Königstein Fortress is located on the left bank of the River Elbe. It is one of the largest hilltop fortifications in Europe. The 9.5 hectare rock plateau rises 240 metres above the Elbe and has over 50 buildings, some over 400 years old, that bear witness to the military and civilian life in the fortress. The rampart run of the fortress is 1,800 metres long with walls up to 42 metres high and steep sandstone faces. In the centre of the site is a 152.5 metre deep well, which is the deepest in Saxony and second deepest well in Europe.
The fortress, which for centuries was used as a state prison, is still intact and is now one of Saxony's foremost tourist attractions, with 700,000 visitors per year.
By far the oldest written record of a castle on the Königstein is found in a deed by King Wenceslas I of Bohemia dating to the year 1233. It is probable that there had been a stone castle on the Königstein as early as the 12th century. The oldest surviving structure today is the castle chapel built at the turn of the 13th century. In the years 1563 to 1569 the 152.5 metre deep well was bored into the rock within the castle - until that point the garrison of the Königstein had to obtain water from cisterns and by collecting rainwater.
Between 1589 and 1591/97 Prince-Elector Christian I of Saxony and his successor had the castle developed into the strongest fortification in Saxony. The hill was now surrounded with high walls. Buildings were erected, including the Gatehouse (Torhaus), the Streichwehr, the Old Barracks (Alte Kaserne), the Christiansburg (Friedrichsburg) and the Old Armoury (Altes Zeughaus). The second construction period followed from 1619 to 1681, during which the John George Bastion was built. The third construction period is seen as the time from 1694 to 1756, which included the expansion of the Old Barracks. From 1722 to 1725, at the behest of August the Strong, coopers under Böttger built the enormous Königstein Wine Barrel, the greatest wine barrel in the world, in the cellar of the Magdalenenburg which had a capacity of 249,838 litres. It cost 8,230 thalers, 18 groschen and 9 pfennigs. The butt, which was once completely filled with country wine from the Meißen vineyards, had to be removed again in 1818 due to its poor condition. Because of Böttger, Königstein Fortress is also the site where European porcelain started.
Even after the expansion during those periods of time there continued to be modifications and additions on the extensive plateau. The Treasury (Schatzhaus) was built from 1854 to 1855. After the fortress had been incorporated in 1871 into the fortification system of the new German Empire, battery ramparts were constructed from 1870 to 1895 with eight firing points, that were to have provided all-round defence for the fortress in case of an attack that, in the event, never came. This was at this time that the last major building work was done on the fortress.
Because Königstein Fortress was regarded as unconquerable, the Saxon monarchs retreated to it from Wittenberg and later Dresden during times of crisis and also deposited the state treasure and many works of art from the famous Zwinger here; it was also used as a country retreat due to its lovely surroundings.
The fortress played an important role in the History of Saxony, albeit less as a result of military action. The Saxon Dukes and Prince-Electors used the fortress primarily as a secure refuge during times of war, as a hunting lodge and maison de plaisance, but also as a dreaded state prison. Its actual military significance was rather marginal.
Since 1955 the fortress has been an open-air, military history museum of high touristic value.References:
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.