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Serbisk 3. Arabisk 2. 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 ,  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.
Instead, the dining room was connected with the kitchen by means of a service lift. The bedroom adjacent to the dining room and the subsequent house chapel are the only rooms of the palace that remain in neo-Gothic style.
The King's bedroom is dominated by a huge bed adorned with carvings. Fourteen carvers worked more than four years on the bed canopy with its numerous pinnacles and on the oaken panellings.
The adjacent little house chapel is consecrated to Saint Louis , after whom the owner was named. The servants' rooms in the basement of the Palas are quite scantily equipped with massive oak furniture.
Besides one table and one cabinet there are two beds of 1. Opaque glass windows separated the rooms from the corridor that connects the exterior stairs with the main stairs, so that the King could enter and leave unseen.
The servants were not allowed to use the main stairs, but were restricted to the much narrower and steeper servants' stairs. Neuschwanstein welcomes almost 1.
There are also special guided tours that focus on specific topics. In the peak season from June until August, Neuschwanstein has as many as 6, visitors per day, and guests without advance reservation may have to wait several hours.
Those without tickets may still walk the long driveway from the base to the top of the mountain and visit the grounds and courtyard without a ticket, but will not be admitted to the interior of the castle.
Ticket sales are processed exclusively via the ticket centre in Hohenschwangau. Neuschwanstein is a global symbol of the era of Romanticism.
In , it was a finalist in the widely publicised on-line selection of the New Seven Wonders of the World. A meteorite that reached Earth spectacularly on 6 April , at the Austrian border near Hohenschwangau was named Neuschwanstein after the palace.
Three fragments were found: Neuschwanstein I 1. A joint candidature with other representative palaces of the romantic historicism is discussed including Schwerin Palace , for example.