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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.
It may be that in the far-off future, long after the titles and prerogatives of royalty shall have been done away with and wellnigh forgotten, the virtues of this king, who is so poorly appreciated by his contemporaries, will be commemorated in some beautiful legend, like that of his favorite story of the Swan-Knight; since even now, when that chaste hero appears in the dazzling purity of his enchanted armor upon the Munich stage, one turns involuntarily to recognize his counterpart in the solitary occupant of the royal box.
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