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路德维希的梦想的种子是在他的童年播下的。这位年轻的王子在附近的霍亨施万戈城堡度过了夏天，这座城堡本身就是他父亲马西米兰二世在19世纪30年代建造的。Hohenschwangau建于马西米兰在狩猎之旅中发现的中世纪遗迹之上，是最早在最终成为德国的地方建造的浪漫主义复兴城堡之一；它将英国哥特式风格与当代便利设施相结合，将对路德维希位于山谷对面的城堡产生形成影响。

The seeds of Ludwig’s dream were sown during his childhood. The young Prince spent his summers in the nearby castle of Hohenschwangau, itself a reconstruction built by his father Maximilian II in the 1830s. Built over medieval ruins discovered by Maximilian during a hunting trip, Hohenschwangau was one of the first Romantic revival castles built in what would eventually become Germany; its combination of English Gothic styling with contemporary conveniences would serve as a formative influence for Ludwig’s own castle just across the valley.[3]

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路德维希也迷上了神话和民间传说，特别是歌剧所描绘的。1864年获得巴伐利亚王位一年之内，国王召见并成为作曲家理查德·瓦格纳的赞助人。在路德维希的统治下，音乐在巴伐利亚的首都慕尼黑蓬勃发展。[4]当新国王在慕尼黑面临越来越多的批评和反对时，他开始从城市撤退到山区(到霍亨斯旺戈)，进入瓦格纳的歌剧所生动展示的传说。在那里，在过去的幻想中，路德维希可以逃脱他现在的冲突。

Ludwig was also enamored by mythology and folklore, especially as portrayed through opera. Within a year of taking the Bavarian throne in 1864, the King summoned and became a patron to composer Richard Wagner. Under Ludwig’s reign, music flourished in Bavaria’s capital of Munich.[4] As the new King faced mounting criticism and opposition in Munich, he began to withdraw from the city into the mountains (to Hohenschwangau) and into the legends illustrated so vividly by Wagner’s operas. There, in the fantasies of the past, Ludwig could escape the strife that was his present.[5]

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最后一根稻草出现在1866年，当时对普鲁士的军事失败导致路德维希作为国王的权力受到限制。从1867年起，路德维希不再是一位主权统治者，而是为自己建造了一系列宫殿，在这些宫殿里，他可以扮演专制君主的角色。像他的父亲一样，他选择了两个废弃城堡的遗址作为他自己的新宫殿的基地。然而，与他父亲不同的是，他致力于建造一座比霍亨斯旺戈更贴近祖先风格的城堡。受瓦格纳、霍亨施旺戈和中世纪德国城堡的启发，路德维希委托风景优美的画家克里斯蒂安·詹克(Christian Jank)和建筑师爱德华·里德尔(Eduard Riedel)开始建造“新霍亨施旺戈”(New Hohenschwangau)-最终被称为“新霍亨施万斯坦”(Neuschwanstein)。

The final straw came in 1866, when a military defeat against Prussia led to the restriction of Ludwig’s powers as king. No longer a sovereign ruler, Ludwig compensated by building himself a series of palaces in which, from 1867 onwards, he could play autocratic monarch. Like his father, he chose the site of two ruined castles as the base for his own new palace. Unlike his father, however, he was dedicated to creating a castle that hewed more closely to the style of its forebears than Hohenschwangau had. Inspired by Wagner, Hohenschwangau, and the castles of medieval Germany, Ludwig commissioned scenic painter Christian Jank and architect Eduard Riedel to begin construction of “New Hohenschwangau” – what would eventually come to be known as Neuschwanstein.[6]

 Neuschwanstein under construction in 1885; the steam crane is visible at the bottom left. Image © Johannes Bernard

1885年，Neuschwanstein正在建造中；在左下角可以看到蒸汽吊车。图像(约翰斯·伯纳德)

虽然里德尔最初计划在遗址上建造新天鹅斯坦，但很快就清楚了，路德维希的愿景将需要摧毁他们，为规模更大的东西扫清道路。阿尔卑斯山脊被证明是一个极具挑战性的建筑工地；必须建造一条道路才能到达200米高的山顶，为了成为城堡的安全基础，必须将山顶夷为平地，形成两个相邻的高原。随后的建筑使用了德国第一批大型蒸汽动力起重机之一，这在它旁边形成的中世纪城堡旁边成为了一个非常明显的时代错误。随着建筑工程的进行，工业技术将继续为建筑师和建筑商服务；创新是他们跟上路德维希不耐烦的最后期限的唯一途径。

Though Riedel initially planned to build up Neuschwanstein from the ruins on the site, it soon became clear that Ludwig’s vision would necessitate demolishing them to clear the way for something of a grander scale. The alpine ridge proved to be an incredibly challenging construction site; a road had to be built to ascend 200 meters to the summit of the mountain, which had to be laboriously flattened into two adjacent plateaus in order to serve as safe foundations for the castle. Subsequent construction made use of one of Germany’s first large steam-powered cranes, which became a highly visible anachronism next to the medieval castle that took form beside it. Industrial techniques would continue to serve the architects and builders as construction proceeded; innovation the only way for them to keep up with Ludwig’s impatient deadlines.[7]

 Plans of the first, fourth, and fifth floors. Image Courtesy of Kienberged GmbH

一楼、四楼和五楼的图则。KienberdedGmbH公司的形象礼貌

纽斯万斯坦，如路德维希所设想的，由Jank描绘，是一座理想化的哥特式城堡。然而，路德维希在参观瓦特堡宫的当代重建时，观念转向了一座更大的罗马式城堡，多座建筑导致了一座五层楼高的皇家住宅建筑，[8]1869年9月，第一座地基石建成时，路德维希完全希望能在三年内住进他建成的城堡。然而，要到四年后，他才能搬进门楼，这是当时唯一可供居住的地方。[9]帕拉斯在1880年又过了七年，终于搬进了他预定的公寓。[10]

Neuschwanstein, as envisioned by Ludwig and illustrated by Jank, was an idealized Gothic castle. Ludwig’s visit to a contemporary reconstruction of the Wartburg Palace, however, saw the concept shift to a larger Romanesque castle with multiple structures leading to a five-story royal residential building, or palas.[8] When the first foundation stones were laid in September of 1869, Ludwig fully expected to be living in his completed castle within three years. However, it would be four years before he could move into the gatehouse, which was, at that point, the only space ready for habitation.[9] The palas was topped out another seven years later in 1880; Ludwig finally moved into his intended apartments in 1884.[10]

一旦门楼和宫殿被“盖上”，就可以对宫殿本身的附属结构和奢华的内部进行工作。按照设计，这座建筑群的空间元素如下：一个门楼，两个庭院，宫殿，一个装饰华丽的礼拜堂，一个骑士之家，一个女士之家(或称“凉亭”)，以及一个方塔。这座建筑主要由砖块组成，坐落在水泥地基上，覆盖着石灰石。[11]保龄楼和方塔直到1886年国王去世后才建成，甚至只有简化的形式；这座90米高的护栏从没有实现过，它的底部有一个哥特式礼拜堂作为城堡的中心。

Once the gatehouse and palas were ‘topped off,’ work could proceed on the accessory structures and the lavish interior of the palas itself. The complex, as designed, featured the following spatial elements: a gatehouse, two courtyards, the palas, a Keep with an ornate chapel, a Knights’ House, a Ladies’ House (or “bower”), and a square tower. The structure was to be composed primarily of brick, sitting atop a cement foundation and clad in limestone.[11] The bower and square tower would not be completed until after the King’s death in 1886, and even then only in a simplified form; the 90-meter tall Keep, which would have featured a Gothic chapel at its base to form the heart of the castle, was never realised.[12]

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虽然宫殿的大部分内部从未完工，但完成的少数房间形成了路德维希对纽什万斯坦的终极梦想的生动形象。三楼的国王公寓里有一间装饰华丽的哥特式卧室，一个受瓦格纳歌剧启发的人造石窟，以及一个冬季花园，其环绕城堡的阿尔卑斯山全景被当时最大的窗玻璃封住，高达3米。

While much of the interior of the palas was never finished, the few rooms that were completed form a vivid image of Ludwig’s ultimate dream for Neuschwanstein. The King’s apartments on the third floor feature an ornately decorated Gothic bedroom, an artificial grotto inspired by a Wagnerian opera, and a winter garden whose panoramic view of the Alps surrounding the castle are sealed in by what were, at three meters tall, the largest window panes ever made at the time.[13]

这些窗户在中世纪是不可能制作的，但这并不是宫殿唯一的当代特色：整个建筑都配备了中央供暖和自来水，国王的厕所甚至配备了自动冲水装置。电铃系统允许路德维希从城堡的其他地方召唤仆人，而两部电梯则允许他们在没有爬楼梯的情况下到达他身边。然而，最不符合时代要求的也许是安装在三楼和四楼的两部电话。

These windows, which would have been impossible to craft during the medieval period, were not the only contemporary features of the palas: the entire building was equipped with central heating and running water, with the King’s lavatory even featuring an automatic flushing mechanism. An electric bell system allowed Ludwig to summon servants from elsewhere in the castle, while a pair of lifts allowed them to reach him without climbing any stairs. Perhaps the most egregious anachronism, however, was the pair of telephones fitted into the third and fourth floors.[14]

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虽然使用工业技术主要是为了便于建造或作为对人类舒适的让步，但有一种情况是，城堡的结构本身就需要工业技术。从三楼到四楼，奢华镀金的拜占庭王位室将是路德维希作为巴伐利亚国王的神圣权利的主要展示；每一个细节，从其丰富的基督教马赛克到皇冠状的吊灯，都是为了宣扬他作为天地中间人的角色。

While industrial technologies were primarily employed for ease of construction or as a concession to human comfort, there was one case in which it was necessary for the very structure of the castle. Rising from the third into the fourth floor, the lavishly gilded Byzantine throne room was to be the chief showcase of Ludwig’s divine right as King of Bavaria; every detail, from its profusion of Christian mosaics to its crown-shaped chandelier, was meant to proclaim his role as the intermediary between heaven and Earth.[15]

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虽然这并不是立即从空间内明显，王座室实际上是支持一个钢成员的框架。梁在上面形成了一个结构格，支撑着天花板，支撑着舞台上的拱形尖塔，甚至连舞台本身也依赖于铁支撑。16王位-这个最直接代表路德维希理想化的中世纪王权的元素-秘密地得到了他曾经鄙视的某个时期的特征的支持：他自己的王位，这几乎是一种诗意。然而，王座室还有一个额外的象征意义，那就是它从来没有安装过会赋予它目的东西：王位本身。

Although it is not immediately apparent from within the space, the throne room is actually supported by a framework of steel members. Girders form a structural lattice above, supporting the ceiling and the arched apse above the dais, and even the dais itself rests upon iron supports.[16] It is almost poetic that the throne—the element that would have most directly represented Ludwig’s idealized medieval kingship—would have secretly been supported by features of a period in time he had come to despise: his own. The throne room carries an added symbolism, however, in that it was never fitted with the item that would have given it its purpose: the throne itself.[17]

路德维希日益脆弱的经济和精神状态导致他的政府在1886年6月10日以精神错乱为由罢免了他。两天后，他被从位于Neuschwanstein的家中转移到Berg城堡的一家精神病院。第二天晚上，他和他的精神病医生都被发现死在斯塔恩伯格湖畔。

Ludwig’s increasingly tenuous financial and mental state led his government to depose him on the grounds of insanity on June 10, 1886. He was removed from his home at Neuschwanstein two days later to a mental hospital at Berg Castle. The following evening, he and his psychiatrist were both found dead at the shore of Lake Starnberg.[18]

七周后，巴伐利亚政府向公众开放了新天鹅斯坦，把已故国王的私人隐士变成了一个旅游胜地，如今每年有140万人参观。[19]新天鹅斯坦已成为世界著名的理想浪漫主义城堡的象征，它本身也是迪斯尼乐园“睡美人城堡”的主要灵感来源。[20]虽然路德维希二世最终无法摆脱他的困境，但他最大的幻想-他挚爱的新天鹅斯坦-依然存在。

Seven weeks later, the Bavarian government opened Neuschwanstein to the public, turning the late King’s private recluse into a tourist destination which is today visited by 1.4 million people every year.[19] Neuschwanstein has become world-renowned as an icon of the ideal Romantic castle, both in itself and as the main inspiration for Disneyland’s Sleeping Beauty Castle.[20] While Ludwig II was ultimately unable to escape his troubles, his greatest fantasy—his beloved Neuschwanstein—endures.

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[1]“Neuschwanstein城堡”巴伐利亚宫部。2016年3月26日。http：/www.schloesser.bayern.de/engch/宫殿/Objects/neuschw.htm[2]“室内和现代技术”。巴伐利亚宫部。2016年3月26日。http：/www.neuschwanstein.de/engch/Palace/interior.htm[3]Knapp，Gottfried。新天鹅斯坦。伦敦：Axel Menges版，1999年。P7.[4]“巴伐利亚国王路德维希二世”。巴伐利亚宫部。2016年3月26日。http：/www.neuschwanstein.de/engch/ludwig/Biography.htm[5]Gottfried，第9页。[6]“思想与历史”。巴伐利亚宫部。2016年3月26日。http：/www.neuschwanstein.de/engch/IDEA/index.htm[7]Gottfried，第11页。[8]“纽什万斯坦城堡-历史主义的一个例子。”巴伐利亚宫部。2016年3月26日。http：/www.neuschwanstein.de/engch/IDEA/History.htm[9]EnCyp dia Britannica Online，s。v.“Neuschwanstein城堡”，2016年3月29日，http：/www.britannica.com/Topic/Neuschwanstein-城堡。[10]“思想与历史”[11]“建筑史”。巴伐利亚宫部。2016年3月26日。http：/www.neuschwanstein.de/engch/宫殿/History y.htm[12]desing，Julius。纽斯万斯坦皇家城堡。Lechbruck：KienberdedGmbH，1998年。P9.[13]戈特弗里德，第15-17页。[14]“室内和现代技术”，[15]设计，p16-21。[16]戈特弗里德，第15页。[17]p16。[18]Cowan，Henry J.和Trevor Howells。世界最伟大建筑指南：建筑杰作

[1] "Neuschwanstein Castle." Bavarian Palace Department. Accessed March 26, 2016. http://www.schloesser.bayern.de/englisch/palace/objects/neuschw.htm [2] "Interior and modern technology." Bavarian Palace Department. Accessed March 26, 2016. http://www.neuschwanstein.de/englisch/palace/interior.htm [3] Knapp, Gottfried. Neuschwanstein. London: Edition Axel Menges, 1999. p7. [4] "King Ludwig II of Bavaria." Bavarian Palace Department. Accessed March 26, 2016. http://www.neuschwanstein.de/englisch/ludwig/biography.htm [5] Gottfried, p9. [6] "Idea and History." Bavarian Palace Department. Accessed March 26, 2016. http://www.neuschwanstein.de/englisch/idea/index.htm [7] Gottfried, p11. [8] "Neuschwanstein Castle - an example of Historicism." Bavarian Palace Department. Accessed March 26, 2016. http://www.neuschwanstein.de/englisch/idea/histor.htm [9] Encyclopædia Britannica Online, s. v. "Neuschwanstein Castle", accessed March 29, 2016, http://www.britannica.com/topic/Neuschwanstein-Castle. [10] “Idea and History.” [11] "Building History." Bavarian Palace Department. Accessed March 26, 2016. http://www.neuschwanstein.de/englisch/palace/history.htm [12] Desing, Julius. The Royal Castle of Neuschwanstein. Lechbruck: Kienberged GmbH, 1998. p9. [13] Gottfried, p15-17. [14] “Interior and modern technology.” [15] Desing, p16-21. [16] Gottfried, p15. [17] Desing, p16. [18] Cowan, Henry J., and Trevor Howells. A Guide to the World's Greatest Buildings: Masterpieces of Architecture & Engineering. San Francisco: Fog City Press, 2000. p79. [19] "Neuschwanstein Today." Bavarian Palace Department. Accessed March 26, 2016. http://www.neuschwanstein.de/englisch/palace/index.htm [20] Cowan and Howells, p79.

地址：Neuschwanstein城堡，Neuschwansteinstra e 20，87645 Schwangau，德国巴伐利亚建筑师Eduard Riedel Scenic Painter Christian Jank Project Eduard Riedel Scenic Painter Christian Jank项目年的其他客户

Location Neuschwanstein Castle, Neuschwansteinstraße 20, 87645 Schwangau, Germany Category Other Client King Ludwig II of Bavaria Architect Eduard Riedel Scenic Painter Christian Jank Project Year 1886