菲森（Füssen）
在巴伐利亚，童话真的会成真。 - 维斯教堂 271；巴伐利亚国王路德维希二世的宫殿群：新天鹅堡、林德霍夫宫、夏亨行宫、海伦基姆湖宫—从梦想到现实 1726
什么和为什么
说真的，童话故事确实会成真。当我沿着德国巴伐利亚州的“浪漫之路（德语：Romantische Straße）”旅行时，亲眼见到了许多超乎想象、仿佛只存在于梦境中的教堂与宫殿。这里既有装饰极尽奢华、宛如天宫般的教堂，也有被改造成充满法式宏伟气派的皇家狩猎行宫，还有那些仿佛直接从童话插画师笔下“走”出来的城堡。有些旅程之所以令人难忘，是因为目的地本身；而另一些旅程之所以刻骨铭心，则是因为沿途所见那些震撼人心、难以忘怀的绝景。这次旅程简直就像是从奇幻故事书中走出来的经典之作。本篇博文正是为了记录这样一段独特的旅程而撰写的。
从某种意义上说，将这篇博文冠以“菲森（Füssen）”之名，对“浪漫之路”和菲森本身都有点“不公平”。正如文末地图所示，下文提到的景点其实分布在不同的村镇，彼此相隔数公里。不过，菲森常被视为通往这些绝美城堡，尤其是新天鹅堡（Schloss Newuschwanstein）的门户，因为它恰好是浪漫之路的南端终点。此外，出于我个人的强迫症：即希望保持博文系列以“城市”为单位的完整性—我最终选择了用“菲森”来作为这篇博文的标题。遗憾的是，在接下来要介绍的众多景点中，菲森恐怕是其中最平淡无奇的一个…抱歉！
该地区最负盛名的景点包括新天鹅堡、高天鹅堡（Schloss Hohenschwangau）、林德霍夫宫（Schlossanlage Linderhof）以及维斯教堂（Wieskirche），它们均位于浪漫之路南部路段附近。当然，从严格意义上讲，并非所有景点都直接坐落在浪漫之路的线路上：林德霍夫宫和维斯教堂需要向阿尔卑斯山麓方向绕行，而位于菲森的几座城堡则处于这条路线的最南端。无论具体位置如何，这些景点都呈现出如童话般梦幻的景象，令此行令人难忘。
地名
“菲森”这一名称源自拉丁语词汇“fauces”，意为“峡谷”；这是因为附近的莱希（Lech）河在流经小镇外围时，会穿过一道狭窄的岩石缝隙。在罗马时代，“fauces”一词演变为“Foetes”，并最终演变成了今天的“Füssen”。
看
我将沿着我所参加的当地旅游线路，逐一记录旅途中的各个景点。在介绍这些景点之前，不妨先来品味一下浪漫之路本身。这条路线并非历史悠久的古道：它实际上是由旅行社在二十世纪五十年代策划推出的一条旅游线路。当时，西德（Bundesrepublik Deutschland）正致力于促进国际旅游业，并寻求与自身的文化遗产重新建立联系。它迎合了当时欧洲人对中世纪城镇、如画风景以及童话故事的浓厚兴趣。“浪漫之路”这一名称及其路线设计，旨在让游客沉浸在一种“彻头彻尾的德国风情（durch und durch deutsch）”之中。它从维尔茨堡（Würzburg，我已在之前的博文维尔茨堡（Würzburg）中介绍过）一直延伸至菲森，全长超过四百六十公里。当然，这并不意味着每一公里都如梦幻般浪漫。沿途不乏普通的公路、现代建筑，甚至还有令人扫兴的交通车流，时刻提醒着你—你依然身处二十一世纪；不过，那种梦幻般的感觉总会不时回归。
上阿默高（Oberammergau）
我们的第一站是上阿默高（Oberammergau）—一座名副其实“如画般”的小镇。这里以Lüftlmalerei 壁画而闻名，这是一种在建筑外墙上绘制各种场景的传统，内容涵盖宗教意象、乡村风光，有时甚至包括以假乱真的建筑视觉陷阱（法语：trompe-l'œil）。漫步在村中，我花在欣赏这些“露天画廊”墙面上的时间多得有些不合理，因为它们实在美得令人难以言喻。虽然这种壁画艺术在这一地区并不罕见，但上阿默高无疑是其最集中的展示地。正因如此，这里也成了当地主要的旅游购物中心之一；凡是前往新天鹅堡的游客，几乎都会经过这个必经之地。
在国际上，奥伯阿默高最广为人知的当属其“受难剧（Passionsspiele）”。这一传统始于1634年：当时正值鼠疫肆虐，村民们许下誓言，若能免于瘟疫之灾，便每十年演出一场关于耶稣（希伯来语： ישוע）受难（英语：Passion）的剧目。据记载，村民们当时发誓，如果上帝能让他们躲过这场瘟疫，他们就每十年上演一部描绘耶稣生平与死亡的剧作。令人称奇（或许也纯属巧合）的是，自从许下这个誓言后，奥伯阿默高竟再无一人死于鼠疫。如今，这部剧已发展成为一项重大的国际性公共盛事，并严格遵循传统，每十年上演一次。最近的一次演出因新冠疫情而推迟到了2022年。我不禁好奇，在疫情期间，村民们是否又重新许下了什么誓言呢…
此外，这里还拥有几所传承数百年的木雕学校，专门制作精巧的宗教题材雕塑。不过，当时我的注意力全被那些外墙壁画吸引住了，以至于完全错过了这一特色。
埃塔尔修道院（Kloster Ettal）
在前往林德霍夫的途中，我顺道造访了埃塔尔修道院（Kloster Ettal)），因为这两处地点相距不远。
埃塔尔修道院由皇帝路易四世（Ludwig IV，本名 Ludwig von Wittelsbach）于1330年创立，后来发展成为一座重要的本笃会（拉丁语：Ordo Sancti Benedicti）修道院。它如今宏伟壮观的面貌，源于十八世纪一场火灾后的巴洛克（法语：Baroque）时期大规模重建。
这座辉煌的修道院拥有令人惊叹的穹顶濕壁画（意大利语：fresco），是旨在激发人们敬畏之情的宗教建筑典范。其穹顶、壁画、华丽的装饰以及精致的祭坛，营造出一种与附近风格较为亲切、内敛的维斯教堂截然不同的体验。修道院内至今仍有修士在此修行生活，并生产传统的草本利口酒和啤酒。
林德霍夫宫（Linderhof）
在埃塔尔（Ettal）附近一处幽静的山谷深处，坐落着林德霍夫宫。它是巴伐利亚国王路德维希二世（Ludwig II，本名 Ludwig von Wittelsbach）的标志性宫殿之一—这些宫殿建筑群近期已被列入世界遗产名录。在介绍林德霍夫宫之前，我想先谈谈路德维希二世的背景，以便大家能更好地理解他的宫殿群，包括新天鹅堡。
路德维希二世是十九世纪的巴伐利亚国王（König von Bayern）。他痴迷于中世纪传说、法国王室的宏伟气派，以及理查德・瓦格纳（Richard Wagner）的歌剧。他动用巨额财富（严格来说是国库资金），打造了欧洲一些最非凡的王室建筑——除了林德霍夫宫和新天鹅堡，还包括他位于沙亨（Schachen）的私人居所，以及海伦基姆湖宫（Heerenchiemsee）建筑群（这些建筑如今共同构成了这一世遗项目）。他将这些建筑装饰得如同童话世界一般，因此赢得了“童话国王（Märchenkönig）”的称号。这让我联想到了我近期在博客中提到过的另一位君主—波茨坦（Potsdam）的腓特烈二世（Friedrich II，本名 Friedrich von Hohenzollern）。他们之所以相似，并非因为他们的丰功伟绩，而是因为他们对艺术和文化的狂热追求，以及那种不负责任的挥霍无度。
1864年，路德维希二世即位，随即开启了他的建筑宏图。然而讽刺的是，在他有生之年，只有林德霍夫宫于1878年最终完工。该宫殿的建筑风格深受法国宫殿设计及路易十五（法语：Louis XV，本名 Louis de Bourbon（法语））时期的洛可可（法语：Rococo）风格影响，并融入了巴伐利亚独特的装饰视角进行了重新诠释。
Ludwig admired the splendour of the French Bourbon court and palaces, especially those associated with Louis XIV. His initial plans for Linderhof were to outshine Versailles and were more ambitious than the palace we see today. He considered grander palace schemes, but the project evolved around an existing royal hunting lodge into the comparatively intimate royal villa.
As a result the surrounding garden combines formal French Baroque features with the more naturalistic landscape character of a German mountain park, as seen above. The exterior garden features formal geometric gardens, cascading water terraces crowned with a temple of Venus, and a grand basin featuring a gilded fountain.
The interior is astonishingly rich. Most rooms are decorated with mirrors, gilding, painted panels, ornamental furniture and intricate details. The Hall of Mirrors (Spiegelsaal) is particularly memorable, creating a visual play of reflections that enlarges the relatively small palace feel more elaborate than its dimensions suggest.
Ludwig's intention was to create an environment in which art, history and imagination could surround him. After all he did live here, and this makes Linderhof a fascinating contrast with Sanssouci in Potsdam. Frederick II's retreat expressed Enlightenment interests in music, culture and philosophy. In contrast Ludwig's palace, a century later, turned away from practical politics towards romantic fantasy and theatrical experiences.
There are a few unusual or quirky buildings inside Linderhof. Ludwig's fascination with exotic architecture produced buildings such as the Moorish Kiosk (Maurischer Kiosk) while his enthusiasm for Wagner's operas inspired theatrical structures associated with the composer's mythological worlds, like the Hunding's Hut (Hundinghütte) and the Hermitage of Gurnemanz (Einsiedelei des Gurnemanz). There is also a Venus's Grotto (Venusgrotte) which is an artificial cave system with modern lightings and water. This I could not visit as it was closed but all these were paid by state's monies.
The name Linderhof comes from a mighty weeping-willow (Linde), which is in the park for centuries.
Neuschwanstein Castle (Schloss Neuschwanstein)
Just around half an hour drive from Linderhof along the Romantic Road, stands one of the most iconic castles in the world in Neuschwantstein Castle. The castle, translated as the 'new swan rock' in German and as a global symbol of the era of Romanticism, is another masterpiece of King Ludwig II and has inspired countless other castles in the real world, but most importantly in the movie and cartoon world, in particular Disney's Cinderella Castle. Neuschwanstein Castle is so famous that it risks becoming a victim of its own reputation. Almost everyone has probably seen it somewhere: on postcards, travel websites, jigsaw puzzles and the occasional piece of merchandise that has absolutely no relation with the castle. By the time one arrives, one usually has that déjà-vu feeling like me and just utter non-chalantly, "Here it is.".
Surprisingly this is not even a mediaeval castle at all, in spite of the look! As mentioned this fairy tale castle was commissioned by the eccentric King Ludwig II in the late 19th century only. As mentioned he was a huge fan and devoted patron of the musician Wagner and the castle was inspired by the Swan Knight in his opera Lohengrin, and hence all the references to swans in the castle. The king wanted a romanticised vision of the mediaeval world rather than a faithful reconstruction of a historical fortress. The castle as a result has more old-schooled Romaneque features, plenty of performance areas and offers very little defence. Unfortunately both Ludwig and Wagner died before either of them could see the completed castle. While Wagner appreciated Ludwig's gesture and was fully aware of the castle construction, he never even stepped foot near the area, though he did communicate with Ludwig regarding the overall interior and exterior designs.
The castle was built atop of a small hill and one can take a very easy uphill walk to reach the castle entrance along the red route indicated above. There is another route which will lead to cross a river gorge via the Mary's Bridge (Marienbrücke) which offers a stunning view of the castle and the river gorge. We were not aware of that route during our visit.
The interior is where Ludwig's personal obsessions become especially visible. Most of the rooms draw on mediaeval legends, Germanic mythology and Wagnerian opera world. One of the most photographed room is the above opulent Singer's Hall (Sängersaal).
The Throne Hall (Thronsaal) carries Byzantine-inspired decorative scheme and reveals Ludwig's openness to foreign cultures. The result is a building that feels simultaneously mediaeval, theatrical, mixed-cultured and overall hedonistic.
Unfortunately the castle was almost never used as Ludwig died before it was completed. Functionally the castle lacks any facilities and amenities and was open sporadically for visit until modern times. The only time it was used for a slightly prolonged period was during the Nazi-regime when it was used to as a warehouse to store looted items from all across Europe. It is probably in contemporary times that it becomes truly functional as a tourism magnet, bringing in fortunes for the country. This was the irony that I perceived during my visit: Ludwig constructed the building as a private retreat; yet it became one of the most visited mass-tourism destination.
It is also interesting to know that the castle is only named as Neuschwanstein after Ludwig's death. Ludwig actually called this palace New Hohenschwangau Castle (Neues Schloss Hohenschwangau) because the site was sitting on the ruins of the two Hohenschwangau Castles, where the municipality is called Schwangau, literally translated as 'Swan District'. More about this in a minute. Photography is not allowed inside and hence both pictures above come from the internet.
A tiny piece of trivia: In a lot of popular urban folklores, Neuschwanstein is often linked with
Pyotr Tchaikovsky's (Russian: Пётр Чайковский) ballet Swan Lake (Russian: Лебединое Озеро, Lebedinoye Ozero). in fact they only share an indirect conceptual and geographical overlap. The real Swan Lake (Schwansee), just a short walk from Neuschwanstein and Hohenschwangau where Ludwig and his family spent leisure time, has almost nothing to do with the ballet story. Tchaikovsky composed Swan Lake in 1875–1876, when Neuschwanstein was still actively under construction and incomplete (and most importantly it was not even named yet). There was no Bavarian story similar to Swan Lake at the time. While Tchaikovsky was definitely not commissioned by Ludwig, his German travels and the romantic German swan-knight folklore might have influenced the backdrop of the ballet, but the relationship pretty stops there and the links to Neuschwanstein and Wagner's works are actually weak.
Hohenschwangau (Schloss Hohenschwangau)
The skyline of the area is actually dominated by two castles, clearly the Neuschwanstein Castle and also the yellowish neo-Gothic (Neogotik) Hohenschwangau Castle (Schloss Hohenschwangau). This fortified castle has been sitting in the site since the 12th century during the Middle Ages, although the present form is reconstructed in the early 19th century for King Maximilian II (né Maximilian von Wittelsbach) of Bavaria. The site, right below Neuschwanstein, is on the ruins of an older castle named, believe it or not, Schwangau Castle. It was actually Ludwig's childhood residence.
This creates a very interesting while confusing result: Hohenschwangau and Neuschwanstein have effectively swapped names! Hohenschwangau Castle replaced the ruins of the old Schwangau Castle, and Neuschwanstein Castle replaced the ruins of the two Hohenschwangau Castles.
The building's interiors were similarly decorated with scenes from German legends and mediaeval literature, including stories associated with Lohengrin. The swan would become an important motif in the royal family's imagery, and it was literally where Ludwig was nursed with that early fascination with the romantic world of Wagnerian themes and mediaeval chivalry. In a sense these were not abstract fantasies out from the cloud as I originally perceived, they formed part of the visual world of the royal household where Ludwig was brought up and shaped.
I have to confess that after Neuschwanstein I did not have another large appetite of another fantasy castle and hence I did not spend too much time inside the castle. If I had had more time, I would definitely spend more time there as it gives a backdrop of Ludwig and Neuschwanstein.
Saint Mang's Abbey (Kloster Sankt Mang)
After all the drama of Neuschwanstein, I did make time for Füssen, the historic town at the southern end of the Romantic Road, although either I was tired or I had seen enough, I found the city a bit bland.
Füssen is now naturally the main gateway to the two famous castles, as the town sits right at the end of the Romantic Road. In fact one reason I came was to take the picture of the underwhelming terminus, where I found a large number of rubbish bins.
The most important landmark of the town is Saint Mang's Abbey (Kloster Sankt Mang), another Benedictine monastery. Apparently the monastery origins are connected with the early mediaeval religious history of the area, while its later architectural and decorative development reflects the wealth and influence of the local ecclesiastical establishment.
Wies Church (Wieskirche)
The old adage of 'Do not judge a book by its cover.' definitely applies to this extraordinary little church. Situated in the town of Steingaden, the Pilgrimage Church of Wies (Wieskirche) is a very modest looking church sitting in a meadow that does not really appeal anyone from the outside. When I arrived I uttered, "Is that it?'", and how wrong could I be!
From the outside, the church looks totally modest, just standing there in a meadow. There is no enormous mediaeval town or dramatic landscpae around it. There is no great square to announce the monument's importance. In fact even the road signs are not that prominent. Under normal circumstances I would have just driven past it assuming it was simply another rural church. When I walked into the church, I still had a lot of skepticism about the church. Once I walked into the church, my first reaction was to stop just beyond the entrance and look upwards, wondering whether I had accidentally been teleported into another universe! The interior is pictured above, it is so stunning that it keeps every visitors' mouth open.
My attention was immediately brought to the surreal frescoes on the church ceiling. The ceiling paintings use trompe-l’œil to suggest a world beyond the physical. The paintings literally appear to open into a celestial realm. As described by one architecture book: "Everything was done throughout the church to make the supernatural visible. Sculpture and murals combined to unleash the divine in visible form...".
Walking around the interior, I would find myself looking at the ceiling, then the columns, then the altar, then the ceiling again. The entire interior is an explosion of Rococo decoration: pale colours, elaborate stucco, gilded details, sculptural forms and an enormous ceiling fresco that seems to open into the heavens. It is the sort of place that makes you reconsider the word extravagant. The effect is surprisingly light but overwhelming: It actually made all of us feel that the heavens have opened the doors for us. Seriously it was so much that I was feared for my life for a second, just a joke, but that perhaps best summed up the insane impressions the frescoes made onto us.
By the way, the paintings are not random: they depict the important messages of the Second Coming of Christ seated upon a rainbow above the Empty Throne (Hetoimasia) and the Door to Eternity.
The church's history is quite touching: it all began with a dilapidated wooden figure statue of the Scourged Saviour (Geißelheiland) in Steingaden Abbey (Kloster Steingaden), which at that time was privately owned by a woman farmer Maria Lory. The statue was actually discarded because the realistic figure of a bleeding Jesus was not very welcomed by the then church-goers. One day during Lory's daily prayers, she found drops in the eyes of the statue, which she believed to be tears. News of this statue travelled quickly and in modern terms viral, leading to the first pilgrimages. Eventually the message brought thousands of pilgrims to the rural meadow and this led to the construction of a small chapel soon afterwards. Clearly as a scientific person, I would rather say those were mere condensation or dew, as reported in various other weeping statues. Just ten years later, the statue of the Scourged Saviour was moved from the field chapel to the present Wies Church, which was still being built at the time. The church, formally the Pilgrimage Church of the Scourged Savior of Wies (Wallfahrtskirche zum Gegeißelten Heiland auf der Wies), was built during the mid-18th century by the architect Dominikus Zimmermann, with important decorative fresco contributed by his brother Johann-Baptist Zimmermann. The name 'Wies' comes from the Old German word 'wisa', meaning 'meadow'.
Other than the weeping, many who have prayed in front of the statue of Jesus on the altar (right there at the centre) have claimed that people have been miraculously cured of their diseases, which has made this church even more popular and turned it into a pilgrimage site.
Other than the visual, even the music was well taken care of. The timber oval vault gives the sanctuary world-class acoustics, making organ performances here an unforgettable experience.
I quote the famous priest-author-filmmaker Peter Dörfler on Wies Church, he described it as "a bit of heaven in this suffering world (die Wies ist ein Stück Himmel auf dieser leidvollen Erde)". Well said.
Experience, Buy and Do
Wood carving (Holzschnitzerei)
There are plenty of shops around all the above landmarks selling all sorts of tourist souvenirs. The largest concentration of souvenir shops is definitely in Oberammergau, where they are famous for their wood carving (Holzschnitzerei) souvenirs. Wood carving is an ancient art practised in Oberammergau, a usual Oberammergau souvenir is a wooden crucifix or Christmas decorations.
The other must-buy souvenir in Bavaria is the wooden clocks. There are two kinds of wooden clocks that can be purchased, the most popular is definitely the cuckoo clock (Kuckucksuhr), which comes in all sizes and prices. The other is a Bavarian clock, which goes in the opposite sense of conventional clocks with the inscription "In Bayern gehen die Uhren anders" meaning "In Bavaria the clocks run differently". The statement is a manifestation of Bavaria own unique culture, customs, traditions compared to the rest of the country. It is often used both as a point of pride by Bavarians to highlight their distinct cultural and political identity.
Eat and Drink
Pork knuckle (Schweinhaxe)
If there is one dish that captures what is supposed to be quintessential Bavarian: hearty, passionate and larger than life, it must be the magnificent roasted pork knuckle (Schweinshaxe). Imagine a huge joint of pork arriving at your table, its skin blistered into a golden-brown crust, its meat tender enough to fall from the bone, accompanied by potato dumplings, rich gravy and, naturally, a large glass of German beer. That is the what is called Bavarian.
The German word 'Schwein' means 'pig', while 'Haxe' refers to the lower part of the leg, particularly the joint around the hock. The pork knuckle is usually roasted slowly until the meat becomes tender and the skin develops a crisp, crackling crust. The cut comes from a hardworking part of the animal, rich in connective tissue, collagen, skin and bone. These characteristics make it particularly suitable for slow cooking: given sufficient time and the right temperature, the tissue softens, the meat becomes succulent, and the skin can be transformed into a wonderfully crackling.
A typical serving of Bavarian pork knuckle usually includes:
the roasted pork knuckle, often presented as a whole;
potato dumpling (Kartoffelknödel): to absorb the delicious gravy;
Sauerkraut: to provide acidity to counter the rich grease of the pork;
lager beer (Lagerbeer): again to counter the grease.
The combination is carefully balanced. The pork provides fat, savoury depth and crisp texture; the dumplings supply comforting starch; the cabbage cuts through the richness; and the beer adds a refreshing contrast. I had one of the most impressive pork knuckle in Zum Franziskaner in Munich (München) during my work trip, as above. Unmissable in Bavaria.
I had another serving of the pork knuckle in another cut-up form, as above. Just outside the church, there is a small guesthouse Moser, and in spite of the very humble look, its pork steak (Schwenkbraten) and pork knuckle is absolutely top-notched. Exactly like the church it accompanies.
Travel Suggestions and Logistics
In this trip we took a local tour from Munich, but while it did take us to most of the landmarks, it really did not do justice to the majesties of any of the landmarks, and we spent literally just an hour for each of them. Fortunately I drove there in another separate trip and I was able to submerge myself into every one of them. I would spend at least a day in each of the landmarks, that is the depth required to read into them. Combining them I would convert this to a road trip of at least four to five days.
For Neuschwanstein, it is strongly advised to book the interior tour well in advance, unless one joins a local tour. It is always full on the day. Whatever the way, one still needs to follow the interior guided tour which lasts around 90 minutes. Allow time for the uphill approach and the viewpoints, and the access to Mary's Bridge does require a separate fee.
As mentioned in the beginning, I used Füssen simply to cover the Romantic Road in general, the few landmarks actually belong to quite different municipalities and are not really close to each other.
The entrance fee to the various castles are:
Linderhof: EUR €18.00;
Neuschwanstein: €21;
Hohenschwangau: €23.50.
One little note, the trip from Linderhof to Füssen passes through Austria (Österreich), as the map above shows, and this requires an extra highway registration, see our blog in Weiden.
UNESCO Inscriptions
Miraculously preserved in the beautiful setting of an Alpine valley, the Church of Wies (1745–54), the work of architect Dominikus Zimmermann, is a masterpiece of Bavarian Rococo – exuberant, colourful and joyful.
This serial property consists of four grand palace complexes in Bavaria’s alpine region, built under King Ludwig II between 1868 and 1886. Designed as personal retreats and imaginative escapes, they reflect the romantic and eclectic spirit of the era. Drawing inspiration from the Wartburg Castle, Versailles, German fairy tales, and Wagner’s operas, the palaces showcase historicist styles and advanced 19th-century techniques. Carefully integrated into stunning natural landscapes, they embody Ludwig’s artistic vision. Opened to the public shortly after his death in 1886, these sites are now preserved as museums and remain major cultural landmarks.
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