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Plan of 1876 of the "artist’s cottage". The rooms are shaded in.
View of castle ruin ca. 1860. On the right hand side of the picture the intact buildings of the “artist’s cottage“ with the little tower over the apse of the chapel can be seen.
Portrait of Oktavie de Lasalle of Louisenthal.


Romanticism at Dagstuhl Castle

Dagstuhl Castle also contributed to the topic of castle romanticism of the 19th century in that Oktavie, the daughter of Baron Wilhelm de Lasalle of Louisenthal, set up her art studio in the ruins of Dagstuhl in the 1840s. To accomodate it she had the former chapel together with the hall and the cistern renovated.

To withdraw to a castle and into the atmosphere of the Middle Ages really became fashionable in the 19th century. Tired of the scientific spirit of the Enlightenment and of increasing bureaucracy people began to mentally escape from their unstable lebensraum into a deliberately idealised medieval world. These fictitious Middle Ages were imagined to be dark, dismal, warlike and barbaric in order to be able to restage exciting heroic stories such as the legend of the Nibelungen or that of King Arthur.
At the same time, however, the Middle Ages were highly romanticized.
In reality castles fulfiled neither the ideal of an imaginary, continuously fought for object of war nor that of a romantic setting for lovers, therefore numerous castles were reshaped so that their silhouettes were as monumental and, at the same time, as extravagantly ornamental as possible. Towers which are much too high and numerous oriels, battlements and crenellations bear witness to this. This absurd medieval castle image still lives on in various forms today.


Artist’s reconstruction of the “Malerhäuschen“ (“artist’s cottage“) by Friedrich Ebert. Series of house façades with ground plan.

Interior of “artist’s cottage“. Historic photograph.

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