The four castles of Linderhof, Neuschwanstein, New Herrenchiemsee Castle and Schachenhaus were built in the last third of the 19th century and reflect the dreams and ideas of King Ludwig II of Bavaria (1845-1886). Unlike other rulers of the time, he wanted them to be available only to him personally. They served neither political nor dynastic statements. Another special feature was that he took an active part in the planning and also had the final say. It so happened, for example, that although the shell of the building had already been completed, massive changes had to be made to the throne room at Neuschwanstein on the king’s orders. His requests for changes to the size of the throne room presented the Baumeister with challenges, as the positions of the supporting columns no longer fitted. But even parts of the building that had already been completed or expensive special furnishings were not immune to the monarch’s requests for changes. […]

The four castles of Linderhof, Neuschwanstein, New Herrenchiemsee Castle and Schachenhaus were built in the last third of the 19th century and reflect the dreams and ideas of King Ludwig II of Bavaria (1845-1886). Unlike other rulers of the time, he wanted them to be available only to him personally. They served neither political nor dynastic statements. Another special feature was that he took an active part in the planning and also had the final say. It so happened, for example, that although the shell of the building had already been completed, massive changes had to be made to the throne room at Neuschwanstein on the king’s orders. His requests for changes to the size of the throne room presented the Baumeister with challenges, as the positions of the supporting columns no longer fitted. But even parts of the building that had already been completed or expensive special furnishings were not immune to the monarch’s requests for changes.

For Ludwig II, the final completion of his buildings, which were also built to last, did not necessarily seem to be the decisive factor. Every year, millions visit the palaces that Ludwig had built. Does Dr. Alexander Wiesneth, Head of the Department for Historical Building Research, Monument Preservation and UNESCO World Heritage at the Bavarian Palace Administration, sometimes feel guilty because so many visitors come to the palaces every year and the wishes of the “Kini” are not being fulfilled? He denies this, as the castles have been in public ownership for almost 140 years. It provides the financial means, maintains a palace administration and also ensures that the buildings are preserved. However, this also results in the obligation to make them accessible to the public. He also emphasizes that only a living monument is one that will be appreciated. And perhaps Ludwig II would have been pleased to see the worldwide appreciation of the palaces and how enthusiastically people react when they see them. For many visitors, the buildings are probably already unique, but what are the criteria cited by the palace administration at UNESCO, which demands uniqueness and universality?

In order to build his dreams, Ludwig not only relied on court builders and architects, but also on set designers, painters and decorators. At times, he drove them to despair with his ideas and constant requests for adjustments and changes. In comparison to his fellow regents, the king was very involved in the planning work of his architects, and it was up to him to make the final decision on how the building was to be constructed. In doing so, he generally ignored the Vitruvian functions of firmitas (stability), utilitas (practicality) and venustas (grace). While other contemporary Historicist palace buildings served mainly representational and dynastic purposes, Ludwig entered dream worlds with his buildings. In these worlds, he dreamed himself into distant lands of earlier eras or into fairy-tale, opera and theater worlds. Explicitly excluded, however, were sightseeing tours, which were quite common at the time.

It should be noted that the palaces built by King Ludwig are not to be regarded as purely historicist buildings, which is also what makes them special. Rather, they must be seen as part of the phenomenon of staging that emerged in the 19th century. At the same time, they also reflect the era’s enthusiasm for technology, for example when the Venus Grotto in the park of Linderhof Palace uses light and sound installations and artificially generated waves to create the illusion of the Blue Grotto of Capri or, with different lighting, the Venus Grotto in Hörselberg from Richard Wagner’s “Tannhäuser”. Dr. Alexander Wiesneth from the Bavarian Administration of Palaces, Lakes and Gardens adds: “In a way, you can already get an idea of the development of the early film industry in the 20th century. There, too, a massive effort was made to create sets that made use of all the decorative arts. Ludwig II also collected ideas and inspiration in a similar way to a film director.” He also points out that the dream worlds that were created there must have been absolutely overwhelming for the few visitors. It still works today, if you let yourself get involved.

Ludwig II sent his advisors on trips to obtain images and photographs of a wide variety of places – you could almost compare them to movie location scouts, according to Wiesneth. The monarch also read many books in order to study past eras and gather ideas for his buildings. In addition to Wagner’s operas, which he greatly appreciated, the king also drew inspiration from world exhibitions and buildings that served as so-called imaginary journeys. These were (ephemeral) buildings that enabled visitors to travel to foreign and distant countries, to remote places such as the moon, or even to other eras. The monarch also adapted some of these early forerunners of amusement parks in the gardens of his palaces. For example, he purchased a Moorish-style pavilion that had previously been on display at the Universal Exhibition in Paris (1867). He furnished the so-called Moorish Kiosk with, among other things, a throne decorated with bronze peacocks. He used to read there, and his servants became extras in a staged performance, smoking tobacco and drinking mocha on divans in oriental-style costumes. Of course, it should be noted that European ideas of the Orient came into play here. However, Ludwig II also dreamed himself into past eras; for example, references to the time of King Louis XIV (1638-1715) of France can also be found in the palaces. This even goes so far that rooms from Versailles Palace have been faithfully recreated. This is why you can still see the famous Versailles Escalier des Ambassadeurs (Ambassadors’ Staircase) in Herrenchiemsee Palace, for example, which Louis XV (1710-1774) had demolished in favor of new living quarters. Louis II revived these epochs in his imagination and with his buildings. In the case of the palaces, one can certainly speak of a Gesamtkunstwerk in the Wagnerian sense, as the arts of music, poetry, painting, stage design and drama are united in a certain way. This is certainly one aspect of the uniqueness of the castles.

With an annual number of visitors of over 1.5 million in 2023, the four castles Neuschwanstein, Linderhof, Herrenchiemsee and Schachenhaus, which King Ludwig II of Bavaria had built, are undoubtedly among the visitor magnets in Germany. Dr. Alexander Wiesneth points out the special obligation to preserve a world heritage site as a whole for humanity and to make it accessible. He also emphasizes that he has noticed time and again that people from all cultural backgrounds are attracted to the castles. In his eyes, this also shows that the buildings meet the criterion of universal, exceptional value, as demanded by UNESCO. Experts, on the other hand, sometimes react negatively and dismiss the buildings as typical works of historicism that have not brought any stylistic innovations. The fascination that Ludwig and his buildings exert on visitors is probably another reason why art historians did not study the palaces for a long time. However, in order to be included on the UNESCO Tentative List, a well-founded explanation of what makes the building unique is required, as well as proof that it represents a significant value for the history of mankind. An application also involves many hurdles. Dr. Wiesneth told us that in addition to strict regulations on how nominations are processed, there are also other hurdles to overcome. For example, the castles have been on the German Tentative List since 2015. However, with tenth place on the list, they are in last place, which means that other applicants are considered first and nominated to UNESCO in Paris.

Furthermore, the affected municipalities also had to be brought on board. In the municipality of Schwangau in particular, there were concerns that even more visitors would visit Neuschwanstein Castle. There was also concern that the title would also impose restrictions on the development of the municipality. A referendum was therefore held, in the run-up to which there were also two question and answer sessions for citizens. Ultimately, however, the concerns that the title would attract even more people to the town – at least for Neuschwanstein Castle – were dispelled. After all, this castle in particular enjoys an immense worldwide reputation. A survey of visitors conducted by the Fraunhofer-Gesellschaft and the Bavarian Palace Administration showed that the majority already assumed that they were visiting a UNESCO World Heritage Site. It was also agreed that visitor numbers should be regulated by imposing stricter limits on the maximum group size. Online ticketing in particular makes it possible to manage the flow of visitors and distribute them throughout the year. Ultimately, such measures also serve to protect the properties, which can be damaged by excessive visitor numbers. Wiesneth also emphasizes that UNESCO’s requirements for the protection of World Heritage Sites are a voluntary obligation. Nor does the title mean that there is no room for development in the town. After the palace administration was able to dispel these concerns last year, Germany submitted its application to UNESCO at the beginning of this year. When asked what special challenges or changes the title would bring, Wiesneth explained that the German and, in particular, the Bavarian Monument Protection Act already met the requirements anyway.

In contrast to Neuschwanstein Castle, it is also conceivable that the New Palace on Herrenchiemsee could attract more visitors thanks to its title. Wiesneth also emphasizes that UNESCO’s requirements for the protection of World Heritage Sites are a voluntary obligation. Nor does the title mean that there is no room for development in the town. After the palace administration was able to dispel these concerns last year, Germany submitted its application to UNESCO at the beginning of this year. When asked what special challenges or changes the title would bring, Wiesneth explained that the German and, in particular, the Bavarian Monument Protection Act already met the requirements anyway. In contrast to Neuschwanstein Castle, it is also conceivable that the New Palace on Herrenchiemsee could attract more visitors thanks to the title. A management plan has also been drawn up. The management plan outlines the measures planned to preserve the castles, some of which pose particular challenges. Linderhof Palace in particular, which is located in a high alpine environment with strong temperature fluctuations in summer, is challenging to maintain. The reopening of the Venus Grotto is specifically planned for next year, and plans are already underway for measures at the “Moorish Kiosk”. There are also plans to meet with the affected municipalities once a year if the title is awarded. Now the Bavarian Administration of State Palaces, Gardens and Lakes has to wait and see. The assessment phase will now continue until next year, and then we will know in the middle of next year whether dreams will come true.

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In the special exhibition “Treasures from the rubble” (until March 1, 2020), the Frankfurt Cathedral Museum is showing restored finds from the church of St. Leonhard. At the beginning of the 19th century, St. Leonhard’s very existence was at stake because the people of Frankfurt wanted to build a stock exchange on the site. In the meantime, the […]

The Frankfurt Cathedral Museum is showing restored finds from the church of St. Leonhard in the special exhibition “Treasures from the rubble” (until March 1, 2020)

It was almost demolished. At the beginning of the 19th century, St. Leonhard’s very existence was at stake because the people of Frankfurt wanted to build a stock exchange on the site. The church is now 800 years old and has been freshly restored after countless renovations. The ten-year interior renovation has brought unexpected discoveries to the surface during excavations in the up to 2.20-meter-high soil, which was intended as flood protection. “Treasures from the rubble” (until March 1, 2020) is therefore the name of the special exhibition in Frankfurt’s Cathedral Museum, which provides a stage for the remains found, from grave slabs to a book from the French occupation, the history of electricity and smashed works of art – standing, lying down or behind the protective glass of a display case. These include the life-size “Atzmann” figure buried in the choir, which was intended to help the clergy carry out their duties, parts of the imposing altar of the Holy Sepulchre and shards of clay from a 15th century “funeral group”.

Two funeral crowns are among the rarely recovered objects. They refer to a custom that was abandoned in the Baroque period. They were placed on the heads of “virgin deceased”, i.e. children, single people and monks, and pilgrim shells, glass window panes and coins have also been uncovered, as well as numerous anthropological finds in the graves.

The show focuses on the medieval world of color and the challenges involved in restoring it, especially the methods used behind the scenes to preserve monuments. Some of the exhibits are therefore displayed in their transport crates to draw attention to the fragments, which first had to be assembled and glued together like a complicated jigsaw puzzle in the Archaeological Museum’s restoration workshop.

The colored sockets were in a powdery state after being stored in damp soil for a long time, which is why they first had to be cleaned and consolidated with the help of a magnifying glass. It took around 1000 hours of work to restore the “Lamentation Group” from 63 recovered clay fragments. A film in the exhibition documents the lengthy and painstaking work.

The restoration work was made possible thanks to numerous financial contributions from the citizens of Frankfurt and public institutions: the Lamentation Group was restored with funds from the Ernst von Siemens Art Foundation, the State of Hesse – Hessian Ministry of Science and Art – and the Diocese of Limburg. The “Friends of Frankfurt” association made the restoration of the Atzmann and the restoration of the Holy Sepulchre Altarpiece possible.

In the exhibition catalog, edited by Bettina Schmitt and Verena Smit, various scholars present the latest findings on the history of the church, its furnishings and its exploration.