is an octagonal building intersected by the axis of garden heading from the original front gate
just in the middle of the Collonade.The gallery gangway situated on the ground floor of the
Rotunda is subdividedto the number of entrances and four grottos with waterworks. The central
room is covered with a perking cylindrical drum enclosed witha dome and lantern (This is the
place where professor Nábelek suspended the Foucault's Pendulum to demonstrate the rotationof
the Earth).Sumptous stucco decorating the interiorof the Rotunda was created by Italian artists.
The stucco ornamentation is the work of Quirico Castelli and Carlo Borsa. The works on paintings
commenced in 1674. Caropoforo Tencalla expanded therein various scenes taken from mythology,
such as The Rapeof Europa, Perseus and Andromeda,The Rape of Prosperina, Hercules with Nessos
and Dejaneira, Pan and Syrinx,The Rape of Ganymedos etc. The statuesof Satyrs in the Rotunda
and Four Seasons Allegory were made by Michal Mandík. Originally, the entrances to the Rotunda
were always kept opened and it was possibleto take shelter and rest in the adjacent small rooms.
These retirades were inspired by the Spanish gardens. The decorative brodeirres were in turn
designed according to their French counterparts. The Italian gardens gave rise to a large number
of fountains and other waterworks.These were infed with a sophisticated water-conduit system
designed byF. Lucchese. When the visitor stepped ontothe certain flagstone, all of the suddenthe
water would have sprinkled down his astonished gaze. Bishop Liechtenstein got acquainted with
this fashionable amusement during his stay in Salzburg. The castle library enshrines the book by
Causus "Hortus Palatinus" with numerous examples of "water-jests" hidden in the Heidelberg garden.
The castle library also stores the narrative publication "Villa Pamphilia ...", issued in Rome,
on the Pamphilli villa. The building was designed and constructed in the period of 1644 - 1652 by
the nephew of the pope Innocent X. Number of architectural elements and aspects appearing in the
then hot- fashioned garden was adapted to the Kromeriz Libosad.When the Libosad had been built up
to comfort the highest requirements and ideas of those times, the Bishop encouraged U. F. A. Heger,
the Canon, to prepare and set out a luxurious publication.The album on Libosad was published in
1691 encompassing the preface written in German, pull-out prospects based on the drawingsby J. M.
Vischer, and etchings by Justusvan den Nypoort, the Utrecht painter,who served to the Bishop in
years 1690-1692. That time, all of the planted wood species were grown enough and Libosad could
finally dazzled its visitor with the well-balanced complex embodying the verdure, architectural
elements, sculptures, paintings and water sheets (both the serene and dynamic).The visitor was
invited to step insidethe garden by the sign hung on the front gate, reading in Latin the following
paraphrase: Come in and behold the places once barren, fallow and savage, now transferred in
painsto the flourishing garden that is to pass forthto our descendants.