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The Marienbrücke is accessible limited number of visitors; please follow the instructions on site. Preserving all the features of Neuschwanstein Castle intact is an ongoing task.

Therefore, restoration work and restoration investigations are currently taking place. The work is expected to last until For the restoration work currently underway in the Throne Hall , scaffolding was erected in the southern area and then a semi-transparent, printed screen will be added.

This should give visitors a view of the ongoing restoration work and at the same time give an impression of the wall surfaces as they would look without scaffolding.

The restoration work in the throne room is expected to continue until autumn The visit of Neuschwanstein Castle is only possible with a guided tour.

Rucksacks, prams, child carriers, and similar bulky objects may not be taken into the castle. Please leave these items in your car or bus.

An example can be seen in his comments, or commands, regarding a mural depicting Lohengrin in the Palas; "His Majesty wishes that The interior and especially the throne room Byzantine-Arab construction resumes to the chapels and churches of the royal Sicilian Norman-Swabian period in Palermo related to the Kings of Germany House of Hohenstaufen.

Throughout, the design pays homage to the German legends of Lohengrin, the Swan Knight. Hohenschwangau, where King Ludwig spent much of his youth, had decorations of these sagas.

These themes were taken up in the operas of Richard Wagner. Many rooms bear a border depicting the various operas written by Wagner, including a theatre permanently featuring the set of one such play.

Many of the interior rooms remain undecorated, with only 14 rooms finished before Ludwig's death. With the palace under construction at the King's death, one of the major features of the palace remained unbuilt.

A massive keep , which would have formed the highest point and central focus of the ensemble, was planned for the middle of the upper courtyard but was never built, at the decision of the King's family.

The foundation for the keep is visible in the upper courtyard. The elongate building is furnished with numerous towers, ornamental turrets, gables, balconies, pinnacles and sculptures.

Following Romanesque style, most window openings are fashioned as bi- and triforia. Before the backdrop of the Tegelberg and the Pöllat Gorge in the south and the Alpine foothills with their lakes in the north, the ensemble of individual buildings provides varying picturesque views of the palace from all directions.

It was designed as the romantic ideal of a knight's castle. Unlike "real" castles, whose building stock is in most cases the result of centuries of building activity, Neuschwanstein was planned from the inception as an intentionally asymmetric building, and erected in consecutive stages.

The palace complex is entered through the symmetrical Gatehouse flanked by two stair towers. The eastward-pointing gate building is the only structure of the palace whose wall area is fashioned in high-contrast colours; the exterior walls are cased with red bricks, the court fronts with yellow limestone.

The roof cornice is surrounded by pinnacles. The upper floor of the Gatehouse is surmounted by a crow-stepped gable and held King Ludwig II's first lodging at Neuschwanstein, from which he occasionally observed the building work before the hall was completed.

The ground floors of the Gatehouse were intended to accommodate the stables. The passage through the Gatehouse, crowned with the royal Bavarian coat of arms , leads directly into the courtyard.

The courtyard has two levels, the lower one being defined to the east by the Gatehouse and to the north by the foundations of the so-called Rectangular Tower and by the gallery building.

The southern end of the courtyard is open, imparting a view of the surrounding mountain scenery. At its western end, the courtyard is delimited by a bricked embankment, whose polygonally protracting bulge marks the choir of the originally projected chapel; this three-nave church, never built, was intended to form the base of a metre ft keep , the planned centrepiece of the architectural ensemble.

A flight of steps at the side gives access to the upper level. Today, the foundation plan of the chapel-keep is marked out in the upper-courtyard pavement.

Like most of the court buildings, it mostly serves a decorative purpose as part of the ensemble. Its viewing platform provides a vast view over the Alpine foothills to the north.

The northern end of the upper courtyard is defined by the so-called Knights' House. The three-storey building is connected to the Rectangular Tower and the Gatehouse by means of a continuous gallery fashioned with a blind arcade.

From the point of view of castle romanticism the Knights' House was the abode of a stronghold's menfolk; at Neuschwanstein, estate and service rooms were envisioned here.

The Bower, which complements the Knights' House as the "ladies' house" but was never used as such, defines the south side of the courtyard.

Both structures together form the motif of the Antwerp Castle featuring in the first act of Lohengrin. Embedded in the pavement is the floor plan of the planned palace chapel.

The western end of the courtyard is delimited by the Palas hall. It constitutes the real main and residential building of the castle and contains the King's stateroom and the servants' rooms.

The Palas is a colossal five-story structure in the shape of two huge cuboids that are connected in a flat angle and covered by two adjacent high gable roofs.

The building's shape follows the course of the ridge. The western Palas front supports a two-storey balcony with view on the Alpsee , while northwards a low chair tower and the conservatory protract from the main structure.

The entire Palas is spangled with numerous decorative chimneys and ornamental turrets, the court front with colourful frescos.

The court-side gable is crowned with a copper lion, the western outward gable with the likeness of a knight. Had it been completed, the palace would have had more than interior rooms, including premises for guests and servants, as well as for service and logistics.

Ultimately, no more than about 15 rooms and halls were finished. The King's staterooms are situated in the upper stories: The anterior structure accommodates the lodgings in the third floor, above them the Hall of the Singers.

The upper floors of the west-facing posterior structure are filled almost completely by the Throne Hall. Neuschwanstein houses numerous significant interior rooms of German historicism.

The palace was fitted with several of the latest technical innovations of the late 19th century. The kitchen equipment included a Rumford oven that turned the skewer with its heat and so automatically adjusted the turning speed.

The largest room of the palace by area is the Hall of the Singers, followed by the Throne Hall. It is designed as an amalgamation of two rooms of the Wartburg: The Hall of the Singers and the Ballroom.

It was one of the King's favourite projects for his palace. Its longer side is terminated by a gallery that is crowned by a tribune, modelled after the Wartburg.

The eastern narrow side is terminated by a stage that is structured by arcades and known as the Sängerlaube. The Hall of the Singers was never designed for court festivities of the reclusive King.

The first performance in this hall took place in A concert commemorating the 50th anniversary of Richard Wagner's death. The throne dais is surrounded by paintings of Jesus, the Twelve Apostles and six canonised kings.

The mural paintings were created by Wilhelm Hauschild. The floor mosaic was completed after the king's death.

The chandelier is fashioned after a Byzantine crown. The Throne Hall makes a sacral impression. Following the king's wish, it amalgamated the Grail Hall from Parzival with a symbol of the divine right of kings , [19] an incorporation of unrestricted sovereign power, which King Ludwig as the head of a constitutional monarchy no longer held.

Apart from the large ceremonial rooms several smaller rooms were created for use by King Ludwig II.

It consists of eight rooms with living space and several smaller rooms. King Ludwig II did not attach importance to representative requirements of former times, in which the life of a monarch was mostly public.

The interior decoration with mural paintings, tapestry , furniture and other handicraft generally refers to the King's favourite themes: the grail legend , the works of Wolfram von Eschenbach , and their interpretation by Richard Wagner.

The eastward drawing room is adorned with themes from the Lohengrin legend. Next to the drawing room is a little artificial grotto that forms the passage to the study.

The unusual room, originally equipped with an artificial waterfall and a so-called rainbow machine, is connected to a little conservatory. In the park of Linderhof Palace the King had installed a similar grotto of greater dimensions.

Opposite the study follows the dining room, adorned with themes of courtly love. Since the kitchen in Neuschwanstein is situated three stories below the dining room, it was impossible to install a wishing table dining table disappearing by means of a mechanism as at Linderhof Palace and Herrenchiemsee.

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