CASTLE OF RUNKELSTEIN
Towards the north lies the deeply interesting Imperial Castle of Runkelstein, which, dating from the middle half of the thirteenth century, was extensively restored in 1884-88, and finally presented by the Emperor of Austria to the town of Bozen. Situated upon and almost entirely covering a huge mass of rock, it overlooks a bend of the swiftly flowing Talfer, and occupies one of those commanding and almost inaccessible positions beloved of builders in the Middle Ages. The Castle, irrespective of its interests as an architectural survival of a long past age, is much visited on account of the famous frescoes which are contained in a building now known as the Summer House. As one climbs up the steep and narrow path to the castle drawbridge one can the better realize how safe the ancient owners (who were not above raiding the neighbourhood, and of engaging in predatory warfare with their neighbours) must have felt when they had once heard their iron-studded door clang behind them, and seen the ancient drawbridge swung up by its chains.
Till the introduction of artillery, indeed, such a fastness would have been practically impregnable.
The frescoes to which we have referred are especially interesting from the fact that they undoubtedly exhibit a very primitive art. At the time they are supposed to have been painted, that is to say towards the end of the fourteenth century, art even in its home, Italy, was in a comparatively elementary and even grotesque stage of evolution. The figures, which are black with a pea-green background, are, as an American girl said, "Noah's arkical and too funny for words," though we are bound to confess that the irreverence of the remark deeply offended a worshipper of mediæval art who was of the party. The paintings in the first room depict a German version of the story of Tristan and Isolde, which would appear to diverge materially from the one of Sir Thomas Malory, as set out in the "Morte d'Arthur." The main story can, however, be easily followed.
In the second chamber the frescoes, which were a very common form of decoration at the period at which they were done and should not be considered in the light of being of especial significance, depict a complete version of the legendary story of Garel, following the version of a Styrian[17] thirteenth century poet named Pleier. It is generally considered that this Garel was founded upon or was identical with the character of the Gareth or Beaumains of the "Morte d'Arthur," although the evidence is not absolutely conclusive. To English people the fine fresco of the famous Knights of the Round Table sitting in company with King Arthur and Queen Guinevere will naturally be of the greatest interest, although each of the quaint drawings to illustrate the mediæval legend has an abiding fascination for all to whom the past is of moment.
Nor are the outside walls of this quaint pavilion left unadorned. On them are single figures and others in groups of two and three depicting well-known mediæval personages of historical and legendary note: Tristan and Isolde; William of Orleans and Amelie; William, Duke of Austria, and Aglei; pairs of lovers whose fame has outlived the centuries; the three hero kings of ancient Christendom, Arthur of England, the Emperor Charlemagne, and Godfrey de Bouillon. Amongst the large number of figures here depicted may also be seen other groups of three comprising celebrated knights, dwarfs, giants, and other real, mythical, or legendary characters; a gallery of portraits which has probably no equal in any other castle in the world. The story of the deeds of the characters thus immortalized would fill many volumes, and provide some of the most romantic and interesting reading imaginable.
ST. CYPRIAN AND THE PEAKS OF THE ROSENGARTEN
One quits the historic spot with a sense of the greatness of the past as well as with a lingering regret that nothing after all can adequately conjure up for one the stirring scenes, strenuous and vividly "coloured" life, romance and chivalry, that the walls and rooms of Runkelstein must have witnessed.