I
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Castle of Neuschwafistem.
NEWS comes from Bavaria that
the new government there is
negotiating with the ex-king,
Ludwig III, now living as an
exile in Switzerland, for a legal settle
ment on the state of his landed prop
erty in Bavaria. If this is so, it doubt
less involves the most gorgeous trio
of palaces built by any European mon
arch in modern times. These struc
tures, says the New York Times, were
well known to tourists before the war;
in fact, so large and sumptuous are
they, so hopelessly beyond the modest
needs of the Bavarian royal family
did they prove, that for a long time
their only use was to provide a little
revenue through the fees charged to
the thousands of visitors who passed
yearly through their spacious halls.
The palaces in question are Neu
schwanstein, Linderhof and Herren
chiemsee, all three built by the “mad
king,” Ludwig II of Bavaria, who
reigned from 1864 to his tragic death
in 1886, and cost Bavaria such huge
sums by his extravagance that he was
finally deposed and locked up as in
curably insane.
During the time that Ludwig was
pouring out his own and the state’s
funds in rebuilding old castles and
building the new ones that were to
make his name a synonym for extrav
agance he was bound in intimate
friendship with Richard Wagner, the
famous composer. The signs of this
friendship may be seen in one of the
castles, Neuschwanstein, where there
are many paintings of scenes from the
legends upon which Wagner based his
world-famous operas.
Neuschwanstein Most Remarkable.
Of the three great palaces which
may revert to the Bavarian state as a
result of the negotiations between the
exiled Bavarian king and the govern
ment which ^overthrew him, the most
remarkable, both in location and archi
tecture, is Neuschwanstein. It is about
«fghty-five miles south of Munich, in
the Bavarian highlands, three miles
from the quaint old town of Fussen,
and close to the old castle of Hohen
schwangau, which originally belonged
(to the house of Guelph and was pur
-chasedun 1567 by the dukes of Bava
ria. Hohenschwangau was the favor
'fte residence of the mad King Ludwig,
but, tiring of staying long in one place,
he conceived the idea of building an
other castle-palace, in the manner of
the kings of the middle ages. His eye
fell upon a precipitous crag close to
Hohenschwangau, and there, between
1869 and 1886, arose the splendid pal
ace which ranks as the greatest of all
the many monuments to Ludwjg’s
building mania. Its name, Neusch
wanstein, is due to the fact that the
near-by castle of Hohenschwangau was
formerly called Sctnvanstein.
Ludwig set three of the best-known
Bavarian architects—Dollman, Riedel
and Hoffman—to work on this creation
of his wild fancy, and they reared for
him a grand structure in the Roman
esque style, planned somewhat after
the style of the Wartburg. Here the
influence of Wagner on the king may
be traced, for the Wartburg, in Thur
ingia, is w here Tannhauser and other
singers meet, in the Wagnerian opera
of that name, to compete for the land
grave’s prize.
Neuschwanstein, however, was built
on a much larger and more magnifi
cent scale than the Wartburg. It is
splendidly fitted up throughout, and
from its windows there are surpassing
ly beautiful views of the Hohen
schwangau, the Alp-See, a little lake
far below, and the wild gorge of the
Pollat.
Visitors ascend to the showrooms,
which are on the third floor, by means
of a stairway in the main tower, which
juts up to a height of nearly 200 feet.
The Wagnerian leanings, which were .
so important a part of King Ludwig’s .
life, are evidenced again by a series of
frescoes, showing scenes from the life
of Siegfried, Tannhaeuser, Lohengrin
and Parsifal, and from the lives of
those two familiar figures in the “Meis
tersinger,” Hans Sachs and Walter
von der Vogelweide, which adorn the
magnificent apartments of the third
floor. In the gothic bed chamber, Wag
ner again comes to the fore, for it is
adorned with scenes from the story
of “Tristan and Isolde.”
Product of Wild Extravagance.
Linderhof, another of Ludwig’s fan
tastic palaces, is some seventy miles
from Munich. Like Neuschwanstein, it
also is in the Bavarian highlands, sev
en miles from the famous town of
Oberammergau, renowhed all over the
world for its “Passion Play.” Linder
hof is in the rococo style, and was
built between 1869 and 1879, when
Ludwig was at the height of his wild
career of money-spending. Its princi
pal feature is the beautiful gardens
that surround it, which attract large
numbers of tourists, who combine a
trip to the castle with a visit to Ober
ammergau.
In these gardens is a bronze eques
trian statue of Louis XIV of France,
evidence of the mad 'Bavarian mon
arch’s hallucination that there was
something in common between him and
the great French ruler. This crops up
again in the decorations of the interior
of the palace, which include a series
of portraits of French celebrities of
the time of Louis XIV and his suc
cessor, Louis XV. Ludwig did not for
get a statue of himself, which is one
of the adornments of the gardens of
Linderhof. Another object of interest
is an artificial grotto, with a small
lake and waterfall, which visitors may
have illuminated with electric light,
provided, however, that they number
at least ten; or, if fewer, pay for as
many as ten tickets—a good instance
of the frugality which ruled in Bavaria
following Ludwig II’s career of ex
iravugance.
Linderhof's gardens also boast a
kiosk, in the Moorish style, with sta
lastic vaultings.
An Imitation of Versailles.
The third of the series of Ludwig
IPs “follies” is Herrenchiemsee, an im
itation of the great palace of Versailles,
situated on an island in the Chiemsee,
a small lake fifty-seven miles southeast
of Munich. Doll man and Hoffman, two
of the architects who built Neuschwan
stein (the former also did Linderhof),
were engaged by Ludwig to design
Herrenchiemsee. They worked on it
between 1878 and 1885, but left it un
completed, as by that time the Bava
rians had had enough of the king’s
wild ways and were getting ready to
lock him up.
Herranchiemsee is built on three
sides of a square, in which are fine
fountains—without water, though, for
many years. In the vestibule is a
beautiful group of enameled peacocks
—these birds were great favorites with
Ludwig. From the vestibule opens a
court paved with marhle, on the right
of which is a staircase splendidly
adorned with marble, stucco and paint
ings.
The mad king never really enjoyed
any of his palaces. His malady grew
upon him from year to year, and he
spent much of his time restlessly wan
dering from one palace to another, in
dulging in wild night rides without
definite aim, craving solitude.
As early as 1880, sixteen years after
his accession to the throne, Ludwig’s
extravagance had brought financial
ruin upon him, and it became apparent
that something had to be done to check
his follies. On the 3th of June, 1886,
he was adjudged insane.
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