Fantasy world
Ludwig II was a monarch of rare sensitivity and vision, a head of state with rights and duties but constantly frustrated by the bureaucracy of a burgeoning democracy. For this reason he built a carapace of cultural idealism for the world to marvel at – a unique bequest to his beloved Bayern – where he could feel those who shared his sense of romantic idealism would feel at home. From 1875 on he lived at night and slept during the day.
Upper Courtyard
High above the tranquil Hohenschwangau of Ludwig II's father, a "Byzantine Palace" and a copy of Versailles were already in existence by 1868. From the beginning, Ludwig's fantasy world embraced several different epochs. The "New Castle" (subsequently Neuschwanstein), was based on Christian kingship in the Middle Ages, and the new Versailles, built from 1878 on the Herreninsel, recalls the baroque absolutism of the Bourbon King of France. Linderhof in the Graswangtal, built from 1869, imitates a variety of styles, with the help of the latest technology.
Ludwig spent more and more time in the mountains and correspondingly less time in Munich. His fantasy world was further maintained by "private performances" in the Hoftheater: operas and plays performed for the king alone.
Tristan and Isolde
A Mural Within the Castle
Grail King
Ludwig II increasingly identified himself with Parzival, the legendary medieval figure who became Grail King through his purity and faith and thereby redeemed his sin-laden uncle. The inner battle for freedom from sin and purity is distressingly evident in the diaries of the extremely pious king. This particular legend is the subject of Richard Wagner's last work "Parsifal", which he began in 1877. Wagner and his circle privately referred to the king as "Parsifal", and his problems were incorporated into the drama of the Grail. Neuschwanstein, originally a monument to the minnesingers of medieval times, was reinterpreted as the Castle of the Holy Grail and the Throne Room was redesigned as the Hall of the Holy Grail – dedicated to the mystery of salvation for the world.
"The recluse"
The "ideal monarchical poetic solitude" which the king chose for himself was not in the long run compatible with his duties as a head of state. The new settings he was constantly devising for himself were equally beyond the private means of a king. Ludwig failed through his desire to anchor his illusions and dreams in reality.
From 1885 on foreign banks threatened to seize his property. The king's refusal to react rationally led the government to declare him insane and depose him in 1886 – a procedure not provided for in the Bavarian constitution. Ludwig II was interned in Berg Palace. The next day he died in mysterious circumstances in Lake Starnberg, together with the psychiatrist who had certified him as insane.
Neuschwanstein today
Seven weeks after the death of King Ludwig II in 1886, Neuschwanstein was opened to the public. The shy king had built the castle in order to withdraw from public life – now vast numbers of people came to view his private refuge.
Today Neuschwanstein is one of the most popular of all the palaces and castles in Europe. Every year 1.3 million people visit "the castle of the fairy-tale king". In the summer around 6,000 visitors a day stream through rooms that were intended for a single inhabitant.
It is one of 14 finalists recently competing for a place amongst the New 7 Wonders of the World, listed by New7Wonders organization.
The majestic Throne Room
The pictures on the walls of the castle deal with love and guilt, repentance and salvation. Kings and knights, poets and lovers people the rooms. There are three main figures: the poet Tannhäuser, the swan knight Lohengrin and his father, the Grail King Parzival (Parsifal). These were Ludwig's models and kindred spirits.
A further leitmotif of the interiors is the swan. The swan was the heraldic animal of the Counts of Schwangau, whose successor the king considered himself to be. It is also the symbol of the "purity" for which Ludwig strived.
Lower Hall
The main staircase of the Palas leads into the Hall of the third floor.
To the west of this is the Throne Room, to the east the king's apartment.
The paintings on the walls show scenes from the Sigurd legend, based on the Old Norse "Edda" poems. It corresponds to the Siegfried legend of the medieval High German Nibelungenlied, on which Richard Wagner based his opera cycle "Ring des Nibelungen".
The legend is based on the treasure of the Nibelungen, on which there is a fatal curse. Sigurd comes into possession of the treasure after a fight with a dragon. The curse takes effect and he is murdered.
The pictures on the walls of the Hall range from the prediction of Sigurd's fate to Sigurd's death. The fate of Sigurd's wife Gudrun is described in the Hall on the next floor.
The wall pictures in the Dining Room allude to the world of the minnesingers. These medieval lyric poets and musicians extolled the striving for moral perfection and spiritually "pure" love.
While most of the other rooms in Ludwig II's apartment are "Romanesque" in appearance, the bedroom is furnished in the Gothic style. It took 14 woodcarvers four years to complete the elaborate oak carvings of this room.
The bed is particularly elaborate: with its tracery windows and little towers it resembles a late Gothic church.
The wall paintings show scenes from the Tristan and Isolde epic by the medieval High German poet Gottfried von Straßburg. Richard Wagner used this material for his opera of the same name, which was premiered in Munich in 1865.
Ludwig's bedroom with the richly decorated, cathedral-like bed. On the walls paintings illustrating the Tristan and Isolde epic.
It was in the bedroom that Ludwig II was arrested on the night of 11 June 1886. The room thus also has a very real tragic dimension.
The altar, wall paintings and stained glass windows of the Oratory show scenes from the life of the "holy" King Louis IX of France (1226-1270). This king, who was canonized in 1297, was Ludwig II's patron saint and a model of the kind of ruler he wanted to be.
Dressing Room
The pictures on the walls of the Dressing Room show the minnesinger Walther von der Vogelweide and the Nuremberg shoemaker and poet Hans Sachs, whom Wagner immortalized in his opera "Die Meistersinger von Nürnberg".
Grotto
Between the Salon and the Study is the most unusual room in the castle: the Grotto. When the doors are shut it looks like a natural dripstone cave. In Ludwig II's day a small waterfall and coloured lighting created a romantic atmosphere. A hidden opening in the ceiling enabled him to listen to the music in the Singers' Hall above.
Ludwig liked to sit with a glass of wine in the Grotto
The room is an allusion to the Venus Grotto in the Hörselberg near Eisenach. Here Tannhäuser is said to have succumbed to the charms of Venus.
The two stories are also combined In Ludwig II's Study: Tannhäuser journeys from the Grotto of Venus to the Singers' Contest, where he sings a song in praise of sensual love; this infringement against minnesong rules leads to Tannhäuser's exclusion and subsequent pilgrimage.
This conflict between the sensual and spiritual fulfilment of love clearly reflects the inner struggles of the king. In the legend, Tannhäuser is forgiven the sins of sensual desire – for which Ludwig II also craved forgiveness.
Parzival wall painting in the Singers' Hall
The combination of royal dignity and the office of priest explains Ludwig II's fascination with Parzival. It corresponded to his ideal picture of a "pure" and holy kingdom.
The king thus also encouraged the composition of the opera "Parsifal" by Richard Wagner, which was premiered in 1882 in the Bayreuth Festival Theatre.
Ludwig II however never heard Wagner's music in the Singers' Hall of Neuschwanstein: Wagner concerts were first held here more than sixty years after the death of the king.
Wagner
Crown Prince Ludwig was already fascinated by the music dramas and writings of Richard Wagner. He wanted to bring the composer to Munich as soon as he became king, and realize his dream of an opera festival. In 1864 he summoned Wagner to him and thus rescued him from a serious financial crisis.
"... Today I was brought to him He is unfortunately so beautiful and wise, soulful and lordly, that I fear his life must fade away like a divine dream in this base world... You cannot imagine the magic of his regard: if he remains alive it will be a great miracle!" wrote the composer after his first meeting.
Nocturnal scene. Painting by Kurt von Roszinsky
In the following years, Munich became the music capital of Europe with the premieres of " "Tristan und Isolde" (1865), "Die Meistersinger von Nürnberg" (1868), "Das Rheingold" (1869) and "Die Walküre" (1870). Ludwig II thus continued the patronage tradition of the House of Wittelsbach in grand style.
Wagner was however forced to leave Munich by the end of 1865 because of conflict with the government. Later Ludwig II also protested against the anti-Semitic sentiments expressed by his friend. He nevertheless continued with his lavish support for Wagner's work. The monumental festival theatre planned for Munich was built in a vastly simplified form in Bayreuth and inaugurated in 1876 with the cycle "Der Ring des Nibelungen". In 1882 "Parsifal" was premiered here. Without Ludwig II's commitment, there would never have been a Bayreuth Festival.
Neuschwanstein design as an ideal
The picture cycles of Neuschwanstein were inspired by the operas of Richard Wagner, to whom the king dedicated the castle. The pictures were not however directly modelled on Wagner's works, but on the medieval legends that the composer had also taken as the basis for his works.
WAGNER'S SCORES
For his 50th birthday, several leading industrialists presented Hitler with a case containing the original scores of some of Richard Wagner's music. They had paid nearly a million marks for the collection. Towards the end of the war, Frau Winifred Wagner asked Hitler to transfer these manuscripts to Bayreuth. Hitler refused, saying he had placed them in a far safer place. The manuscripts involved included the scores of 'Die Feen', 'Das Liebesverbot', 'Reinzi', 'Das Rheingold', 'Die Valküre' and the orchestral sketch of 'Der Fliegende Holländer'. These lost documents have never been found.
VISITING
The famous Oktoberfest in Munich. Every year, from the last week of September until the end of the first week of Oktober, the world's largest Beer Festival takes place attracting visitors from far and wide to sample the region's great speciality. Fun, music, dancing and, of course, sampling the brews for two whole weeks. Legendary! Go to this festivity with us this year!
Bruno Lohse, 1912 - 2007
In February, 1945, the art historian Bruno Lohse was ordered to go to Neuschwanstein to protect the ERR inventory records–card catalogues, photographic records, and the like. The ERR (Einsatzstab Reichsleiter Rosenberg)was the official art collecting organization of the NSDAP.
Neuschwanstein was used to store works intended for two huge museums dedicated to Goring and Hitler. Together, they were to house the cream of Europe's art.
This largest of the wartime German art caches was found by units of the 7th U.S. Army when they explored tunnels under the castle.
"My intention is to bring before the Munich public such serious and significant works as those of Shakespeare - Caléron - Goethe - Shiller - Beethoven - Mozart and Gluck.
In doing so I wish to raise audiences to a higher more concentrated mood and gradually to wean them off the more vulgar and frivolous type of performances."
- Letter to Wagner 8 Nov 1864