / The Valley of the Dahlias , source: archives of PIM / Kameno sjedite (The Rock center) - Steinzitz The Roc k center, which met the needs of tiered or sad visitors with its peace and remar kable view of the Second Lake and surrounding, was constructed in 1846 when bish op Juraj Haulik completely finished designing Park Maksimir. This is also witnes sed by Zornberg's plan of the Park where it is charted. In front of the Rock sea t decorated was a floral rundela, which is also one of the elements of romantic style that bishop Haulik implemented when designing the Park, taking into consid eration harmony, composition and views. The Rock center was renovated according to the original route, with pebbly path that leads to the Main alley and circula rly ends at the Rock center. The semicircular sub-wall is constructed as stonewa ll followed by a semicircular wooden bench. The floral rundela is completely in accordance with the design style, but it must be taken in account that the horti cultural solution assumes planting plan for all seasons. In accordance with the character of Park Maksimir, the chosen ornaments are known in romantic parks. / Kameno sjedite (The Rock center), source: archives of PIM / / Kameno sjedite (The Rock center), source: archives of PIM / THE LIME-TREE CENTER - Lindensitz In t he Zornberg's plan dating 1846 charted is the position of the Lime-tree center. In the album PARK JURJAVES dating 1853 marked is the position of the Lime-tree c enter, and it is also mentioned in the text Prve etnje (The first walks) of the s ame album: "Following is a group of Lime-trees on a smaller hill, on a slope whe re the Lesser Periwinkle grows. On the round top of the hill stands a great Lime -tree, surrounded by the mighty oaks, and in their shadow is an armchair and ben ches. This is a very suitable resting place with pleasant perspectives in the di rection of the Gazebo and the creek near by, which is overgrown with beautiful f lowers." The lime-tree center - Lindensitz is located west of the Second Lake, b etween a meadow and the oak forest. A green, circular hill was formed around the very lime tree, to which leads a path. Around the lime-tree located in the midd le of the hill is a center, which has a decorative function with an emphasis on the particularity of the tree trunk that it surrounds. Planting of soil cover th e Lesser Periwinkle (Vinca minor) was done. / The lime-tree center - before reno

vation, source: archives of PIM / / The lime-tree center - before renovation, s ource: archives of PIM /