Kommende Ramersdorf Castle

Bonn, Germany

Kommende Ramersdorf was established in 1230 as one of the over 300 commanderies of the Teutonic Knights following the crusades. The Georgian chapel , which had been preserved, was built between 1220 and 1230. In the 13th and 14th centuries the commanders of the Ramersdorf were mostly Rhenish nobles, ministerial and urban patricians. After a fire in 1842, the entire complex was rebuilt in Neo-Gothic style. Today Ramensdorf is a hotel.

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Details

Founded: 1842
Category: Castles and fortifications in Germany
Historical period: German Confederation (Germany)

Rating

4.1/5 (based on Google user reviews)

User Reviews

Daniel Leon (2 years ago)
Really impressive in xmas and at night time.
Emilian Gospodinov (2 years ago)
DON’T EVER VISIT THAT PLACE!!! I booked a room for a business trip. My room is nothing as the pictures shown here. They put me in a room which is in the tower next to the gate of the yard it is a horrible horrible place. It is cold and noisy from the Motorway outside. It is the worst hotel I ever stayed in Germany. I am not quite sure if it is legal to give out such rooms. If you choose this hotel you will be ripped off. I am appending some photos to see where can they put you when you book over there.
Mr B. (2 years ago)
Beautiful place, but be prepared for quite a walk if you're not arriving in a car. The Italian restaurant there deserves a visit, the rooms however could use a bit of renovation.
Yana Berkovich (2 years ago)
I only wanted to get inside for a quick coffee and take some pictures. I had to pay 3 Euro for the parking but it was closed for a wedding event. I was not informed at the gate. I drove down and told the guard that i want my money back because it is closed for a wedding. The guard started yelling at me said no way and talked in Italian being racist towards me presumably due to my Russian accent in German English and Spanish. I said I will call the police, he yelled that he is the police and called his friend/relative complaining about me loudly and asking for reinforcement of Italian thugs yelling that his bodies control the area and the parking is paid regardless if the place is open. i am a solo female traveler around the world, for 3 Euros i have left but let me feel so frightened, so humiliated and so deceived by a person that thinks he owns this land was a first experience for me. I hope that the whole region gains some real police and citizens control rather than this Italian mafia style of treating people. I am shocked and appalled to be treated like this. It left a bitter taste of my time in German, i usually enjoy begin a tourist in Germany but I would think twice before coming and giving my hard earned money to people who insult me, take my money without providing any service, and being racist and offensive. I was scared and insecure traveling there just avoid until the local friendly population can clear those parking thugs that lure everywhere in the region it is unsafe for solo female or anyone with an accent or not Caucasian appearance.
Dominic Siedhoff (2 years ago)
Great hotel when you like castles
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.