Linderhof is the smallest of the three palaces built by King Ludwig II of Bavaria and the only one which he lived to see completed.
Ludwig II, who was crowned king in 1864, began his building activities in 1867-1868 by redesigning his rooms in the Munich Residenz and laying the foundation stone of Neuschwanstein Castle. In 1868 he was already making his first plans for Linderhof. However, neither the palace modelled on Versailles that was to be sited on the floor of the valley nor the large Byzantine palace envisaged by Ludwig II were ever built.
Instead, the new building developed around the forester's house belonging to his father Maximilian II, which was located in the open space in front of the present palace and was used by the king when crown prince on hunting expeditions with his father. Linderhof Palace, the eventual result of a long period of building and rebuilding, is the only large palace King Ludwig II lived to see completed.
In 1869 Ludwig II had the forester's house rebuilt and appointed as the 'Royal Lodge'. In 1870, under the supervision of the court building director Georg Dollmann, a wing with a single axis was added. While this extension was still being completed, the original plans for the building were substantially revised.
From spring 1871 a second wing was built to match the first extension, with a bedroom forming the connection between the two wings. A wooden staircase on the west side provided access to the u-shaped complex built around an open courtyard, and the Royal Lodge thus became superfluous; the initial retention of this building indicates the king's emotional attachment to it.
The complex thus created forms the core of the palace. Its upper floor was a wooden post and beam construction clad with boards, while the lower floor was plastered; because of the wooden structures it was known as the 'Alpine Hut Building'. Its simple exterior, however, gave no hint of the splendour inside.
An overall architectural solution was however necessary to unite the results of the piecemeal construction process. In February 1873, King Ludwig II approved a plan which established the final design of the palace. First the wooden construction was clad with solid stone and covered with a cross-shaped complex of new roofs. This section of the building formed the core of the new palace, but it still had no interior staircase.
On 20.1.1874 the king gave permission for the 'Royal Lodge' to be moved to its present location, around 200 metres away, and the new south tract was built in its place. It was only now that the exterior of the palace acquired its final form, and the vestibule and staircase were incorporated in the interior. By 1876 work on the interior of the south tract was also complete.
The transformation of the 'Alpine Hut Building' into the 'Royal Villa' had marked consequences for its surroundings. In 1874 the final plans for the park were submitted by court garden director Carl Joseph von Effner.References:
The Holy Trinity Column in Olomouc is a Baroque monument built in 1716–1754 in honour of God. The main purpose was a spectacular celebration of Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia between 1713 and 1715. The column was also understood to be an expression of local patriotism, since all artists and master craftsmen working on this monument were Olomouc citizens, and almost all depicted saints were connected with the city of Olomouc in some way. The column is the biggest Baroque sculptural group in the Czech Republic. In 2000 it was inscribed on the UNESCO World Heritage Sites list.
The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it.
The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus’ earth life – his mother’s parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming – who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.
Below them, the second stage is dedicated to Moravian saints St. Cyril and St. Methodius, who came to Great Moravia to spread Christianity in 863, St. Blaise, in whose name one of the main Olomouc churches is consecrated, and patrons of neighbouring Bohemia St. Adalbert of Prague and St. John of Nepomuk, whose following was very strong there as well.
In the lowest stage one can see the figures of an Austrian patron St. Maurice and a Bohemian patron St. Wenceslas, in whose names two important Olomouc churches were consecrated, another Austrian patron St. Florian, who was also viewed as a protector against various disasters, especially fire, St. John of Capistrano, who used to preach in Olomouc, St. Anthony of Padua, a member of the Franciscan Order, which owned an important monastery in Olomouc, and St. Aloysius Gonzaga, a patron of students. His sculpture showed that Olomouc was very proud of its university. Reliefs of all twelve apostles are placed among these sculptures.
The column also houses a small chapel inside with reliefs depicting Cain's offering from his crop, Abel's offering of firstlings of his flock, Noah's first burnt offering after the Flood, Abraham's offering of Isaac and of a lamb, and Jesus' death. The cities of Jerusalem and Olomouc can be seen in the background of the last mentioned relief.