Location: Bavaria Map
Constructed: 1869- 92
Tel: (08362) 93 98 86
Open: Oct.- Mar. 10am- 4pm
Apr.- Sep. 9am- 6pm
The world-famous palace of Ludwig II is one of the Bavarian royal
palaces. It is located in the Ammer Mountains near Füssen.
Neuschwanstein Castle was built by King Ludwig II in the years
1869-1880 as the "New Castle" based on the architecture of the
Wartburg in Eisenach, which had just been rebuilt at the time, with
motifs based on stage designs by the Munich theater painter
Christian Jank.
According to a survey by the German National
Tourist Board (DZT) in May 2013 and among 15,000 foreign guests,
Neuschwanstein Castle is the most popular German attraction for
international visitors.
Neuschwanstein failed in the 2007
election for the "New Seven Wonders of the World", which was later
disputed: the German representative had no chance against the
populous countries of South America, and UNESCO distanced itself
from the "private campaign". Since the end of 2011, Neuschwanstein
with Linderhof Castle has been on the German list of proposals for
inclusion in the UNESCO World Heritage Site. Since February 2012,
anyone who can't wait can put Neuschwanstein in their pocket:
Ludwig's castle adorns the issue of the German 2-euro commemorative
coin for 2012.
By plane
The nearest major airport is Munich
Airport (IATA: MUC) "Franz Josef Strauss", approx. 156 km away and a
two-hour drive. Innsbruck Airport (IATA: INN) is also easily
accessible, approx. 106km away and also a two-hour drive.
By
train
The nearest train station is Füssen, the distance to
Hohenschwangau is 4.4 km, continue by bus or taxi (travel time by
taxi about 10 minutes); There is a bike rental service directly at
the train station (9 a.m. to 6 p.m.), which also rents out e-bikes.
In the street
from the north:
On the A7 (Autobahn
Ulm-Kempten-Füssen) to the end of the autobahn at Nesselwang-Lachen,
then continue in the direction of Füssen and via the B17 federal
road in the direction of Schwangau, at the end of the town turn
right in the direction of Hohenschwangau.
Or via the
Bundesstrasse 16 from Marktoberdorf;
from the south (from
Austria):
Via the federal roads 198 or 179 to Reutte, continue on
the 179 to Füssen and Hohenschwangau.
Parking is only possible in
Hohenschwangau, subject to a fee (machines).
By bicycle
Lake Constance-Königssee cycle path
Romantic Road (cycle route)
The RVO/ RVA (Regionalverkehr Oberbayern / Allgäu)
looks after the bus routes in the region, www.rvo-bus.de.
Line 73
Füssen - Schwangau - Halblech - Steingaden.
Line 78
Füssen-Hohenschwangau-Schwangau - Tegelbergbahn.
Climb to the
Castles
Walking time from the ticket center to Neuschwanstein
Castle is around 30 to 50 minutes, depending on your physical
condition, on a steep, tarred path. Alternatively, you can take one
of the summer paths from Hohenschwangau, which are mostly steep, wet
on wet days and mostly unsigned and lead to the castle. The starting
points are in Hohenschwangau at the crossroads at Cafe Kainz and
about 50m below and above the ticket center.
The most scenic but
also the most strenuous ascent leads over the Pöllat Gorge. Access
is between Hohenschwangau and Tegelbergbahn (both with paid parking)
at the end of the Gipsmühlweg. There are the ruins of a historic
gypsum mill that once processed the lime from the Pöllat Gorge. The
listed building burned down in 1988 - the water systems are still in
good condition.
You should allow about 20 to 40 minutes for
Hohenschwangau Castle. The path begins at the Alpsee.
The
horse-drawn carriages to Neuschwanstein Castle start at the Hotel
Müller above the ticket center. The outward journey costs €6.00, the
return journey €3.00 (08/2011). If you are in good physical
condition, you can walk faster than by horse-drawn carriage.
The
horse-drawn carriages to Hohenschwangau Castle start in front of the
ticket center. The outward journey costs €4.00, the return journey
€2.00 (08/2011).
Bus transfer is only available to Neuschwanstein
Castle. Departure from Schlosshotel Lisl to Marienbrücke. The
outward journey costs €1.80, the return journey €1.00, return
journey €2.60 (08/2011). The walking time from the Marienbrücke to
Neuschwanstein Castle is about 15 to 20 minutes. The path is not
suitable for people with walking difficulties because it is very
steep.
The first preparatory work with the complex leveling of the site
began in 1868, the laying of the foundation stone took place on
September 5, 1869, the site manager was initially the building officer
Eduard Riedel (1813-1885).
The motif for the outer form of
Neuschwanstein Castle came primarily from the stage designs by the court
theater painter Christian Jank (1833-1888) for the Wagner opera
Lohengrin and was implemented by the architect Eduard Riedel from 1871
in the neo-Romanesque architectural style, the castle is valid as an
outstanding example of the modern architectural style of historicism,
which extensively quoted elements of historical architectural styles.
The palace was then created stylistically as a deliberate synthesis
of the Grail Castle with the Tannhäuser and Lohengrin palaces according
to the ideas of Ludwig II. From 1874, Georg Dollmann von Riedel took
over the construction management and revised the plans; the topping-out
ceremony was on January 29, 1880. Characteristics of the construction
site were the constant changes and rescheduling at Ludwig's instigation,
which often brought the construction management to the brink of despair
and beyond, and also drove up the construction costs dramatically.
The working conditions were extremely "innovative" at the time, so
the two cranes were powered by steam engines, and the workers all had
social insurance, which was the absolute exception at the time.
The interior of the Palas building, designed as a private residential
palace, is only accessible as part of a guided tour. These interiors,
elaborately and lavishly designed in the style of different epochs, are
essentially the singers' hall on the top floor with wall paintings from
the Parzifal theme by A. Spieß, on the level below the private rooms of
the king with a living room and study in lavish furnishings and an
extremely lavishly designed bedroom, and the throne room in Byzantine
architecture designed by J. Hoffmann. The technical equipment was "high
tec", there were refinements such as hot-air central heating and a
battery-operated bell system for the servants, toilet flushing and a
dumbwaiter. The castle had several telephone connections on the upper
floors, even if only a few people were available to talk to one of the
very first telephone systems in Bavaria at the time.
The gate construction was the first completed construction phase at the palace, the topping-out ceremony was celebrated on June 11, 1872 and the building was ready for occupancy at the end of 1873. For years, Ludwig II had his apartment on the second floor with a direct view of the palace construction site when he visited. In contrast to the neighboring Palas building, Ludwig's apartment in the gate building was comparatively simple. The site management was located on the first floor of the gate building.
The visit is only possible
as part of a guided tour, duration about 35 minutes. The distribution of
tickets to the guided tours is based on a numbering system with a
display. Due to the enormous crowds, considerable waiting times (hours
!!) must be expected after purchasing the ticket until the guided tour.
If you reserve your ticket online, you pay a reservation fee of €1.80,
but you may save many hours of time. A credit card or PayPal is required
to make a reservation, but payment is only made on site. Danger! If you
don't pick up your ticket one hour before the booked tour, the total
amount will still be debited from your credit card! It's less crowded in
winter, so you may have to walk to get there. About an hour before the
start of the tour, tickets are no longer sold because it is no longer
certain that you will still be able to reach the tour. In such cases,
one must take the following guide. In the castle courtyard, the numbers
of the tours are displayed on electronic display boards and you can join
the appropriate queue.
Open daily: April-September: 9am-6pm,
ticket office opening: 8am-5pm.
Oct. - March.: 10.00 a.m. - 4.00
p.m., ticket office opening: 9.00 a.m. - 3.00 p.m. Tickets:
Hohenschwangau Ticket Center. · Adults: €12, students €11, children
under 18 free.
The lower castle courtyard is
freely accessible, this is where the queues form and where the display
boards and barriers for the tours are.
A small part of the upper
castle courtyard is accessible; a staircase from the lower castle
courtyard leads up to it.
The 90 meter deep Pöllat Gorge is spanned by the historic Marienbrücke with a span of over 30 meters. It can be reached from the upper bus and horse-drawn carriage stop in a few minutes, from the castle on foot in 10-15 minutes. The bridge is accessible free of charge, requires a certain head for heights due to the low railing and offers a wonderful view of Neuschwanstein Castle and the Pöllat Gorge. Behind the bridge there is a path ("only for the experienced") on the Tegelberg.
A variety of shops at the parking lot and in front of the castle cover the usual tourist needs.
Accommodation in the Royal Castle is not possible. The next place to stay is the Neuschwanstein Castle restaurant, a few minutes' walk away, which is only partially accessible by private car due to its location on a busy pedestrian street. The next town is Hohenschwangau at the foot of the Schloßberg, the next town is Füssen.
The nearest hospital is in Fussen.
Ticket Center Hohenschwangau, Alpseestrasse 12, 87645 Hohenschwangau. Phone: +49(0)83 62 9 30 83-0, fax: +49(0)83 62 9 30 83-20, e-mail: info@ticket-center-hohenschwangau.de.
A
"Castrum Swangowe" was first mentioned in a document in 1090. This
meant the two small castles that stood in the Middle Ages on the
site of today's Neuschwanstein Castle: The Vorderhohenschwangau
Castle, consisting of a palace and a keep, at the location of
today's palace and, only separated by a neck ditch, a fortified
residential tower called Hinterhohenschwangau, which was located
where Ludwig II had planned a high keep between today's knight's
house and kemenate, but he never came to build it. Both buildings
went back to the Lords of Schwangau, who lived in the region as
fiefs of the Guelphs (until 1191) and the Staufers (until 1268),
then as imperial knights, until they died out in 1536. The minstrel
Hiltbolt von Schwangau comes from this gender. Hinterhohenschwangau
was probably the birthplace of Margareta von Schwangau, the wife of
the minstrel Oswald von Wolkenstein. When Duke Rudolf IV of Austria
brought Tyrol under Habsburg rule in 1363, Stephan von Schwangau and
his brothers undertook to keep their fortresses Vorder- and
Hinterschwangau, Frauenstein Castle and the Sinwellenturm open to
the Austrian Duke.
A document from 1397 mentions the
Schwanstein for the first time, today's Hohenschwangau Castle, which
was built around this time below the older double castle on a hill
between Alpsee and Schwansee. Since the 16th century, the direct
imperial rule of Schwangau was under the sovereignty of the
Wittelsbachers, who used Schwanstein Castle for bear hunting and as
a seat for younger sons and later for a foster court. They had
acquired the entire property in 1567 from the estate of the bankrupt
Augsburg patrician Baumgartner family.
In the 19th century,
the two upper castles fell into ruins, and the remains of
Hinterhohenschwangau were transformed into a viewing point called
the Sylphenturm. Ludwig II spent part of his childhood near the
castle ruins at the neighboring Hohenschwangau Castle, which his
father, King Maximilian II, had converted from a late medieval
castle into a homely castle in the Romantic style around 1837.
Hohenschwangau was originally known as Schwanstein Castle, but it
was only given its new name during the reconstruction. This swapped
the names of Schwanstein Castle and the older twin castles Vorder-
and Hinterhohenschwangau. In 1855, Max II commissioned building
supervisor Eduard Riedel to first design a glass and iron pavilion
for the tower in Hinterhohenschwangau, and the following year a plan
for the repair of the tower and the construction of a room with a
tent roof over it. However, both were postponed.
The ruins
above the residential palace were frequent hiking destinations for
the Crown Prince - like the Frauenstein and the Falkenstein - and
were therefore well known. In 1859 he drew the remains of the
Vorderhohenschwangau Castle for the first time in his diary. In 1837
an anonymous praised the rebuilt Hohenschwangau Castle as “the
cradle of a new romanticism” and raved about the thought that “the
ruins of the front castle Schwangau (meaning the double castle
Vorder- and Hinterhohenschwangau), the one with Falkenstein and
Hohen-Freyberg Form an elongated triangle, to be rebuilt into a
large, simple festival and singers' hall ... “With that, the idea of
rebuilding the ruins in the sense of a rebirth of the site of the
singing war on the Wartburg was in the world; 20 years before the
Thuringian Wartburg was rebuilt by Hugo von Ritgen and 30 years
before Ludwig II put the idea into practice by building a new
“singing castle” based on the model of the Wartburg on the castle
rock of Vorder- and Hinterhohenschwangau called “youth” erected.
After the young king took over the government in
1864, the reconstruction of the Vorderhohenschwangau castle ruins -
the later Neuschwanstein - was Ludwig II's first major castle
construction project Styles or had important medieval monuments
reconstructed. Shortly after his father's Hohenschwangau, Ludwig's
uncle, King Friedrich Wilhelm IV of Prussia, who was enthusiastic
about the Middle Ages, had Stolzenfels Castle rebuilt in the course
of the contemporary castle renaissance, and Hohenzollern Castle from
1850 to 1867. The Hanoverian king built Marienburg Castle from 1858
to 1869. The British Queen Victoria had Osborne House rebuilt in
1845 and, shortly afterwards, Balmoral Castle, after her uncle
George IV had significantly expanded Windsor Castle between 1820 and
1830. Another example from Europe was the construction of the
Palácio Nacional da Pena by the Portuguese King Ferdinand II from
1840 onwards. At the same time, the princes of Schwarzenberg had the
Bohemian castle Frauenberg built and the princes of Urach built the
castle Lichtenstein. The extensive restoration of the Hohkönigsburg
in Alsace by the German Kaiser, which did not take place until the
early 20th century, can also be mentioned here.
Neuschwanstein, intended as a symbol of a knight's castle, was
followed by Linderhof, a pleasure palace from the Rococo era and
Herrenchiemsee Palace, a baroque palace that stood as a memorial to
the era of absolutism. Ludwig II was inspired to build
Neuschwanstein through two trips: In May 1867 he and his brother
Otto visited the rebuilt Wartburg near Eisenach, in July of the same
year he visited Pierrefonds Castle in France, which was then
designed by Eugène Viollet-le-Duc for Emperor Napoleon III. was
remodeled from a ruined castle to a historic castle. In the king's
understanding, both buildings corresponded to a romantic depiction
of the Middle Ages, as did Richard Wagner's musical worlds of
legends. His works Tannhäuser and Lohengrin had made a lasting
impression on the king. On May 15, 1868, he informed his composer
friend in a letter:
"I intend to have the old Hohenschwangau
castle ruins rebuilt by the Pöllat Gorge, in the real style of the
old German knight's castles"
Due to the death of his
grandfather Ludwig I, who abdicated in 1848, the young king was able
to withhold his allowance from 1868, which gave him extensive
financial resources. With the construction project that was now
under way, the king wanted to create a private refuge away from the
capital Munich in the landscape he was familiar with from childhood,
where he could experience his imagination of the Middle Ages,
especially since the Hohenschwangau Castle, which he liked to use
during the summer months of his unloved mother , Queen Marie, was
occupied. The designs for the new palace were provided by the Munich
theater painter Christian Jank, and they were implemented by the
architect Eduard Riedel. Considerations of integrating the castle
ruins into the building were not pursued because of the technical
difficulties involved. The first plans for the castle, which were
stylistically based on the Nuremberg castle and provided for a
simple new building in place of the old Vorderhohenschwangau castle,
were rejected again and replaced with increasingly extensive designs
that led to a larger castle based on the model of the Wartburg. The
king insisted on detailed planning and asked for every draft to be
submitted for approval. His influence on the designs reached so far
that the castle can be seen primarily as his own creation and less
than that of the architects involved.
Construction of the castle began in 1869. The
wishes and demands of Ludwig II grew with the building, as did the
expenses, and the drafts and cost estimates had to be revised
several times. Originally only a modest study was planned instead of
the large throne room, and guest rooms were deleted from the drafts
to make room for a Moorish hall, which could not be realized due to
the constant shortage of money. The completion of the palace,
originally planned for 1872, was repeatedly delayed. As a thank you
for the imperial letter, the king received grants from the Welf Fund
from Bismarck from 1871 onwards, but his financial resources were
now increasingly being collected through his other construction
projects. The exterior of the Palas and the gatehouse of
Neuschwanstein were largely completed by 1886; from 1884 the king
was able to live in the hall for the first time. Until his death in
1886, Ludwig II lived in the castle for a total of only 172 days,
which until then was still like a major construction site. In 1885,
on the occasion of her 60th birthday, he received his mother, the
former Queen Marie, who lived in the lower Hohenschwangau.
Neuschwanstein was to serve Ludwig II as a kind of habitable theater
backdrop. As a friendship temple, it was dedicated to the life and
work of Richard Wagner, who, however, never entered it. Despite its
size, the palace was not intended to be used by a court; it only
offered space for the king's private apartment and rooms for the
servants. The courtyard buildings served less residential and more
decorative purposes. For example, the construction of the bower -
which was not completed until after Ludwig's death - was a direct
reminiscence of the second act by Lohengrin, where such a building
was one of the scenes.
Ludwig II paid for his building
projects himself from his private assets and the income on his civil
list. Contrary to what is often rumored, the state treasury was not
charged for his buildings. The construction costs of Neuschwanstein
amounted to 6,180,047 marks until the death of the king, originally
estimated at 3.2 million marks. However, his private funds were no
longer sufficient for the sprawling building projects, and so the
king had to constantly take out new loans. In 1883 he was already in
debt with over 7 million marks, in 1885 he was threatened for the
first time with seizure.
The disputes over the indebtedness
of the head of state caused the Bavarian government in 1886 to
incapacitate the king and to have him declared incapable of
governing. Ludwig II stayed in Neuschwanstein at the time of his
incapacitation on June 9, 1886; it was the last of his
self-commissioned castles that he lived in. The government
commission that traveled to Neuschwanstein on June 10, 1886 on the
occasion of his impending dismissal was arrested by the king in the
gatehouse. After a few hours, the members of the commission were
released. On June 11th a second commission appeared under the
direction of Bernhard von Gudden. The king had to leave
Neuschwanstein on June 12, 1886 and was taken to Berg Castle, where
he drowned in Lake Starnberg on June 13, 1886.
When the king died near Berg Castle on June 13, 1886, Neuschwanstein was not yet completed. Ludwig II never wanted to open the palace to the public, but it was opened to visitors just six weeks after his death. Part of the credit was paid for with the entrance fees of two marks per person. The castles fell as an inheritance to Ludwig's brother Otto, who had been declared mentally ill as early as 1872 and therefore unable to govern. While the affairs of government were taken over by Ludwig's uncle Luitpold, the “Administration of the Assets of His Majesty the King Otto of Bavaria” was responsible for the administration of the estate. She managed to settle the building debts by 1899. In order to ensure a smooth tour of the castle, some rooms that had not yet been completed were completed and the bower and the knight's house were at least built as an exterior structure. At first, visitors were allowed to move freely in the castle, which meant that the furniture wore out very quickly. As early as 1886, a first joint castle guide for Herrenchiemsee, Linderhof and Neuschwanstein appeared. The not very extensive publication offered a description of individual art objects and was otherwise limited to mentioning the architects and artists involved in the construction.
After the proclamation of the republic in November
1918, Luitpold's successor Ludwig III. into Hungarian exile. The
Bavarian civil list, consisting of the former property of the House
of Wittelsbach, was declared state property by the Bavarian
government on November 11, 1918. However, this called the
Wittelsbach house on the scene. At the beginning of the 19th
century, the former royal family brought their private assets to
this civil list and thus saved the almost insolvent Bavarian state
from bankruptcy. In return, he had undertaken to provide for the
maintenance of the royal family. Now the Wittelsbachers demanded
their property back. This was followed by lengthy disputes with the
state, which ended in January 1923 with a compromise: the civil list
was divided between Bavaria and the House of Wittelsbach.
Neuschwanstein Castle came into state ownership, while the
Wittelsbach Compensation Fund (WAF), which still exists today,
emerged from the family part.
The remote castle survived the
two world wars without being destroyed. Under the task force of
Reichsleiter Rosenberg, a sub-organization of the NSDAP, it served
as a depot for looted art stolen in France until 1944. The works of
art, including parts of the Ghent Altarpiece and the Last Supper
Altarpiece by Dirk Bouts, were cataloged photographically by the
task force. After the end of the war, 39 photo albums were found in
the castle that documented the extent of the robbery and are now
kept in the American National Archives. At the end of the Second
World War, gold treasures from the Deutsche Reichsbank were stored
in the castle, but in the last days of the war they were transported
to a location that is still unknown today. In April 1945, the castle
was threatened with being blown up briefly by the SS, who wanted to
prevent the building and the art treasures stored there from being
passed into the hands of the enemy. The project was not put into
practice by the SS group leader commissioned with it, and the castle
was handed over to the Allied art protection authorities at the end
of the war. After the Second World War, the Bavarian Archive
Administration used some rooms in Neuschwanstein Castle as a
temporary salvage store for archives, as the premises in Munich had
been bombed out.
"... this castle will be
more beautiful and homely in every respect than the lower
Hohenschwangau ..."
- Ludwig II in a letter to Richard Wagner,
1868
Neuschwanstein Castle consists of several individual
structures, which were built over a length of around 150 meters on
the top of a ridge of rocks that was originally referred to as
youth. The elongated structure has numerous towers, decorative
turrets, gables, balconies, battlements and sculptures. The window
openings are mostly designed in the form of bi- and triforias based
on the Romanesque style. The combination of the individual buildings
against the background of the Tegelberg and the Pöllat Gorge in the
south and the hilly landscape of the foothills of the Alps with many
lakes in the north offers different picturesque views of the castle
from all directions. It was designed as the romantic ideal of a
knight's castle. Unlike “real” castles, whose building stock is
mostly the result of a building activity that often spanned
centuries, Neuschwanstein was planned as a deliberately asymmetrical
structure in one go and built in successive stages. Typical features
of a castle were cited, but real defenses - the most important
feature of a medieval aristocratic residence - were omitted.
The palace complex is entered through the symmetrical gatehouse flanked by two stair towers. The east-facing gate building is the only building in the castle whose wall surfaces are designed in contrasting colors; the outer walls are clad with red bricks, the courtyard facades with yellow limestone. The eaves are finished with encircling battlements. The first apartment of Ludwig II on Neuschwanstein was located on the upper floor of the gate system, surmounted by a stepped gable, who occasionally watched the construction work from there before the completion of the palace. The ground floor floors of the gatehouse were intended to house the stables of the castle as commercial buildings. The passage through the gatehouse, crowned by the Bavarian royal coat of arms, leads directly into the courtyard on two levels. The lower courtyard level is bounded by the gate building in the east and the base of the so-called square tower and the gallery building in the north, the southern side of the courtyard is left open and provides a view of the surrounding mountain landscape. The western side of the courtyard is bordered by a walled embankment, the polygonal protruding bulge of which marks the choir of the unrealized chapel including the keep, and a flight of stairs to the upper level.
The most striking building on the courtyard level
is the 45-meter-high, so-called square tower. Like most of the
courtyard buildings, the building primarily serves a decorative
purpose within the building ensemble. From its circumferential
viewing platform there is a broad view of the foothills of the Alps
to the north. The upper level of the courtyard is limited to the
north by the so-called knight's house. The three-storey building is
connected to the square tower and the gatehouse via a continuous
gallery with blind arcades. In the understanding of castle
romanticism, the knight's house represented the place of residence
of the men's society on a fortress; service and utility rooms were
provided there on Neuschwanstein. On the southern side of the upper
courtyard is the three-story bower, which, as a ladies' house,
formed the counterpart to the knight's building, but was never used
as such. Both buildings together form the motif of the Antwerp
Castle and thus quote the first act of Lohengrin. The floor plan of
the palace chapel is embedded in the paving of the courtyard.
The west side of the courtyard is bounded by the hall. It forms
the actual main and residential building of the palace, in which the
king's state rooms and the servants' rooms are located. The Palas is
a mighty, five-storey structure in the form of two large cuboids
connected at a shallow angle and covered by two successive high
pitched roofs. The shape of the building follows the course of the
rock ridge. Two stair towers are inserted in its corners, of which
the northern one, 65 meters high, towers over the roof of the castle
by several floors. With their varied roofs, both towers are
reminiscent of the example of the Pierrefonds Castle. The
west-facing facade of the Palas has a two-storey Söller with a view
of the Alpsee, to the north a low stair tower and the winter garden
protrude from the structure. The entire hall is adorned with a
multitude of decorative chimneys and decorative turrets, the
courtyard facades are decorated with colored frescoes. The gable
facing the courtyard is crowned by a copper-driven lion, the
west-facing outer gable is crowned by a figure of a knight.
The ruins of Vorderhohenschwangau Castle and the
Sylphenturm were completely demolished in 1868, and the remains of
the old keep was blown up. Construction work on the gatehouse began
in February 1869, the foundation stone for the Palas was laid on
September 5, 1869. In the years 1869 to 1873 the gate was completed
and fully furnished so that Ludwig could temporarily live here and
watch the construction work. In 1874 Georg von Dollmann took over
the management of the building work from Eduard Riedel. In 1880 the
topping-out ceremony for the Palas, which could be occupied in 1884,
was passed on to Julius Hofmann in the same year, who replaced
Dollmann, who had fallen out of favor.
The castle was built
using conventional brick construction and later clad with other
types of stone. The white limestone on the facade surfaces comes
from the nearby Alter Schrofen quarry. The sandstone blocks for the
portals and bay windows come from Schlaitdorf on the edge of
Schönbuch in Württemberg. Untersberg marble from the Salzburg region
was used for the windows, the arched ribs, columns and capitals. A
steel frame had to be drawn in for the throne room, which was
subsequently incorporated into the plans. To make it easier to
transport the building materials, scaffolding was erected and a
steam crane was set up to pull the material up to the construction
site. Another crane made things easier on the construction site
itself. The steam boiler revision association founded at the time,
which later became the technical inspection association TÜV,
regularly checked these two boilers for their safety.
The
major construction site was the largest employer in the region for
around two decades. In 1880 around 200 craftsmen worked on the
construction site every day, not including suppliers and other
people indirectly involved in the construction. At times when the
king demanded particularly tight deadlines and urgent changes, it is
said that up to 300 workers per day did their duty even at night by
the glow of oil lamps. Statistics from the two years 1879/1880 show
an immense amount of building materials: 465 tons of Salzburg
marble, 1550 tons of sandstone, 400,000 bricks and 2050 cubic meters
of wood for the scaffolding.
The social institution "Association of Craftsmen at the Royal Palace of Hohenschwangau", founded on April 3, 1870, was very modern. The purpose of the association was to guarantee continued payment of wages for sick or injured construction workers with low own monthly contributions and reinforced by substantial subsidies from the king. Similar to today's social security or professional association, the construction company vouched for the salary for 15 weeks for an amount of 0.70 marks. There was a pension for the descendants of those who were fatally injured during construction - low, but not common at the time. Statistics report on 39 families who were awarded this pension, which is remarkably few for the buildings and their working conditions of the time.
At the time of Ludwig II's death in 1886,
the palace was unfinished. The exterior of the gate and the main
hall were largely completed, the square tower was still scaffolded.
The bower, which had not yet begun in 1886, was built by 1892, but -
like the knight's house - only simplified. The gallery of the
knight's house was originally intended to be designed in
naturalistic forms. The columns were planned as tree trunks and the
capitals as their crowns. The kemenate should be decorated with
female saints. Until then, only the foundations had been laid for
the core of the palace complex, the 90-meter-high round keep planned
in the upper courtyard with the three-aisled palace chapel in the
substructure; A southern connecting wing between the gatehouse and
the bower was no longer implemented. The planned castle garden with
terraces and a fountain, which was to be located west of the palace,
was also abandoned after the king's death. In 2008, reports that the
Bavarian Palace Administration was striving to complete the palace
according to the original plans by 2011 turned out to be an April
Fool's joke.
The furnishing of the royal living quarters
inside the palace was largely completed by 1886; the vestibules and
corridors were painted in a simplified manner by 1888. The Moorish
Hall desired by the king, which would have found its place below the
throne room, was no longer realized, as was the so-called knight's
bath, which, based on the model of the knight's bath in the
Wartburg, was intended to pay homage to the knight's cult as a
medieval baptismal bath. A bridal chamber planned for the bower
(based on a corresponding location in Lohengrin) remained
unfinished, as were the guest rooms and a large banquet hall
originally planned for the first and second floors of the palas. A
complete expansion of the Neuschwanstein, intended as a “private
house”, was not planned from the outset, and so there was not even a
usage concept for many rooms until the king's death. Only the
entrance front of the chapel with the church portal would have given
the upper castle courtyard the scenic effect from the 2nd act of
Richard Wagner's opera Lohengrin, which the king wanted from the
beginning, and only the mass of the 90 meter high keep would have
given the building structures of the hall, bower and Ritterbau given
the architectural context for which they were designed. So
Neuschwanstein remained a much admired but misunderstood torso.
The castle romanticism fell in the 19th century. Projects related to Neuschwanstein Castle have already been realized in the German states with the neighboring Hohenschwangau Castle, Lichtenstein Castle, Hohenzollern Castle or the numerous works of Rhine romanticism, such as Stolzenfels Castle. Another Neuschwanstein-like project planned by Ludwig II - Falkenstein Castle, approx. 20 km away - did not go beyond the planning stage due to the lack of funds. Architecture critics often ridiculed Neuschwanstein, which was one of the last major palace building projects of the 19th century, as kitschy. Today, the buildings of Ludwig II, and Neuschwanstein in particular, are among the main works of European historicism.
The castle is to be seen as typical of 19th century architecture. The forms of the Romanesque (simple geometric figures such as cuboids and round arches), the Gothic (rising lines, slender towers, filigree architectural decorations) and the Byzantine art (furnishing the throne room) are mixed in an eclectic way and supplemented by the technical achievements of the 19th century . The figures of the Patrona Bavariae and Saint George depicted in the style of the Lüftlmalerei are on the courtyard facade of the palace, while the designs for the gallery of the knight's house that were not carried out already indicated forms of Art Nouveau. The motifs from the world of the theater are characteristic of Neuschwanstein's figure: Christian Jank, who provided the drafts for the palace, previously worked as a stage painter and used his earlier set designs for the construction of Neuschwanstein.
After its completion, the
castle would have had over 200 different interiors, including rooms
for guests and staff as well as for the development and supply. Only
around 15 rooms and halls were completed and furnished. On its lower
floors, the Palas houses utility rooms and servants' rooms as well
as the rooms of today's palace administration. The upper floors
house the state rooms of the king: the front structure accommodates
the living rooms on the third floor, followed by the singers' hall.
The rear structure, which faces west, is almost completely filled by
the throne room on the upper floors. The total area of the various
floors is almost 6,000 m².
Although the palace as a whole was
not completed, it houses numerous significant interiors of German
historicism. Neuschwanstein was also equipped with a number of
technical refinements that corresponded to the latest state of the
late 19th century. Among other things, it had a battery-operated
bell system for the servants and telephone lines. The kitchen
equipment contained a Rumford stove, which set the spit in motion
using its own heat and thus could adapt its rotations to the heat.
The warm air produced was fed to a calorifère heater. A separate hot
water preparation system for the running water was already built in,
which was just as new for the time as the toilets with automatic
flushing.
The two largest rooms in the palace are the throne and singers' hall. The largest room in the palace is the singers' hall, measuring 27 by 10 meters, located in the east-facing wing of the hall on the fourth floor above the king's apartment. The Neuschwansteiner Sängersaal combines the models of the singer and ballroom of the Wartburg and was one of the king's favorite projects for his castle. One side of the room was decorated with themes from Lohengrin and Parzival. The other side is accessed by a grandstand-like gallery, which comes from the model from the Wartburg. The end of the eastern end is formed by a stage divided by arcades, which is known as the singing arbor. The singers' hall was never intended for the court parties of the shy king. Rather, like the throne room, it served as a walk-in memorial in which the knight and love culture of the Middle Ages was represented. The first performance, a concert on the 50th anniversary of Richard Wagner's death, took place in 1933.
The 20 by 12 meter large throne room is located in the west-facing wing of the hall and occupies the third and fourth floors with a height of 13 meters. It was modeled on the All Saints Court Church in the Munich Residenz and designed by Julius Hofmann. The two-storey, second largest hall of the palace is surrounded on three sides by colored arcades and ends in an apse, which was supposed to accommodate the - never completed - throne of Ludwig. In the meantime, a cardboard display is being set up on the spot, which should show a possible appearance of the throne. Wilhelm Hauschild created the wall paintings. A mosaic, which was only completed after the king's death, adorns the floor of the hall, the chandelier is modeled on a Byzantine crown. Following the wishes of the king, the sacred throne room united the scene of the Grail Hall from Parzival with a symbol of divine grace, an embodiment of the unrestricted rulership, which Ludwig no longer had as head of state of a constitutional monarchy. Probably the most elaborate mosaic work in Germany adorns the floor. It consists of more than 1.5 million natural stone fragments approx. 1 cm2 in size. Due to the heavy wear and tear on the surface, the floor was protected by a photo-realistic copy based on a photo floor. This consists of over 100 billion pixels.
In addition to the large state rooms, the smaller living rooms were
also created for Ludwig II. The royal apartment is on the third
floor of the palace in the east-facing wing of the hall. It consists
of eight living rooms and several smaller rooms. Regardless of the
sumptuous furnishings, the living rooms may appear relatively modern
for today's visitors due to their modest size and their furniture
with sofas and seating groups. Ludwig II placed no value on
representative needs of the past, when the life of a monarch was
still largely public. The furnishings with wall paintings,
tapestries, furniture and other handicrafts repeatedly refer to the
king's favorite subjects: the Grail legend, the works of Wolfram von
Eschenbach and their interpretation by Richard Wagner.
The
east-facing living room is decorated with themes from the Lohengrin
saga. The furniture with a sofa, table and armchairs as well as
seating in a north-facing alcove appear intimate and homely.
Adjacent to the living room is a small grotto that forms the
transition to the study. The unusual room, originally equipped with
an artificial waterfall and a so-called rainbow machine, is
connected to a small winter garden. As a representation of the
grotto in Hörselberg, it refers to Wagner's Tannhäuser, as well as
the decor of the neighboring study. The king had a similar grotto
set up in the palace gardens of Linderhof. Opposite the study is the
dining room decorated with themes from the world of minstrels. Since
the kitchen in Neuschwanstein is three floors below, it was not
possible to install a “table-deck-dich” (a dining table that can be
lowered into the floor via a mechanism) as in Linderhof Palace and
Herrenchiemsee Palace. Instead, the dining room was connected to the
kitchen by means of a food elevator.
The bedroom adjacent to
the dining room and the adjoining house chapel are the only rooms in
the palace designed in neo-Gothic style. The king's bedroom is
dominated by a mighty carved bed. 14 carvers worked over four years
on the bed canopy, which is decorated with numerous pinnacles, and
the oak wall paneling. Ludwig was arrested in this room on the night
of June 11-12, 1886. Adjacent to the bedroom is a small house chapel
dedicated to Saint Ludwig - the patron saint of the builder.
The servants' rooms in the basement of the Palas are rather sparsely
furnished with solid oak furniture. In addition to a table and a
cupboard, there are also two 1.80 m long beds. The rooms were
separated from the corridor that led from the open staircase to the
main staircase with windows made of opaque glass, so that the king
could go in and out without being seen. The servants were not
allowed to use the main staircase, they had to use the much narrower
and steeper servant staircase.
Ludwig II did not build Neuschwanstein Castle as a
representative building or for a show of power, but exclusively as
his private retreat. This contrasts with the current importance of
the castle as one of the most important tourist destinations in
Germany. The German Tourism Association is promoting Bavaria as a
land of fairytale castles with Neuschwanstein on an international
level. So it is not surprising that in a survey by the German
National Tourist Board (DZT) of 15,000 foreign guests about their
favorite visitor destination, Neuschwanstein Castle came in first.
In a national comparison, 350,000 participants voted for the palace
complex in the ZDF show Our Best - the Germans' favorite places only
in 19th place. In the vote on the new wonders of the world in 2007,
Neuschwanstein Castle was in eighth place.
Since it was
opened to visitors in the year Ludwig died, the facility has had a
steadily increasing number of guests. In the first eight weeks
alone, around 18,000 people visited the castle. In 1913 there were
over 28,000 guests, in 1939 there were already 290,000. By 2001 the
number had grown to around 1.3 million visitors, including 560,000
Germans and 385,000 Americans as well as English. The third largest
group that year were the 149,000 Japanese. By 2005, a total of over
50 million visitors were counted. In 2013, a new record was set with
1.52 million visitors, that is 31 percent of all visitors to the
state palaces, castles and residences. This makes Neuschwanstein
Castle the undisputed visitor magnet of the Bavarian Palace
Administration and its only facility that generates more profit than
it causes costs. In 2004 more than 6.5 million euros were posted in
income. In the high season from June to August, the facility has an
average of more than 6,000 visitors a day, and up to 10,000 at peak
times. Due to the high number of guests, guests without prior notice
may have to wait several hours. Tickets are sold - locally and
online - exclusively via the ticket center in Hohenschwangau. For
security reasons, it is only possible to visit the castle as part of
a 35-minute tour. There are also so-called themed tours that deal,
for example, with the legends of the respective pictures.
The
mass tourism associated with Neuschwanstein is not only a lucrative
business for the region, it also brings problems. The traffic
situation around the royal castles of Hohenschwangau and
Neuschwanstein is extremely tense, especially in the summer months.
The rampant traffic in search of a parking space in Schwangau has a
negative impact on the residents, and one third of the traffic jams
on Augsburger Straße in Füssen is due to the arrival and departure
traffic of castle tourists. The city of Füssen and the municipality
of Schwangau have been negotiating to eliminate their traffic
problems for over 20 years, but the various interests and
conflicting positions of those involved have so far not led to a
solution. Despite the long search for a parking space and queuing in
front of the ticket center and the castle portal, the flow of
visitors to Neuschwanstein Castle does not stop, because
"The
nimbus of the" fairy tale king "evidently exerts such a fascination
on the environment that any attempt to divert the stream of visitors
to other, less visited objects has so far been and will probably
remain in vain."
The Bavarian government regularly invests
millions in the maintenance of the castle and in the tourist
development of the complex. In 1977 the Felsberg under the bower had
to be renovated for 500,000 DM. The renovation of the Marienbrücke
at the time cost around 640,000 DM, while the renovation of the
castle roofs had to cost 2.1 million DM. In the 1980s, it became
necessary to drain a stairwell and build another visitor entrance.
They cost a total of 4.2 million marks. In the period from 1990 to
2008, the Free State spent a further 14.5 million euros on
maintenance measures - including the repair of the only access road
and years of facade renovation - and the improvement of visitor
care. The interiors also have to be regularly repaired and restored.
In 2009 and 2011, the original textiles in the bedroom and living
room of Ludwig II were restored for over 425,000 euros and protected
from further deterioration with light and touch protection.
The castle administration warns that with around 1.5 million visitors annually, the castle has reached the limits of its capacity. The masses of visitors - together with the alpine climate and the light - would put a heavy strain on the valuable furniture and textiles. The moisture exhaled by visitors seems to play a special role. Scientists should investigate to what extent the castle administration can reduce this burden.
Neuschwanstein is a symbol of
the romantic era and is known worldwide. It is the most popular lock
motif in American advertising. As early as May 1954, the American
magazine Life showed Neuschwanstein Castle on its front page in a
special edition about the German economic miracle.
The castle
inspired artists like Andy Warhol, who made it the subject of one of
his pop art sequences after visiting it in 1971.
In 2002,
fragments of a meteorite fell to the earth near Neuschwanstein,
which have since been cataloged under the name of the castle.
For historical novels, the former Neuschwanstein castellan
Markus Richter uses the historical facts that the site manager
Heinrich Herold was shot in the heart and that an extension of the
gate building fell in a landslide.
The system was the model for several buildings around the world, above all for the Sleeping Beauty Castle in the Disneyland Resort in Anaheim, California. The Sleeping Beauty Castle in Disneyland Paris was modeled on the Bavarian “fairytale castle” and follows the international classification that connects the sight of Neuschwanstein with Disney's Cinderella or Cinderella. The same applies to the Excalibur Hotel & Casino in Las Vegas. The complex, which opened in 1990 and cost $ 290 million, is strongly inspired by Neuschwanstein. In Germany, the Kommerzienrat Friedrich Hoepfner had his "Hoepfner Castle" built on the Karlsruher Haid-und-Neu-Strasse from 1896 to 1898 according to plans by Johann Hantschel. The building erected as an operating building for Hoepfner's brewery also shows reminiscences of Neuschwanstein Castle.
Neuschwanstein Castle has served
countless times as a backdrop for films about the life of Ludwig II.
For example, it was the location for films such as Helmut Käutner's
Ludwig II. From 1955 and Luchino Visconti's Ludwig II. From 1973.
Also the biography Ludwig II. By Peter Sehr and Marie Noëlle from
2012 was shot on location.
The system was not only used for
filming the life of Ludwig II. For example, in 1955 Erich Kobler
staged his two Grimm fairy tale adaptations Schneeweißchen and
Rosenrot and Schneewittchen, in which the castle served as the royal
palace. Parts of the filming of Ken Hughes '1968 fantasy comedy
Tschitti Tschitti Bang Bang also took place there, and in Mel
Brooks' Star Wars parody Spaceballs, published in 1987,
Neuschwanstein Castle was the home of Princess Vespa on the planet
Druidia. Neuschwanstein also served as the backdrop for Peter
Zadek's The Wild Fifties from 1983 and in the TV feature film The
Hunt for the Treasure of the Nibelungs, which was first broadcast in
2008.
In the DEFA fairy tale film The Swapped Queen by Dieter
Scharfenberg, a castle model is used in the opening sequence, which
is an adaptation of Neuschwanstein.
The fortress in the Swiss
Alps shown in the film Sherlock Holmes: Spiel im Schatten from 2011
was digitally designed using both the Hohenwerfen Fortress and
Neuschwanstein Castle as a template.
Neuschwanstein was featured several times on postage stamps of the
Deutsche Bundespost, for the first time on the 50-pfennig stamp of
the definitive series of castles and palaces published from 1977 to
1982 (Michel number Bund 916 and Berlin 536). It was next seen in
the background in 1986 on the special stamp for the 100th
anniversary of the death of King Ludwig II (Michel number 1281). In
1994 the castle was depicted a third time on the special stamp with
the description "Neuschwanstein Castle and View of the Alps" (Michel
number 1742) from the series Pictures from Germany.
On the
occasion of the anniversary of 150 years of German-Japanese
relations, the Japanese Post issued a stamp pad. Neuschwanstein
Castle is depicted on the 80 yen stamp of this block of 10.
The “Federal State Series”, which began in 2006, represents a building of the federal state on a 2 euro commemorative coin that is held by the Federal Council presidency. In 2012, Bavaria provided the president and thus also the motive, in this case Neuschwanstein Castle. In the same year, Germany issued another commemorative coin for Neuschwanstein Castle with only 5000 pieces. Two years earlier, the Pacific state of Palau had a 5-dollar colored silver coin minted with Neuschwanstein Castle in 2010. The “World of Wonders” collector's coin series shows buildings from all over the world.
With the rapid increase in visitor
interest after the castle was opened, trading in memorabilia about
the complex began. In 1886 two castle guides were published. One was
probably published by the administration of King Otto's property,
the second was published privately in Augsburg under the direction
of Nepomuk Zwickh. The early souvenirs also include a silver spoon
from a spoon series from the late 19th century, which shows an
enamel image of Neuschwanstein on the spoon. It is now in the
Metropolitan Museum of Art in New York.
Today there are
countless souvenirs about Neuschwanstein and its builder, from sugar
cubes to silk scarves and 3D puzzles to marzipan figures. In 2005,
the Bavarian palace administration registered “Neuschwanstein” as a
word mark for a variety of goods and services in order to have more
influence on souvenirs and services in connection with the palace.
However, the German Federal Association of Souvenir Gifts Honor
Awards e.V. took legal action against this entry in 2007 and was
successful: The German Federal Patent Court ordered the trademark to
be deleted in 2010. The legal complaint filed by the palace
administration before the Federal Court of Justice was only
partially successful, so that souvenirs and travel needs can
continue to advertise with “Neuschwanstein”.