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There is the "Hall of the Swan-Knight," containing illustrations of that most charming legend, the foundation of the world's best opera, Lohengrin; the "Schwangau Chamber," with pictures concerning the history of the locality; the "Bertha Chamber," containing the story of the parents of Charlemagne; the "Ladies' Chamber," portraying the life of German women in the Middle Ages, the principal figure being a portrait of Agnes, wife of Otto von Wittelsbach, an ancestor of the royal house; the "Hall of Heroes," containing illustrations of the Vilkina Saga, Dietrich of Berne being supposed to have lived at Hohenschwangau; the "Knights' Chamber," representing the knightly customs of the Middle Ages; the "Oriental Chamber," with frescoes recalling King Maximilian's travels in the East; and several other rooms, in each of which is commemorated some striking point of German history or some interesting record of national manners.
Thus, for instance, Prince Hohenstiel Schwangau explains the psychological meaning of all his restless and unscrupulous activities by comparing them to the impulse which has just led him, even in the act of talking, to draw a black line on the blotting-paper exactly, so as to connect two separate blots that were already there.
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