Lüftelberg Castle

Meckenheim-Lüftelberg, Germany

Burg Lüftelberg is first mentioned in old documents in 1260. In the 15th century it was extended into a castle with four round towers and surrounded by a moat.  The castle obtained its current appearance as of 1730.

The court architect Johann Heinrich Roth constructed a Baroque building with high double pitched roofs and a beautiful portal, but used the available walls and integrated three of the four older round towers. The central room of the manor house with its two wings is the garden room with paintings by Grisaille, which was richly decorated as a ballroom. High windows create a link to the landscaped garden and the garden theme is continued in the hall itself with noteworthy murals and stucco work.

The castle is available for groups to view. Register office weddings are also possible.

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Address

Schloßstraße 7, Meckenheim-Lüftelberg, Germany
See all sites in Meckenheim-Lüftelberg

Details

Founded: 15th century
Category: Castles and fortifications in Germany
Historical period: Habsburg Dynasty (Germany)

Rating

4/5 (based on Google user reviews)

Interesting Sites Nearby


Gudenau Castle (6,2 km)


Cologne Cathedral (32,8 km)
Romano-Germanic Museum (32,8 km)
St. Andrew's Church (32,9 km)
Great St. Martin Church (32,5 km)
Wallraf-Richartz-Museum (32,4 km)
Bonn Minster (11,8 km)
St. Maria Lyskirchen (31,9 km)
Cologne City Museum (32,9 km)
Basilica of the Holy Apostles (32,4 km)

User Reviews

Mustafa Durgut (2 years ago)
Schön idyllisch
Alex (3 years ago)
Wir haben unsere Hochzeit im Mai 2018 auf der Burg Lüftelberg gefeiert, das Ambiente entsprach genau unseren Vorstellungen, die Zusammenarbeit mit dem Eigentümer war angenehm und unsere Wünsche wurden alle erfüllt. Außerdem wurde die schöne und persönlichen Trauung durch die Standesbeamtin der Stadt Meckenheim auf der Burg im Trauzimmer durchgeführt.
F. J. Bündgen (3 years ago)
Ich habe die Burg bzw. die Räumlichkeiten vor kurzem für ein Seminar gemietet. Es war mal etwas ganz anderes als die sonstigen langweiligen Hotels mit ihrem immer gleichen Aussehen. Die Räumlichkeiten in dieser schönen alten Burg sind sensationell und gleichzeitig funktionell. Der Burgherr steht mit Rat und Tat Beiseite selbst wenn mal etwas fehlt, wie z.B. ein Stuhl oder Verlängerungskabel oder einfach nur frischer Kaffee. Auch die von uns gewünschte kleine Führung mit interessanter Geschichte über die Burg und deren früherer sowie jetziger Bewohner wurde uns gewährt und hat uns begeistert. Wer also mal ein ganz anderes Tagungs- oder auch Feierambiente (Geburtstage oder Hochzeiten) sucht, dem kann man die Burg Lüftelberg samt freundlicher und zuvorkommender Bewohner/Eigentümer nur ans Herz legen. 5 Sterne*****
Siegfried Klein (3 years ago)
Die schöne Burg Lüftelberg .... eigentlich die perfekte Location für das schönste Event des Lebens .... doch leider maßgeblich gestört durch den Burgherrn, der alles besser weiß, alles kontrolliert und Impertinenz fühlbar wird.... schade... schade ... schade... nicht weiter zu empfehlen, solange der "Herr des Hauses" seine Einstellung zum Leben und zum Feiern nicht ändert. Deshalb für mich ... NICHT EMPFEHLENSWERT ... , es sei denn, man ist kniefällig bereit, alles kommentarlos anzunehmen, was der "Burgherr" vorgibt, sich seinen Regeln unterwirft und dafür eine Stundenmiete zahlt, die den Erwartungen nicht entgegenkommt.
Wilfried Schaaf (3 years ago)
Schönes historisches Wasserschloss. Ideal für besondere Veranstaltungen wie Hochzeiten und gehobene Feierlichkeiten. Die Räume und der Innenhof bieten eine romantische und gediegene Atmosphäre. Wer eine besondere Location sucht ist hier sehr gut aufgehoben!
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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.

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