The Flower Garden in Kromeriz belong to the World cultural and natural heritage UNESCO.
Project of restoration of the Flower Garden is based on varied methodological instruction and research in the history of gardens and parks (buildings, structures, network of roads, greenery, water regime etc.) The general goal of the constructional part is maximum accessibility of all parts of the Flower Garden and the initiation of paradigm methodological renovation of chateau gardens and historical buildings.
An essential part of the financial resources was given to the areas inapproachable for visitors, abolished or devastated and to the objects located on both sides of the garden entry entirely in the intentions of this projects motto: “We are putting sights back to life.” The abolished parts of the garden – Dutch and Orange garden – was renovated as a garden in a garden, which means by reconstructing and putting back originally smaller units to a wider piece of land created at the beginning of the 18th century. Primarily the entry object and both the disrepair greenhouses – Warm and Cold – was undergo an overall rehabilitation. As a result, there is a visitor service provision of much better quality - the entry object is ompleted with a permanent exhibition on garden history, a ticket office, restrooms and a bookshop. Further, a workplace is established for educational employees and a small multifunctional hall serving for lectures and courses on various garden topics is set up. The Warm Greenhouse holds a representative exposition of plants. The Cold Greenhouse performs its natural function of storing plants during winter months as well as holding big cultural events.
The Flower Garden, whose main part was built between 1665 and 1675, became the climax building achievement of the Olomouc bishop Charles II Lichtenstein–Castelcorn. Beside his own ideas bearing on the rich art collections, he invited two emperor architects – Filibert Luchese and Giovanni Pietro Tencalla, to accomplish his grand-scale plans. Besides them there were a lot of other artists participating in garden decoration.
The Flower Garden (originally called Libosad) represents a turning point in the European garden art development. On the one hand it still evokes the late renaissance Italian and transalpine garden (vila d´Este in Tivoli, vila Doria Pamphili in Rome, a residence garden in Munich, Hortus Palatinus in Heidelberg, Neugebäude near Wien and vila Angiana in Belgium), on the other hand it opens the way to a French baroque-classicism type (Versailles). Nevertheless, the uniqueness of the garden does not only lie in this inner duality or high artistic and historic value, but also in the fact that today it is practically the only representation of a similarly constructed complex in Europe.